Musical image. Features of musical speech

A musical image is a combined character, musical and expressive means, socio-historical conditions of creation, features of construction, the style of the composer. Musical images are:

Lyrical images of feelings, sensations;

Epic Description;

Dramatic-images-conflicts, collisions;

Fairy-tale images, unreal;

Comic-funny, etc. Using the richest possibilities of the musical language, the composer creates a musical image in which

embodies certain creative ideas, this or that life content.

Lyrical images

The word lyric comes from the word "lyre" - it is an ancient instrument used by singers (rhapsodists), telling about various events and experienced emotions.

The lyrics are a monologue of the hero, in which he tells about his experiences.

The lyrical image reveals the individual spiritual world of the creator. There are no events in a lyric work, unlike drama and epic - only the confession of the lyric hero, his personal perception of various phenomena. Here are the main properties of the lyrics:

Mood

Lack of action. Dramatic / .. images

Drama (Greek Δρα'μα - action) is one of the types of literature (along with lyrics, epics, and also lyrical epics) that conveys events through the dialogues of characters. Since ancient times, it has existed in folklore or literary form among various peoples.

Drama is a work depicting the process of action.

Human passions in their most striking manifestations became the main subject of dramatic art.

The main properties of the drama:

A person is in a difficult, difficult situation that seems hopeless to him

He / is looking for / exit / from / this / situation

He enters into a struggle - either with his enemies, or with the situation itself. Thus, the dramatic hero, in contrast to the lyric, acts, fights, as a result of this struggle either wins or dies — most ... of all.

In drama, the foreground is not feelings, but actions. But these actions can be caused precisely by feelings, and very strong feelings - passions. The hero, under the control of these feelings, commits active actions.

Almost all Shakespearean heroes belong to dramatic characters: Hamlet, Othello, Macbeth.

They are all overwhelmed by strong passions, they are all in a difficult situation.

Hamlet is tormented by hatred of his father's murderers and a desire for revenge;

Othello suffers from jealousy;

Macbeth is very ambitious, his main problem is the lust for power, because of which he decides to kill the king.

Drama is unthinkable without a dramatic hero: he is her nerve, focus, source. Life swirls around him, like water seething under the action of a ship's propeller. Even if the hero is inactive (like Hamlet), then this is an explosive inaction. "The hero is looking for a catastrophe. Without a catastrophe, the hero is impossible." Who is he - a dramatic hero? Slave to passion. He is not looking for, but she is dragging him to disaster.

Works embodying dramatic images: 1. Tchaikovsky "The Queen of Spades"

The Queen of Spades is an opera based on the novel of the same name by Alexander Pushkin. Epic images

EPOS, [Greek. epos - word]

An epic is usually a poem that tells about the heroic. deeds.

The origins of epic poetry are rooted in prehistoric tales of gods and other supernatural beings.

The epic is the past, tk. narrates about past events in the life of the people, about its history and exploits;

The lyrics are real, because its object is feelings and moods;

Drama is the future, because the main thing in it is the action with the help of which the heroes try to decide their fate, their future.

The first and simple scheme for dividing the arts associated with the word was proposed by Aristotle, according to which the epic is a story about an event, the drama presents it in persons, the lyrics respond with a song of the soul.

The place and time of action of the epic heroes resemble real history and geography (which makes the epic radically different from fairy tales and myths, which are completely unrealistic). However, the epic is not entirely realistic, although it is based on real events. In him, much is idealized, mythologized.

This is the property of our memory: we always embellish our past a little, especially when it comes to our great past, our history, our heroes. And sometimes on the contrary: some historical events and characters seem to us worse than they really were. Properties of the epic: -Heroism

The unity of the hero with his people, in whose name he performs feats

Historicity

Fabulous (sometimes the epic hero fights not only with real enemies, but also with mythical creatures)

Evaluation (heroes of the epic are either good or bad, for example, heroes in epics - and their enemies, all sorts of monsters)

Relative objectivity (the epic describes real historical events, and the hero may have his weaknesses)

Epic images in music are images of not only heroes, but also events, stories, it can also be images of nature depicting the Motherland in a certain historical era.

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

Epic works:

1.Borodin "Heroic // Symphony"

2. Borodin "Prince // Igor"

Borodin Alexander Porfirevich (1833-1887), one of the composers of The Mighty Handful. All his work is permeated with the theme of the greatness of the Russian people, love for the motherland, love of freedom.

About this - and "Heroic Symphony", which captures the image of the mighty heroic Motherland, and the opera "Prince Igor", created based on the Russian epic "The Lay of Igor's Host".

"The Word about Igor's Regiment" ("The Word about Igor's campaign, Igor, the son of Svyatoslavov, the grandson of Olegov is the most famous (considered the greatest) monument of medieval Russian literature. The plot is based on the unsuccessful campaign of 1185 of the Russian princes against the Polovtsy, led by Prince Igor Svyatoslavich Fabulous ..images The name itself suggests the storyline of these works. These images are most vividly embodied in the work of N.A. Rimsky-Korsakov. This is the symphonic suite "Scheherazade" based on the fairy tales "1001 Nights", and his famous fairy-tale operas "The Snow Maiden", "The Tale of Tsar Saltan", "The Golden Cockerel", etc. In close unity with nature, fabulous, fantastic images appear in Rimsky-Korsakov's music. natural phenomena (Frost, Leshy, Sea Princess, etc.). Fantastic images include, along with musical-picturesque, fantastic-fantastic elements, also features of the external appearance and character of p real people. Such versatility (it will be discussed in more detail when analyzing the works) gives Korsakov's musical fiction a special originality and poetic depth. Rimsky-Korsakov's melodies of the instrumental type, complex in melodic-rhythmic structure, mobile and virtuoso, which are used by the composer in musical depiction, are of great originality. fantastic characters. Here you can also mention fantastic images in music. Fantastic // music // some // reflections

No one now has any doubts that fantastic works published in huge circulations every year, and fantastic films, which are also shot a lot, especially in the United States, are very popular. What about "fantastic music" (or, if you prefer, "music fiction")?

First of all, if you think about it, "fantastic music" has appeared quite a long time ago. Is it not this direction that can be attributed to the ancient songs and ballads (folklore), which were added by different peoples all over the Earth in order to praise the legendary heroes and various events (including fabulous - mythological)? And since about the 17th century, operas, ballets and various symphonic works based on various fairy tales and legends have already appeared. The penetration of fiction into musical culture began in the era of romanticism. But we can easily find elements of her "invasion" in the works of musical romantics such as Mozart, Gluck, Beethoven. However, the most clearly fantastic motives sound in the music of German composers R. Wagner, E.T.A. Hoffmann, K. Weber, F. Mendelssohn. Their works are filled with gothic intonations, motives of the fantastic and fantastic elements, closely intertwined with the theme of the confrontation between man and the surrounding reality. It is impossible not to recall the Norwegian composer Edvard Grieg, famous for his musical canvases based on the folk epic, and the works of Henrik Ibsen "Procession of the Dwarfs", "In the Cave of the Mountain King", Dance of the Elves, also the Frenchman Hector Berlioz, in whose work the theme of the elements of the forces of nature pronounced. Romanticism manifested itself distinctively in Russian musical culture. The works of Mussorgsky "Pictures at an Exhibition" and "Night on Bald Mountain", which depict the witches' Sabbath on the night of Ivan Kupala, are full of fantastic imagery, which had a tremendous influence on modern rock culture. Musorgsky also belongs to the musical interpretation of the story "Sorochinskaya Yarmarka" by Nikolai Gogol. By the way, the penetration of literary fiction into musical culture is most clearly noticeable precisely in the work of Russian composers: "The Queen of Spades" by Tchaikovsky, "Rusalka" and "The Stone Guest" by Dargomyzhsky, "Ruslan and Lyudmila" by Glinka "The Golden Cockerel" by Rimsky-Korsakov, "The Demon "Rubinstein and others. At the beginning of the twentieth century, a true revolution in music was made by the brave experimenter Scriabin, an apologist for synthetic art, who stood at the origins of light and music. In the symphonic score, he wrote the part for the light in a separate line. Such works as The Divine Poem (3rd Symphony, 1904), The Poem of Fire (Prometheus, 1910), The Poem of Ecstasy (1907) are filled with fantastic imagery. And even such recognized "realists" as Shostakovich and Kabalevsky used the technique of fantasy in their musical works. But, perhaps, the real flowering of "fantastic music" (music in science fiction) begins in the 70s of our century, with the development of computer technology and the appearance of the famous films "A Space Odyssey of 2001" by S. Kubrik (where, by the way, classical works by R. Strauss and I. Strauss) and "Solaris" by A. Tarkovsky (who in his film together with the composer E. Artemiev, one of the first Russian "synthesizers", created a simply wonderful sound "background", combining mysterious cosmic sounds with brilliant music by J.-S. Bach). Is it possible to imagine the famous "trilogy" by J. Lucas "Star Wars" and even "Indiana Jones" (which was filmed by Steven Spielberg - but it was Lucas's idea!) Without the incendiary and romantic music of J. Williams performed by the symphony orchestra.

Meanwhile (by the beginning of the 70s) the development of computer technology reaches a certain level - musical synthesizers appear. This new technique opens up brilliant prospects for musicians: it has finally become possible to give free rein to imagination and to model, create amazing, downright magical sounds, weave them into music, "sculpt" sound, like a sculptor! .. Perhaps this is already a real fantasy in music. So, from this moment a new era begins, a galaxy of the first masters-synthesizers, authors-performers of their works, appears. Comic images The fate of the comic in music has developed dramatically. Many art critics do not mention the comic in music at all. Others either deny the existence of musical comedy, or consider its possibilities to be minimal. The most widespread point of view was well formulated by M. Kagan: “The possibilities of creating a comic image in music are minimal. (…) Perhaps, only in the XX century, music began to actively seek its own, purely musical means for creating comic images. (...) And yet, despite the important artistic discoveries made by musicians of the 20th century, the comic has not won in musical creativity and, apparently, will never win such a place as it has long occupied in literature, drama theater, fine arts, cinema " So, the comic is funny and has widespread significance. The task is "correction with laughter" Smile and laughter become "companions" of the comic only when they express a feeling of satisfaction, which causes a spiritual victory in a person over what is contrary to his ideals, what is incompatible with them, what is hostile to him, because to expose what is what contradicts the ideal, to realize its contradiction means to overcome the bad, to get rid of it. Consequently, as the leading Russian esthetician M.S.Kagan wrote, the clash of the real and the ideal lies at the heart of the comic. It should be remembered that the comic, in contrast to the tragic, arises under the condition that it does not cause suffering for others and is not dangerous for a person.

Shades of comic - humor and satire. Humor is called a good-natured, non-malicious mockery of individual shortcomings, weaknesses of a generally positive phenomenon. Humor is laughter that is friendly, good-natured, though not toothless; satire is the second type of comic. Unlike humor, satirical laughter is a formidable, cruel, incinerating laugh. In order to hurt evil, social deformities, vulgarity, immorality and the like as much as possible, the phenomenon is often deliberately exaggerated and exaggerated. All forms of art are capable of creating comedic images. There is no need to talk about literature, theater, cinema, painting - it is so obvious. Scherzo, some images in operas (for example, Farlaf, Dodon) - bring the comic into music. Or recall the finale of the first movement of Tchaikovsky's Second Symphony, written on the theme of the humorous Ukrainian song "Zhuravel". It is music that makes the listener smile. Pictures at an Exhibition by Mussorgsky are full of humor (for example, The Ballet of Unhatched Chicks). Rimsky-Korsakov's The Golden Cockerel and many musical images of the second movement of Shostakovich's Tenth Symphony are highly satirical.

11.Concepts

A song or song is the simplest but most common form of vocal music, combining poetic text with melody. Sometimes accompanied by orchestics (also facial expressions). A song in a broad sense includes everything that is sung, provided that the word and melody are combined at the same time; in a narrow sense - a small poetic lyric genre that exists among all peoples and is characterized by the simplicity of musical and verbal construction. Songs differ in genres, style, forms of performance and other characteristics. The song can be sung by one singer or by a choir. The songs are sung with or without instrumental accompaniment (a cappella).

Musical image

Musical content manifests itself in musical images, in their emergence, development and interaction.

No matter how unified in mood a piece of music may be, all kinds of changes, shifts, contrasts are always guessed in it. The emergence of a new melody, a change in the rhythmic or textured pattern, a change in a section almost always means the emergence of a new image, sometimes similar in content, sometimes just the opposite.

As in the development of life events, natural phenomena or the movements of the human soul, there is rarely only one line, one mood, so in music development is based on figurative wealth, the interweaving of various motives, states and experiences.

