Musical traditions of the Fatherland. Technology Map of Music Lesson "Kirill and Methodius

Sample music program 1-4 classes

Explanatory note

The study of music in elementary school is aimed at achieving the following goals:

# formationthe foundations of musical culture through the emotional, active perception of music;

# educationemotional_nalistic attitude to art, artistic taste, moral and aesthetic feelings: love to neighbor, to their people, to the Motherland; respect for history, traditions, musical culture of different peoples of the world;

# developmentinterest in music and musical activity, shaped and associative thinking and imagination, musical memory and hearing, singing voice, educational abilities in various types of musical activity;

# learningmusical works and knowledge of music;

# masteringpractical skills and skills in educational activity: singing, listening to music, game of fine musical instruments, musical_plastic

clear movement and improvisation.

Objectives of general musical education are carried out through the system key tasks of personal, cognitive, communicative and social development.

Hearing music. The experience of emotional_-like perception of music, different in content, nature and means of musical expressiveness. Enrichment of musical_storming ideas about the intonational nature of music in all the variety of its species, genres and forms.

Singing.Self-expression of a child in singing. The embodiment of musical images when learning and executing works. The development of vocal skills and skills for the transfer of musical_collard design, improvisation.

Tool Musication. Collective and individual musitization on elementary and electronic musical instruments. Learning and execution of the music_

full works. Experience of creative activities (essay, improvisation).

Music # plastic movement. General view of plastic means of expressiveness. Individually_chinnostable expression of the figurative content of the music in the plastic. Collective forms of activity when creating musically_plastic compositions. Dance improvisation.

Dramatization of musical works. Theatrical forms of musical_structors. Musical Games, Dramatics, Dance, Lithuanization Games. The expression of the figurative content of musical works with the help of means of expressiveness of various arts.

The main content of education in the exemplary program is represented by the following meaningful lines: "Music in a person's life", "The basic patterns of musical art", "Music picture of the world". Such a construction of the program allows various options for structuring the content of textbooks, various distribution of educational material and time to study it. There is a reserve of free school time - 15 academic hours for 4 academic years. This reserve makes it possible to fill the specified substantive lines on their discretion.

Music in human life. The origins of the emergence of music. The birth of music as a natural manifestation of the human state. The sound of the surrounding life, nature, moods, feelings and character of a person. A common idea of \u200b\u200bthe basic figurative_aman spheres of music and the manifold of musical genres and styles. Song, dance, march and their varieties. Sensity, dance, marching. Opera, Ballet, Symphony, Concert, Suite, Cantata, Music.

Folk musical traditions of the Fatherland. Observation of folk art. Music and poetic folklore of Russia: songs, dances, acts, rites, patterings, riddles, lurability games. Generalized representation of the historical past in musical images. Folk and professional music. Composition of domestic composers about their homeland. Spiritual music in the work of composers.

The main laws of musical art.Intonation_-like nature of musical art. Expressiveness and image in music. Intonation as an internal voiced state, expression of emotions and reflection of thoughts. Musical and speech information. Similarity and difference. The content is the source of the elements of musical speech. Major means of musical expressiveness (melody, rhythm, pace, dynamics, timbre, road, etc.). Music is like a way to communicate between people, its emotional impact on the listeners. Composer - Artist - Listener. Music speech as compositions of composers, transmission of information expressed in sounds. Multivalization of musical speech, expressiveness and meaning. Low diploma as a method for fixing musical speech. The elements of a notice letter. System of graphic signs to record music. Modern musical letter, music stan. Recording notes - signs for the designation of musical sounds.

Comprehension of general patterns of music: the development of music is the movement of music. The development of music performed. Music development in comparison and collision of human feelings, those, artistic images.

Molds of building music as a generalized expression of artistic_-shaped content of works. Forms, one-piece, two_ and three-part, variations, Rondo, etc.

Music picture of the world.The intonation wealth of the world. General ideas about the musical life of the country. Children's choral and instrumental teams, songs of a song and dance. Outstanding performers (choral, symphony). Musical theaters. Competitions and festivals of musicians. Music for children: radio_ and telecasts,

video, sound recording (CD, DVD).

Various types of music: vocal, instrumental;

solo, choral, orchestral. Singing voices: children's,

women's, male. Choolds: children's, female, male, mixed. Musical instruments. Orchestras: Symphony, Spirit, Folk Instruments. The International and Professional Music Creativity of different countries of the world. The manifold of ethnocultural, historically established traditions. Regional Music_The Netical Traditions: Content, shaped sphere and musical language.

Military music of Russia Organizationally undertakes on the Moscow Earth in 1547 and since then has always been and remains a tuning of the soul of the Russian serviceman.

Military music of Russia created in the army and for the army became a unique phenomenon in the musical culture of the country. In the works written for the military brass orchestra, they found a bright reflection of the heroic history of our people and high achievements in the field of artistic culture.

History of Military Music in Russia

Military music existed in Russia with deep antiquity. But only at Ivan IV in 1547, the order of the Big Palace was created for the first time to manage military music of Russia.

Peter I attached great importance to military music, as a means to strengthen military discipline and lifting the moral and combat spirit of troops. The first military orchestras arose in the formation of the first Russian regiments - Semenovsky and Preobrazhensky. It was these orchestras that played parades in honor of the victory in the Northern War, and the Transfiguration Police march began with time the unofficial anthem of the Russian Empire.

In the days of the reign of Elizabeth Petrovna, the shelves were distinguished in battles along with banners and orders to reward silver Georgievski pipes as the symbols of military valiation and fame. This tradition continued in the Russian army for a long time.

