Images of grief and sadness. Feelings of a person What feelings do you know? What feelings do you know? Are feelings always positive? Are feelings always

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Text content of presentation slides: Images of sorrow and sadness in the religious music of Western composers Giovanni Battista Pergolesi (Italian 1710 - 1736) - Italian composer, violinist and organist. He is a representative of the Neapolitan opera school and one of the earliest and most important composers. In 1735, Pergolesi, barely twenty-five years old, known mainly for his operas, turns to sacred music. His other compositions this year include "Stabat Mater." "Stabat Mater Dolorosa" is a Catholic hymn written in the 13th century. The Mother of God the Sorrowful (lat. Mater Dolorosa) or the Mother of God of the Seven Sorrows is the name of the Most Holy Theotokos in connection with the sorrows and sorrows of her life. “Stabat Mater” consists of 13 parts, The general character of the composition is different, touching, heartfelt lyrics. “Stabat Mater” is a work in which a person tries to feel and express in words what the Mother of God experienced, looking at her crucified son. blessed only-begotten Mother. How the Good Mother grieved and grieved, and shuddered, seeing the terrible torments of Her Son. What person would not be saddened by seeing the Mother of Christ in such torments? Fresco by Michelangelo in the Sistine Chapel "Last Judgment" "dies irae" "Day of Wrath" The Last Judgment, Judgment Day - in Christian religions, the last judgment performed on people in order to identify the righteous and sinners "Lacrimosa" is part of the requiem. It comes from the Latin " Lacrima" - tears, "mosa" - current. Once, on a stuffy June day, a tall, thin man “in gray” appeared to him. The stranger ordered a requiem, leaving the name of the customer a secret. This visit made an overwhelming impression on Mozart: having been unwell for a long time, Mozart took this order as a prophecy of his imminent death. The work draws out all the strength of Mozart. He planned to write a requiem in 12 parts, but stopped at 7 parts. The last and most beautiful part of “Lacrimosa” (tearful) will sound. "Requiem" by W. A. ​​Mozart, conceived as a funeral Catholic mass, turned out to be, perhaps, the most life-affirming work of all known. It was his last creation. On December 5, 1791, Mozart turned to the wall and stopped breathing...

Attached files

"Images of Sacred Music of Western Europe"

Lesson topic: "Images of sorrow and sadness"

I cry: these tears are holy,

V. Krasov

Target b: Development of the musical culture of students.

Tasks:

Developing: 1. Development of creative potential: vocal data,

creative imagination;

2. Development of the sensory sphere - hearing;

3. Development of thinking;

4. Enrich the emotional experience of students with the perception of musical images of grief and sadness

in religious music;

Educational: 1. Deepen understanding of the features of the language

Western European music as an example

vocal and instrumental genres;

2. Deepen knowledge about concepts - cantata, requiem;

3. Build independence skills

and goal setting;

4. Introduce a new piece of music

Giovanni Pergolesi "Stood a mourning mother";

5. Continue learning Bulat's "Prayer"

Okudzhava:

6. Show the relationship of music with literature,

fine arts, history;

Educators: 1. To educate the aesthetic taste of students;

2. Cultivate feelings of empathy for the collective

Hello guys. I'm glad to meet you.

Today we continue talking about sacred music.

Today the topic of our lesson is:"Images of Sorrow and Sorrow"

And as the epigraph of our lesson, I took the lines of the poet Krasov:

I cry: these tears are holy,

That is a tribute to the Creator from my heart

For my joys, for grief and loss,

According to the voice of Your eternal law.

And what would you like from today's lesson, what problems would you like to solve in our lesson?

Children call:

Learn new

learn a song

listen to music

Get a good grade

I understand your wishes, thank you. I'll write down your wishes and we'll hit the road to Western Europe.

And so attention. Music will now play. fragment. Try to answer questions. Distribute a leaflet - a questionnaire.

Sounds like Bach's Toccata and Fugue in D Minor

What is the name of?

What musical instrument?

What is the storehouse of music?

What is polyphony?

What is the nature of the music?

The children write their answers on the paper.

Check selectively, wrote. Collect leaves.

Today we will meet a new composer whose name has never been heard in our class.

This is the Italian composer Giovanni Battista Pergolesi. 1710-1736

(teacher talks about the composer)

And the work is called “STABAT MATER”, WHICH MEANS “Stood a grieving mother”

The genre of this piece is CANTATA

Let's remember what a cantata is.

The word is Italian, translated captare - to sing.

This is a multi-movement work for choir, orchestra and soloists.

For Pergolesi, this is a chamber work, since the cantata was written for a female (children's) choir, string quartet, double bass and organ.

It has 13 parts.

Part 1 of the cantata is connected with the mournful, tragic image of the mother of Jesus Christ - the Virgin Mary, standing in front of the body of her son crucified on the cross.