Each such motive, each state, either introduces a new image, or supplements and generalizes the main one.

In general, in music, there are rarely works based on a single image. Only a small play or a small fragment can be considered uniform in terms of its figurative content. For example, Scriabin's Twelfth Etude presents a very integral image, although with careful listening we will certainly note its inner complexity, the interweaving of various states and means of musical development in it.

Many other small-scale works are constructed in the same way. As a rule, the duration of a play is closely related to the peculiarity of its figurative structure: small plays are usually close to a single figurative sphere, while large ones require a longer and more complex imaginative development. And this is natural: all major genres in various types of art are usually associated with the embodiment of complex life content; they are characterized by a large number of heroes and events, while small ones are usually turned to some particular phenomenon or experience. This, of course, does not mean that large works are necessarily distinguished by greater depth and significance; often it is even the other way around: a small play, even its individual motive, is sometimes capable of saying so much that their impact on people is even stronger and deeper.

There is a deep connection between the duration of a musical work and its figurative structure, which is found even in the titles of works, for example, "War and Peace", "Spartacus", "Alexander Nevsky" suggest a multi-part embodiment in a large-scale form (opera, ballet, cantata), while while "Cuckoo", "Butterfly", "Lonely Flowers" are written in the form of a miniature.

Why sometimes works that do not have a complex figurative structure so deeply excite a person?

Perhaps the answer is that, by focusing on a single figurative state, the composer puts into a small work all his soul, all the creative energy that his artistic conception has awakened in it? It is no accident that in the music of the 19th century, in the era of romanticism, which said so much about man and the innermost world of his feelings, it was musical miniature that reached its highest peak.

A lot of small-scale but striking works were written by Russian composers. Glinka, Mussorgsky, Lyadov, Rachmaninov, Scriabin, Prokofiev, Shostakovich and other outstanding Russian composers have created a whole gallery of musical images. A huge imaginative world, real and fantastic, celestial and underwater, forest and steppe, has been transformed into Russian music, in the wonderful titles of its programmatic works. You already know many images embodied in the plays of Russian composers - "Aragonese Hota", "Gnome", "Baba Yaga", "Old Castle", "Magic Lake" ...

The figurative content is no less rich in non-programmatic compositions that do not have a special title.

Lyrical images

Many works, known to us as preludes, mazurkas, conceal the deepest imaginative riches that are revealed to us only in live musical sound.

One of such works is S. Rachmaninoff's Prelude in G-sharp minor. Her mood, at the same time quivering and dreary, is consonant with the Russian musical tradition of embodying images of sadness and goodbye.

The composer did not give the play a title (Rachmaninov did not designate any of his preludes with a programmatic subtitle), but the music feels an aching autumnal state: the trembling of the last foliage, drizzling rain, low gray sky.

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

Perhaps because in our area the cold lasts so long, and spring comes slowly and reluctantly, every Russian person feels the end of the warm summer with particular acuteness and says goodbye to it with dreary sadness. And therefore, the images of farewell are closely intertwined with the theme of autumn, with the autumn images, of which there are so many in Russian art: flying leaves, drizzle, crane wedge.

How many poems, paintings, pieces of music are associated with this topic! And how unusually rich is the imaginative world of autumn sorrow and farewell.

Here they fly, here they fly ... Open the gates quickly!
Come out soon to look at your tall ones!
Here they fell silent - and again the soul and nature are orphaned
Because - keep quiet! - so no one can express them ...

These are lines from Nikolai Rubtsov's poem "Cranes", in which the image of the Russian soul and Russian nature, embodied in the high farewell flight of cranes, is so piercingly and accurately depicted.

And although Rachmaninov, of course, did not introduce such an accurate picture into his work, it seems that in the figurative structure of the prelude the crane motive is not accidental. Cranes are a kind of image-symbol, as if hovering over the general figurative picture of the prelude, imparting a special height and purity to its sound.

The musical image is not always associated with the embodiment of subtle lyrical feelings. As in other types of art, images are not only lyrical, but sometimes sharply dramatic, expressing collisions, contradictions, conflicts. The embodiment of great life content gives rise to epic images that are particularly complex and versatile.

Let's consider various types of figurative-musical development in their connection with the peculiarities of musical content.

Dramatic imagery

Dramatic images, like lyrical ones, are very widely represented in music. On the one hand, they arise in music based on dramatic literary works (such are opera, ballet and other stage genres), but much more often the concept of “dramatic” is associated in music with the peculiarities of its character, the musical interpretation of characters, images, etc.

A sample of the dramatic work of F. Schubert's ballad "The Forest Tsar", written on a poem by the great German poet JV Goethe. The ballad also combines genre and dramatic features - after all, it is a whole scene with the participation of various characters! - and the sharp drama inherent in the character of this story, stunning in depth and power.

What does it say about?

We note right away that the ballad is performed, as a rule, in the original language - German, therefore its meaning and content need to be translated.

Such a translation exists - the best translation of Goethe's ballad into Russian, despite the fact that it was made almost two centuries ago. Its author, V. Zhukovsky, a contemporary of Pushkin, a peculiar, very subtle, deeply lyrical poet, gave such an interpretation of Goethe's "Terrible Vision".

Forest king

Who gallops, who rushes under the cold haze?
A belated rider, a young son with him.
To the father, shuddering, the baby clung to;
The old man hugs him and warms him.

"Child, why did you clung to me so timidly?"
“Darling, the forest king flashed in my eyes:
He is wearing a dark crown, with a thick beard. "
"Oh no, the fog is white over the water."

“Child, look around, baby, to me;
There is a lot of fun in my side:
Turquoise flowers, jet pearls;
My palaces have been cast out of gold ”.

“Darling, the forest king says to me:
He promises gold, pearls and joy. "
“Oh no, my baby, you misheard:
Then the wind, waking up, shook the sheets. "

“Come to me, my baby! In my oak tree
You will recognize my beautiful daughters;
With a month they will play and fly,
Playing, flying, put you to sleep. "

"Darling, the forest king called his daughters:
I see they are nodding from the dark branches. "
“Oh no, everything is calm in the depths of the night:
That gray-haired willows stand aside. "

“Child, I was captivated by your beauty:
Captive or willing, but you will be mine. "
“Darling, the forest king wants to catch up with us;
Here it is: I'm stuffy, it's hard for me to breathe. "

The timid rider does not jump, flies;
The baby is yearning, the baby is screaming;
The rider drives, the rider gallops ...
In his hands was a dead baby.

Comparing the German and Russian versions of the poem, the poet Marina Tsvetaeva notes the main difference between them: Zhukovsky saw the Forest Tsar as a boy, Goethe actually appeared. Therefore, Goethe's ballad is more real, more terrible, more reliable: his child dies not from fear (like in Zhukovsky), but from the real Forest Tsar, who appeared before the boy in all the strength of his might.

Schubert, an Austrian composer who read the ballad in German, conveys the entire terrible reality of the story about the Forest Tsar: in his song he is as reliable a character as the boy and his father.

The speech of the Forest King differs markedly from the agitated speech of the narrator, the child and the father by the predominance of affectionate ingratiation, gentleness, and attraction. Pay attention to the character of the melody - abrupt, with an abundance of questions and ascending intonations in the parts of all the characters, except for the Forest Tsar, but he also has it - smooth, rounded, melodious.

But not only the nature of the melodic intonation - with the advent of the Forest Tsar, the entire textured accompaniment changes: the rhythm of a frantic leap, penetrating the ballad from beginning to end, gives way to more calm sounding chords, very euphonious, gentle, soothing.

There is even a kind of contrast between the episodes of the ballad, so agitated, alarming in character as a whole, with only two glimpses of calm and euphony (two phrases of the Forest King).

In fact, as is often the case in art, it is precisely in such tenderness that the most terrible thing lies: the call to death, the irreparability and irrevocability of leaving.

Therefore, Schubert's music leaves us no illusions: as soon as the sweet and terrible speeches of the Forest Tsar fall silent, the frantic leap of the horse (or the pounding of the heart?) Immediately bursts in again, showing us with its swiftness the last leap towards salvation, towards overcoming the terrible forest, its dark and mysterious depths ...

This is where the dynamics of the musical development of the ballad ends: because at the end, when there is a stop in movement, the last phrase sounds like an afterword: "In his hands was a dead baby."

Thus, in the musical interpretation of the ballad, we are presented not only with the images of its participants, but also with the images that directly influenced the construction of the entire musical development. Life, its impulses, its striving for liberation - and death, frightening and enticing, terrible and lulling. Hence the duality of the musical movement, real-pictorial in the episodes associated with the gallop of the horse, the confusion of the father, the gasping voice of the child, and aloof-affectionate in the calm, almost lullabies of the nature of the speeches of the Forest King.

The embodiment of dramatic images requires from the composer the maximum concentration of expressive means, which leads to the creation of an internally dynamic and, as a rule, a compact work (or a fragment thereof) based on the figurative development of a dramatic character. Therefore, dramatic images are so often embodied in the forms of vocal music, in instrumental genres of a small scale, as well as in separate fragments of cyclic works (sonatas, concerts, symphonies).

Epic images

Epic images require a long and unhurried development, they can be exhibited for a long time and slowly develop, introducing the listener into the atmosphere of a kind of epic flavor.

One of the brightest works, imbued with epic imagery, is the epic opera "Sadko" by N. Rimsky-Korsakov. It is the Russian epics, which have become the source of numerous plot fragments of the opera, that give it the epic character and slowness of the musical movement. The composer himself wrote about this in the preface to the opera Sadko: “Many speeches, as well as a description of the scenery and stage details, were borrowed entirely from various epics, songs, conspiracies, lamentations, etc. Therefore, the libretto often retains the epic verse from his characteristic features. "

Not only the libretto, but also the music of the opera bears the stamp of the peculiarities of the epic verse. The action begins from afar, with a leisurely orchestral introduction, called "Ocean-Blue Sea". The Oceanic Sea is listed in the list of characters as the King of the Sea, that is, a completely reliable, albeit mythological, character. In the general picture of the heroes of various fairy tales, the King of the Sea occupies the same definite place as the Forest King, the hero of Schubert's ballad. However, how differently these fairy-tale characters are shown, representing two completely different kinds of musical imagery!

Remember the beginning of Schubert's ballad. Rapid action captures us from the very first bar. The clatter of hooves, against the background of which the agitated speech of the heroes sounds, gives the musical movement the character of confusion and growing anxiety. This is the law of the development of dramatic images.

The opera "Sadko", which in some plot motives resembles "The Forest King" (as the boy fell in love with the Forest King and was taken by force into the forest kingdom, so Sadko fell in love with the Sea Princess and was immersed in the bottom of the "Okyan Sea"), has a different character devoid of dramatic poignancy.

The non-dramatic, narrative nature of the musical development of the opera is also revealed already in its first bars. Not the length of the plot is presented in the musical image of the introduction "Ocean-Blue Sea", but the poetic charm of this magical musical picture. The play of sea waves is heard in the music of the introduction: not formidable, not powerful, but enchantingly fantastic. Slowly, as if admiring its own colors, sea water shimmers.

In the opera "Sadko" most of the plot events are connected with her image, and it is clear from the character of the introduction that they will not be tragic, endowed with sharp conflicts and collisions, but calm and dignified, in the spirit of folk epics.

This is the musical interpretation of various types of imagery, characteristic not only of music, but also of other forms of art. Lyrical, dramatic, epic imaginative spheres form their own meaningful features. In music, this is reflected in its various aspects: the choice of genre, the scale of the work, the organization of expressive means.

We will talk about the originality of the main features of the musical interpretation of the content in the second part of the textbook. Because in music, like in no other art, every technique, every, even the smallest, stroke is meaningful. And sometimes a very insignificant change - sometimes of a single note - can radically change its content, its effect on the listener.

Questions and tasks:

1. How often does an image manifest itself in a piece of music - simultaneously or in many ways, and why?
2. How is the character of the musical image (lyrical, dramatic, epic) related to the choice of the musical genre and the scale of the work?
3. Can a deep and complex image be expressed in a small piece of music?
4. How do the means of musical expression convey the figurative content of music? Explain this with the example of F. Schubert's ballad "The Forest King".
5. Why did N. Rimsky-Korsakov use genuine epics and songs when creating the opera "Sadko"?

Presentation

Included:
1. Presentation - 13 slides, ppsx;
2. Sounds of music:
Rachmaninov. Prelude No. 12 in G sharp minor, mp3;
Rimsky-Korsakov. "Ocean-Sea Blue" from the opera "Sadko", mp3;
Schubert. Ballad "The Forest Tsar" (3 versions - in Russian, German and piano without vocals), mp3;
3. Accompanying article, docx.