During the reign of Catherine II, an increase in the states of regimental orchestras occurred. The military-patriotic and socio-cultural significance of military music was particularly increased during the Russian-Turkish wars. Outstanding Russian commander A.V. Savorov said a wingted phrase: "Music doubles," the army triples. I am inspired with the lessed banners and loud music. "

The development of musical art at the beginning of the XIX century was largely determined by the events of the Patriotic War of 1812-1814. Military marches, which sounded during battles, became the symbols of the valiant of Russian troops. Patriotic gust, the growth of national self-consciousness associated with the liberation war against Napoleon, was brightly manifested in the field of military music. There were many heroic-patriotic works and among them Marsha O.A. Kozlovsky, N.A. Titova, K.A. Kavos, F.ANtonolini, A.A. Diffeld and others.

In the second quarter of the XIX century in Russia, A.S.Dargomyzhsky, M.I. Glinki, A.A. Alyabyev and other composers enter into a heyday strip. At this time, the first steps are made to the creation of original works for wind orchestras. The winged expression has been preserved: "The Military Orchestra is a business card of the regiment."

Special influence on the development of military-orchestra music was the activities of N.A. Rimsky-Korsakov on post by the Inspector of Military Music Chorans of the Maritime Department. The transformation of military orchestras, held by him on a fleet and the training of personnel training for them served as an excellent example for imitation when conducting such reforms in the army.

In the second half of the XIX century, the use of military music in battle became limited due to an increase in the density of fire and maneuverability of troops that occurred due to the development of military equipment and weapons.

In 1882, the first military orchestra in Russia was created in St. Petersburg, whose duties were not only the provision of military rituals, but also participation in protocol state ceremonies. The musicians of the orchestra were successfully played in the palaces and during the receptions of foreign ambassadors and events held in the highest presence.

In the Russian-Japanese and First World War, military orchestras took an active part in military operations. Many domestic military musicians fell on the battlefields, and distinguished military units were often awarded with silver Georgievski pipes. In peaceful days, military orchestras continued to participate in the construction of troops, in numerous parades, in the musical design of military rituals.

The post-revolutionary years of the 20th century became a period of spontaneous emergence of military orchestras, most of them are not able to respond to those facing them. For centralized management of military orchestra activities in 1919, the Bureau of the Military Orchestras of the Red Army and Fleet was created.

It was during this period that the "Kremlin Music Team" of the Garrison of the Moscow Kremlin was created, which became the professional team with the Presidential Orchestra of Russia with the time.

Increasing the number of the Red Army in the 1930s dictated the growth of the need for military musicians. Therefore, during this period, a network of military-educational institutions has increased significantly, including the military faculty of the Moscow State Conservatory.
In the same period, military orchestras are involved in working on radio, records records and music for movies.

During the Great Patriotic War, military orchestras performed with concerts on the radio and on the front line, raising the morale of soldiers. The works of domestic composers prevailed in the repertoires of military orchestras, as well as folk music, but marches remained the basis of the repertoire.

In the postwar years, spiritual music along with mass songs remain on the advancement of domestic culture.
The circle of military rituals was noticeably expanded, the daily performing practices of military orchestras: the musical design of the solemn events and parades, the fighting study of troops, military maneuvers and reviews. The contests, holidays and festivals of military music were traditional.

Starting from the 60s. The XX century, Army and Fleet orchestras of our country become permanent participants in the international festivals of brave music and begin to travel to foreign countries.

Due to the high level of performing skills and creative potential, military musicians played a prominent role in the development of domestic musical art.

In the modern period, military orchestras provide not only holding military rituals, but also take an active part in all significant public events, conduct a greater concert and educational work.

Our environment Online - The natural-climatic and socio-cultural features of this or that region imposed a special imprint on the melody, intonation and manner of the performance of the songs. All this has led some distinctive features and a song folklore typology of a particular area. The so-called local traditions of the song folklore are found under which the combination of the conditions of existence, the features of the style and techniques of execution that attach the originality and the characteristic distinctive properties of the Song Folklore of a specific people in one limited area are understood.

In Russian song folklore, modern researchers allocate at least seven major style geographical areas: North-Russian, South-Russian, Central Russian, West-Russian, Mid-Volzhskaya, Ural and Siberian. In a separate group, a Cossack song folklore also is distinguished, in which the traditions of Don, Orenburg, Teresk Cossacks can also be distinguished, although in general the musical culture of quality corresponds to the South-Russian folklore traditions. However, within the South-Russian culture, due to the characteristics of the settlement of territories adjacent to Don and Kuban, many peculiar song traditions have developed. So, the song folklore Kuban is very heterogeneous. It combines the features of both Ukrainian small, and medium-Russian traditions. The traditions that have formed in the Cossack medium to the 21st century are quite integrated and independent, when people from other regions of Russia have not arrived at these territories.

Of particular interest is the West-Russian tradition, since it survived the archaic features of Slavic Melosh. Geographically, the area of \u200b\u200bthis tradition can be attributed to the territory of modern Bryansk and Smolensk regions and nearby areas of the Oryol, Kaluga and Pskov regions. The main centers of the West Russian tradition is Bryansk and Smolensk. Features of Russian song culture here closely interact with the related song traditions of Ukraine and Belarus. The merit in the study of the song folklore of these regions belongs to the ethnographers of V.M. Schurov and A.I. Sobolevsky.

