Variety of musical images. What is a musical image or how to create your own world of emotions

musical image

Music as a living art is born and lives as a result of the unity of all activities. Communication between them occurs through musical images. In the composer's mind, under the influence of musical impressions and creative imagination, a musical image is born, 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.

in other words, a musical image is an image embodied in music (feelings, experiences, thoughts, reflections, the action of one or more people; any manifestation of nature, an event from the life of a person, people, humanity ... etc.)

A musical image is a combination of character, musical and expressive means, socio-historical conditions of creation, construction features, and the composer's style.

Musical images are:

Lyrical - images of feelings, sensations;-epic - description;- dramatic - images-conflicts, clashes;- fabulous - images-tales, unreal;- comic - funnyetc.

Using the richest possibilities of the musical language, the composer creates a musical image in whichembodies certain creative ideas, this or that life content.

Lyrically images

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

Lyrics - a monologue of the hero, in which he tells about his experiences.

The lyrical image reveals the individual spiritual world of the creator. In a lyrical work there are no events, unlike drama and epic - only the confession of a lyrical hero, his personal perception of various phenomena..

Here are the main features of the lyrics:-feeling-mood- lack of action.Works that reflect the lyrical image:

1. Beethoven "Sonata No. 14" ("Moonlight")2. Schubert "Serenade"3. Chopin "Prelude"4. Rachmaninov "Vocalise"5. Tchaikovsky "Melody"

Dramatic images

Drama (Greek Δρα´μα - action) is one of the types of literature (along with lyrics, epic, as well as lyrepic), which 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 that depicts the process of action.The main subject of dramatic art became human passions in their most striking manifestations.

The main features of the drama:

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

He is looking for a way out of this situation

He enters into a struggle - either with his enemies or with the situation itself.

Thus, the dramatic hero, unlike the lyrical one, acts, fights, as a result of this struggle either wins or dies - most often.

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

Almost all Shakespearean characters are dramatic characters: Hamlet, Othello, Macbeth.

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

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

Othello suffers from jealousy;

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

Drama is inconceivable without a dramatic hero: he is its 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 explosive inactivity. "The hero is looking for a catastrophe. Without a catastrophe, a hero is impossible." Who is the dramatic hero? Slave of passion. He is not looking, 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 story of the same name by A. S. Pushkin.

The plot of the opera:

The protagonist of the opera is officer Herman, a German by birth, poor and dreams of getting rich quickly and easily. He is a player at heart, but has never played cards, although he always dreamed of doing so.

At the beginning of the opera, Herman is in love with the rich heiress of the old countess, Lisa. But he is poor and has no chance of marriage. That is, a hopeless, dramatic situation is immediately outlined: poverty and, as a result of this poverty, the inability to achieve a beloved girl.

And then by chance Herman finds out that the old countess, the patroness of Lisa, knows the secret of 3 cards. If you bet on each of these cards 3 times in a row, you can win a fortune. And Herman sets himself the goal of learning these 3 cards. This dream becomes his strongest passion, for the sake of it he even sacrifices his love: he uses Lisa as a way to enter the house of the countess and find out the secret. He appoints Lisa a date at the countess's house, but goes not to the girl, but to the old woman and, at gunpoint, demands to tell him 3 cards. The old woman dies without telling him them, but the next night her ghost appears to him and says: "Three, seven, ace."

The next day, Herman confesses to Lisa that he was the culprit in the death of the countess, Liza, unable to withstand such a blow, drowns herself in the river, and Herman goes to the gambling house, puts three, seven one after another, wins, then puts an ace on all the money won, but at the last moment, instead of an ace, the queen of spades turns out to be in his hands. And Herman sees an old countess in the face of this queen of spades. Everything he has won, he loses and commits suicide.

Herman in Tchaikovsky's opera is not at all the same as in Pushkin's.

Herman in Pushkin is cold and prudent, Lisa for him is only a means on the way to enrichment - such a character could not captivate Tchaikovsky, who always needed to love his hero. Much in the opera does not correspond to Pushkin's story: the time of action, the characters' characters.

Herman in Tchaikovsky is an ardent, romantic hero with strong passions and a fiery imagination; he loves Lisa, and only gradually the secret of the three cards displaces her image from Herman's consciousness.