Musical image

Music lessons under the new program are aimed at developing the musical culture of students. The most important component of musical culture is the perception of music. There is no music outside of perception, tk. it is the main link and a necessary condition for the study and knowledge of music. It is the basis of composing, performing, listening, teaching and musicology activities.

Music as a living art is born and lives as a result of the unity of all types of activity. Communication between them takes place through musical images, tk. outside of images, music (as an art form) does not exist. In the mind of the composer, under the influence of musical impressions and creative imagination, a musical image arises, which is then embodied in a piece of music.

Listening to a musical image, i.e. life content, embodied in musical sounds, determines all other facets of musical perception.

Perception is a subjective image of an object, phenomenon or process that directly affects the analyzer or the system of analyzers.

Sometimes the term perception also denotes a system of actions aimed at acquaintance with an object that affects the senses, i.e. sensory research activity of observation. As an image, perception is a direct reflection of an object in the totality of its properties, in an objective integrity. This distinguishes perception from sensation, which is also a direct sensory reflection, but only of individual properties of objects and phenomena affecting the analyzers.

An image is a subjective phenomenon that arises as a result of subject-practical, sensory-perceptual, mental activity, which is a holistic integral reflection of reality, in which the main categories (space, movement, color, shape, texture, etc.) are simultaneously represented. In terms of information, an image is an unusually capacious form of representation of the surrounding reality.

Figurative thinking is one of the main types of thinking, distinguished along with visual-effective and verbal-logical thinking. Images-representations act as an important product of figurative thinking and as one of its functioning.

Figurative thinking is both involuntary and voluntary. Reception of the 1st is dreams, dreams. “The -2nd is widely represented in human creative activity.

The functions of imaginative thinking are associated with the representation of situations and changes in them that a person wants to cause as a result of his activity, transforming the situation, with the concretization of general provisions.

With the help of figurative thinking, the whole variety of different factual characteristics of the object is more fully recreated. In the image, the simultaneous vision of an object from several points of view can be recorded. A very important feature of figurative thinking is the establishment of unusual, "incredible" combinations of objects and their properties.

Various techniques are used in figurative thinking. These include: an increase or decrease in an object or its parts, agglutination (the creation of new representations by attaching parts or properties of one object in a figurative plan, etc.), the inclusion of existing images in a new synopsis, generalization.

Figurative thinking is not only a genetically early stage in development in relation to verbal-logical thinking, but also constitutes an independent type of thinking in an adult, receiving special development in technical and artistic creativity.

Individual differences in imaginative thinking are associated with the dominant type of representations and the degree of development of methods for representing situations and their transformations.

In psychology, figurative thinking is sometimes described as a special function - imagination.

Imagination is a psychological process that consists in creating new images (representations) by processing the material of perceptions and ideas obtained in previous experience. Imagination is inherent only in man. Imagination is necessary in any kind of human activity, especially in the perception of music and "musical image".

Distinguish between voluntary (active) and involuntary (passive) imagination, as well as recreational and creative imagination. Recreational imagination is the process of creating an image of an object from its description, drawing or drawing. The independent creation of new images is called creative imagination. It requires the selection of materials necessary to build an image in accordance with its own design.

A special form of imagination is a dream. It is also an independent creation of images, but a dream is the creation of an image of the desired and more or less distant, i.e. does not directly and immediately provide an objective product.

Thus, active perception of a musical image suggests the unity of two principles - objective and subjective, i.e. what is inherent in the work of art itself, and those interpretations, ideas, associations that are born in the mind of the listener in connection with it. Obviously, the wider the circle of such subjective ideas, the richer and more complete the perception.

In practice, especially among children who do not have sufficient experience in communicating with music, subjective ideas are not always adequate to the music itself. Therefore, it is so important to teach students to understand what is objectively contained in music, and what is introduced by themselves; what in this "own" is due to the musical work, and what is arbitrary, far-fetched. If in the fading instrumental conclusion of "Sunset" by E. Grieg the guys not only hear, but also see the picture of the sunset, then only visual association should be welcomed, since it flows from the music itself. But if the Third Song of Lelya from the opera "The Snow Maiden" by N.A. Rimsky-Korsakov's student noticed "raindrops", then in this and similar cases it is important not just to say that this answer is wrong, unreasonably invented, but also to figure out why it is wrong, why unreasonable, confirming your thoughts together with the whole class evidence available to children at this stage of development of their perception.

The nature of fantasizing to music, apparently, is rooted in the contradiction between the natural desire of a person to hear its life content in music and the inability to do it. Therefore, the development of the perception of a musical image should be based on an ever more complete disclosure of the vital content of music in unity with the activation of the associative thinking of students. The wider, the more multifaceted the connection between music and life will be revealed in the lesson, the deeper the students will penetrate into the author's intention, the more likely it becomes for them to have legitimate personal life associations. As a result, the process of interaction between the author's intention and listener's perception will be more full-blooded and effective.

What does music mean in a person's life?

From the most ancient times, the beginning of which even the most meticulous human sciences are unable to establish, primitive man first tried to adapt purely sensually, to adapt, to adapt to the rhythms and frets of the rhythmically changing, developing and sounding world. This is recorded in the most ancient objects, myths, legends, and legends. The same can be observed today if you carefully observe how the child behaves, how he feels literally from the first hours of life. It is interesting when we suddenly notice that from some sounds a child comes into a restless, abnormal, agitated state to screaming and crying, while others bring him into a state of pacification, calmness and satisfaction. Now science has proved that the musically rhythmized, calm, measured, spiritually rich and versatile life of the expectant mother during pregnancy has a beneficial effect on the development of the embryo, on its aesthetic future.

A person "sprouting" very slowly and gradually into the world of sounds, colors, movements, plastics, comprehending the whole multifaceted and infinitely diverse world in order to create a figurative form of reflection of his consciousness of this world through art.

Music, in itself, as a phenomenon is so strong that it simply cannot pass by a person unnoticed. Even if in childhood she was a closed door for him, in adolescence he still opens this door and rushes into rock or pop culture, where he greedily saturates himself with what he was deprived of: the possibility of wild, barbaric, but genuine self-expression. But the shock that he is experiencing at the same time might not have been - in the case of a "prosperous musical past."

Thus, music is fraught with tremendous opportunities to influence a person, and this influence can be controlled, which was all past centuries. When a person treated music as a miracle given for communication with the higher spiritual world. And he could communicate with this miracle all the time. Worship accompanied a person all his life, nourished him spiritually and at the same time educated and educated him. But worship is basically a word and music. A huge song and dance culture is associated with calendar agricultural holidays. A wedding ceremony in artistic expression is a whole science of life. Folk dances are teaching geometry, fostering spatial thinking, not to mention the culture of acquaintance, communication, courtship, etc. The epic - and this is history - was presented musically.

Let's look at the subjects in the school of Ancient Greece: logic, music, mathematics, gymnastics, rhetoric. Probably, this was enough to bring up a harmonious person. What is left of this today, when words about a harmonious personality are everywhere in our programs. Only mathematics. Nobody knows what logic and rhetoric are at school. Physical education is nothing like gymnastics. What to do with the music is also not clear. Now music lessons after grade 5 are no longer compulsory; at the discretion of the school administration, they can be replaced with any subject of the "art history" plan. Most often it depends on the availability of the right teacher, and where he is, the music is being taught. But many other subjects were added to the school curriculum, but harmony, mental and physical health disappeared.

But still, what could music, as a phenomenon, give to a person throughout his life - from a very early age.

The monster from which it is necessary to save the modern child is the “stamping” medium of mass culture. The standard of beauty is "Barbie", the standard chilling "horrors", the standard way of life ... - what can music oppose to this? It is senseless, hopeless to simply “give” the pupil as an alternative samples of high beauty and a spiritual way of life. Without bringing up in him a free person capable of resisting cultural violence. No spiritual purification, deep knowledge of music and its complex, contradictory images will not happen if children simply read information about music (who understands it), about composers, "hang on their ears" a set of musical works that obviously strongly affect the emotions of children, memorize something from the biographies of musicians, the names of popular works, etc. get a "computer" to solve questions on the "field of miracles".

Thus, the subject "music" in a general education school (if it exists at all) is conducted by analogy with other humanitarian subjects - to provide more information, classify phenomena, give names to everything ...

So how to make it so that high wonderful classical music, its best samples touched the deepest strings of the soul and heart of a person, became accessible and understandable, helped, being a reflection of the surrounding reality, to understand this reality and oneself in difficult life relationships.

To solve this problem, the teacher has, in essence, only two channels of addressing the pupil: visual and auditory. Relying on vision, you can educate a free and independent, clearly and clearly thinking person (for example, when perceiving paintings by artists, sculptures, tables, visual aids, etc.). Hearing appears to us as the main door to the subconscious world of a person into the world of his mobile - like music! - souls. It is in the revival of sounds, in their short life, its course, dying, birth. And not music to educate a person deeply and subtly, freely feeling?

Joint music - playing in an orchestra, in an ensemble, singing in a choir, musical performances - perfectly solve many psychological problems of communication: a shy child can, participating in such a musical act, feel at the center of life; and a creative child will show his imagination in practice. Children feel the value of everyone in a common cause.

The orchestra is the artistic model of society. Different instruments in the orchestra are different people who, with mutual understanding, achieve peace and harmony. The path to understanding social relations lies through the artistic image. Different instruments are also different peoples in the world. These are also different voices of natural phenomena, merging into a whole orchestra.

The therapeutic effect of music is amazing, musical instruments in the hands of a person - this is a personal psychotherapist. Playing instruments cures breathing disorders, up to the now widespread asthma, coordination disorders, hearing impairments, teaches the ability to concentrate and relax so much needed in our time.

So, in music lessons, children should constantly experience joy, which, of course, is the subject of the teacher's careful care. Then gradually comes a feeling of satisfaction from the achieved goal, from interesting communication with music, joy from the very process of labor. And as a result of personal success, “access to society” opens up: the opportunity to be a teacher - to teach simple music to parents, sisters, brothers, thereby uniting family relationships through joint activities. The strength of family relationships in the past was largely based on joint pursuits, be it work or play; so it was in the peasant and artisan and landlord families.

Is there any other subject now that, to the same extent as music, could take upon itself the solution of the problems of modern society?

And probably not by chance, because paradise is always portrayed musically: angelic choirs, trombones and harps. And the ideal social structure is spoken of in musical language: harmony, harmony, structure.

The ideal situation is when all the possibilities of music will be in demand and accepted by the society. It is important that people realize that music is the ideal in order to take steps in the direction of the ideal.

You have to live with music, not study it. The sounding, musical environment itself begins to educate and educate. And the person in the end will not be able to agree that he is "musical".

Head By the Music Laboratory of the Research Institute of Schools of the Moscow Region, Golovin believes that in the music lesson it becomes fundamentally important: does the teacher realize the main goal of education - the discovery of life, the discovery of oneself in this world. Is a music lesson just the development of another type of activity, or is it a lesson that forms the moral core of the personality, which is based on the desire for beauty, goodness, truth - for what elevates a person. Therefore, the student in the lesson is a person who is constantly looking for and acquiring the meaning of life on earth.

The variety of musical activities in the classroom is by no means an indicator of the depth of spiritual life. Moreover, musical activity may turn out to be completely unrelated to spiritual activity in the sense that art can act for children as an object, only as a kind of creative result that spreads outward without returning to itself. Therefore, it is absolutely necessary that musical activity does not become an end in itself, but that the content of art becomes the “content” of the child, spiritual work becomes a frank activity of his thoughts and feelings. Only in this case, the teacher and the child will be able to find a personal meaning in art classes, and it will really become a fertile "soil" for cultivating the spiritual world, for finding the best ways of moral self-expression. Hence it follows that music is not the education of a musician, but of a person. Music is the source and subject of spiritual communication. It is necessary to strive to expand and deepen students' holistic musical perception, as spiritual mastery of works of art, as communication with spiritual values; to form interest in life through passion for music. Music should not be a lesson in art, but a lesson in Art, a lesson in human studies.

Artistic-figurative thinking in the classroom must be developed in order for the child to be able to look in his own way at the phenomena and processes of the world around him as a whole and through this to feel his spiritual world more deeply. Artistry is, first of all, such an organization of means of expression that acts directly on feelings and changes these feelings. Artistic material in the lesson provides a real way out of the bounds of music in fine arts, literature, into life and beyond, through reflections on the world and the child's return to himself, to his inner sense of values, relationships, etc.

The art of music, despite all its unique specificity, cannot be fruitfully mastered without the support of other types of art, since only in their organic unity can one cognize the integrity and unity of the world, the universality of the laws of its development in all the richness of sensory sensations, the variety of sounds, colors, movements.