Calendar song of the Bryansk region "On the Grocery of the Week" performed by Natalia Dolvaloye

In the Western-Russian tradition, it is also easy to detect related features with the song traditions of Western Slavs, which is a unique phenomenon for Russian folklore and indicates the depthness of its national roots. The archaic and the immutability of musical forms in the folk art of the Russian West clearly manifests itself simultaneously in all signs of local intonational harmonic and performing traditions. A bright distinctive feature of the existence of folklore in a given area is a support for a festive culture, folklore is maintained in the context of the system of calendar rites, accompanied by singing. The song folklore exists within the framework of well-preserved traditions to celebrate such calendar and agricultural rituals, like Christmas, Maslenitsa, Soroki, Semit, Ivanov Day, Rogin. The songs that marked the beginning of this or that type of agricultural work, for example, the rite of the first sort of livestock (Egoryevsky songs), are the local wedding ritual, and the local wedding rite had a local wedding ceremony. Songs characteristic of this region were sometimes accompanied by playing musical instruments. The most commonly used accompaniment tools is a violin, twin duddy, Pan flute, wheeled lira.

People's songs of the Smolensk region.

In the musical and style forms of calendar, wedding and dance songs of the West-Russian tradition, archaic elements are dominated. These include: Syllabic strictly cens with verse; heterophony in polyphony (or using Bourdon); system limited by the range of speakers associated with the simplest lade formams; uniform musical and syllated rhythm with minimal syllables; clearly dismembered simple structures; Popping melodic education.

The manner of vocalization in the Western Russian tradition is very individual. It is characterized by ringing direct sound of sound in the middle case, the completion of the stuff is long, thoroughly built unison, the use of shouts - exclamations (bugs) in the middle and late musical phrases. It is safe to conclude that the Western-Russian tradition strictly retained the archaic Slavic features and to a lesser extent experienced the effects of intercultural contacts, traces of which ethnographers are often found in other song traditions.

The second large regional system of the folklore can be considered the musical and poetic traditions of the Russian North. Geographically, they are distributed in the territories of modern Novgorod, Arkhangelsk, Leningrad and Vologda regions. Partially these traditions continue to extend from representatives of the Slavic ethnos, living in the territories of Komi, Karelia and the Kola Peninsula. Some stylistic features of the North-Russian song tradition can also be found in the northern regions of the Kostroma and Kirov regions. The formation of a single tradition was facilitated by the dominance of the Novgorod Principality. In these territories, the consequences of the interworking XII-XIV centuries have been affected to a lesser extent, the negative consequences of serfdom manifested themselves to a lesser extent. At the same time, harsh natural and unique socio-cultural and domestic conditions were specially influenced by the development of northern song traditions - the predominance of fisheries and hunting over agriculture, traditional trade and cultural ties with Western Slavs and representatives of the Finno-Ugric Ethnic Shee, as well as other cultures due to trade Relations through the White Sea shipping. All these cultural contacts created the opportunity to appear a variety of assimilative processes, which formed unique features and features of the north-Russian song tradition.

The most important feature of the northern folklore tradition is the predominance of epic songs genres in solo obstetric form. Ethnographers managed to fix in a fairly developed and full form of numerous epic, ballads, spiritual poems, non-residents, crumbs. They were recorded in the territories of frozen, on the shores of Pinegi, Mezheni and Pechers. The epic beginning is very pronounced in most genres of the north folklore. The epic manner imposed a print and the style features of the northern crying and inhibitors. In the north, the rather diverse and sore choreographic drawing of dances are common. Slow dance songs of the Northern region are distinguished by the power, narrative nature of the musical language. This generally corresponds to the epic warehouse of the Northern Folk Musical Culture. For the accompaniment of the song folklore in the Russian north, huslies and shepherd tubes were most often used. The tools of later origin were used, the most popular of which were local varieties of harmonic - Talianki, three-ranking.

Songs of the Russian North, Arkhangelsk region, Mezensky district, village of Kamenka

The musical style of the Northern Folklore is close to the epic genres of the speakers. It is characterized by the grinding of the tonic (accent) verse. The Rhythmic Organization Hanging is most often associated with the use of three permanent stresses. It is such a type of verse that is distributed in the northern epic, babysitting, wedding and dance songs. Their manifestation can be easily detected in the lyrical songs of the northern regions. The combination of peaks with tonic verse led to the metrohythmic peculiarity of the songs of this area. In the northern region for epic and wedding songs, the size of 11/4 and 9/4 is typical. The brightest feature of the knot organization of northern songs was a support for reduced intervals (reduced quint and reduced quarts). The predominant type of multi-voiced song-choir texture is a complicated heterophony with "bunched" bundle of votes between melodic "nodes". In a composite attitude for the song folklore of the Northern region, a wide use of deployed single-spray and two-phrase structures is characterized. The vocal ensemble, according to the local traditions of the singing manner, is distinguished by a two-seater sound, in which the octave doubling of the main melody (in the light head register) passes either in the upper or in the middle voice. In harmonic terms, the voice sounds collected and soft enough. The rigor, restraint, the powerfulness of the epic system of Northern People's Song Creativity also manifests itself in the most musical stylist, as well as in the performing manner, so characteristic of the strict ethnic aesthetic canons of this region.

