MUSIC AND OTHER ARTS

Lesson 13

Topic: The world of human feelings.

Lesson objectives: to develop the ability to highlight, trace the special inner world of a person's personal experiences through the music of romantic composers.

Materials for the lesson: musical material, portraits of composers.

During the classes:

Organizing time.

The play "The Skylark" by M. I. Glinka is played.

Read the lesson epigraph. How do you understand it?

Writing on the board:

"Penetrating deeper into the secrets of harmony, learn to express the most subtle shades of feelings."
(R. Schumann)

Lesson topic message.

Today in the lesson we continue to talk about romance.

Work on the topic of the lesson.

1. Repetition of what has been learned.

You will probably agree that it is difficult today to meet a person who does not know anything about romance - a musical genre that is so popular today. Let's remember what a romance is. (The word romance takes us back to the distant Middle Ages, to Spain. In Romance, it means in Spanish, that is, it is the same thing. This is how singing in native Spanish was distinguished from chants in church Latin. Later the name "romance" spread across all over the world. Romances began to be called works for voice accompanied by piano or guitar. The romance reveals very subtle and deep personal experiences.)

In contrast to the song, the romance uses more complex means of expression and more complex forms than the simple verse characteristic of the song. The composer seeks to convey the exact intonations of poetic speech and reflect the entire series of lyrical images and moods.

The song can be sung with or without accompaniment. The romance is not complete without musical accompaniment, because, together with the melody, it not only conveys the content, but also deepens it, participating in the creation of a musical image. Romance is a special sublime structure of feelings and a poetic vision of the world.

We hear this in modern and old romances, often performed by brilliant pop stars, opera celebrities, bards with simple guitar picks and various vocal groups. Each of the performers touches on the strings of a theme close to him.

2. Hearing a piece of music.

A romance is a work of authorship. A romance should have a poet who wrote poetry and a composer who wrote music to them. A small vocal work that combines two healing streams - poetry and music - tells us about a person's feelings, about his love, joy, happiness, sorrow, sadness.

The romance "The Night is Sad" is a work that is rare in its depth of poetic feeling, in the subtlety of its musical embodiment. S. Rachmaninov was the greatest master of vocal lyrics; his work is marked by the stamp of great original talent and artistic taste. The same can be said about the literary heritage of I. Bunin, whose talent in the field of prose and poetry gave rise to many truly great pages.

The creative union of two brilliant masters led to the creation of this soulful musical and poetic expression. "The night is sad, like my dreams" already in the first lines of Bunin's poem a motive that has become traditional for Russian art, the motive of the unity of nature and the human soul, sounds. But in comparison with Glinka's Lark, it has become much more complicated: it shows not just a lyrical feeling, but a long chain of images, understandable and at the same time allegorical.

Far away, in the wide wilderness
A lonely light flickers.

Loneliness of the heart is like a fire, the only living point in the middle of a deaf inanimate landscape.

There is a lot of sadness and love in my heart.

This line unexpectedly brings in a nagging, warm feeling. We better begin to understand the hero, his living sadness, turned into the silence of the night steppe. And the music - still regularly sounding, colored in a minor mode, suddenly brightens, filled with new breath. The impulse to another person, the desire to pour out the heart breaks the rhythmic movement of the music.

But to whom and how will you tell
What is calling you, what is your heart full of?

The question enclosed in these lines remains unanswered. The steppe is still empty, there is not a soul around. The loneliness of a person merges with the sadness of the night - and all this finds an unusually subtle musical embodiment. The impulse is replaced by the previous measured sounding, and the repetition of the original line in the soloist's part sounds like quiet humility.

The final vocal phrase remains unexplained, as if the intonation of the question hangs in it. However, the flow of music does not stop, its flow picks up this last intonation, and then, until the very end, the music sounds alone, without a human voice, as if talking over something that cannot be expressed in words.

We see how animate nature becomes, close to human feelings, how much hidden meaning in each landscape. “The night is sad” - is it not because it is sad because the person contemplating it is sad? And if he were cheerful, would the steppe seem so silent and deaf to him?