2. Beethoven "Symphony No. 5"All of Beethoven's work can be described as dramatic. His personal life becomes a confirmation of these words. Fighting is the meaning of his whole life. The fight against poverty, the fight against social norms, the fight against disease. About the work "Symphony No. 5" the author himself said: "So fate is knocking at the door!"

3. Schubert "Forest King"It shows the struggle of two worlds - real and fantastic. Since Schubert himself is a romantic composer, and romanticism is characterized by a passion for mysticism, the clash of these worlds is very clearly expressed in this work. The real world is presented in the image of a father, he tries to calmly and sensibly look at the world, he does not see the Forest King. The world is fantastic - the Forest King, his daughters. And the baby is at the junction of these worlds. He sees the Forest King, this world frightens and attracts him, and at the same time he relates to the real world, he asks for protection from his father. But in the end, the fantastic world wins, despite all the efforts of the father."The rider drives, the rider rode,There was a dead baby in his arms.

in this work images of fantastic and dramatic intertwined. From the dramatic image we observe a fierce implacable struggle, from the fantastic - a mystical look.

epic imagesEPOS, [Greek. epos - word]An epic is usually a poem that tells about the heroic. deeds.

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

The epic is the past, because tells about past events in the life of the people, about their history and exploits;

^ Lyrics are real, because its object is feelings and moods;

Drama is the future the main thing in it is the action, with the help of which the characters are trying to decide their fate, their future.

The first and simple scheme for the division of 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 faces, the lyrics respond with the song of the soul.

The place and time of the action of epic heroes resemble real history and geography (in what way the epic is 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. Much of it 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 it’s the other way around: some historical events and characters seem worse to us than they actually were. Epic properties:

Heroism

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

Historicity

Fairy tale (sometimes an epic hero fights not only with real enemies, but also with mythical creatures)

Appraisal (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 not only of heroes, but also of events, history, they 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 history.Epic works:1. Borodin "Bogatyr Symphony"2. Borodin "Prince Igor"

Borodin Alexander Porfiryevich (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.

The "Bogatyr Symphony", which captures the image of a mighty heroic Motherland, and the opera "Prince Igor", created based on the Russian epic "The Tale of Igor's Campaign", are about this.

“The Tale of Igor's Campaign” (“The Tale of Igor's campaign, Igor, son of Svyatoslavov, grandson of Olegov, is the most famous (considered the greatest) monument of medieval Russian literature. The plot is based on the unsuccessful campaign of the Russian princes against the Polovtsians in 1185, led by Prince Igor Svyatoslavich.

3. Mussorgsky "Bogatyr Gates"

fabulous images

The title itself suggests the storyline of these works. These images are most clearly 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 operas - fairy tales "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. Most often they personify, as in the works of folk art, certain elemental forces and natural phenomena (Frost, Goblin, Sea Princess, etc.). Fantastic images include, along with musical-pictorial, fairy-tale-fantastic elements, also features of the external appearance and character of real people. Such versatility (it will be discussed in more detail when analyzing the works) gives Korsakov's musical fantasy a special originality and poetic depth.

Rimsky-Korsakov's melodies of an instrumental type, complex in melodic-rhythmic structure, mobile and virtuoso, are distinguished by great originality, which are used by the composer in the musical depiction of 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 made in large numbers, especially in the United States, are very popular. What about "fantastic music" (or, if you prefer, "musical fantasy")?