The South-Russian Folk Musical Culture is the most distinctive formation of domestic culture, this is a special song tradition that has increasing the features of other regions, but creating unique palogarmonic and polyphonic combinations. South-Russian tradition is characteristic of the regions located to the south of the Oka River up to the border with Ukraine. Characteristic features of this manner are manifested in the song folklore and the vocalization manner in the population of Belgorod, Kursk, Voronezh, Lipetsk, Tambov regions. Elements of this song tradition are also often manifested in the folklore of the eastern districts of the Oryol and Kaluga regions, the south of the Tula and Ryazan regions, as well as in the folklore of the Russian population living in the North-East of Ukraine in Kharkov, Poltava and Sumy regions. The South-Russian song tradition as a whole has developed in the XVII-XVIII century. Historically, this was associated with the development of the lands of the wild field and the forest-steppe areas in the upper reaches of the Don. Such conditions for the existence of folklore tradition predetermined its main features associated with the support on the choreography, which is manifested in a significant number of potassium folk material. The southern dance songs are also very common, but they are more closely connected with the peasant labor and holidays of the peasant calendar. Dance in the nature of "Karagoda" and "tanks" are common in all regions of the south of Russia. These specific songs with movement, as a rule, have a characteristic chorus with the words "Leli, Lili". By itself, he is associated with ancient love magic, because it contains an appeal to the pagan gods. It is this fact that it is possible to explain the name of these songs "Levelushi" or "Alellow" songs in the region. And all the same among this category of songs prevail the dance "Leboki", especially they are characteristic of the wedding ceremony.

"At our gate", the folk song of the Voronezh region. Performed by the academic chorus of the Russian song "Songs of Russia" p / y Elena Kutuzova

Much less often can be found slow, genuine ritual songs. They are usually executed only in the most dramatic moments of the wedding act, when the bride leaves the parent house or it grinds to a braid. In the wedding rite of the south, there is no doubt, or occupy a very modest place.

A characteristic feature of the lyrical south songs is that they mostly comply with the face of men or transfer the experiences of a man. Therefore, South Russian Lyrics has a courageous tint, brightly manifested in the performance of the songs by male ensembles. In general, the male ensemble performance is extremely characteristic of South Russian tradition. From the accompanying singing of folk instruments in the south of Russia, Kuhiklas are common, double poultry and twin. At the heart of the musical style of South-Russian song culture, as well as in Northern, there are peculiarities of people's poems. South Russian jerseys are in close rhythmic and structural relationship with measuring-cesurated verse. This verse is relative to Syllabic, with a constant cesury, typical of West Russian manner. However, in the south, it differs in frequent varying the number of syllables in the poems. This becomes possible as a result of crushing or consolidation of the main units of the syllable rhythm. All this affects the rhythm of the melody: the rhythm of the South-Russian songs is very impulsive. It uses fractional drawings and syncopes widely.

Russian folk song of the Voronezh region in the record M.E.Pyatnitsky "Ryabaya cuckoo" and a dwarf "Kuva, Kuva". Voronezh Choir. Soloist Raisa Pomelnikova.

Very rich choral score songs. In many cases, it has a three-voice base with pegs. Voices are closely located, the female composition sings predominantly in low and medium registers, and men are high. Based on this, we can talk about the originality of local wet thinking. It is very characteristic of the use of lads with a support for an enlarged quart. Sometimes the soundtrack of the song consists of only four sounds located apart from each other at a distance of a large second, thereby forming the extreme sounds of the skeleton form. In the melodies, the songs are also not uncommon to the triton intervals forming several angular moves. In general, the performing tradition is distinguished by sharpness, bellivity, the disadvantage of open vocal manner. Sometimes the wizards are adorned with special short pride ("Ikanami") of the flag-tone in a high register. In general, the character of South-Russian song manner can be described as an increased expressive, open and expressive-emotional, distinguished by great immediacy in the expression of feeling.

As a separate original tradition, the Cossack Song Folklore can be considered. It was most clearly manifested in the art of the Don Cossacks, although in general this tradition does not go beyond the limits of South-Russian culture, being her branch. For the song folklore of the Don Cossacks, as well as in South-Russian culture, such forms of existence, like a dance dance, wedding game, calendar festivities saturated by dance hunters are very characteristic. The lyrical song of the courageous military warehouse is also common here. Bright style features are polyphony with opposition to the lower voice of the upper subgore in the conditions of intense voice testes and an emotional active form of vocalization is open. Along with these performing techniques, the singing of the Don Cossacks and unique features. The repertoire of the Don Cossacks is saturated with the songs of military content. They are told about the exploits of the Cossacks in the battles with the enemies of fragile. Unique for Russian folklore is the performance of the heroic epic in a polyphonic ensemble branch.

Wedding song of the Don Cossacks "Fog Yar". Performed by the people's ensemble of Cossack songs "Blagovest", Volgograd.

The wedding rite of the Don Cossacks is eclectic, since it was formed in the XVIII century, after Peter I. Reforms. In general, the rite is experiencing the impact of Ukrainian culture, but the elements of the Northern and Western regions of Russia have impact.

A distinctive feature of the Cossack singing, a kind of visiting card of this manner, you can select the virtuoso ornamental pebbing - "Dvkant". It is most interesting in the performing manner of middle dona residents. It is performed by the tenor and alt, when vocalizing the vowels "O-A-E", with the vote withdrawn the most complex melodic revolutions. For the song tradition of the Don Cossacks is also characterized by the predominance of pentathonic. It is present both in clean and in complicated forms, which forms a unique folk style. For the Cossack songs is also characteristic of the chased rhythm. In the performing interpretation, an energetic impulsive supply of musical material is dominated. Singing is often accompanied by rich gesticulation. Sometimes the Cossacks with sharp stuffing hands beat off the beat. Inspired by the manner underlines the skiing activity of singing. In some cases, their performing manner acquires brave, mischievous character. All the main features of the song tradition of the Don Cossacks have developed in the conditions of Cossack Volnitsa and entrenched in the military station community of the XVIII-XIX centuries. In the environment of the Kuban Cossacks, social and cultural differences caused by historical and socio-political processes are also possible. With a general orientation on South-Russian song culture, musical traditions are very inhomogeneous. In the art of the Kuban Cossacks, some common locals appear noticeably, which is also manifested in the features of the song repertoire (the presence of long songs, in other areas of non-found), and in the originality of a musical style (support for the upper subgore of the lower lead voice having a relatively rounded structure), and In the nature of the execution, softer than the Don Stannels.