Integrity, imagery, associativity, intonation, improvisation - these are the foundations on which the process of introducing schoolchildren to music can be built.

The organization of musical education on the basis of the above principles has a beneficial effect on the development of the basic ability of a growing person - the development of artistic and imaginative thinking. This is especially important for a younger student who has a great predisposition to cognizing the world through images.

What are the techniques for the development of artistic and figurative thinking?

First of all, the system of questions and tasks that help children to reveal the figurative content of musical art should be essentially a dialogue and give children options for creative readings of musical compositions. The question in a music lesson exists not only and not so much in a vertical (verbal) form, but in a gesture, in one's own performance, in the teacher's and children's reaction to the quality of performing, creative activity. The question can be expressed both through a comparison of musical works with each other and through a comparison of musical works with works of other types of art. The direction of the question is important: it is necessary that he should focus the child's attention not on isolating individual means of expression (loudly, quietly, slowly, quickly - it seems that every normal child hears this in music), but would turn him to his inner world, moreover, to his conscious and unconscious feelings, thoughts, reactions, impressions that are presented in his soul under the influence of music.

In this regard, questions of this type are possible:

Do you remember your impressions from this music in the last lesson?

What is more important in a song, the music or the lyrics?

And in a person, what is more important than the mind or the heart?

How did you feel when this music sounded?

Where could it sound in life, with whom would you like to listen to it?

What was the composer going through when he wrote this music? What feelings did he want to convey?

Have you heard this kind of music in your soul? When?

What events in your life could you associate with this music?

It is important not only to ask the children a question, but also to hear the answer, often original, non-stereotypical, because there is nothing richer than the statements of a child.

And let there be sometimes contradictions and understatements in it, but on the other hand, there will be individuality, personal coloring in it - this is what the teacher should hear and appreciate.

The next pedagogical technique is associated with the organization of children's musical activity in the lesson, as a polyphonic process. Its essence is to create conditions for each child to read the same musical image at the same time, based on their individual vision, hearing, feeling the sounding music. In one child, it evokes a motor response, and he expresses his state in the plasticity of the hand, body, in some kind of dance movement; the other expresses his understanding of the images of music in drawing, in color, in line; the third sings along, plays along on a musical instrument, improvises; and someone else “does nothing”, but simply listens thoughtfully, attentively (and in fact, this may be the most serious creative activity). All the wisdom of the pedagogical strategy in this case consists not in assessing who is better or worse, but in the ability to preserve this diversity of creative manifestations, to encourage this diversity. We see the result not in the fact that all children feel, hear, and perform music in the same way, but that the perception of music by children in the lesson takes the form of an artistic "score" in which the child has his own voice, individual, unique, brings his own voice into it. unique original.

We build our knowledge of musical art through modeling the creative process. Children are put, as it were, in the position of the author (poet, composer), trying to create works of art for themselves and others. Many variations of such an organization of comprehension of music are understandable. The most optimal is the musical-semantic dialogue, when, going from meaning to meaning, tracing the development of the figurativeness of the work, children, as it were, themselves “find” the necessary intonations that can most vividly express the musical thought. With this approach, a piece of music is not given to the child in a finished form, when it just remains to remember, listen, and repeat. For the artistic and imaginative development of a child, it is much more valuable to come to a work as a result of one's own creativity. Then all the figurative content of the music, the entire organization and sequence of the musical fabric become "lived through", selected by the children themselves.

It is necessary to highlight one more point: those intonations that children find in the process of their creativity should not necessarily be "adjusted" as close as possible to the author's original. It is important to get into the mood, into the emotional-figurative sphere of the work. Then, against the background of what the children have lived through, created by themselves, the author's original becomes one of the possibilities for the embodiment of one or another life content, expressed in this musical imagery. Thus, schoolchildren are approaching an understanding of the philosophical and aesthetic position on the possibility of art to provide spiritual communication with precisely that unique ability when, in the presence of a common life content, it is expressed in a plurality of interpretations, performing and listening readings.

Any teacher knows how important and at the same time, how difficult it is to prepare children for the perception of music. Practice shows that the best results are achieved when the preparatory stage for the perception of music meets the most important requirements of the perception itself, when it goes through the same vividly, figuratively, creatively.

Music lessons, as taught by the honored school teacher Margarita Fedorovna Golovina, are life lessons. Her lessons are distinguished by the desire at all costs to “reach out to everyone; make you think about the complexities of life, look into yourself. Music is a special art - to find in any theme of the program the moral core that is embedded in it, and to do it at a level accessible to schoolchildren, without complicating the problem, but, more importantly, without simplifying it. Golovina M.F. seeks to ensure that all the necessary knowledge, skills, and abilities are focused in the actual moral and aesthetic problems according to the age and musical experience of children, so that reflections on music would really be reflections (as in L.A. Barenboim: "... in the ancient Greek language, the word to think means: always carry in the heart ... ").

At the lessons of Golovina, you are convinced of the relevance of the main idea of ​​the new program - any form of teaching children with music should be aimed at developing the perception of a musical image, and through it - the perception of different aspects of life. At the same time, it is important that the children imbued with the feeling and awareness of the specifics of musical art as early as possible, as an art of expressive nature. Golovina almost never uses the question: "What does this music represent?" She believes that the annoying question: "What does the music represent?" - suggests that music must necessarily depict something, accustom them to specific "plot" thinking, fantasizing to the accompaniment of music.

From these positions, Golovina pays great attention to the word about music, it should be bright, imaginative, but extremely fine and subtle, so that without imposing on the child his interpretation of the work, he can skillfully direct his perception, his imagination, his creative imagination to music, and not from it: “I confess,” says T. Venderova, “more than once during the lessons of Golovina, I had an idea - is it worth spending so much time to find out what the students heard in the music. Isn’t it easier for yourself, having told the program of the work, to direct the children to musical thinking along a strictly defined channel? ” Yes, - answered Golovina, - there is no doubt that I would make my life much easier by surrounding the perception of music with all the rich information related to the content and history of music creation. And, I think, she would have done it brightly, captivatingly, so that the guys would have been heard. All this, of course, will be necessary, but not now. Because now I have another task before me - to see how capable the guys themselves are, without any explanations in the music itself, to hear the main content. I need them to get to this on their own. We heard in the music itself, and did not squeeze into the plot what we knew from history, saw on television, read in books ”.

Also, from the first steps, you need to teach meaningful, emotional singing. Observing those moments of the lessons when the song was learned or worked on, - writes T. Venderova, - you involuntarily recall more typical lessons, when the idea of ​​the expressiveness of music, of the connection between music and life with the beginning of a specific vocal-choral work somehow imperceptibly evaporates , it seems to be becoming unnecessary, superfluous. " Golovina possesses the quality of a real musician, they achieved organic unity, artistic and technical in the performance of music. Moreover, the methods and techniques vary depending on the work, the age of the children, and a specific topic. “I moved away from the syllabic designations of rhythm a long time ago,” says Golovina. designed for the performance of rhythmic patterns, in which either no musical image is embedded, or the most elementary, because the entire initial relativity is built on the elementary. "

Golovina strives for the children to “pass through themselves” any song. We need to look for songs that reveal modern problems to us, we need to teach children and adolescents to think and reflect in singing.

“I try,” says Margarita Fyodorovna, “to reveal to the children how life itself is, endlessly changing, capable of transformation, to mystery. If this is a real work of art, it is impossible to know it to the end. " Golovina tries to do everything in her power: a person, a music teacher, in order to make the children join the lofty ideals, the serious problems of life, the masterpieces of art. Margarita Feodorovna's students see how she seeks deep spiritual meaning in a work of art of any genre. M.F. Golovina herself vividly absorbs everything that happens around and does not allow the children to be isolated within the framework of the lesson. It brings them to comparisons, parallels, comparisons, without which there can be no comprehension of the surrounding world and oneself in it. It awakens the thought, agitates the soul. She herself seems to personify the amazing lessons of music and life that she gives to children.

L. Vinogradov believes that "a music teacher should be a unique specialist in order to reveal music in its entirety to a child." What needs to be done in order for a child to really form a holistic idea of ​​music?

Music has general laws: movement, rhythm, melody, harmony, form, orchestration and many others related to the general understanding of what music is. Mastering these laws, the child goes from the general to the particular, to specific works and their authors. And the musician leads him along the milestone path. So, it is necessary to build the educational process not from the specific to the general, but vice versa. And not to talk about music, but to do, to build it, not to learn, but to create your own on a separate element. Here it is appropriate to fulfill the testament of the great musicians - first the child must be made a musician, and only then the instrument must be pressed. But can every child become a musician? Yes, it can and should. V. Hugo spoke about three "languages" of culture - the language of letters, numbers and notes. Now everyone is convinced that everyone can read and count. The time has come, - says Lev Vyacheslavovich Vinogradov, - to make sure that everyone can become musicians. For music, as an aesthetic object, was formed not for the elite, but for everyone, however, in order to truly become musical, something special is needed, which is called a musical feeling.

The famous Russian pianist A. Rubinstein played at all his concerts with great success, even when blots were found in his playing, and very noticeable ones. Another pianist also gave concerts, but not so successfully, although he played without mistakes. A. Rubinstein's success haunted him: "Maybe it's all about the mistakes of the great master?" - said the pianist. And at one concert I decided to play with mistakes. He was booed. Rubinstein had mistakes, but he also had music.

Positive emotion is very important when perceiving music. In Kirov, in the smoky toy workshops, you pay attention to the fact that all the craftswomen have pleasant, bright faces (although the conditions of their work are much to be desired). They answer that, already approaching the workshops, they set themselves up for positive emotions, because you cannot deceive the clay, you will crush it in a bad mood - the toy will turn out to be ugly, flawed, evil. It's the same with a child. A stern look, a dissatisfied face of an adult does not make his mood good.

A child, tormented by parents, caregivers and other adults, comes to class in a bad mood. To do this, he needs to "discharge". And only after being discharged to calm down and do the real thing. But children have a way out of this situation. And this exit should be organized by an adult. “In the classroom, I play all these situations with the children,” writes L. Vinogradov. For example, spitting is indecent, and the child knows it. But in our lesson I need to do this as a breathing exercise. (We spit, of course, "dry"). In the lesson, he can afford it without fear. He can shout, and whistle as much as he likes, and bark, and bark, and howl, and much more. " And L. Vinogradov uses all this purposefully, with benefit for the lesson, for full communication with music, for its holistic perception.

Also very important L. Vinogradov considers the rhythmic organization of the human body. Rhythmic organization is dexterity, coordination, convenience. Under these conditions, it is easier to learn. L. Vinogradov offers children, for example, also tasks: to depict with the body how the leaves fall. "Or," Vinogradov says, "I wash the floor, watching what happens to the rag, how it bends, how it is squeezed, how water drips from it, etc., and then we pretend ... a floor rag." In classes with children, pantomime is widely used, i.e. the task is given to children to depict some kind of life situation (take a thread and a needle and sew on a button, etc.). Many children are very good at it. And this will be shown by the child who turned out to have a meager life experience, limited in object-related actions? If his body is moved a little, then his thinking is lazy. Pantomime is interesting and useful for children of any age, especially those who have poor imagination. Vinogradov's teaching system helps children to penetrate deeper into the "hiding places" of music.

Preparation for the perception of music can be carried out in different forms. Let us dwell in more detail on preparing the perception of a musical image by the image of another art.

The tendency of imaginative preparation for the perception of music is most clearly manifested when this preparation is based on the image of another art. Such parallels as the story of K. Paustovsky "The Old Chef" and the second part of the symphony "Jupiter" by W. Mozart, the picture of V. Vasnetsov "Heroes" and "The Heroic Symphony" by A. Borodin, the picture of Perov "Troika" and the romance of Mussorgsky "The Orphan" ...

Preparing the perception of a musical image in the image of another art has a number of undeniable advantages: it sets the children up for a lively, imaginative perception of music, forms artistic associations, which are very important in the perception of any art, including music. The preparation of the perception of a musical image in the image of another art should not have the character of a program for the subsequent perception of music. A story read before listening to the music does not retell it, just as the music that sounds after the story does not follow the retelling of the story. The picture shown before listening to music does not depict music, just as the music that sounds after watching a picture does not depict a picture. Remember the brilliant "Trinity" by A. Rublev. On three sides of the throne, three are seated with a sacrificial meal. The fourth side of the throne is empty, it faces us. "... And I will come in to him that made me, and I will dine with him, and he with me." The same should be the nature of a child's entry into music in a general education school: from the intonation of the word (“In the beginning was the word”) to the intonation of the music, to its middle, to the main image. And there, inside her, try to open your soul. Not a professional, musicological study, not a decomposition of a piece of music into terms, lines of a title, but its holistic perception. Comprehension of music and the realization of how you, exactly you, can solve the eternal problems of human existence: good and evil, love and betrayal. Because it is addressed to you, and there is room for you in it. "And I will come in to him who made me."

