The magical uniqueness of a piece of music presentation. Presentation on the theme "" magic unity "of a piece of music"
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Music is an art form that reflects reality in sound artistic images that actively influence the human psyche. Music has played and plays a huge role in human life. One of its main functions is to unite people, since the language of music is understandable without translation.
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Where did the music come from?
The earliest of all was folk music. Initially, the sounds of the first instruments (they were percussion) accompanied tedious and monotonous work. Then there was military and cult music.
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Even in ancient Greece, musicians gave signals to the troops and played in temples.
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This is how the two main components of music were gradually formed - professional and folk.
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Over time, the division of music into cult and secular was added to them.
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A piece of music is a composition consisting of sounds with or without text, performed by voice or with the help of instruments. A piece of music is a single whole, like any piece of art.
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The most important and vivid means of musical expression are: melody harmony rhythm mode timbre Supporting and enriching each other, they perform a single creative task - they create a musical image and affect our imagination. Means of Musical Expression
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Melody
When you listen to music, you involuntarily pay attention to the leading voice, the main musical theme. It sounds like a melody. The Greek word for melody has two roots: melos and ode, which means "singing a song." Melody is the content of the work, its core. She conveys the main artistic images.
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Harmony
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Harmony
This word came to us from Greece and in translation means "harmony", "consonance", "coherence". Harmony has 2 meanings: pleasant for the ear coherence of sounds, "euphony"; the combination of sounds into consonances and their natural succession.
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Rhythm
Rhythm in music is the alternation and ratio of different musical durations. Rhythm is also a Greek word and is translated as “measured flow”. Thanks to the rhythm, we distinguish a march from a waltz, a mazurka from a polka, etc.
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Lad
Fret in music creates a mood. It can be joyful, light, or, conversely, thoughtful, sad. Lad is a Slavic word and is translated as "peace", "order", "consent". In music, mode means the interconnection and consistency of sounds of different heights. The most common frets are major and minor.
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Timbre
Timbre in translation from French means "color of sound". Timbre is the hallmark of every musical instrument or human voice.
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What pieces of music are harder to talk about? About musical works that do not contain any program. About musical pieces of non-programmed music. Despite the absence of a literary program, such works have no less rich musical content.
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What are the musical pieces of non-program music
Concerts; Symphonies; Sonatas; Sketches; Instrumental pieces ...
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What is a Sonata? Sonata (Italian sonare - to sound) is a genre of instrumental music, as well as a musical form called the sonata form. Composed for chamber instruments and piano. Usually solo or duet. L. V. Beethoven
On the unity of content and form in a work of art
- Statement of the problem related to the study of the main topic of the year.
- The embodiment of the depths of art is the most important criterion for true creativity.
- What constitutes the "magical uniqueness" of the plan and its embodiment.
Artistic material:
Poetry:
- F. Tyutchev. "Not what you think, nature ...";
- A. Vivaldi. Sonnet preceding the concert "Summer"
Painting:
- I. Repin, I. Aivazovsky. "Pushkin by the sea"
Music:
- A. Vivaldi. "Summer". Part III. From the cycle “Four Concertos for Violin and Orchestra“ The Four Seasons ”(listening).
Description of activities:
- Emotionally perceive the images of various types of art.
- Perceive and identify external and internal connections between music and other forms of art (taking into account the criteria presented in the textbook).
- Discuss the brightness of images in music and other forms of art (taking into account the criteria presented in the textbook).
"Only the Spirit, touching the clay, creates a Man out of it ..."
A. de Saint-Exupery
Music! How beautiful and truly boundless is this area of human culture! A whole ocean of living passions, lofty dreams and noble aspirations of mankind is enclosed in the creations of musical classics.
The treasures of music accumulated over the centuries by generations of people are unusually diverse. Music surrounds us every day, everywhere and everywhere - at work and at home, on long hikes or friendly meetings, on days of nationwide grief or festive festivities. Musical sounds accompany us throughout our life. It is difficult to find a person on earth who could live without music, do without any, even the simplest, musical impressions.
The world of music is truly endless. It covers different epochs of history, different strata of society, different, very dissimilar national traditions. A superficially thinking listener sometimes easily rejects music that is alien to him, born in the distant past or in foreign countries and continents. Meanwhile, the musical culture of the 20th century, thanks to the flourishing of modern media (radio, television, recordings), as well as the increased contacts between nations, significantly expanded its chronological and geographical framework.