The poems of many poets are musical in themselves. Take, for example, the work of the remarkable German poet Heinrich Heine, one of the greatest lyric poets of the 19th century. It is not for nothing that Robert Schumann, who belongs to the generation of romantic artists who discovered the subtlest shades of human moods, bowed to the wealth of the inner world of man, turned to the work of this great poet. Among the best song cycles of Schumann - "The Love of a Poet", written on the verses of Heinrich Heine. The cycle consists of sixteen romances, in them - an exciting love story of the poet.

Now we will listen to the first song (romance) of this cycle "In the glow of warm May days." ( Hearing a piece of music).

What can you tell us about this piece? How did it make you feel? How the music sounded ? (The romance "In the radiance of warm May days" by R. Schumann to the words of G. Heine from the cycle "The Love of a Poet."

Indeed, this is a wonderful spring romance - the first in a cycle. The “awakening of the soul”, the life of the heart are close and in tune with the movements that take place in nature:

In the glow of warm May days
Each leaf opened
Then I woke up
Thirst for love and affection.

Schumann turns poetic aromas, sighs and longing into gentle piano sounds. And the voice is entrusted with expressive, like poems, melodies.

3. Working with the textbook.

Open the textbooks on page 85. You see in front of you a reproduction of the painting by Isaac Levitan "Blooming Apple Trees", written in the impressionist technique. Consider it carefully. Do you think this picture is in tune with the Schumann romance? (We think so, when looking at this picture there is a feeling of freshness, light, light breeze, spring mood.)

Impressionism was also most developed in the 19th century. Impressionism (from French impression - impression).

The artists of this trend sought to most naturally capture the real world in its mobility and changeability, to convey a fleeting impression. For artists of this direction of painting, the transfer of subtle moods, psychological nuances is characteristic. Feel how close this is to understanding romance.

These paintings are unusually transparent and poetic, like romances. Turn the page, what do you see? Top painting by Claude Monet, A Corner of the Garden at Montgeron, depicting summer. Below is a painting by V. Polenov "Autumn in Abramtsevo", which conveys the beauty of a warm autumn day. On the next page is the painting by I. Grabar "Azure Blue", which depicts birches on a warm, sunny winter day.

We can say that every season, every color, flower, smell carries a whole world of images that are close and understandable to a person with his eternal striving for happiness, love, beauty.

In the work of romantics, a whole range of plots, motives, intonations arise that deepen the theme of human feelings. Read the text on pages 87-88 of your textbooks. What can we conclude? (The romance "In the Radiance of Warm May Days" - the first romance in the cycle "The Poet's Love" - ​​tells about love. It contains a timid hope for future happiness, the melodic phrases are somewhat vague, the intonations are mostly unbalanced.)

What role does the accompaniment play? (Accompaniment is an integral part of a piece that represents continuous movement.)

It is true that here, until the last chord, the instability of harmony is preserved, which for the most part amounts to dissonance. Dissonance translated from Latin means "out of tune sounding." This musical term is a combination of two or more sounds that form a tense, sharp sound. Perhaps this dissonance carries in itself a premonition of the last disaster of disappointment - the difficult and sorrowful path of the "poet's love", expressed in 16 romances of the cycle.

Guys, Robert Schumann's music is amazingly picturesque. He knew how to paint a portrait, landscape, everyday scene with sounds so that they became small stories of a big life. He was not only a wonderful composer and pianist, but also the creator of a music and literary magazine, in which he talked about the art of music and how one should listen to the music of great masters.

4. Vocal and choral work.

The teacher plays "Lark" by MI Glinka.

Guys, do you know this melody, where is it from? (This is the romance "Lark" to the words of the Puppeteer, music by M. I. Glinka.) Right. Is this romance consonant with the romance "In the Radiance of Warm May Days"? (Both yes and no. Yes, because spring is light, freshness, joy. No - because sadness is present in both works. Glinka's sadness is light, while Schumann's - some kind of vague, foreboding of disappointment , betrayal.)

Today we will learn the first verse of the romance "Lark".

Lesson summary.

How is a romance different from a song?