Now we will listen to part 1.

Determine the nature of the music, its structure, mode, etc.

Let's listen to part 1.

Analysis of the listened part 1: The feeling of a leisurely step is conveyed by the measured tread of the bass. Sighs are heard in the sound of the strings. The minor scale gives colors of tragedy.

In the vocal part - a melodic melody with mournful intonations.

(If time permits, you can listen to the 13th part of "Amen", where students will hear a polyphonic warehouse of music)

Tell me, what famous work of Western European music can be compared with the music of Pergolesi. Mozart's Requiem, of course.

Let's remember what a requiem is.

Verbatim - peace, mourning music in honor of the dead.

Listen to the 7th part of Lacrimosa "Tearful"

What do these two works have in common is the image of grief and sadness.

Remember how Mozart composed REQUIEM, read Pushkin's lines from the poem "Mozart and Salieri" and a letter to his brother.

And now look at the reproductions of paintings by Italian artists - Michelangelo - Pieta and Maillol - Sorrow.

What do music and art have in common?

The theme of tragedy, sorrow.

And now it's time for us to turn to the song - or rather to prayer, as a genre of vocal music.

What is prayer - a spiritual song, a conversation with God.

How should prayer be performed? (children answer)

Let's remember "Prayer" by Bulat Okudzhava.

Let's listen to the snippet.

Then vocal and choral work. (dynamics, clear diction, etc.)

And so let's sum up the lesson.

The teacher pays attention to the tasks of the lesson.

Have we completed all the tasks of the lesson?

Conclusion: Composers Pergolesi and Mozart - each in their own way (in works of various genres) embody the world of human experiences - mental confusion, peaceful peace, the depth of human grief and suffering.

The lesson is over. Thanks to all.

"Tears of people, oh tears of people..."

1. Images of grief and sadness in music, the depth of their content.
2. The ability of music of a sad nature to bring consolation (on the example of the play "Dreams" from the piano cycle "Children's Pieces" by R. Schumann).

Music material:

1. P. Tchaikovsky. "Doll's illness", "Doll's funeral" from the "Children's album" (listening at the request of the teacher);
2. R. Schuman. "The First Loss", from the piano cycle "Album for Youth" (listening at the request of the teacher);
3. R. Schuman. "Dreams", from the piano cycle "Children's Scenes" (listening);
4. V. Vysotsky. Mass graves (singing).

Art:

1. S. Krasauskas. Engravings from the cycle "Forever Alive".

Poetry:

1. F. Tyutchev. "Tears of people, oh tears of people ...";
2. R. Rozhdestvensky. "Requiem", fragment.

Characteristics of activities:

1. Recognize and talk about the influence of music on a person.
2. To identify the possibilities of the emotional impact of music on a person.
3. Evaluate musical works from the standpoint of beauty and truth.
4. Recognize the intonational and figurative foundations of music.

Planned results of educational activities:

1. Metasubject:

Understanding joyful images in art as a reward for overcoming adversity and difficulties, as a result of life's struggle.

1. Personal:

Awareness of music as an art form that conveys diverse, contrasting images in all their diversity.

1. Subject:

Understanding and analysis of images of sadness, grief, melancholy and loneliness in music.

Form of the lesson:

1. Lesson-conversation about the images of sadness, sorrow, suffering in different types of art on the example of music.

Types of student activities:

1. A conversation about the embodiment in art of images of sadness, grief.
2. A conversation about the feeling of consolation arising from the perception of sad, tragic music.
3. Viewing reproductions of engravings, collective analysis and discussion of their content.
4. Expressive reading aloud fragments of poems, identifying their connection with the topic of the lesson.
5. Listening, auditory analysis of musical works.
6. Comparative analysis of engravings, poems and musical works.
7. Analysis of musical examples.
8. Compilation of the program of an imaginary concert in the "Diary of Musical Reflections".
9. Learning, performance, discussion of V. Vysotsky's song.
10. Analysis of musical expressive means and identification of their connection with the content of the song.

What's the music? She is one
Comforts us endlessly
So sweet, so harmonious...
It sees our destiny.
And, reflecting our torments,
She still promises us
Merging with the eternal law
And from generation to generation,
And tames our pain...

O. Polents

No matter how varied the shades of joy conveyed by music, it still acquires its true greatness in the embodiment of voluminous, complex, deep images.

Why is it so?

We have already written that moods of pure joy rarely visit our world: probably, they are truly known only to children. Any other joy goes to us most often as a reward for efforts, for overcoming adversity ...

That's how it is in life, and that's how it is in music. Joy in the music of "sunny" Mozart, who revealed to us the tragic depths of "Don Juan", Requiem, today appears to us as a reflection of the soul of a great man, a soul that still carries its radiant light. The joy in the finale of Beethoven's last, Ninth Symphony sounds like a hard-won reward for the difficult path of his music, full of painful struggle...