Work experience shows that a rather serious cultural gap in grades 5-7 children is the absence of the foundations of musical-historical thinking. Schoolchildren do not always have a sufficiently clear idea of ​​the historical sequence of the birth of certain musical masterpieces, there is often no sense of historicism in compiling related phenomena in music, literature, painting, although the modern curriculum allows the teacher to carry out interdisciplinary connections more deeply than in other humanitarian disciplines , to show the inner relationship of music and other arts.

In this regard, I would like to remind you that music as an art form has evolved historically in a number of other types of artistic activity, including dance, theater, literature, nowadays - cinema, etc. All relationships with other types of arts are genetic, and the role in the system of artistic culture - synthesizing, as evidenced by numerous musical genres, first of all - opera, romance, program symphony, musical, etc. These features of music provide ample opportunities for its study by eras, styles, various national schools in the context of the entire artistic culture, its historical formation.

It seems important that through perception, comprehension, and analysis of musical images proper, schoolchildren develop associations with other types of art, based on the historical development of artistic culture. The way to this, - considers L. Shevchuk, music teacher of school. № 622 gu of Moscow, - in specially organized extracurricular activities.

It is necessary that extracurricular activities be structured in such a way that the pictures of the artistic culture of the past are perceived by the children not “flat-photographically”, but three-dimensional, in their inner logic. I would like the guys to feel the peculiarities of artistic thinking of a particular era, in the context of which works of musical art, poetry, painting, theater were created.

The main methodological methods of such "Travels" were two. First, it is necessary to “immerse yourself in an era, in history, in a spiritual atmosphere conducive to the birth of great works of art. Secondly, it is also necessary to return to the present, in our days, i.e. a well-known actualization of the content of works of past eras in the culture of modern, universal.

For example, you can organize a trip to "Ancient Kiev". Bylinas, reproductions of ancient Kiev churches, bell ringing, recordings of excerpts from monophonic singing served as artistic material. The script of the lesson included 3 parts: first, a story about early medieval Russian culture, about a Christian church and its unique architecture, about bell ringing and choral singing, about the importance of the city square, where the gusl-narrators performed their epics and folk games bearing the imprint of a pagan cult. In this part of the lesson, carols are played, which the children then sing in chorus. The second part is devoted to epics. It is said that these are songs about antiquity (among the people - antiquity), appeared a very long time ago and were passed from mouth to mouth. Many developed in Kievan Rus. Children read out excerpts from their favorite epics and Svyatogora, Dobryna, Ilya Muromets, etc. The last fragment of the "Travel" is called "Ancient Russia through the eyes of artists of other eras." Here you can hear excerpts from "Vespers" by S. Rachmaninov, "Chimes" by A. Gavrilin, reproductions by V. Vasnetsov, N. Roerich are used.

Art was born at the dawn of civilization as a reflection of human feelings and thoughts. Life itself was its source. Man was surrounded by a huge and diverse world. The events that took place around him influenced his character and way of life. Art has never existed separately from life, it was not something illusory, it was merged with the language of people, customs, and peculiarities of temperament.

From the first lesson of grade 1, we reflect on the place of music in people's lives, its ability to reflect the most elusive states of the human soul. Every year children perceive the world of music more and more deeply, full of feelings and images. And what feelings does a person experience when he sews a suit for himself, decorates it with embroidery, builds a dwelling, composes a fairy tale? Can these feelings of joy or deep sadness and grief be expressed in lace, clay products? Can music, as a reflection of life in all its manifestations, express these same feelings and turn some historical event into an epic, song, opera, cantata?

Russian people have always loved making toys from wood. The origins of any craft go back to antiquity, and we do not know who was the first to create the toy that gave life to the craft "Bogorodskaya carving". In Russia, all the boys cut wood, it is all around - the hand stretches itself. Perhaps the craftsman served in the army for a long time and, returning as an old man, began to make funny toys to the delight of the neighbors' children, and, of course, life was reflected in them. So the song "Soldier" with wide, sweeping moves in the melody, with a bright strong beat echoes the rough, harsh manner of carving of a wooden soldier. This comparison helps to better understand the strength, ingenuity, firmness of the Russian character, the origins of music.

Accurate, bright, laconic characteristics in the lesson, interesting visual material will help show children that Russian music and the music of other peoples are closely connected with life. Music reflects everyday life, nature, customs, historical events, feelings and moods.

By tradition, each of the arts is given to schoolchildren separately, weakly attached to their general knowledge, ideas and activities. The general theory of artistic education and the formation of a child's personality under the influence of the arts, including in the process of their interaction, is also poorly developed.

The developed methodological techniques are more designed for artistic professionalism than for the development of imaginative thinking and sensory perception of the surrounding world. But research experience and my own practice, - writes Y. Antonov, teacher of the laboratory school of the children's creative association of Lithuania "Muza", - confirm that focus on narrow professionalism does not contribute to the development of children's creative thought, especially at the beginning of education.

In this regard, the idea arose of creating a structure where art, led by music and visual arts, interact. Classes were conducted in such a way that the core of the whole work was music, its content, emotional coloring, the range of its images. It was music that gave impetus to ingenuity and plasticity, it conveyed the state of the characters. Knowledge included different types of artistic creation, from graphics and painting to choreography and theatricalization.

As the guys themselves later told, - writes Yu. Antonov, - the installation to express content in lines and color mobilized them for a different listening, and later the same music in movement was expressed more easily and freely.

L. Bural, teacher of children's music school, reflected on the commonwealth of arts, writes: “I realized that it is very important to think about the presentation of the material. Sometimes it is appropriate to insert a poetic word instead of a conversation or analysis, but this word should be very precise, consonant with the theme, not distracting or distracting from the music. "

K. Ushinsky argued that a teacher who wants to permanently imprint something in the minds of children should make sure that as many feelings as possible take part in the act of memorization.

Many teachers use photographs and reproductions of works of fine art in a music lesson at school. But at the same time, they all remember that the perception of the image, the emotional response in the soul of each child depends on how the teacher presents the reproduction or portrait of the composer, in what format, color, in what aesthetic form. An untidy, shabby reproduction, with bent, frayed edges, translucent text on the back side, bold spots will not cause the proper response ...

The combination of music, poetry, visual arts gives the teacher endless opportunities to make the lesson fun and interesting for the students.

You can use, for example, when studying the work of A. Beethoven, the lines of the poem by Vs. Rozhdestvensky:

Where did he get these gloomy sounds

Through the thick curtain of deafness?

A combination of tenderness and torment,

Lying on the sheet music!

Touching the right keys with a lion's paw

And shaking a thick mane,

I played without hearing a single note

In the dead of night the room is empty.

The hours passed and the candles swam,

Courage went against fate

And he is the whole conscience of human torment

I only told myself!

And he convinced himself and believed imperiously,

As for those who are alone in the world,

There is a certain light, not born in vain,

And music is a guarantee of immortality!

Big heart rustles and creaks

Conduct your conversation through half-sleep,

And heard in the open window of a linden tree

All that he did not hear.

The moon rises above the city

And not he is deaf, but this world around,

Who does not hear the things of music,

Born in happiness and a crucible of torment!

S.V. Rachmaninov is the owner of a remarkable composer's talent and a powerful talent of an artist-performer: a pianist and a conductor.

Rachmaninoff's creative appearance is multifaceted. His music carries a rich life content. There are images of deep peace of mind in her, Illuminated with light and affectionate feeling, full of gentle and crystal clear lyricism. And at the same time, a number of Rachmaninoff's works are full of sharp drama; here one can hear a dull painful longing, one can feel the inevitability of tragic and terrible events.

This sharpness of contrasts is not accidental. Rachmaninoff was the spokesman for romantic tendencies, in many respects characteristic of Russian art of the late 19th and early 20th centuries. Rachmaninov's art is characterized by emotional uplift, which Blok defined as "a greedy desire to live a life tenfold ..." The peculiarities of Rachmaninov's work are rooted in the complexity and tension of Russian public life, in the enormous upheavals that the country experienced in the last 20 years before the October Revolution. The determining factors for the composer's outlook were: on the one hand, - a passionate thirst for spiritual renewal, hope for future changes, a joyful anticipation of them (which was associated with the mighty rise of all democratic forces of society on the eve of the years of the first Russian revolution), and on the other hand, - a premonition of the approaching formidable element, the element of the proletarian revolution, in its essence and historical meaning incomprehensible to the majority of the Russian intelligentsia of that time. It was in the period between 1905 and 1917 that the mood of tragic doom began to increase in Rachmaninoff's works ... I think that in the hearts of people of the last generations an unrelenting feeling of catastrophe has lain; - Blok wrote about this time.

An extremely important place in Rachmaninoff's work belongs to the images of Russia, the motherland. The national character of the music manifests itself in a deep connection with the Russian folk song, with the urban romance - everyday culture of the Kanets of the 19th and early 20th centuries, with the works of Tchaikovsky and the composers of The Mighty Handful. Rachmaninoff's music reflected the poetry of folk song lyrics, images of folk epics, the oriental element, pictures of Russian nature. However, he almost did not use genuine folk themes, but only extremely freely and creatively developed them.

Rachmaninoff's gift is lyrical in nature. The lyrical beginning finds expression primarily in the dominant role of a broad, drawn-out melody in its nature. “Melody is music, the main foundation of all music. Melodic ingenuity, in the highest sense of the word, is the main goal of the composer, "Rachmaninov asserted.

The art of Rachmaninov as a performer is genuine creativity. He inevitably introduced something new, his own, Rachmaninoff's into the music of other authors. Melody, power and fullness of "singing" - these are the first impressions of his pianism. A melody reigns over everyone. We are amazed not by his memory, not by his fingers, which do not miss a single detail of the whole, but by the whole, those inspired images that he restores before us. His gigantic technique, his virtuosity serve only to clarify these images, ”- so deeply and correctly described the essence of Rachmaninov's pianistic art his friend, composer NK Metner.

First of all, piano and vocal works of the composer were recognized and gained fame, much later - symphonic ones.

Rachmaninoff's romances compete in popularity with his piano works. Rachmaninoff wrote about 80 romances on the texts of Russian poets - lyricists of the second half of the 19th and the turn of the 20th centuries and only a little more than a dozen on the words of poets of the first half of the 19th century (Pushkin, Koltsov, Shevchenko in Russian translation).

"Lilac" (words by E. Beketova) is one of the most precious pearls of Rachmaninov's lyrics. The music of this romance is marked by exceptional naturalness and simplicity, a wonderful fusion of lyrical feeling and images of nature, expressed through subtle musical and pictorial elements. The entire musical fabric of the romance is melodious, melodic, vocal phrases flow naturally one after another.

“In the silence of the secret night” (words by A.A. Fet) is a very characteristic image of love lyrics. The dominant sensual - passionate tone is already defined in the instrumental introduction. The melody is melodious, declamatory - expressive.

“I fell in love with my sorrow” (verses by T. Shevchenko, translated by A. Plescheev). Song content - romance

connected with the topic of recruitment, and in style and genre - with crying. The melody is characterized by mournful turns at the end of melodic phrases, dramatic, somewhat hysterical chants in climaxes. This enhances the closeness of the vocal part to lamentation - crying. "Gusel" arpeggiated chords at the beginning of the song emphasize its folk style

Franz Liszt (1811 - 1866) - a brilliant Hungarian composer and pianist, the greatest artist - musician of the Hungarian people. The progressive, democratic direction of Liszt's creative activity is largely associated with the liberation struggle of the Hungarian people. National liberation struggle of the people against the yoke of the Austrian monarchy. It merged with the struggle against the feudal - landlord system in Hungary itself. But the revolution of 1848-1849 was defeated, and Hungary again found itself under the yoke of Austria.

A significant part of Franz Liszt's works uses Hungarian musical folklore, which is distinguished by great wealth and originality. Rhythms, modal and melodic turns are characteristic, and even genuine melodies of Hungarian folk music (mainly urban, such as "verbunkos") have been creatively transformed and processed in numerous works by Liszt, in their musical images. In Hungary itself, List did not have to live long. His activities mainly took place outside his homeland - in France, Germany, Italy, where he played an outstanding role in the development of an advanced musical culture.

Liszt's close relationship with Hungary is also evidenced by his book about the music of Hungarian gypsies, as well as the fact that Liszt was appointed the first president of the National Music Academy in Budapest.