Don Cossack Song "As Don Cossacks" performed by terthers (I.Petrov, L. Belov, R.Daruev)

Ural (Yaitsky), Orenburg, as well as the Astrakhan Cossacks in general follow the artistic traditions of the Don troops. At the same time, a unique feature of the Astrakhan Cossack is the presence in the local song repertoire of fishing work artist songs. The vocal traditions of the Terek Cossacks are distinguished by the bright, lyrical performing manner, the predominance of harmonic textures in the ensemble variants of the songs. There is no ornamental peg in this tradition. In the songs of a dance character, the influence of the musical rhythm of Caucasian nationalities is clearly felt. Perhaps the support of singing and dance knocking out palms over the empty pelvis of characteristic dance rhythms. A special culture in the medium of Cossacks are residents of the village of Nekrasovskaya. They lived for a long time in Turkey in exile, while in the early 1960s. Not returned to Russia. Staying them in the Islamic country imposed a print on all types of artistic creativity, and even a traditional costume. They also have a special manner of the performance of old Russian songs, mostly Don Cossacks. They are harvested by a chorus in a heterophal warehouse with an abundant use of oriental melmsman. In a typical for a number of Oriental singing schools, their singing has several nasal sound with acute and straight-sent sound.

The leading place belongs to the Central Russian tradition. Geographically, it is concentrated around Moscow and surrounding areas, that is, it is distributed in Moscow, Vladimir, Nizhny Novgorod and other central regions. Her emergence is for the period of strengthening the Moscow state in the XVI-XVII centuries. Later, the musical folklore of Ivanovo, Yaroslavl and Tver regions began to attract this song tradition. The features and central, and South-Russian culture carries the folklore of the Kaluga, Tula and Ryazan regions. The most important characteristic of the folklore of the center of Russia was the predominance of the genre of lyric song. Works of this nature are clearly dominated. The lyrical song of the center of Russia carries a special ideological and artistic burden. At all, even on the instrumental works, there is an explicit gravity to the lyrics. This affects the structure and aesthetic features of the wedding ceremony: it prevails a lyrical mood. Lyrical songs become actually the dramatic core of the wedding ceremony. Another dominant genre of the wedding rite are magnificent songs, although they wear a very life-affirming, vigorous character and are often accompanied by dance movements. This is the proximity to the South-Russian tradition. Among the dance songs of the Center of Russia are prevailing smooth, leisurely. They are also very lyric. For the Central Russian dance, the participation of the soloists of dancers, supporting the meaning of the songs of the dance movements.

Lyric song of the Tver region "Flashless"

Their expressive movements in the folklore tradition are called "reasoning." Calm is an important feature of the song tradition of the Central Russian folklore. Songs of later genres (cadry and chastushki) are also fulfilled, leisurely, with a soft lyrical mood. The Central Russian vocal manner is approaching academic, while maintaining some characteristic folk singular features, which include articulation, close to spoken word. Middle-Russian songs sound primarily on average and high registers, very softly and assembled.

Stretching concept. Collected in the Kaluga region. Folklore ensemble of the Moscow GK. Artistic director: Natalia Gilyarova. Moscow.

As a special component of the Russian folklore system, you can distinguish the folk musical tradition of the Middle Volga region. It belongs to the folklore of the Ulyanovsk, Samara, Saratov and Penza regions. In part, they are manifested in the singing of the Russian population of Tataria, Bashkiria, Mordovia, Chuvashia and Mari El. This song tradition was formed in the XVI - early XVIII centuries. Its appearance is due to the processes of settlement of the Southern and Southeastern Out of Russia. The high tradition of the Volga region is very different from the traditions of other regions, because it affected it the influence of the neighboring Finno-Ugric and Turkic peoples. They differ sharply from other territories and the terms of management, which affected the content of song creativity. Relatively more harsh natural conditions, development, in addition to the peasant, industrial production predetermined, in particular, the lack of dancing movements and rhythms in the high culture of the Volga region. However, the predominant are slow dance ("circles"). They are usually confined to certain dates of the peasant calendar (mainly to spring holidays). Such a deritment is a local feature, related to South-Russian culture. For the wedding ceremony of the Volga region, the predominance of lyrical content songs is characteristic. They are performed at a moderate pace, which brings together the Volga singing manner with the Midnesdayst. In the wedding ritual, we also have a great place for crying and inhibiting the bride, which brings him closer with the rite of the North of Russia. Similarities with southern tradition can be traced in none songs. Songs of the Volga region have a developed multi-voiced texture with the predominance of harmonic drugs. The character of the sound of the songs is very peculiar. It is characterized by a wide range of votes using a soft middle and light head registers. The predominant is the singing "thin voices", thanks to which special transparency is achieved, the "airiness" of choral tempering. Relative independence acquires high upper pegs, which is often duplicated to octave one of the lower voices. Such a manner predetermines associations with northern polyphony. Thus, many nationwide features of Russian musical folklore appear in the songs. An important feature is a developed, wide melody in the range, which becomes the most important means of expressiveness. The leading genres are men's Wolitsi songs and military lyrics. The terminology of the execution of a song associated with the telling ("say the song"), implies her epic. Often singing is accompanied by Saratov harmonic, less often with balalaica, violin and cane duffers. In general, the musical and shaped system of the Middle Volga tradition is distinguished by the latitude, fullness and restraint in the expression of the feeling.