And whenever great music pierces us with its dazzling joy, we know that the path of ascent to these shining heights is long - regardless of who was its creator. For in real music the whole depth of the world is expressed with its inescapable sorrows, eternal, like the world itself, and its same eternal joys.

Images of grief and sadness in music have always been present. There are endlessly sad folk songs that testify that even in the distant and seemingly blessed times of the “childhood of mankind”, people already knew both the bitterness of separation and the longing of loneliness. And even in the most real children's music, that is, music created especially for children, there are many sad and even tragic pages.

Remember "The First Loss" by R. Schumann from his piano cycle "Album for Youth".

If we listened to this piece by itself, we would speak of a sad melody, of an intonation in which one can discern both a complaint, and a reproach, and inconsolability. But if we recall the content of our conversation, then, probably, the meaning of the “First Loss” will become deeper and more significant.

Now it is not just a child's complaint - now it becomes something more, some new knowledge about the world. This knowledge is already guessed in the name itself - “The First Loss”, which speaks of the inevitability of all subsequent losses.

So a small children's play becomes for us the discovery of the law of life, to which everything sad in the world obeys: both flying autumn leaves and bitter human losses.

And although this is a sad law, there is a bright side to it. After all, someday spring will come again, young leaves will appear on the trees ... So is human life - losses in it are replaced by joys, new hopes and expectations.

Robert Schumann's Album for Youth was written in 1838. This cycle is one of the composer's best piano works. The miniatures included in the cycle are musical stories with a simple plot, the mood and emotions are more important here. According to the author himself, this cycle is "a reflection of the past through the eyes of the elder and for the elders."

Remember "Doll's Disease" and "Doll's Death" from P. Tchaikovsky's "Children's Album"...

Doll disease. Sad music about the very sincere feelings of a girl who takes her acting as if seriously. Or maybe your favorite doll is really hopelessly broken (sick).

- Doll Masha got sick.
- The doctor said it was bad.
- Masha hurts, Masha is hard!
Don't help her, poor thing.
- Masha will leave us soon.

Woe, woe, woe, woe, woe...

The girl's doll got sick. How does the music describe it? What is unusual about the musical language of this piece? Listening to music, you will immediately notice that there is no continuous melodic line in it. It is, as it were, “torn apart” by pauses, each sound of the melody resembles a sigh: “Oh ... ah ...”

The form of the play can be defined as one-part, consisting of two periods with a coda. The “sighs” of the doll in the first sentence sound plaintively, then turning into muffled moans when they are transferred to a low register. The "suffering" of the doll reaches its limit in the second period, which contains a tense climax. The period ends with a cadence on the tonic chord. The play has a long "fading" coda. The doll is asleep...

Doll Funeral. In music written for children, one feels a careful attitude to the experiences of the child, an understanding of their depth and significance. Listening to this play, you pay attention to the seriousness, genuineness of the feelings of the little hero, to the respect with which the composer treats the personality of the child.

Doll, dear, goodbye forever.

I can't play with you.
You were the best doll.
How could I not save you?
How did this happen to you?
Where and why did you leave me?
Snow on the ground and snow on the heart.
Masha, dear, goodbye forever.
More, my friend, my beloved,
I can't play with you.

It was no coincidence that Tchaikovsky gave the subtitle to his cycle “In imitation of Schumann”. This play unwittingly reminds of "The First Loss" from "Album for Youth" by R. Schumann.

The play is permeated with the characteristic rhythm of a typical funeral march, but this feature does not really make a funeral march out of the play. Sometimes in the literature one can come across the assertion that here Tchaikovsky reproduced the sound of the choir. It seems to us that this music can rather be imagined in an orchestral rather than a choral version. But be that as it may, both when performing and listening to this piece, you should not take everything too seriously. Still, the composer creates the impression of a doll's funeral with sounds: the element of play here should not completely disappear.

Good, sincere music naturally and confidently appeals even to the smallest child. It is not falsely cheerful, but sad works for children that reveal careful respect for the child's soul, capable of suffering and experiencing no less than an adult.

"Children's Album" by P. Tchaikovsky was composed by the composer in 1878 and was dedicated to his nephew Volodya Davydov, who learned to play the piano and performed these pieces.
The collection contains 24 plays. Together, the miniatures make up a colorful and vivid picture of one day in a child of the 19th century, a contemporary of the composer. The cycle “Morning Prayer” begins, and ends with a play from the prayer warehouse “In the Church”. The cycle contains plays that tell about the games and amusements of boys (“Game of Horses”, “March of Wooden Soldiers”), and there is a mini-cycle dedicated to the girls’ toy - a doll. In three plays, a whole puppet story can be traced. This theme begins with the sad “Disease of the Doll”, continues with the tragic mourning march “The Funeral of the Doll”, and ends with the jubilant impetuous “New Doll”.