We know much more about the musical past, we are more familiar with the music of the peoples of Asia, Africa, Latin America. An enlightened listener today experiences a special aesthetic joy, comprehending the charm of musical antiquity, the unfading charm of the plays by Mozart and Haydn, Couperin and Vivaldi. He never ceases to admire the eternally living creations of the great Bach, which have not at all lost their beauty and wisdom. The masterpieces of Bach's music not only do not age, but seem to capture the people of the 21st century even more, deeper. The wonderful music of Glinka does not grow old for us either, each time striking with its eternally young emotional charm.
The deepest creations of classical art live for centuries without losing their freshness. They were selected by humanity from hundreds and thousands of samples and entered the golden fund of world culture. Such works do not age, time is powerless in front of them. Possessing high artistic perfection, embodying the advanced ideas of mankind, they retain to this day the value of a kind of standard, a model, sometimes unattainable.
More than two hundred and fifty years have passed since Johann Sebastian Bach completed his famous B minor Mass, and people are still eagerly listening to this music, imbued with wisdom and the power of feelings. More than 150 years ago, Beethoven's Ninth Symphony was written, but nowadays every performance of it takes place in overcrowded halls. Victor Hugo once said that a masterpiece of art is born forever. This is the difference between eternally lively classical music and music that is shallow, fashionable, but rapidly aging.
Naturally, not every symphony or opera is necessarily better, more meaningful, deeper than any song. The best creations of folk art, in particular the most beautiful songs of various peoples of the world, are as immortal as the recognized works of classical composers.
Once A. I. Herzen wrote to his son: "There are classical artistic creations, without which a person is not a complete person." He meant that people who pass by these great riches unforgivably impoverish their spiritual world, deprive themselves of incomparable intellectual joy. And life, devoid of beauty, not illuminated by the light of art, turns into something dull, colorless, mechanical.
Why do some works die as soon as they are born, while others live for centuries, attaching more and more generations to their depths?
Many centuries ago, the ancient Greek philosopher Aristotle emphasized the difference between a beautiful face and a beautifully drawn face. The great thinker was one of the first to guess that the meaning of art is not in depicting beautiful phenomena, but in the search and embodiment of the hidden essence of things.
The ability to see the hidden, deep is one of the necessary conditions for true creativity. The remarkable Russian poet F. Tyutchev wrote about this, teaching us the true understanding of nature.
Not what you think, nature,
Not a cast, not a soulless face,
She has a soul, she has freedom,
It has love, it has language.
However, the most subtle hearing, the keenest sight, the most sensitive intuition is not enough to give birth to a work of art. It is not enough to see and understand - you also need to embody. Sometimes the most intense side of creativity is associated with the embodiment - the one that forces you to write mountains of paper, make incredible travels, experience incredible travels, experience moments of deep anxiety - and all for the sake of one single phrase, stroke, melody.
True art really requires an artist's complete dedication and selflessness. It's not just that creating a work of art is time consuming. The main thing is to find that true phrase or melody, the only one that would meet the intention of its creator.
It is not uncommon among musicians to recognize how sometimes, after fruitless long searches, the necessary intonations or accords suddenly came, as it were, from above, shaking with their convincingness and truth. So, Joseph Haydn, when a melody struck him (in the oratorio The Creation of the World, which expresses the birth of light), he exclaimed, blinded by its brilliance: "This is not from me, this is from above!"
Therefore, among the explanations of the mysterious nature of musical art, one of the first is the recognition of its divine essence. And the one to whom fate intended to be a creator initially carries a certain ideal in his soul, with which he verifies everything that he creates. Such an ideal is a kind of "magical uniqueness" of the concept and its embodiment, or, to use the scientific definition, the unity of content and form.
Music surrounded Antonio Vivaldi all his life. He absorbed it along with the air of his hometown - a salty, smelling sea, ringing from songs. He didn't have to invent anything - the melodies swarmed in his head like bees in a hive. It was only necessary to cast them into a clear form, to subordinate them to the laws of composition. He perfectly mastered all the secrets of his craft, but he considered feeling the main thing. I never understood those, sometimes very skillful masters, who in their works saw only an excuse for clever counterpoint puzzles. Music devoid of joy, not warming the soul - why is it?