First of all, if you think about it, "fantastic music" has been around for a long time. Isn’t it possible to refer ancient songs and ballads (folklore) that were composed by different peoples all over the Earth in order to praise legendary heroes and various events (including fabulous - mythological ones) to this direction? And around the 17th century, operas, ballets and various symphonic works created based on various fairy tales and legends have already appeared. The penetration of fantasy into musical culture began in the era of romanticism. But we can easily find elements of its "invasion" in the works of musical romantics, such as Mozart, Gluck, Beethoven. However, fantastic motifs sound most clearly in the music of German composers R. Wagner, E.T.A. Hoffmann, K. Weber, F. Mendelssohn. Their works are filled with gothic intonations, motifs of a fairy-tale-fantastic element, closely intertwined with the theme of confrontation between man and the surrounding reality. It is impossible not to recall the Norwegian composer Edvard Grieg, famous for his musical canvases, which are based on the folk epic, and the works of Henrik Ibsen "Procession of the Dwarves", "In the Cave of the Mountain King", Dance of the Elves"
, as well as the Frenchman Hector Berlioz, in whose work the theme of the elements of the forces of nature is clearly expressed. Romanticism also manifested itself in Russian musical culture. Mussorgsky's works "Pictures at an Exhibition" and "Night on Bald Mountain" are filled with fantastic figurativeness, which depict a witches' sabbath on the night of Ivan Kupala, which had a tremendous impact on modern rock culture. Mussorgsky also owns a musical interpretation of N.V. Gogol's story "Sorochinsky Fair". By the way, the penetration of literary fiction into musical culture is most clearly seen in the work of Russian composers: Tchaikovsky's The Queen of Spades, Dargomyzhsky's Mermaid and Stone Guest, Glinka's Ruslan and Lyudmila, "The Golden Cockerel" by Rimsky-Korsakov, "The Demon" by Rubinstein, etc. At the beginning of the 20th century, a bold experimenter Skryabin, an apologist for synthetic art, who stood at the origins of light music, made a real revolution in music. In the symphonic score, he entered the part for the light in a separate line. Fantastic imagery filled with his works such as "Divine Poem" (3rd Symphony, 1904), "Poem of Fire" ("Prometheus", 1910), "Poem of Ecstasy" (1907). 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 "Space Odyssey 2001" by S. Kubrick (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 ingenious 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 the idea was Lucas!) Without the incendiary and romantic music of J. Williams, performed by a symphony orchestra.

In the meantime (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 model, create amazing, downright magical sounds, weave them into music, “sculpt” the 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 master synthesizers, authors-performers of their works appears.

Comic images

The fate of the comic in music has developed dramatically. Many art historians do not mention the comic in music at all. The rest either deny the existence of musical comedy, or consider its possibilities to be minimal. The most common point of view was well formulated by M. Kagan: “The possibilities of creating a comic image in music are minimal. (...) Perhaps only in the 20th century did music begin 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 and, apparently, will never win such a place in musical creativity as it has long occupied in literature, drama theatre, fine arts, cinema" .

So, comic - funny, having a wide significance. The task is “correction with laughter” Smile and laughter become “companions” of the comic only when they express the feeling of satisfaction that a person has a spiritual victory over what is contrary to his ideals, what is incompatible with them, what is hostile to him, because to expose what 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 underlies the comic. At the same time, it should be remembered that the comic, unlike the tragic, occurs under the condition that it does not cause suffering for others and is not dangerous for a person.

Shades of the comic - humor and satire. Humor is a good-natured, gentle mockery of individual shortcomings, weaknesses of a generally positive phenomenon. Humor is friendly, harmless laughter, although not toothless.

Satire is the second type of comic. Unlike humor, satirical laughter is menacing, cruel, sizzling laughter. In order to hurt evil, social ugliness, 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) - carry out the comic in music. Or let us recall the finale of the first part of Tchaikovsky's Second Symphony, written on the theme of the humorous Ukrainian song "Crane". This is music that makes the listener smile. Humor is full of Mussorgsky's "Pictures at an Exhibition" (for example, "Ballet of the Unhatched Chicks"). The Golden Cockerel by Rimsky-Korsakov and many musical images of the second movement of Shostakovich's Tenth Symphony are sharply satirical.

Architecture is the only art form without a sense of humor. The comic in architecture would be a disaster for the viewer, and for the resident, and for the visitor of the building or structure. An amazing paradox: architecture has great potential to embody the beautiful, the sublime, the tragic in order to express and affirm the aesthetic ideals of society - and is fundamentally deprived of the opportunity to create a comic image.

In music, comedy as a contradiction is revealed through artistic, specially organized algorithms and inconsistencies, which always contain an element of surprise. For example, the combination of diverse melodies is a musical comedy tool. Dodon's aria in the opera "The Golden Cockerel" by N. A. Rimsky-Korsakov is built on this principle, where the combination of primitiveness and sophistication creates a grotesque effect (the intonations of the song "Chizhik-Pyzhik" are heard in Dodon's lips).
In musical genres associated with stage action or having a literary program, the contradiction of the comic is grasped and is graphic. However, instrumental music can express the comic without resorting to "non-musical" means. R. Schumann, having played Beethoven's Rondo in G major for the first time, in his own words, began to laugh, as this work seemed to him the funniest joke in the world. astonishment when he later discovered in Beethoven's papers that this rondo was entitled "Rage over a lost penny, poured out in the form of a rondo". About the finale of Beethoven's Second Symphony, the same Schumann wrote that this is the greatest example of humor in instrumental music. And in the musical moments of F. Schubert, he heard the tailor's unpaid bills - such an obvious worldly annoyance sounded in them.