The contradictory nature of Liszt's work was formed in the desire for programmaticity, concrete imagery of music, on the one hand, and sometimes in the abstraction of the solution to this problem, on the other hand. In other words, the programmatic nature in some of Liszt's works was of an abstract - philosophical nature (the symphonic poem "Ideals").

A striking versatility characterizes Liszt's creative and musical - social activities: a brilliant pianist who belonged to the greatest performers of the nineteenth century; great composer; social and musical figure and organizer, who stood at the head of the advanced movement in the art of music, who fought for program music against unprincipled art; teacher - educator of a whole galaxy of wonderful musicians - pianists; a writer, music critic and publicist who boldly opposed the humiliating position of artists in bourgeois society; the conductor is Liszt, a person and an artist, whose creative appearance and intense artistic activity are one of the most outstanding phenomena in the musical art of the 19th century.

Among the huge number of Liszt's piano works, one of the most important places is occupied by his 19 rhapsodies, which are virtuoso arrangements and fantasies on the themes of Hungarian and Gypsy folk songs and dances. Liszt's Hungarian rhapsodies objectively responded to the growth of the national consciousness of the Hungarian people during the period of their struggle for national independence. This is their democracy, this is the reason for their popularity both in Hungary and abroad.

In most cases, each Liszt rhapsody contains two contrasting themes, often developing in variations. Many rhapsodies are characterized by a gradual increase in dynamics and tempo: a sadly recitative theme of a significant character turns into a dance that gradually accelerates and ends with a violent, impetuous, fiery dance. These are, in particular, the 2nd and 6th rhapsodies. In many techniques of piano texture (rehearsals, horse racing, various types of arpeggios and figurations) Liszt reproduces the characteristic sonorities of Hungarian folk instruments.

The second rhapsody belongs to the most characteristic and best works of this kind. A short recitative - improvisational introduction introduces into the world of bright, colorful pictures of folk life, which make up the content of the rhapsody. Grace notes, sounds characteristic of Hungarian folk music and are reminiscent of singing singers - storytellers. The accompaniment chords with grace notes reproduce the clatter on the strings of folk instruments. The introduction turns into a furnace with elements of dance, which then turns into a light dance with a variational development.

The Sixth Rhapsody is divided into four clearly demarcated sections. The first section is a Hungarian march and has the character of a solemn procession. The second section of the rhapsody is a fast-paced dance, animated by syncons in every fourth measure. The third section - song and recitative improvisation, reproducing the singing of singers - storytellers, equipped with grace notes and richly ornamented - is distinguished by a free rhythm, an abundance of fermata, virtuoso passages. The fourth section is a quick dance that paints a picture of folk fun.

A.D. Shostakovich is one of the greatest composers of our time.

Shostakovich's music is distinguished by its depth and richness of figurative content. The big inner world of a person with his thoughts and aspirations, doubts, a person fighting against violence and evil - this is the main theme of Shostakovich, variously embodied both in generalized lyric and philosophical works and in works of specific historical content.

The genre range of Shostakovich's work is great. He is the author of symphonies and instrumental ensembles, large and chamber vocal forms, musical and stage works, music for films and theatrical performances.

No matter how great Shostakovich's skill in the vocal sphere is, the basis of the composer's work is instrumental music, and above all a symphony. The enormous scale of the content, the generalization of thinking, the acuteness of conflicts (social or psychological), the dynamism and strict logic of the development of musical thought - all this determines the appearance of Shostakovich as a composer - symphonist.

Shostakovich has an exceptional artistic originality. The means of the polyphonic style play an important role in his thinking. But just as important for the composer is the expressiveness of constructively clear constructions of a homophonic - harmonic warehouse. Shostakovich's symphony, with its deep philosophical and psychological content and intense drama, continues the line of Tchaikovsky's symphony; vocal genres, with their stage relief, develop the principles of Mussorgsky.

The ideological scale of creativity, the activity of the author's thought, no matter what topic he touches - in all this the composer resembled the precepts of the Russian classics.

His music is characterized by open journalism, topicality of the topic. Shostakovich relied on the best traditions of domestic and foreign culture of the past. So the images of heroic struggle in him go back to Beethoven, the images of sublime meditation, mental beauty and resilience to I.-S. Bach, from Tchaikovsky - soulful, lyrical images. He was brought closer to Musorgsky by the method of creating realistic folk characters and popular scenes of a tragic scale.

Symphony No. 5 (1937) occupies a special place in the composer's work. It marked the beginning of a mature period. The symphony stands out for the depth and completeness of the philosophical concept and mature craftsmanship. In the center of the symphony is a man, with all his experiences. The complexity of the hero's inner world also caused a huge range of symphony content: from philosophical reflection to genre sketching, from tragic pathos to grotesque. On the whole, the symphony shows the hero's path from a tragic outlook through struggle to the joy of life-affirmation through struggle to the joy of life-affirmation. In the I and III parts of the lyric - psychological images, revealing the drama of inner experiences. Part II switches to another sphere - this is a joke, a game. Part IV is perceived as a triumph of light and joy.

Part I. The main party conveys a deep, concentrated thought. The theme is carried out canonically, each intonation acquires special significance and expressiveness. The side batch is the serene content and expression of a dream. Thus, there is no contrast in the exposition between the main and secondary parts. The main conflict of the first part is brought to a comparison of the exposition and development, which reflects the image of the struggle.

Part II - playful, joking scherzo. The role of the second part is in opposition to the complex drama of the first part. It is based on everyday, fast-fading images and is perceived as a carnival of masks.

Part III expresses lyric and psychological images. There is no conflict between a person and a force hostile to him. The main part expresses the concentrated expanse - this is the embodiment of the Motherland theme in the music, glorifies the poetic foreshadowing of the native nature. The side batch draws the beauty of the life around a person.

The final. It is perceived as the development of the entire symphony, as a result of which the triumph of light and joy is achieved. The main part has a marching character and sounds powerful and fast. The side part sounds like a wide-breathing anthem. Koda is a solemn, stately apotheosis.

“Investigating the process of cognition of music as a pedagogical problem, we came to the conclusion,” writes A. Piliciauskak in his article “Cognition of music as a pedagogical problem,” that a special kind of cognition of a musical work, which we called artistic cognition, should correspond to the declared goal of educating a person. ”Its features are more vividly highlighted in comparison with other, more familiar forms of communication with music.

Traditionally, there are several types of music cognition. Supporters of the scientific, musical - theoretical approach to music see the main task in enlightening a person with knowledge concerning the structural side of the work, the musical form in the broad sense of the word (construction, expressive means) and the education of the corresponding skills. At the same time, in practice, the meaning of the form is often absolute, it actually becomes the main object of cognition, an object that, moreover, is difficult to perceive by ear. This approach is typical for professional educational institutions and children's music schools, but its “echoes” are also felt in the methodological recommendations for general education schools.

Another type of cognition is considered more suitable for non-professionals - just listening to music and enjoying its beauty. Indeed, this is exactly what happens when communicating with music in a concert hall, if the listener's “intonation vocabulary” corresponds to the intonation structure of the piece. Most often, this kind of cognition is typical for an audience that already loves serious music (of a particular style, era or region). Let's call it conditionally passive amateur cognition.

In music lessons in a general education school, active amateur cognition is most often practiced, when the main task is to determine the "mood" of music, its character, along with a modest attempt to understand the expressive means. As practice shows, stencil statements about the "mood" of music soon bore schoolchildren, and they often use standard characteristics without even listening to the work.

The main thing is that all these types of cognition are not capable of directly influencing the personality of the student, either in the aesthetic or in the moral sense. In fact, what purposeful upbringing influence of music can be said in the case when the awareness of the form of the work or the characteristics of its mood comes to the fore?

In the artistic knowledge of music, the task of the student (listener or performer) is different: in the cognition of those emotions and thoughts sympathetic to them that arise in him in the process of communicating with music. In other words - in the knowledge of the personal meaning of the work.

This approach to music intensifies the activity of students and reinforces the value-significant motive of this activity.

The process of perceiving a musical image is facilitated not only by communication with other types of art, but also by the teacher's living poetic word.

“The word can never fully explain the depth of music, - wrote VA Sukhomlinsky, - but without the word you cannot approach this subtlest sphere of cognition of feelings”.

Not every word helps the listener. One of the most important requirements for an introductory word can be formulated as follows: an artistic word helps - bright, emotional, figurative.

It is very important for the teacher to find the correct intonation for each specific conversation. It is impossible to speak with the same intonation about the heroics of L. Beethoven and the lyrics of P. Tchaikovsky about the dancing element of A. Khachaturian's music and the cheerful marching of I. Dunaevsky. In creating a certain mood, expressive facial expressions, gestures, even the teacher's posture have. Thus, the teacher's opening speech should be precisely the opening word leading to the main perception of music.

In the book How to Tell Children about Music? D.B. Kabalevsky writes that before listening, one should not touch on the piece that will sound in detail. It is more important to tune the listener to a certain wave with a story about the era, about the composer or the history of the work, about what Dmitry Borisovich calls the “biography of the work”. Such a conversation immediately creates a mood for the perception of the whole, and not of individual moments. Expectations and hypotheses will arise. These hypotheses will guide the subsequent perception. They can be confirmed, partially changed, even rejected, but in any of these cases, the perception will be holistic, emotionally meaningful.

At one of the conferences dedicated to generalizing the experience of working in music, a proposal was made: before listening to new music, to acquaint students (middle and senior classes) with the main musical material, to analyze the means of musical expression.

It was also proposed to give students specific tasks before listening: to follow the development of a specific topic, to follow the development of a separate means of expression. Do the aforementioned techniques withstand criticism from the point of view of the development of creative perception of a musical image?

Showing individual themes before the initial perception, as well as specific tasks aimed at grasping one of the sides of the work, deprives the subsequent perception of integrity, which either sharply reduces or completely excludes the aesthetic impact of music.

By showing individual topics to the initial holistic perception, the teacher sets up a kind of "towers" that help to orient students in an unfamiliar essay. However, this form of assistance to the student seems justified only at first glance. When used systematically, it gives rise to a kind of "auditory dependency" in schoolchildren. The preliminary explanation of music before listening seems to arm the student when listening to this piece, but does not teach him to understand unfamiliar music himself, does not prepare him for the perception of music outside the classroom. Therefore, it does not prepare him for the creative perception of music.

In the case of anticipating the holistic perception of music by the teacher's analytical instructions, the danger of analyzing the means of musical expression as a technological model becomes real. It is necessary to strive to ensure that all analytical problems, touched upon in the lesson, would arise from the life content of the music perceived by the students. The analysis that the guys will do in the lesson with the help of a teacher should be based on a holistic perception, on a holistic understanding of either a particular work.

Is it lawful at all to refuse the preliminary acquaintance of students with the musical material of a work? The reliance upon initial perception on the musical material shown by the teacher immediately before listening, the new program opposes the reliance on the accumulated experience of holistic music perception over the years. Preliminary acquaintance with musical material always occurs in the form of more or less independent musical images.

Hearing and performing many songs, sufficiently complete melodies and more detailed constructions prepares students for the perception of large compositions or their individual parts, where musical images that sounded earlier become part of a more multifaceted musical image, begin to interact with other musical images.

As for the legality of perceiving music with a special task, then this technique should not be abandoned either, because listening to music with a special task allows children sometimes to hear what without such a task could simply pass their attention. But this technique, as stated in the program, should be used only when it is impossible to do without it: for a deeper disclosure of certain facets of the content of a musical work perceived by schoolchildren. The use of this technique only in the name of "exercise" of hearing (nothing more) is excluded.

So, the perception of the musical image by schoolchildren should be pedagogically organized. At the same time, the most important reference point for the teacher is the emotionally-figurative sphere of music, taking into account the originality of which he must build outside the links of his work on the development of an adequate, subtle and deep perception of music in children.

The teacher should pay special attention to preparing children for the perception of a new piece of music. The appeal to music-related art forms, the teacher's living poetic word about music are the means that help to solve the central problem of musical education at school - the formation of a culture of musical perception among schoolchildren.

"Through the pages of the works of S.V. Rachmaninoff"

To understand any artistic work of an artist or a school of artists, it is necessary to accurately imagine the general state of mental and moral development of the time to which it belongs. Here lies the primary cause that determined everything else.

Hippolyte I.

(The lesson used the story of Y. Nagibin "Rachmaninov", because a poetic word can evoke a certain visual line in the imagination of children, will allow children to reveal for themselves the secret of the magical power of Rachmaninov's creativity, as the main principle of his creative thinking.

Classroom decoration: portrait of S. Rachmaninov, books with literary heritage and letters, notes and a sprig of lilac.