It was a great idea: to write four concertos for violin and orchestra, corresponding to the changing seasons. What a variety of paintings, what an inexhaustible wealth of colors! Spring, with its shining sky, the languid bliss of a summer afternoon, the splendor of autumn hunting and, finally, the joyful fun of winter - skates. He populated the music with the twittering and peeping whistling of birds, the murmur of streams, and the loud cries of hunting horns. With rapture he painted a furious symphony of a thunderstorm: the sound of tight rain streams, the howling of the wind, dazzling zigzags of lightning. Sometimes he saw all this so clearly that along with the music, words came to him. He wrote them into the score, hoping that the poems would help to better understand the composition.
"Summer"
The flock wanders lazily in the fields.
From the heavy, suffocating heat
Everything in nature suffers, dries up,
All living things are thirsty.
Suddenly a passionate and mighty swoop down
Boreas, exploding peace of silence.
It is dark all around, there are clouds of angry midges.
And the shepherd boy is crying, caught by the thunderstorm.
From fear, poor, freezes:
Lightning strikes, thunder rumbles
And ripe ears pluck out
The storm is mercilessly all around.
No, in the sounds the pictures of the seasons turned out much brighter.
Ivan Konstantinovich Aivazovsky brought together his two muses - the sea and Pushkin, and dedicated the picture to the poet.
It is noteworthy that the landscape, that is, the image of the sea, was painted by Aivazovsky, and the figure of the poet by Ilya Efimovich Repin. This is due to the fact that the possibilities for portraits by Aivazovsky were very limited, but he painted seascapes simply brilliantly.
According to the assurances of the researchers, the picture has a direct connection with the poem "To the Sea". In it, the poet describes a farewell to the proud “free element”, compares it to his friend, whose “inviting noise” will remain in his heart forever.
Goodbye free element!
For the last time in front of me
You roll blue waves
And you shine with proud beauty.
Take a closer look at the canvas - the landscape on it is romantic, sea, but harsh. Black blocks of stones are piled up in a shapeless heap, as if by the hands of a fabulous giant. The background of the canvas itself is gray, almost whitish, but the figure of Pushkin, all in black, has a sharp contrast with the whole tonality. With his left hand, set aside, the poet seems to say goodbye to the sea, so close to his soul, and in his right he holds a hat. The wind ruffled Pushkin's hair, tore off the hood from his head, but he only enjoys the salty splashes of the raging elements. His face is calm and inspired, and his gaze is directed to the horizon ...
If we talk about the sea, then it is it that is the most mysterious and romantic creation of nature. Man encountered him everywhere, saw joy and sorrow from him. Poets, writers and artists could not pass by seascape motives, which is why there are so many works dedicated to the sea. It should be said that Pushkin, as a creative person, could not fail to be attracted by the romance of the sea.
For him, it has become a close friend, parting with whom will not let him forget about the time spent together. It seems that the free atmosphere of the sea was transmitted to Pushkin himself, who felt a unity with the elements and an attraction to it. It is not surprising that the sea on Aivazovsky's canvas seems to be alive, and everyone who has ever seen the painting has the impression that it is communicating with the poet.
Presentation
Included:
1. Presentation, ppsx;
2. Sounds of music:
Vivaldi. Summer. Part III (from the cycle "Seasons" for violin and orchestra), mp3;
3. Accompanying article, docx.
Music lesson summary at 7
class
"Magical uniqueness
a piece of music ".
Topic: Magical Uniqueness ”of a piece of music.
Lesson objectives:
Learn to perceive music as an integral part of everyone's life
person.
Develop an attentive and friendly attitude towards
the surrounding world.
To cultivate emotional responsiveness to musical phenomena,
the need for musical experiences.
Develop interest in music through creative self-expression,
manifested in reflections on music, own creativity.
Formation of a listening culture based on familiarization with
the summit achievements of musical art.
Meaningful perception of musical works (knowledge
musical genres and forms, means of musical expression,
awareness of the relationship between content and form in music).
Musical lesson material:
Yu. Shevchuk. What is autumn (singing).
A. Vivaldi. Summer. Part III. From the cycle “Four Concerts for
violins and orchestra "Seasons" (hearing).
During the classes.
Every genuine work of art is convincing.