Music often uses surprise to create comic effect. So, in one of the London symphonies of J. Haydn there is a joke: a sudden blow of the timpani shakes the audience, pulling it out of dreamy absent-mindedness. In the Waltz with a surprise by I. Strauss, the smooth flow of the melody is suddenly broken by the pop of a pistol shot. It always causes a cheerful reaction from the audience. In M. P. Mussorgsky's "The Seminarist", worldly thoughts, conveyed by the smooth movement of the melody, are suddenly broken by a patter that personifies the memorization of Latin texts.

In the aesthetic foundation of all these musical-comedy means lies the effect of surprise.

comic marches

Comic marches are joke marches. Any joke is based on funny absurdities, funny inconsistencies. This is to be found in the music of comic marches. There were also comic elements in the March of Chernomor. The solemnity of the chords in the first section (starting from the fifth measure) did not correspond to the small, "flickering" durations of these chords. The result was a funny musical absurdity, very figuratively painting a "portrait" of an evil dwarf.

Therefore, the March of Chernomor is also partly comical. But only in part, because there are many other things in it. But Prokofiev's March from the collection "Children's Music" from beginning to end is sustained in the spirit of a comic march.

In general, speaking of a comic image in music, the following pieces of music immediately come to mind:

Wolfgang Amadeus Mozart's "The Marriage of Figaro", where already in the overture (introduction to the opera), notes of laughter and humor are heard. And the plot of the opera itself tells about the silly and funny master the count and the cheerful and smart servant Figaro, who managed to outwit the count and put him in a stupid position.

Not without reason in the film "Swap Places" with Eddie Murphy, Mozart's music was used.

In general, there are many examples of the comic in Mozart's work, and Mozart himself was called "sunny": so much sun, lightness and laughter can be heard in his music.

I would also like to draw your attention to the opera "Ruslan and Lyudmila" by Mikhail Ivanovich Glinka. Two images of Farlaf and Chernomor were written by the composer not without humor. Fat clumsy Farlaf, dreaming of an easy victory (meeting with the sorceress Naina, who promises him:

But don't be afraid of me
I am favorable to you;
Go home and wait for me.
Lyudmila will be carried away secretly,
And Svetozar for your feat
He will give her to you as a wife.) Farlaf is so happy that this feeling overwhelms him. Glinka, for the musical characterization of Farlaf, chooses the rondo form, built on repeated returns to the same thought (one thought owns him), and even the bass (low male voice) makes him sing at a very fast pace, almost tongue twister, which gives a comic effect ( he seemed to be out of breath).

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Slides captions:

Genres of classical music

Vocal music Instrumental music What groups can all music be divided into according to the way of performance?

Vocal music Without accompaniment With accompaniment Large form Miniatures choirs a capella opera operetta cantata oratorio musical Georgy Sviridov Choir "Winter Morning" C ergey Prokofiev cantata "Alexander Nevsky" https://yadi.sk/d/-k6X8UT4cKqCu ♪ ♪ https:// yadi.sk/i/ZczaGRpGcKqNP

Cantata is a work for choir, soloists and symphony orchestra in several movements. Sergei Prokofiev cantata "Alexander Nevsky" IV part "Get up, Russian people!" ♪ https://yadi.sk/i/n95OXbvUcKqVL ♪ Georgy Sviridov "Winter Sings" from the cantata "In Memory of Yesenin" https://yadi.sk/i/s9qbpwCxcKqyg

Oratorio - is large, has a dramatic plot. ♪ G.-F. Handel "Hallelujah" from the oratorio "The Creation of the World" https://yadi.sk/i/4LUzjabTcKqj2

Operetta (Italian operetta - small opera) is a theatrical performance in which separate musical numbers alternate with dialogues without music. Operettas are written on a comic plot.