Russian folk song "Volga-Ratchonka deep". Span. Natalia Muravyova

A special artistic and aesthetic variety is a Russian musical folklore, extensive in the extensive territory located behind the Urals in Siberia and the Far East. Features of the settlement of this territory, the Russians led its diversity and multivariates. In the Siberian folklore there are several sufficiently isolated and original traditions. Among them you can highlight the folklore of old-timers. He belongs to the descendants of those who settled in Siberia in the XVII - early XVIII centuries. Another group represents the song culture of older. Among them is distinguished by the song tradition of "family" living in Transbaikalia, and Polyakov, who were arranged in Altai after the Declaration of Catherine II. A special cultural tradition represents the customs of Siberian Cossacks, a separate group represent the song traditions of late immigrants.

The tradition of old-timers is the greatest interest. It dominates the local folklore. All others, later traditions actually developed under its influence. This manner of the execution of a folk song is found in Altai, in the Tomsk region, at Ilim, Lower Tungusk. Its main quality is a big collence, severity and severity. The songs of Old-timers often sound in extremely low, "sullen" register, for them is characterized by a slow or fairly moderate pace. To the style of Siberian polyphony, the parallelism of the flares can be attributed under the leading role of the lower voice; Wide use of mixolidian, Dorian lade paints. It is also characterized by a support for a helpful sound. Song stains are usually separated from one another. Inside the song stanza, typical cesura pauses, membership of musical thought. Often they fall into the middle of the word. At the wedding, the rite of which is close to the North, sounds strict in character, steppe songs of lyric or lyri-epic content. The prevailing is a loan "volatile" song.

According to the wild steppes of Transbaikal Xor. Pyatnitsky

The song tradition of the family is completely different. They are the descendants of the Old Believers of Transbaikalia. Artistic flavor of these songs is very bright and catchy. Family songs have a cheerful, volitional character. The style feature is saturated in sound, the texture of the polyphony. At the heart of the multi-chain dominance of two leading singers - bass and tenor. The remaining participants in the ensemble fill the sound space between these extreme voices. The close location of the votes and their interaction on the principle of contrasting polyphony leads to the fact that in the choral texture vertically, tarts are constantly arising, tough consonances. Therefore, despite the "calm" average register, the songs sound quite intense and saturated. In the folklore of the family living in the inocultural environment, some medieval traditions of singing art were conserved, so interesting for modern researchers.

Very original tradition of Altai Cossacks. This tradition is very close to the vocalization manner common in the Cossacks of Don, Urals, Terek. However, Siberian Cossack songs are characterized by softness and lyricism. Altai Cossacks sing in a low breast register, quietly, as if singing. Songs also have a developed polyphony texture. The late immigrants of Siberia features a song manner manifest itself, first of all, in the repertoire. Many ritual songs inherit the traditions of execution of the locality, from where the immigrants arrived. The lyrical song repertoire is close to the traditions of old-timers.

In the Siberian repertoire, prison songs are also dominated, which is associated with the special socio-political status of the local region. In the musical folklore of the Urals (Perm, Yekaterinburg, Chelyabinsk regions), the traditions of the North, Volga and Siberia are connected. Since the development of the Urals was carried out mainly by immigrants from the northern regions (Novgorod, Arkhangelsk, Vologda, Kostroma, Vyatka) and the Upper Volga region, the melodic features of these regions were brought to the Ural Earth. The Ural Folklore also experienced an impact of the culture of the aboriginal areas, as well as immigrants from the south of Russia asymalized in the Russian environment. In addition, the Song Traditions of the Peoples of the Volga region affected the Ural Folklore. As a result, the special folk musical culture of the Urals was formed. The local manner of performance of the songs is manifested in the characteristic pronunion of words in the process of singing (with mitigating hissing consonants). Extremely complex and whimsical is the metrochromic of the Ural wedding songs, alternating two-dollars, three-dollar, five-dololine, seven-coal construction.

Each of the listed song traditions is unique and distinctive, although they are in constant interaction. Some song traditions received greater geographical distribution and formed peculiar zones of singing art.

Yuri Aleksandrovich Tolmachev,
Honored Artist of the Russian Federation, Honored Worker of Culture of the Russian Federation, Professor

Published by: People's Music Creativity: Tutorial / Yu.A. Tolmachev. - Tambov: Publishing House Tamb. GOS.TECHN. un-ta 2006

Vintage Russian folk songs collected in folklore expeditions in different areas of Russia of the 1970s - 2000s, including Cossack and Chastushki, performed by Candidate of Philological Sciences, Researcher of the Slavovsky Institute, the participant of the folk ensemble "Somaton" Lydia Gavryshin.
Recorded in the village framework of the Selijarovsky district of the Tver region on August 17, 2012.
Shooting - Alexander Kirillin

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• acquaintance with the spiritual and moral roots of the Russian people;
• generalization and expansion of students' presentation on national holidays and Christian Orthodox traditions;
• upbringing patriotism, morality, interest and respect for the history and customs of the native country through Russian ritual songs;
• development of artistic - aesthetic taste, culture of execution, hearing, games on Russian musical instruments.

Equipment: computer, projector, screen, music center, piano, folk instruments, ritual props.

During the classes

In class, children are included in the music (phonogram).

Teacher's word: "Tale - a fold, a song - a friend," says the proverb. Russian folk songs are infinitely diverse. They deeply and truthfully reflected the history of the Russian people from ancient times to the present day. Great wisdom, truth and beauty are full of Russian songs. They are invested with talent and mind of many generations. Composed by unknown singers, they are stored in the memory of the people and are transmitted from mouth to mouth. Human life is unthinkable without a song. They cover the life of the people entirely, in its past and present.