Homework:

1. Try to identify the main difference between romance and song.
2. Why do some romances exist independently, and some are combined in a cycle?
3. Why is the role of the piano accompaniment so great in the romance?
4. In the Diary of Musical Observations, write down a poem for which you would write a romance if you were composers.

Presentation

Included:
1. Presentation - 15 slides, ppsx;
2. Sounds of music:
Glinka. Lark (in Spanish. BDH), mp3;
Rachmaninov. The night is sad, mp3;
Schumann. In the glow of warm May days, mp3;
3. Accompanying article - lesson synopsis, docx.

Fundamentals of Musical Psychology Fedorovich Elena Narimanovna

8.2. Musical emotions

8.2. Musical emotions

Any human activity is accompanied by emotions, evokes an emotionally active or passive attitude.

Emotions play a dominant role in music. This role is predetermined by sound and time O the nature of music, capable of conveying an experience in motion, in the process of development with all the changes, increases, recessions, conflicts or mutual transitions of emotions. Music is capable of embodying a human mood that is not aimed at any object: joy or sadness, cheerfulness or despondency, tenderness or anxiety. Music can convey the emotional side of intellectual and volitional processes: energy and restraint, seriousness and frivolity, impulsivity and resilience. Thanks to this property, music is able to reflect the human character. Music can express thoughts-generalizations that relate to the dynamic side of social and mental phenomena: harmony - disharmony, stability - instability, power - human impotence, etc.

The perception and performance of music has a strong emotional impact on a person due to the properties of sound. Sound carries a tremendous amount of information for a person. A. Schnabel brilliantly wrote about this: “Life is given to sound in man; in him, sound became an element, an aspiration, an idea and a goal ... It was revealed to man that the sound he created is capable of quenching spiritual thirst and, obviously, is designed to ... raise joy and alleviate suffering. Thus was born the purpose and desire of man to create from this transcendental substance, from this sounding vibration with the help of his intellect, an eternally mobile, tangible and yet intangible world ... The result of this creativity, which is nothing more than a sequence of sounds, we call music. "

Music in human society becomes an active and effective means of emotional communication. Music is able to reveal thoughts, feelings, experiences of a person, events of public life and pictures of nature, to cause a variety of associations.

In other words, music embodies the endless variety of human emotional experiences and all the wealth of the spiritual world of mankind.

Sound properties such as timbre, register, loudness, articulation, direction of movement of a melody, its accentuation in combination with the tempo of movement are transformed into musical intonation. It is no coincidence that B. V. Asafiev called music "the art of intonated meaning."

The properties of musical intonation are similar to speech intonation, which conveys the meaning of a statement. However, feelings can be expressed incomparably more fully by means of music than formulated in words. Therefore, it is very difficult to translate the content of the music into verbal form. “This translation will inevitably be incomplete, rough and approximate,” wrote BM Teplov. The main difference between speech utterance and musical speech is how the content is expressed, meaning. In speech, the content is conveyed through the meaning of the words of the language; in music - directly expressed in sound images. If the main function of speech is the function of designation, then the main function of music is the function of expression(B. M. Teplov). A. Schnabel expresses similar thoughts: “Among all the arts, music occupies an exceptional and incommensurable position with other types. It is - everywhere - becoming, and because of this it can never be “captured”. It is impossible to describe, it has no practical use; you can only experience it ... ”.

Studying issues related to musical experience, BM Teplov makes the following very significant conclusions.

1. Experiencing music is an emotional experience and acts as a kind of non-verbal knowledge, as a unity of "affect and intellect" (L. S. Vygotsky). "One cannot comprehend the content of music by means of an extra-emotional way." At the same time, the experience of music is associated with its understanding (i.e., the form, structure, structure of the musical fabric, etc.). That's why understanding music becomes emotional... “Music is emotional cognition” [ibid.].

2. A musical experience is an emotional and cognitive experience at the same time. You can learn about music using other methods and means of cognition: comparison with other types of art, spatial and color associations, ideas, symbols. In combination with other non-musical means of cognition, the cognitive meaning of music expands to the broadest limits. At the same time, music deepens existing knowledge and gives it a new quality - emotional saturation.

B. M. Teplov considered a person's ability to experience music a sign of musical talent, musicality, but the core of musicality - "emotional responsiveness to music".