St. Petersburg Theater of Musical Comedy

A musical is a musical stage work in which dialogues, songs, music are intertwined, choreography plays an important role. Plots are often taken from well-known literary works, from world drama (“My Fair Lady” by Bernard Shaw, “Kiss me, Kate!” by Shakespeare, “The Man from La Mancha” by Cervantes, “Oliver!” by Dickens).

Vocal music Without accompaniment With accompaniment Large form Miniatures choirs a capella opera operetta cantata oratorio musical song romance vocalise serenade ballad ensembles

Instrumental music large form chamber music symphony concerto overture symphonic suite symphonic poem ballet sonata étude prelude toccata fugue nocturne impromptu ballad piece ensembles

Concerto is a work for a solo instrument and a symphony orchestra in three movements. A symphony is a work for a symphony orchestra in four movements. Etude is an instrumental miniature for practicing performing technique.

Preview:

GBOU secondary school No. 238 with in-depth study of the English language

Admiralteisky district of St. Petersburg

Teacher Dolmatova Marina Borisovna

Development of a music lesson in the 7th grade.

Subject: “A variety of musical images. Cantata"

Goals:

• development of the emotional sphere of students, education of their musical, aesthetic taste, interest and love for highly artistic music, the desire to listen and perform it.
• transmission of the positive spiritual experience of generations, concentrated in the art of music.
• education of citizenship and love for the Motherland.

Tasks:

Reveal the features of the cantata genre

Continue the formation of emotional-figurative representations using an example

Cantatas by S. Prokofiev "Alexander Nevsky"

To repeat and consolidate knowledge about the genres of classical music, deepening understanding

Connections of the musical image with the genre of the work.

Continue working on vocal and choral skills in chanting

O. Yurgenstein "Clock" and songs by A. Gorodnitsky "Trezzini Palace"

Technology:

elements of gaming technology, elements of technology for developing and differentiated learning, information technology.

Lesson type : combined

Music material:audio, video and film fragments (S.S. Prokofiev cantata "Alexander Nevsky", S. Eisenstein's film "Alexander Nevsky", G.-F. Handel Hallelujah from the oratorio "Messiah", G. Sviridov "Winter Morning"), O. Jurgenstein "Clock", A. Gorodnitsky "Palace Trezzini"

Equipment: computer, multimedia projector, piano, guitar, drums

Tools.

DURING THE CLASSES

Organizing time

Greeting, motivational setting for cooperation, successful work. Announcement of the objectives of the lesson.

The first block of the lesson is theoretical

Musical art, like any other, has its own language, its own way of expression, its own characteristics. It is in music that a person unusually strongly and vividly expresses his thoughts and feelings.

What are the features of musical art?

(vagueness of musical sound, development of music in time)

What do musical sounds express? How are they affecting us? What images do composers create in their compositions? Sometimes this is not easy to understand. Our sensitive ears, open hearts and, of course, knowledge can help us.

For example, we know that there are different genres in music.

What is a genre of music?

(domestic genres - song, dance, march, and genres of classical music, differing in the composition of performers and the way of performance).

Listening to a fragment of a piece of music, determine its genre.

video fragment "Winter Morning" by G. Sviridov

(genre chorus a'capella)

Let us turn again to the table “Genres of classical music” and continue our acquaintance with them (work in a notebook).

The genres of vocal music with accompaniment can be divided into works of a large form, that is, those that sound long, have several parts and, accordingly, many different images and miniatures, that is, small vocal compositions. It seems to me that you can immediately name the largest, largest genre of vocal music, because we have known it for a long time.

What is this genre?

(opera)

As you record other major forms of vocal music, you will, of course, come across familiar names as well.

Today we have to get acquainted with the cantata genre. We will turn to one of the most striking works of this genre - Sergei Sergeevich Prokofiev's cantata "Alexander Nevsky". You will have a difficult task - to define the genre of cantata. Let me remind you that for this, first of all, it is necessary to determine the composition of the performers. And the second task is no less difficult. Of course, you know who Alexander Nevsky is and you can imagine the circle of musical images of the cantata. Try to describe the music of the fragment that we will hear. What musical image did Prokofiev create? So let's listen.

video fragment of the cantata "Get up, Russian people"

(A work for choir, orchestra, there may be soloists.