And it doesn't matter if it embodies great ideas and images or intentionally
sharpens the dark, unsightly sides of life.
It is convincing even when it inspires us, awakens high
aspirations, and when it makes you shudder from the experience of horror.
Why do some works die, as soon as they are born, while others -
live for centuries, attaching more and more generations to their depths?
In grade 5.6, in music lessons, you got to know the most
significant musical genres (genres of song, romance, choral
music, opera, ballet; musical genres) and means
musical expressiveness (rhythm, melody, harmony, polyphony,
texture, timbre, dynamics).
This year we have to get acquainted with the musical content and
form.
Every genuine work of art is convincing. It is convincing
regardless of whether it embodies great ideas and images or intentionally
sharpens the dark, unsightly sides of life.
It is equally convincing when it inspires us or, conversely,
makes you shudder from the experience of horror. (Ave. art of cinema)
Hence, the authenticity of a work of art does not simply depend on choice.
themes, but also something that is not present in every composition. What is this
is it? What makes a piece immortal? Why other works
die, barely born, while others - live for centuries?
Our task is to find this hidden essence of the work.
Many centuries ago, the ancient Greek scientist Aristotle emphasized
the difference between a beautiful face and a beautifully drawn face. He
guessed and emphasized that the meaning of art is in the search and embodiment of the hidden
essence of things.
The ability to see the hidden, deep is one of the necessary conditions
genuine creativity. Dozens of books have been written about the throes of creativity.
The French writer G. Flaubert wrote: “O art, art! What is this
for a monstrous chimera eating away at our hearts? " It's hard to find that true
a phrase or melody, the only one that would meet the intention of the creator.
Beauty, harmony, mystery of the nature of musical art
lies in the unity of the content and form of a piece of music.
Lesson summary.
The one to whom fate intended to be a creator carries an ideal in his soul, with
with which he verifies everything that he creates.
Such an ideal is the "magical uniqueness" of the plan and its embodiment.
- the unity of content and form.
“Love and study the great art of music. It will open up the whole world for you
high feelings. It will make you spiritually richer, cleaner, more perfect.
Thanks to music, you will find in yourself new, previously unknown powers. You
see life in new colors and colors ”, D.D. Shostakovich.
D / z. learn the terms.
“You say that words are needed here.
Oh no! Here it is precisely words that are not needed, and where they are powerless,
is fully armed with its "language of music ..."
(P. Tchaikovsky)
The desire to embody the peculiarities of nature can constantly bring to life significant works of art. After all, nature is so diverse, so rich in miracles that these miracles would be enough for more than one generation of musicians, poets and artists.
Let us turn to P. Tchaikovsky's piano cycle The Seasons. Like Vivaldi, Tchaikovsky's each play has a title corresponding to the name of the month to which it is dedicated, as well as an obligatory subtitle and an epigraph that deepens and concretizes its content.
"January. By the fireside "," February. Shrovetide "," March. Song of the Lark "," April. Snowdrop "," May. White Nights "," June. Barcarole "," July. Song of the Mower "," August. Harvest ”,“ September. Hunting "," October. Autumn Song "," November. On the top three ”,“ December. Christmastide ".
Such images were associated with Tchaikovsky's perception of special poetry, the soul of each month of the year.
Probably, in any person a certain time of the year evokes a whole layer of images, thoughts, experiences, close and understandable only to him. And if different composers have created their "Seasons", then, of course, these are completely dissimilar works that reflect not only the poetry of nature, but the special artistic world of their creators.
However, just as we accept nature in its various manifestations - after all, rain, a blizzard, and a cloudy autumn day have their own charm - in the same way we accept that artistic view full of love that the composer embodies in his works ... Therefore, listening to the play “November. On the troika ”, we do not think that the triplets of horses ringing with bells have long gone from our lives, that November awakens completely different ideas in us. We again and again plunge into the atmosphere of this beautiful music, so expressively telling about that “soul of November” that the great Tchaikovsky breathed into it.
Music can tell us about wonderful countries and about the eternal poetry of nature, it plunges us into the distant historical past and gives us a dream of a wonderful future, it re-creates the characters of heroes - even those that are already known to us from works of literature or fine art.