The sphere of emotions is usually conveyed by musicians in various words used synonymously: feeling, mood, sensation, affect, excitement, etc. The differences between them are manifested in the intensity of the manifestation of emotion: for example, sensation is weaker, excitement is stronger.

Or the differences take on a stylistic character. "Affect" is used in relation to the theory of affects in music of the 17th – 18th centuries. ; "Feeling" - in relation to the stylistic direction of sentimentalism in the music of the 18th century. ; "Feeling, excitement, mood" - to characterize the romantic music of the XIX century.

In addition, the emotional and suggestive impact of music is associated with temporal O th length of a piece of music. The theory of affects in European music of the Baroque era is based on this relationship: one "affect", one feeling is maintained throughout the entire work or a large part of it. This affect can increase or decrease, but it cannot change to another. So A. Kirchner in his work " Musurgia universalis”Lists eight affects that music should cause: love, sadness, courage, delight, moderation, anger, greatness, holiness. That is why the works of J.S.Bach, associated with the long development of one affect, have a deep emotional impression on the audience.

The 19th century brought new discoveries: music, capable of conveying the inner world of a person, the development or transformation of his feelings, becomes the leading type of art, which literature, poetry, painting strives to imitate. It is no coincidence that the variety of epithets, poetic images, program names that emphasize the nature of musical emotions is found in the works of F. Liszt, F. Chopin, R. Schumann, Russian composers of The Mighty Handful, P. Tchaikovsky, and others.

In the music of the 20th century, despite the anti-romantic tendencies, the embodiment of new emotions continues: anxiety, anger, sarcasm, grotesque.

Summarizing the above, we emphasize that music contains the richest spectrum of various emotions, among which there are: 1) vital emotions of the surrounding world; 2) emotions that are adequate to the emotions of other types of art; 3) specific musical emotions.

In this regard, the complexity of studying the problem of musical emotions and the absence of a developed theory becomes understandable. Exploring the theory of musical content, V.N.Kholopova offers the following classification of the most important types of musical emotions.

1. Emotions as a feeling of life.

2. Emotions as a factor of personality self-regulation.

3. Emotions of admiration for the skill of art.

4. Subjective emotions of a practicing musician - composer, performer.

5. Emotions depicted in music (emotions of the image embodied in music).

6. Specific natural emotions of music (emotions of natural musical material).

Emotions in music retain a connection with life's emotions, but are expressed in images of fantasy. In this case, the dominant is specific natural musical material, which includes: a) motor-rhythmic sphere; b) the singing or vocal sphere, transferred to the sounding of the timbres of musical instruments; c) speech or declamatory sphere.

Motor-rhythmic sphere influences rhythmic periodicity, a variety of accents, melodic peaks and climaxes, the sound of harmonies and various gradations of sound power. This area has a universal effect on a person, up to and including immersion in a state of hypnosis.

Singing or vocal sphere includes the entire range of intonations of the human voice and is continuously replenished with intonations of the speech sphere.

Speech or declamatory sphere contains a huge and very emotional material: intonation of a request or complaint, fear or threat, delight or indignation, etc.

The specific natural emotions of music are interconnected with the depicted ones, that is, with the emotions of the image embodied in music. The emotions depicted are the emotions of the artistic image, of the composer's intention. In comparison with specific natural emotions in music, they are distinguished by symbolism, convention, have the character of an allegory, an artistic idea.

Thus, musical emotions represent “a hierarchy of human artistic reactions at different levels, from a transient mood, local“ affect ”inspired by musical material (rhythm, melos), to the elements of world perception, perception of the world brought up by musical art and its masterpieces. Music affects a person with the help of the emotional generalization that has developed in it for centuries, ”- V. N. Kholopova points out. Emotional generalization embodies the aesthetic and ethical ideas of art. On the basis of emotional generalization, symbols appear in music to represent emotions. With the help of associations, allegories, the idea of ​​feeling, affect or mood is suggested. Musical emotions are set by the artistic concept of the work and have an impact on the human outlook. "Emotions in music are emotions-excitements, and emotions-ideas, and emotions-images, and emotions-concepts."

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