Today we will have an amazing meeting with the music of Sergei Vasilyevich Rachmaninoff, a Russian composer. Close people who knew him well recalled that he said almost nothing about himself and about his works, believing that he had said everything with his works. And therefore, in order to understand the work of a composer, one must listen to his music. (Sounds Pelude in G-Diose minor, op.32, No. 12 performed by S. Richter).

The brightest page of Russian music was considered the work of Rachmaninoff both in Russia and in the West. But the year 1917 turned out to be fatal in the fate of the composer.

From the book: “Early Autumn of 1917. Rachmaninov was driving to Ivanovka. On the sides of the road - unharvested bread, weed-dried potato fields, buckwheat, millet. The pillars stick out lonely in place of the plundered covered current. The car drove up to the estate. And here there are noticeable traces of ruin. Near the house some peasants were waving their hands, and other peasants were carrying out vases, armchairs, rolled carpets, and various utensils. But it was not this that shocked Rachmaninov: the wide windows on the second floor were thrown open, something large, black, sparkling appeared there, pushed onto the window sill, protruded outward and suddenly crashed down. And only hitting the ground and howling with broken strings, did it reveal its essence as a cabinet grand piano "wallway".

Dragging his feet like a decrepit old man, Rachmaninov wandered towards the house. The men noticed him when he was next to the corpse of the piano, and they were numb. They did not have a personal hatred for Rachmaninov, and if in his absence he became a "master", a "landowner", then his living image reminded him that he was not just a master, not at all a master, but something else, far from so hostile to them.

Never mind, go on, ”Rachmaninov said absentmindedly and stopped over the black, shiny boards, whose death howl still continued to sound in his ears.

He looked at ... the still trembling strings, at the keys scattered around ... and realized that he would never forget this moment.

What does this passage teach?

The fact that the restless and tense situation in Russia in 1917 caused the conflict between Rachmaninoav and the organs of the peasant poor in the dear composer named Ivanovka.

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

Rachmaninov writes about his trip to Tambov: "... almost all hundred miles I had to overtake the convoys with some brutal, wild snouts that met the passage of the car with whooping, whistling, throwing hats into the car." Unable to understand what is happening, Rachmaninov decides to temporarily leave Russia. And he leaves with a heavy feeling, not yet knowing that he is leaving forever, and that he will regret many times that he took this step. Ahead he was awaited and excited by the homesickness. (An excerpt from the Prelude in G Sharp Minor is played).

Having left Russia, Rachmaninov seemed to have lost his roots and for a long time did not compose anything, being engaged only in concert activities. The doors of the best concert halls in New York, Philadelphia, Petersburg, Detroit, Cleveland, Chicago were opened for him. And only one place was closed to Rachmaninov - his homeland, where the best musicians were asked to boycott his works. The newspaper Pravda wrote: "Sergei Rachmaninov, a former singer of the Russian merchants and the bourgeoisie, is a composer, imitator and reactionary, a former landowner who is a sworn and active enemy of the government." “Down with Rachmaninov! Down with the worship of Rachmaninov! " - called Izvestia.

(From book):

The Swiss villa resembled the old Ivanovka only in one: a lilac bush, once brought from Russia.

For heaven's sake, don't damage the roots! he begged the old gardener.

Don't worry, Herr Rachmaninoff.

I have no doubt that everything will be all right. But lilac is a gentle and hardy plant. If you damage the roots, everything is lost.

Rachmaninov loved Russia, and Russia loved Rachmaninov. And therefore, despite all the prohibitions, Rachmaninoff's music continued to sound, tk. it was impossible to ban it. Meanwhile, an incurable disease - cancer of the lungs and liver - was quietly sneaking up on Rachmaninoff.

(From book:)

As usual strict, smart; in an impeccable tailcoat, he appeared on stage, made a short bow, straightened the folds, sat down, tried the pedal with his foot - everything, as always, and only the closest people knew what every movement cost him, how difficult his step was and what an inhuman effort of will he was hiding he is suffering from the public. (The Prelude in C sharp minor performed by S. Rachmaninoff is played).

(From the book :) ... Rachmaninov brilliantly completes the prelude. Ovation of the hall. Rachmaninov tries to get up and cannot. He pushes his hands off the stool seat - in vain. The spine, twisted by unbearable pain, does not allow him to straighten.

A curtain! A curtain! - heard backstage

Stretcher! - the doctor demanded

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

Rachmaninov stepped to the ramp and bowed ... Flying through the orchestra pit, a luxurious bouquet of white lilacs fell at his feet. They managed to lower the curtain before it collapsed onto the platform.

At the end of March 1943, shortly after the end of the Battle of Stalingrad, the outcome of which Sergei Vasilyevich managed to rejoice, who closely perceived the hardships and sufferings of the war in Russia, 8 initial chords of the introduction of the Second Piano Concerto (performed on the piano ). After which it was said that Sergei Vasilyevich Rachmaninov died in the United States. (A fragment of the second movement of Concerto No. 2 for piano and orchestra is played).

Rachmaninov died, and his music continued to warm the souls of his compatriots who had suffered from the war:

And each note shouts: - I'm sorry!

And the cross over the mound shouts: - I'm sorry!

He was so sad in a foreign land!

He only stayed in a foreign land ...

The writer had to

become like a smuggler to

convey to the reader your

I. Turgenev.

On the blackboard is a satirical drawing.

W .: To create a deep satirist work, you need to see society as if from the outside, its life in all facets, and this is only within the power of great creators. These people, as a rule, had the gift of providence. Which of these people would you name? (Answers).

They, like chroniclers, reflect in their work time, its pulse and metamorphoses. Such was D. Shostakovich. You all know the composer from his "Leningrad Symphony". This is a giant who reflected the era in his work. If in the Seventh Symphony the destructive theme of fascism, the theme of the struggle against it, sounds powerfully, then the Eighth, created in the post-war period, suddenly ends not with an apotheosis, but with deep philosophical reflection. Is this why this symphony is criticized and persecuted by its author? And the Ninth Symphony, it would seem, is radiant, carefree, joyful ... But this is only at first glance. Listen to the first movement of the symphony and try to answer:

Does Shostakovich write in the first person, or does he look at the world from the outside? (The 1st movement of the Ninth Symphony sounds)

D: The composer kind of observes the world from the outside.

W: How does he appear before him?

D: There are, as it were, two images: one is bright, joyful, and the other is silly, similar to children's war games. These images are not real, but toy ones. (Sometimes children compare this part with I. Stravinsky's suite, in which the heroes "jump" like puppets, but unlike the suite, the symphony is not a caricature, but some kind of observation).

D: The music is gradually distorted, at first the composer smiles, and then he seems to think. By the end, these images are no longer so spoiled, but a little ugly.

D: Let's listen to II part (continuation sounds) what intonations are heard here?

D: Heavy sighs. The music is sad and even painful. These are the experiences of the composer himself.

W: Why, after such an easy 1 part, there is such sadness, heavy meditation? How do you explain this?

D: It seems to me that the composer, looking at these pranks, asks himself the question: are they so harmless? Because in the end, military signallers from toy become like real ones.

W: We have a very interesting observation, maybe the composer asks himself the question: "I've already seen this somewhere, has it already happened, has it ...?" Do these intonations remind you of anything from other music?

D: I have Prince Lemon from Cipollino. And I have a little invasion, only in a comic form.

W: But such pranks at first touch us, but sometimes they are reborn into their opposite. Wasn't the Hitler Youth born out of such pranks? I remember the movie "Come and See". Before us are shots: atrocities, teenagers from the Hitler Youth and, finally, a child in the arms of a mother. And this child is Hitler. Who knew what the children's pranks would result in. (Can be compared with the soldiers from "Joaquina Murieta", with the facts from modern history). What happens next? (We listen to the 3rd, 4th, 5th parts).

The third part appears as a nervous tense rhythm of life, although its external impetuosity initially evokes a feeling of fun. At close listening to the first plane, it is not a brilliant traditional scherzo that appears, but painful, intense drama.

The 4th and 5th parts are a kind of conclusion: at first, the sound of the trumpet resembles the tragic monologue of the orator - the tribune, the harbinger of the prophet. His prophecy contains renunciation and a lump of pain. Time is stopped like a motion picture, echoes of military events are heard, continuity with the intonation of the Seventh Symphony ("The Invasion Theme") is clearly felt.

The 5th movement is tuned to the intonations of the 1st movement but how they have changed! A soulless whirlwind swept through the whirlwind of days, causing us neither smiles nor sympathy. Only once do the features of the original image appear in them, as if for comparison, for memory.

W .: Does this symphony have a historical meaning? How do you feel Shostakovich's prophecy?

D: In the fact that he saw the cruelty of that time earlier than others and reflected it in his music. It was a difficult period in the life of the country, when evil triumphed, and he seemed to warn in music.

D: And how did he feel about what was happening?

D: He is trying, suffering. And expresses his feelings in music.

We read once again the epigraph of the lesson, reflect on it, compare the work of Shostakovich with a drawing - a satire on the society of cog people who do not reflect, blindly obeying the will of one.

The 7th, 8th, 9th symphonies are a triptych linked by one logic, a single dramaturgy, and the 9th symphony is not a step back, not a deviation from a serious theme, but the culmination, the logical conclusion of the triptych.

Then a song by B. Okudzhava is performed, the words of which "Let's hold hands, friends, so as not to disappear one by one" will sound like the semantic completion of the lesson. (The proposed material can form the basis of 2 lessons).

Bibliography

Antonov Yu. "Art at school" 1996, No. 3

Baranovskaya R. Soviet musical literature - Moscow "Music", 1981

Brown L. "Art at school", 1991

Vendrova T. "Music at school", 1988, No. 3

Vinogradov L. "Art at school" 1994 No. 2

Goryunova L. "Art at school" 1996

Zubachevskaya N. "Art at school" 1994

Klyaschenko N. "Art at school" 1991 No. 1

Krasilnikova T. Methodological guide for teachers - Vladimir, 1988

Levik B. "Musical literature of foreign countries" - Moscow: State Musical Publishing House, 1958

Maslova L. "Music at school" 1989 No. 3

Mikhailova M. "Russian Musical Literature" - Leningrad: "Music" 1985

Osenneva M. "Art at school" 1998 No. 2

Piliciauskas A. "Art at school" 1994 No. 2

Psychological Dictionary - Moscow: Pedagogy, 1983

Rokityanskaya T. "Art at school" 1996 No. 3

Shevchuk L. "Music at school" 1990 No. 1

Encyclopedic Dictionary of a Young Musician - Moscow: "Pedagogy" 1985

Yakutina O. "Music at school" 1996 No. 4

Every beginner or professional choirmaster always faces the problem of correctly reading the choral score, adequately comprehending what the author wanted to express. This is a deep, very painstaking and rather lengthy independent work on the score. But the most difficult thing in this process is the creation of the future artistic image of the work: it is to be able to connect all the elements into a single artistic picture and to embody this through expressive performance. Each choral work in a certain sense is a certain "sound plot", which has a sound individuality and requires special creative decisions from the performers.

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The essence of the concept of a musical - artistic image

An artistic image is a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon.

Artistic image, a general category of artistic creativity inherent inarta form of reproduction, interpretation and assimilation of life through the creation of aesthetically influencing objects. An image is often understood as an element or part of an artistic whole, usually a fragment that has, as it were, an independent life and content. But in a general sense, an artistic image is a way of existence of a work, taken from the side of its expressiveness, impressive energy and significance.

Any artistic image is not completely concrete, clearly fixed points of reference are clothed in it with the element of incomplete definiteness, half-manifestation.

An image is a subjective phenomenon that arises as a result of subject-practical, sensory-perceptual, mental activity, which is a holistic integral reflection of reality, in which the main categories (space, movement, color, shape, texture, etc.) are simultaneously presented.

Figurative thinking is one of the main types of thinking, distinguished along with visual-effective and verbal-logical thinking. It is not only a genetically early stage in development in relation to verbal-logical thinking, but also constitutes an independent type of thinking in an adult, receiving special development in technical and artistic creativity. In psychology, figurative thinking is sometimes described as a special function - imagination.

Imagination is a psychological process that consists in creating new images (representations) by processing the material of perceptions and ideas obtained in previous experience. Imagination is inherent only in man. Imagination is necessary in any kind of human activity, especially in the perception of music and "musical image".

The musical image is characterized by the absence of concrete vital objectivity. Music does not depict anything, it creates a special objective world, the world of musical sounds, the perception of which is accompanied by deep feelings.

Music as a living art is born and lives as a result of the unity of all types of activity. Communication between them takes place through musical images, tk. outside of images, music (as an art form) does not exist. In the mind of the composer, under the influence of musical impressions and creative imagination, a musical image arises, which is then embodied in a piece of music.