We see that sad moods are not uncommon in the art of music, that they have sounded in the music of all times, expressing one of the fundamental properties of human nature.

Human tears, oh human tears,
You pour early and late sometimes ...
Flowing unknown, flowing invisible,
inexhaustible, innumerable,
Pour like rain streams pour
In autumn, deaf, sometimes at night.

F. Tyutchev. Human tears, oh human tears...

“Tears of people, oh tears of people ...”: this poem by F. Tyutchev speaks of the eternity and inescapability of human sadness, which does not distinguish between ages, immeasurable, familiar and familiar to everyone. But pay attention to two definitions: “the unknown are pouring, the invisible are pouring.” Unknown, invisible means carefully concealed, secret, secret, not known to anyone. How can a person live alone with this heavy burden of sorrows, losses, regrets? Life does not always give us the opportunity to open up, the opportunity to be understood...

And then comes the music with its gentle and delicate touch, the music is comforting, reconciling. Of course, music is not able to rid us of our sorrows, but it opens before us an endless world of other sorrows, as unknown and invisible as our own.

Let us recall the well-known work - the play by R. Schumann "Dreams". This music is often heard in concerts; it is performed by both young and famous musicians. For domestic listeners, "Dreams" by R. Schumann are of particular importance. It is this work that sounds on television on May 9 - in memory of those who died in the Great Patriotic War (1941 - 1945). Joining millions of listeners to the boundless sea of ​​suffering, which for many people still remain unhealed, does not plunge us into despair, but quite the opposite – it encourages us precisely by joining this eternally inexhaustible stream. And we not only begin to feel that we are not alone in our sorrows, but we evaluate them in a completely different way: after all, there is something lofty and significant in human suffering, if it is worthy of such a beautiful expression.

Carry the dream through the years and fill it with life! ..
But about those who will never come again - I conjure - remember!
(R. Rozhdestvensky. Requiem)

Stasis Algirdos Krasauskas (1929 - 1977) was one of the most popular Soviet artists.
The themes of life and death, love and human sacrifice in the name of love, starting from the love of a mother for a child and ending with a person’s love for their Fatherland, for the Earth, which gives life and accepts into its bosom those who have already fulfilled their life duty - such is the circle of plots artist graphics.
Here is what Stasys Krasauskas wrote: “The world will never forget the feat of the Soviet Warrior. He fought, fell and stayed with us, as a reminder of our great duty to the Motherland, Progress, Man. To Him, eternally alive, I dedicate this cycle of mine.
During the Second World War, he was still a child, but the greatest tragedy of the 20th century remained an unhealed wound, a scar on his heart. All his life he tried to understand the causes of man's terrible delusions, the causes of cruelty.
In 1975, Stasys Krasauskas created, perhaps, his most famous series - the series of prints "Forever Alive".
Here the images are extremely generalized, raised above their concrete earthly meaning, one can feel the boundless faith in the triumph of life over death. The dead soldier lying in the ground did not seem to die, but fell asleep. And above him - disturbing and beautiful visions - his dreams, his earthly life, his unfulfilled dreams ... Beautiful women with deep sadness and sorrow in their eyes, his fellow soldiers, with whom he went into battle, a wonderful horse, which he saddled lying, powerless...

Questions and tasks:

1. Can sad music bring solace? Explain your answer using R. Schumann's Dreams as an example.
2. The play "Dreams", judging by the name of the cycle "Children's Scenes", is addressed to young listeners. At the same time, it is also obvious that she expresses deep, strong feelings that are inherent in many respects to adults. Consider why this play is considered adult. Find in the text of the paragraph words that reveal the secret of the emotional impact of this music, close and understandable to people of different ages.
3. Make up a concert program from works that reflect various human feelings. Write it down in the "Diary of Musical Reflections".

The presentation additionally contains a number of engravings by S. Krasauskas from the cycle “Forever Alive”

Grief Grief is the deep emotional pain caused by the loss of a loved one. Any loss, even the loss of some value, causes heavy feelings, but the greatest pain is associated with the death of a loved one and the loss of physical or mental capabilities - disability. Sorrow is a deep emotional pain caused by the loss of a loved one. Any loss, even the loss of some value, causes heavy feelings, but the greatest pain is associated with the death of a loved one and the loss of physical or mental capabilities - disability.

Requiem is a mournful choral work with many parts, usually with the participation of soloists, accompanied by an orchestra. A mournful choral work with many parts, usually with the participation of soloists, accompanied by an orchestra. It originated as a funeral Catholic service with musical parts in Latin text. It arose as a funeral Catholic service with musical parts in Latin text.

Wolfgang Amadeus Mozart Great Austrian composer Great Austrian composer Born in Salzburg, lived in Vienna Born in Salzburg, lived in Vienna Years of life Years of life