Call, determination, readiness for a feat, the image of the Motherland - the middle part, based on Russian folk song.)

Entry in the dictionary of the term "cantata" and the name of the sounded example in the table.

The cantata "Alexander Nevsky" was created by Sergei Prokofiev based on the music for the film. It has 7 parts - "Rus' under the Mongol yoke", "Song of Alexander Nevsky", "Crusaders in Pskov", "Get up, Russian people", "Battle on the Ice", "Dead Field" and "Alexander's Entry into Pskov". All of them are performed by the choir and orchestra, and only one - "Dead Field" - was written for mezzo-soprano. The great film director Sergei Eisenstein made the great film Alexander Nevsky in 1938, in which music plays a very important role. We will watch a fragment of the film, where the already familiar music of the choir “Get up, Russian people” sounds. Let's try to see and hear what role Prokofiev's music plays, what is its significance in the film.

film fragment of the film by S. Eisenstein "Alexander Nevsky"

(The music in the film is not just a background, but the real character of the picture. Music reveals visual images, making them brighter and more significant.

The main melody of the choir “Get up, Russian people” breathes with military prowess and courage, determination to repulse the enemy. It expresses the inner state of the heroes of the film, rising to defend their homeland)

Returning to the major genres of vocal music, it is necessary to say at least briefly about the oratorio. Latin "oro" means "I say", "I pray". The composition of the performers in the oratorio is the same as in the cantata - choir, soloists and orchestra. But, the oratorio, as a rule, has a dramatic plot and differs from the cantata in larger sizes.

In the past, oratorios were written only on subjects from the Holy Scriptures.

Let's listen to a very famous excerpt from Georg Friedrich Handel's famous oratorio Messiah. I think that you will recognize this music and be able to tell the name of this piece.

video fragment "Hallelujah" from the oratorio G.-F. Handel's "Messiah"

("Hallelujah", a laudatory word addressed to God - "praise God")

Summing up the first part of our lesson, let's remember what genres of classical music we met?

(cantata, oratorio)

What is a cantata?

(A work for choir, soloists and orchestra in several parts.)

Fragments of which cantata did we listen to?

(Cantata "Alexander Nevsky" by Sergei Prokofiev)

In the next lesson, continuing to study the genres of music, we will take a closer look at the genres of operetta and musical.

The second block - vocal and choral work

And now, from attentive and knowledgeable listeners, we will turn into no less attentive and knowledgeable performers. Let's start with the chanting song "Hours", in which the active work of the articulatory apparatus is very important.

Performance of the song-chant "Hours".

Work on active sound extraction, active singing breathing and clear diction. Show clapping rhythm on the losing side and transition from showing rhythm to singing.

D m b d m b

The complication of the performing task is the use of three groups of percussion instruments to show rhythmic accents. For example, d wooden (spoons, boxes), m metal (triangles) and b arabany (tambourines).

We all know how difficult it is to perform a piece of music. It is necessary not only to accurately sing the melody and learn the words of the song, but, most importantly, to reveal the image that is embedded in it. Of course, in a bard song, such as "Trezzini Palace" by Alexander Gorodnitsky, the image is connected, first of all, with the text of the song, and it is not at all simple. But you and I are Petersburgers, which means that we will be able to convey to the listeners that love for our city, which is filled with Gorodnitsky's song.

To create a mood of trust, let's sing a song with a guitar, as bards usually sing their songs.

Performance of A.Gorodnitsky's song "Trezzini Palace" with guitar accompaniment(it is better to involve students in the performance of the accompaniment)

Concluding our lesson, I want to remind you once again that today we got acquainted with two genres of classical music.

What are these genres?

What musical fragments were played in the lesson?

I was very pleased that, working today at the lesson, you turned out to be not only attentive, sensitive listeners, but also good, expressive performers.

(assessment of students' work is carried out both after each block of the lesson and at the end)

The musical image has objective and subjective sides. It conveys the essence of the phenomenon, its typical features. A musical image is a specific form of a generalized reflection of life by means of musical art. The basis of the musical image is the musical theme. The musical image is the unity of objective and subjective principles. content artistic The image in music is the life of man.