Where are you, Russian
Originated, music?
Either in the field pure
Whether in the forest of the Molch?
In joy? In pain?
Or in bird whistle?
You say, from where
Sadness in you and delete?
In whose you beat my heart
From the very beginning?
How did you come?
How did you sound?
Flew ducks -
Drops dropped.
Sleeping geese -
Dummy husli.
They are sometimes wearing
Found, they were not surprised.
Well, and song?
With song
In Russia was born.
Gennady Serebryakov

Students: he originated in ancient times and celebrated at the end of winter. But with the arrival of Christianity on Russia, he was celebrated as a week of preparation for the Great Post.

Students: He lasted a week - last before the great post. It was forbidden to the post, there is meat and another soon food, it was considered a sin to sing songs and have fun. The meat food was no longer ate on the carnival, and called this week with raw, because only eggs and dairy products were eaten. Every day the carnival had its own name and ritual meaning.

Students: First Day - monday – called "meetings". On this day they met Maslenitsa, dressed up a doll - the scarecrow, built snow towns.

Students: Tuesday - "Ware".There were different rampant games and fun. Snowy and ice fortresses were built, swinging on a swing, sang chastushki.

In Russian painting, we were left by the heritage of great artists who captured the customs and rites of the Orthodox holidays of the Great Rus on their canvases and rites.

Show illustrations B.M. Kustodiev. (Slide 6.)

Students: Wednesday - "Landca".On this day, the son-in-law came to the mother-in-law on pancakes, with their large quantities to feed everyone was not easy.

Students: wide thursday – the fourth day of the holiday. Here it also began the main fun, they carry the scarecrow, ride, sing the chastushki, go to collect

Students: Fifth Day friday - Teschins in the evening. Here, on the contrary, the mother-in-law gathered on pancakes to the son-in-law, and not just so, and if the invitation is, the stronger the mother-in-law was called, the more Honor provided it.

Students: B. saturday - Discover the downtown. The daughter-in-law comes and gives sinks gifts. On the same day, it was stuffed so that the spring came faster, and so that the year was a yield, the ashes waved around the fields.

Students: the final day of Maslenitsa, sunday, It was called differently - Forgiveness Sunday, Caller, Wires. Everyone is asking for forgiveness from each other, because the post of repentance in sins begins, bow the belt, and in response hear: " God will forgive me, and I forgive”.

Teacher: Let's meet Maslenitsa.

Song performance.

Teacher: From time immemorial, one of the favorite holidays of the Russian people Trinity day. There are still many folk customs and rites, in addition to church celebration so far. (Slide 7.)

What do you know or heard about this holiday?

Students: Trinity - Very beautiful holiday. Houses and temples are decorated with barks birch, grass, flowers. And it is no coincidence. Greens, flowers symbolize life. So people express joy and gratitude to God for reviving them through baptism in a new life.

Historically, birch branches are used to decorate temples and houses. This tree is considered blessed in Russia. It is not devoted to him a lot of poems and songs. Trinity holiday without birch - the same thing that Christmas without a Christmas tree.

In Christianity, the Lord God appears in three horses: God Father (Savaof), the God of the Son (Christ) and God of the Holy Spirit is a single whole, that is, the Holy Trinity. And it is depicted on the icon of the great icon painter Andrei Rublev. (Slide 8.)

The Trinity arranges folk walking and as we see in the paintings by B.M. Custodiev and P. Sudolsky celebrated in different ways.

Show illustrations of B.M. Kustodiev and P. Sudolovsky. (Slide 9-10.)

In the glade, the girl was climbing the wreaths of grass and colors. If there was a river nearby, a desire was made: if the wreath was not silent, sailed - the desire will be fulfilled; If shattered - not fulfill. Birch decorated with ribbons wreaths, birch branches curved a wreath, but did not break them. The girls kissed through the branches of the birch, senoming:

The Trinity is noisy and fun. In the morning everyone is in a hurry to the temple on the festive service. And after her, folk fun with rounds, games, songs.

Song performance.

Teacher: Celebrated in the fall Pokrov to the Blessed Virgin Mary - A holiday established in memory of the event that happened in Constantinople in the middle of the century. The city was approaching a numerous enemy army, and during worship in the Varhranian temple, when all the people prayerfully requested about heavenly help, the saint Andrei Yurody and his student of the Epiphany suddenly saw in the air above the Mother of God, who spread her cover (Omophore). (Slide 11.)

People encouraged and rushed to the attack on the enemy.

What do you know about the post of cover?

Students: In Russia, this holiday has been widely celebrated in the peasant life, fans of many rites of the Vine Slavic Autumn Festival to commemorate the end of field work. From the Pokrov began to play around the wedding villages. It is noted from the XII century. This is the first Zazimier, the possible onset of cold and frosts. The people say: "on the cover: to lunch, autumn, after lunch - winter." It was by this time that all field work ended, and in many places the autumn trading began, fairs, as in the picture of Kustodiev.

Show illustrations of M. Kustodiev. (Slide 12-13.)

Song performance.

Teacher: And in the middle of winter it was celebrated in Russia Christmas ChristHe is also called the "mother of all holidays." The value of the Holy Christmas Night is so great that even the course of the new story and our chores we lead from the Nativity of Christ. Because Jesus Christ is the Spirit, born in the flesh on Earth, to accept and redeem the sins of mankind. (Slide 14.)

And what do you know about the rites of this period?