History, people, characters, human relationships, pictures of nature - all this is presented in music, but presented in a special way. A correctly found intonation, a bright rhythmic pattern will tell us much more about the work than the longest and most detailed literary description. After all, each art expresses itself by its own, only inherent in it: literature affects the word, painting - with colors and lines, and music conquers with its melodies, rhythms and harmonies.
Listen to the playP. Tchaikovsky "November" from the piano cycle "Seasons".
Listen to the sound of the opening section of the piece "November" and try to imagine what kind of autumn the composer draws in his music, what feelings and moods it evokes in us.
P. Tchaikovsky
Note example 2
P. Tchaikovsky. "November. On the top three ”. From the piano cycle "The Seasons". First section. Fragmen T
You remember that this cycle was conceived by the composer as a kind of musical narration about the life of nature, about its continuously changing appearance, so subject to the endless movement of the seasons.
The second section of the play brings us closer to the content expressed in the title of the play - "On the troika". The music of this section is enriched by the introduction of a bright pictorial moment - the ringing of bells. In it one can guess the merry run of the troika of horses, which was once an integral part of Russian national life. This ringing of bells adds visibility to the sound of the play and at the same time brings in another cheerful moment - the moment of admiring a picture dear to every Russian heart.
Note example 3
P. Tchaikovsky. "November. On the top three ”. From the piano cycle "The Seasons". Second section. Fragment
The ringing of bells completes the piece "November", the sound of which becomes quieter by the end, as if the troika that had just rushed past us is gradually disappearing, disappearing into the haze of a cold autumn day.
Perhaps, in this last melting of the sound, the lines from the epigraph to the play are recalled for the first time? Indeed, in the play itself there are no echoes of the promised longing and anxiety that are given in the poem. How, then, can we understand the programmatic content from the epigraph to the play?
November, the last month of autumn, the last days before the onset of the long winter. Here, ringing bells, the troika rushed - and now it is farther and farther from us, hiding in the distance, and the ringing of bells is quieter ... A piece of farewell - such is "November" in its location in the cycle of the seasons. And no matter how cheerful the composer's gaze is, being able to see the beauty and fullness of life at any time of the year, he is still not free from the feeling of acute regret, which is always inevitable when parting with something familiar and dear in its own way. And if this is the case, then we can say that here the programmability is significantly expands and deepens a musical image, introducing a semantic subtext into it, which we would not have caught in only one music.
Questions and tasks
1. Is the mood of P. Tchaikovsky's play "November" in tune with your ideas about this time of year?
2. What is the role of N. Nekrasov's poem "Troika" in the context of the play "November"?
3. Which of the program components of the work (name of the month, title of the play, epigraph poem), in your opinion, reflects the character of the music to a greater extent?
4. What do you see as the main similarities and differences in the embodiment of artistic images of the seasons in the works of A. Vivaldi and P. Tchaikovsky?
Song repertoire:
Showers. Autumn decorates the road with leaves. Scattering in apologies, sweeping Wind colorful spots of October. Light streams. Chorus Autumn blues sounds in silence. Don't be silent, you write. I want it so, I long for it so much Hear your autumn blues Hear your fall blues These sounds Take my hands from the piano Evaporating, driving away the hearts of torment To the melody of an autumn rain Light streams. A string of ripe berries turns purple, And swinging on the branches - on thin knitting needles, Falls down, as if melting before our eyes. Chorus Losing Chorus (x2)1.What is autumn? This sky Crying sky under your feet Birds with clouds fly in the puddles Autumn, I have not been with you for a long time. CHORUS: Autumn. Ships are burning in the sky Autumn. I would be off the ground Where sorrow drowns in the sea Autumn, dark distance. 2.What is autumn? These are stones Faithfulness over the blackening Neva Autumn again reminded the soul of the most important thing Autumn, I am again deprived of peace. Autumn. I would be off the ground Where sorrow drowns in the sea Autumn, dark distance. 3.What is autumn? This is the wind Plays with torn chains again Autumn, will we crawl, will we reach dawn, What will happen to the Motherland and to us. Autumn, will we crawl, will we live to see the answer? Autumn, what will happen to us tomorrow. CHORUS: Autumn. Ships are burning in the sky Autumn. I would be off the ground Where sorrow drowns in the sea Autumn, dark distance. The city melts in a flock in the darkness Autumn, what I knew about you How much foliage will tear Autumn is forever right.