"As a special type of spiritual activity, aesthetics and philosophers distinguish the so-called artistic activity, which they understand as a practical spiritual activity of a person in the process of creating, reproducing and perceiving works of art."

The art of music, despite all its unique specificity, cannot be fruitfully mastered without the support of other types of art, since only in their organic unity can one cognize the integrity and unity of the world, the universality of the laws of its development in all the richness of sensory sensations, the variety of sounds, colors, movements.

The study of musical content is one of the "eternal" problems of musicology, performance, and pedagogy. Music is a procedural art; outside of performance, a piece of music cannot live a full life. A musical text is always a message (author - performer - listener), naturally suggesting a performing interpretation. The problem of "text - performer", resolved through interpretation, inevitably brings each musician to understanding the text as a complex formation in the unity of its two sides: the symbolic fixation of the author's intention (musical text) and some message filled with figurative and semantic content (musical text).

"Musical art, like any other, requires that the one who is engaged in it, sacrifice to him all his thoughts, all feelings, all the time, his whole being," wrote Lev Aronovich Barenboim.

The musical work existing in the musical notation gets its real sound embodiment only in the process of musical performance, therefore the performer is a necessary mediator between the composer and the listener. Musical performance can be vocal, instrumental and mixed. Opera also belongs to the latter type; however, in opera, the soloists are also actors, and the decorative arts play an important role. Depending on the number of performers, musical performance is divided into solo and collective. Collective performance can be chamber-ensemble with several relatively equal performers (for example, trio, quartet, etc.) and symphonic, choral, as a rule, under the guidance of a conductor (choirmaster), who, with the help of other musicians, realizes his performing idea. Many performance designations in notes (tempo, dynamics, etc.) are relative and, within certain limits, can be realized in different ways. Therefore, the task of Musical Performance is not just an accurate reproduction of the musical text, but also the fullest possible embodiment of the author's intentions. Of great importance for the performer is the study of the era in which the composer lived, his aesthetic views, etc. All this helps to better understand the content of the work. Each performer, revealing the author's concept of the composition, inevitably brings into the performance and individual features, determined both by his personal qualities and the prevailing aesthetic views at the given time. Thus, any performance of a work is also its interpretation, interpretation.

L.V. Zhivov writes: “The performing artistic image, with which the audience's assessment of the work is largely connected, often acquires an independent meaning in our consciousness, since such values ​​can be revealed in it that were not in the primary image. Nevertheless, the fundamental principle of any musical performance is the musical text of the work, without which the performing activity is impossible. Recorded in the musical notation, it requires not just a competent reading, but guessing, deciphering the author's intentions, as well as those aspects of his music that he might not have suspected. The point is that musical notation is just a sketch compared to the actual sound of the music. " ... Therefore, a special role in creating an image is played by the search for intonational meaning in the process of studying a work.According to B.V. Asafiev's concept, intonation is the main conductor of musical content, musical thought, and also a carrier of artistic information, emotional charge, and spiritual movement. However, an emotional reaction to intonation, penetration into its emotional essence is the starting point of the process of musical thinking, but not thinking itself. This is just a primary sensation, a perceptual response. Since thinking begins, as a rule, from an external or internal "push", the sensation of musical intonation is a kind of signal, an impulse to any musical and mental actions.

Modeling an artistic musical image is one of the most complex psychological processes, which is based on the processes of musical perception, imagination, memory and musical thinking.

Perception - the mental process of reflection of objects and phenomena of reality in the aggregate of their various properties and parts with a direct impact on the sense organs. This distinguishes perception from sensation, which is also a direct sensory reflection, but only of individual properties of objects and phenomena that affect the analyzers. Scientists (E.V. Nazaikinsky) divide the very concept of "perception" into the concepts of "music perception" (the process of communication with music) and "musical perception". In pedagogy, musical perception is understood as a process of reflection, formation of a musical image in the human mind. Musical perception is a complex process, which is based on the ability to hear and experience musical content as an artistic and figurative reflection of reality. Music affects a complex of expressive means. This is a harmonic warehouse, timbre, tempo, dynamics, metro rhythm, they convey the mood, the main idea of ​​the work, evoke associations with life phenomena, with human experiences.

Imagination - the activity of consciousness, as a result of which a person creates new representations, mental situations, ideas, relying on the images preserved in his memory from the past sensory experience, transforming them. Imagination is necessary in any human activity, especially in the perception of music and the "musical image". Distinguish between voluntary imagination (active) and involuntary (passive), as well as recreational and creative imagination. Recreational imagination is the process of creating an image of an object from its description, drawing or drawing. Creative imagination is called the independent creation of new images in the process of creative activity. It requires the selection of materials, the combination of various elements in accordance with the task and the creative concept.

Musical thinkingas a process of purposeful and meaningful processing of musical and sound material is expressed in the ability to understand and analyze what is heard, mentally represent the elements of musical speech and operate with them, evaluating music. In the process of forming an artistic musical image, various types of musical thinking are involved: figurative, logical, creative and associative.

The musician-performer and the listener must operate in the process of musical perception with certain systems of ideas about intonations, the simplest expressive - pictorial means - everything that evokes certain moods, poetic memories, images, sensations, etc. At this level, musical-figurative thinking manifests itself, the measure and degree of development of which depend on the place this aspect occupies in the preparation of a musician.

Further forms of reflection of musical reality in human consciousness are associated with the understanding of the logical organization of sound material. The transformation of intonations into the language of musical art is possible only after a certain processing, their reduction into one or another structure. Outside of musical logic, outside of diverse integrative connections that reveal themselves through form, harmony, harmony, metro rhythm, etc. music will remain a chaotic set of sounds and will not rise to the level of art. Comprehension of the logic of the organization of various sound structures, the ability to find similarities and differences in musical material, analyze and synthesize, establish relationships - the next function of musical thinking. This function is more complex in nature, since it is conditioned not only and not so much by perceptual, emotional-sensual, but mainly intellectual manifestations on the part of the individual, it presupposes a certain formation of his musical consciousness. It should be emphasized that with a certain autonomy of these two functions, the processes of musical-mental activity become full-fledged only with their organic combination and interaction.

Creative thinking is a special stage of musical thinking. Musical and intellectual processes at this level are characterized by the transition from reproductive actions to productive ones, from reproductive to creative ones. In this regard, the question of finding productive methods that form creative thinking is very relevant. One of the most effective methods that form the creative qualities of a person is the method of problem learning (M.I. Makhmutov, A.M. Matyushkin, M.M. Levina, V.I. Zagvyazinsky, etc.). It is widely used in general education schools and university practice. However, in musical pedagogy, it is used on an intuitive level, without specific methodological developments.

The development of musical thinking is inextricably linked with the ability to comprehend the logic of musical language, the understanding of which is “based on a figurative comparison of the expressive means of music that serve to convey its artistic content, with the means of verbal language that serve to convey thoughts” (L.A. Mazel, 1979).

Without the development of creative abilities, it is impossible to prepare a high-class professional in any kind of activity, especially in the field of art, since musical activity, both performing and pedagogical, requires a non-standard, original thinking from a specialist. There are many ways to develop creative abilities, one of which is problem learning, since it is the mental difficulties that arise in a problem situation that prompt the student to active search thinking.

The meaning of a musical image is a generalization that is built on the basis of experiencing the expressive function of the image. Musical images designate insofar as they express.

An image in musical art, if, of course, it is artistically consistent, is always filled with a certain emotional content, reflecting a person's sensual reaction to certain phenomena of reality.

To create the image of a choral work, pedagogical tasks are also required (teaching certain singing skills, correct intonation; expanding ideas about choral musical culture), psychological tasks (developing creative thinking, the creative imagination of the choir singers on the basis of choral music, the formation of artistic and emotional activity of students) and aesthetic tasks (the formation of ideas about the enduring value of domestic and foreign choral art, acquaintance with which is carried out during the entire training of choral singing, the development of aesthetic taste, aesthetic emotions).

In general, a conductor is a rather complex and multifaceted profession. "A conductor (French diriger - to manage) is a person who has received a special musical education, who directs an orchestra, a choir, an opera performance, uniting the whole mass of performers in a single rhythm, giving the work its own interpretation."

Vl. Sokolov writes: "A chorus is a collective that is sufficiently proficient in the technical and artistic and expressive means of choral performance, necessary in order to convey those thoughts and feelings, the ideological content that is embedded in the work."

P.G. Chesnokov in his book "The Choir and Its Management" writes that "a choir is such a collection of singers, in the sonority of which there is a strictly balanced ensemble, precisely adjusted structure and artistic, clearly developed nuances."

“The director of the choir is the conductor. He ensures ensemble harmony and technical perfection of performance, seeks to convey to the team of performers his artistic intentions, his understanding of the work. For 50 years of successful work A. Anisimov became convinced that the art of choral singing entirely depends on the creative initiative, the special inclination of the choirmaster-conductor to choral work, from persistent systematic work, pedagogical, organizational, volitional qualities and, of course, the talent of the musician-interpreter. "

The emergence of a piece of music, learning and performance is inextricably linked with the perception of its integrity. The conductor presents the work as if instantly, in the form of a kind of integral image. W. A. ​​Mozart said that as a result of intense inner work, he begins to survey the work "... spiritually with one glance, like a beautiful painting or a beautiful person ...", and hear music "... in the imagination it is not at all one after another, how it will sound later , but as if all at once. " The ability for a holistic presentation is not a property of only very talented people, it is possessed by every musician with varying degrees of accuracy and strength.

Zhivov V.L. Choral performance: Theory. Methodology. Practice: Study guide. for stud. higher head M., Vlados. 2003. page 9.

Musical image

Musical content manifests itself in musical images, in their emergence, development and interaction.No matter how unified in mood a piece of music may be, all kinds of changes, shifts, contrasts are always guessed in it. The emergence of a new melody, a change in the rhythmic or textured pattern, a change in a section almost always means the emergence of a new image, sometimes similar in content, sometimes just the opposite.As in the development of life events, natural phenomena or the movements of the human soul, there is rarely only one line, one mood, so in music development is based on figurative wealth, the interweaving of various motives, states and experiences.Each such motive, each state, either introduces a new image, or supplements and generalizes the main one.

In general, in music, there are rarely works based on a single image. Only a small play or a small fragment can be considered uniform in terms of its figurative content. For example, Scriabin's Twelfth Etude presents a very integral image, although with careful listening we will certainly note its inner complexity, the interweaving of various states and means of musical development in it. Many other small-scale works are constructed in the same way. As a rule, the duration of a play is closely related to the peculiarity of its figurative structure: small plays are usually close to a single figurative sphere, while large ones require a longer and more complex imaginative development. And this is natural: all major genres in various types of art are usually associated with the embodiment of complex life content; they are characterized by a large number of heroes and events, while small ones are usually turned to some particular phenomenon or experience. This, of course, does not mean that large works are necessarily distinguished by greater depth and significance; often it is even the other way around: a small play, even its individual motive, is sometimes capable of saying so much that their impact on people is even stronger and deeper.There is a deep connection between the duration of a musical work and its figurative structure, which is found even in the titles of works, for example, "War and Peace", "Spartacus", "Alexander Nevsky" suggest a multi-part embodiment in a large-scale form (opera, ballet, cantata), while while "Cuckoo", "Butterfly", "Lonely Flowers" are written in the form of a miniature.Why sometimes works that do not have a complex figurative structure so deeply excite a person?Perhaps the answer is that, by focusing on a single figurative state, the composer puts into a small work all his soul, all the creative energy that his artistic conception has awakened in it? It is no accident that in the music of the 19th century, in the era of romanticism, which said so much about man and the innermost world of his feelings, it was musical miniature that reached its highest peak.A lot of small-scale but striking works were written by Russian composers. Glinka, Mussorgsky, Lyadov, Rachmaninov, Scriabin, Prokofiev, Shostakovich and other outstanding Russian composers have created a whole gallery of musical images. A huge imaginative world, real and fantastic, celestial and underwater, forest and steppe, has been transformed into Russian music, in the wonderful titles of its programmatic works. You already know many images embodied in the plays of Russian composers - "Aragonese Hota", "Gnome", "Baba Yaga", "Old Castle", "Magic Lake"

Lyrical images

Many works, known to us as preludes, mazurkas, conceal the deepest imaginative riches that are revealed to us only in live musical sound.

Dramatic imagery

Dramatic images, like lyrical ones, are very widely represented in music. On the one hand, they arise in music based on dramatic literary works (such are opera, ballet and other stage genres), but much more often the concept of “dramatic” is associated in music with the peculiarities of its character, the musical interpretation of characters, images, etc.

Epic images

Epic images require a long and unhurried development, they can be exhibited for a long time and slowly develop, introducing the listener into the atmosphere of a kind of epic flavor