Students: Winter shints - A multi-layered holiday that has enraged rites and customs associated with mythological and religious ideas. Calendar rites were supposed to provide a yield year, which will bring well-being and joy into every family. Therefore, they began to perform them from the turn of the old and New Year, Skylasting 12 days between the holidays of Christmas and the baptism of the Lord. In the courtyards went muddled. Dressed in animals (goat, horse, bear), old men and old women (often a man represented a woman, and on the contrary), sometimes they just put on fur coats to the fur outside, and the faces were hidden under scary masks or sprinkled with flour and soot. Out-in-law went from huts and sang under the windows or in the houses of the card. In the old days of Christmas on the eve of Rus. As shown in the pictures of K. Trotovsky. (Slide 15.)

Show illustrations of K.Trutovsky. (Slide 16.)

Teacher: Does there be craftsmen singing carols?

Song performance.

Teacher: Guys and girls walked around the village and each yard "Click" the wheelchadge. The songs that performed at the same time, in different places of Russia were called differently: carols, oxi, grapes. The owners of the house of the song wished the vital goods and demanded remuneration. The songs were addressed either the whole family (all yard), or a separate owner or hostess, were special songs for the groom and for a bride girl. The song was told about the arrival of the strollers or oxen (in the chirms they were often called Tausen) - a creature similar to a person. Even the Christian holidays themselves were told about the living people: on a pave, searched oxen, and come "three brothers" - Christmas, baptism and Vasilyev day. The wheelchair and oxen - the mythological characters of songs - had to bring the peasants a rich harvest and home well-being.

Song performance.

Total lesson: Tell us what you learned about the rites, the songs of the Russian people in the annual Orthodox circle? (Children's responses.)

Students: We talked about the spiritual roots of the Russian people today, we saw the unity of Russian folk rites in the annual Orthodox circle through the Russian folk song and applied those knowledge that they received in the lessons of music and in the aesthetic class of the music school to continue the traditions of their people.

Teacher: Calendar rituals in their own way spiritually organized peasant life. Without them, the world would have collapsed for a peasant for chaotic and unmanaged hostile forces, ready to destroy their own life. And magically and poetically songs commented on ritual actions, and those, in turn, organized the peasant life naturally appear, because the person was largely dependent on nature. (Slide 17.)

From class, children go to the music (phonogram).

Musical execution as a way of creative self-expression in art. The accumulation and generalization of musical and auditory impressions of second-graders for 2 quarters. Fulfillment of familiar songs, participation in collective singing, musitization on elementary musical instruments, transmission of musical impressions of students

Lesson 17. Music in folk style. Sochini song.

Folk musical traditions of the Fatherland. Observation of folk art. Music and poetic folklore of Russia: songs, dances, dance, dramatization games. Folk and professional music. Comparison of the Melodies of the works of S.S. PRCOFIEVA, P.I. Tchaikovsky, the search for the traits relating to them with folk pears and the highests. Vocal and instrumental improvisations with children on the texts of folk songs-additives, determining their genre basics and characteristic features. Folk musical traditions of the Fatherland. Observation of folk art. Music and poetic folklore of Russia: songs, dances, dance, dramatization games. When learning the gaming Russian folk songs "the marshs of the maiden", "Boyar, and we came to you" Children will recognize the receptions of the sounding of the song folklore: the speech utterance of the text in the character of the song, the development of movements in the "role-playing game".

Lesson 18. Winter wires. Spring meeting.

Music in folk rites and customs. Folk musical traditions of the native land. Folk musical traditions of the Fatherland. Russian national holiday. Music and poetic folklore of Russia. Heading the passengerous songs and spring chain, games, the instrumental execution of the beaches of the napless.

Subject V section: "In the Music Theater" (5 h.)

Lesson 19. Salt will be ahead.

Intonational and figurative analysis of already familiar literary and musical works.

Lesson 20. Children's Music Theater.

Sensing, dance, marching as the basis of becoming more complex genres - operas. Intonation musical and speech. Heading the song "Song-Spore" Gladkova (from the movie "New Year's Adventures of Masters and Viti") in the form of a musical dialogue. A generalized idea of \u200b\u200bthe basic figurative-emotional spheres of music and the manifold of musical genres. Opera. Musical theaters. Children's musical theater. Singing voices: children's, female. Choir, soloist, dancer, ballerina. Sensity, dance, marching in Opera and ballet.

A generalized idea of \u200b\u200bthe basic figurative-emotional spheres of music and the manifold of musical genres. Ballet. Music development in ballet.

Lesson 21. Opera and Ballet Theater. Magic wand conductor.

Musical theaters. Opera, ballet. Symphony Orchestra. A generalized idea of \u200b\u200bthe basic figurative-emotional spheres of music and the manifold of musical genres. Opera, ballet. Symphony Orchestra. Music development in the opera. The development of music performed. The role of the conductor, director, artist in creating a musical performance. Conducting gestures.

Lesson 22. Opera Ruslan and Lyudmila. Scenes from the opera.

Opera. Music development in comparison and collision of human feelings, those, artistic images. Various types of music: vocal, instrumental; Solo, choral, orchestral. Music building forms.

Lesson 23. "What a wonderful moment!". Overture. The final.

Opera. Music development in comparison and collision of human feelings, those, artistic images. Various types of music: vocal, instrumental; Solo, choral, orchestral. Comprehension of general patterns of music: the development of music is the movement of music. Overture to Opera.

Subject VI section: "In the Concert Hall" (5h.)

Lesson 24. S. Prokofiev. Symphony fairy tale "Peter and Wolf".

Musical instruments. Symphony Orchestra. Music portraits and images in symphonic music. Major means of musical expressiveness (timbre). Musical instruments. Symphony Orchestra. Acquaintance with the appearance, timbs, expressive possibilities of musical instruments of the symphony orchestra. Music portraits in symphonic music. Music development in comparison and collision of human feelings, those, artistic images. Major means of musical expressiveness (timbre).