The musical image embodies the most essential, typical features of the phenomenon - this is objectivity. The second side of the image is subjective, connected with the aesthetic aspect. The image conveys the phenomenon in development. The subjective factor is of great importance in music, both in the creative process of creating a musical work and in the process of its perception. However, in both cases, the exaggeration of the subjective principle leads to subjectivism in the concept of music. Speaking about the reflection of the subjective and emotional side in music, one cannot but pay attention to the fact that even the abstract-generalized is subject to music. The image in music is always a reflection of life passed through the artist. Each musical image can be called life, which is reflected in music by the composer. When defining a musical image, one must keep in mind not only the means by which it was created by the composer, but also what he wanted to embody in it. At the same time, it is important that even the most modest musical images in terms of content and artistic form necessarily contain at least a slight development.

The initial structural element of music is sound. It differs from real sound in its physical sense. Musical sound has pitch, saturation, length, timbre. Music as sound art less specified. Such a property as visibility remains practically outside the boundaries of the musical image. Music conveys the world reality and phenomena through sensory-emotional associations, i.e. not directly, but indirectly. That is why the musical language is the language of feelings, moods, states, and then the language of thoughts.
The concreteness of the musical image is a problem for the musical-aesthetic theory. Throughout the history of its development, music has sought to specify musical image. There were different ways of specifying this:
1) sound recording;

2) the use of intonations with a brightly clear genre belonging(marches, songs, dances);

3) program music and finally

4 ) establishment of various synthetic links.

Let's consider the specified ways of concretization of musical images. There are two types of sound recording: imitation, associative.

Imitation : imitate real sounds reality: the singing of birds (nightingale, cuckoo, quail) in Beethoven's "Pastoral Symphony", the sound of bells in Berlioz's Fantastic Symphony, the take-off of an airplane and the explosion of a bomb in Shchedrin's Second Symphony.

Associative sound recording is built on the ability of consciousness to create images-representations by association. The range of such associations is quite large: associations 1) on the move ("Flight of the Bumblebee "). Associations arise in the listener, thanks to 2) the height and quality of the sound (bear - low sound register, etc.).
A separate form of associations in music is represented by associations 3) by color when, as a result of the perception of a musical work, an idea arises of the color of the phenomenon.

Associative sound recording is more common than imitation sound recording. As for the use of intonations with a bright genre belonging, then there are an infinite number of examples. So, in the scherzo from Tchaikovsky's symphony there is both a marching theme and a Russian folk song “In the field a birch stood ...”.

Of particular importance for concretizing the musical image is program music. The program in some cases is: 1) the title of the work itself or an epigraph. At other times the program presents 2 ) the expanded content of the piece of music . In language programs, a picture program and a plot program are distinguished. As a picture, a textbook example can serve - “The Four Seasons” by Tchaikovsky, the piano preludes of the impressionist Debussy “Girl with flax-colored hair“. The names themselves speak for themselves.
The plot program includes musical works based on an ancient or biblical myth, folk legend or original work - a literary genre - from lyrical works to drama, tragedy or comedy. Story programs can be successively developed . Tchaikovsky used an extended plot for the symphonic fantasy "Francesca do Rimini" by Dante. This work was written based on the Fifth Canto "Hell" from the "Divine Comedy".

Sometimes the program in a piece of music is determined by a piece of art. Program music brought the genre to life programmatically - instrumental and software-symphonic music. If the listener is not familiar with the program, then his perception will not be adequate in detail, but there will be no special deviations (the character will be unchanged in the perception of music). Concretization of musical images of non-program music ( instrumental) occurs at the level of perception and depends on the subjective factor. It is no coincidence that different people have different thoughts and feelings when listening to non-program music.

Scientists all over the world are trying to give a scientific exhaustive answer to the questions about the emergence of object-pictorial perception of music and the existence of an invisible boundary between the reality of sounds and the illusion of meaning. Such research can be compared with the eternal search for a higher mind, and it is necessary to start with an understanding of the nature of the appearance of a musical image in a composition.

What is a musical image?

This is an intangible character of the composition, which absorbed a bouquet of sounds, thoughts of the composer, performers and listeners into a single energy center without time and real space landmark.

The whole composition is a stream of sensual intonations that accompany the most diverse emotions and actions of the heroes of her story. Their combination, consistency and contradictions to each other create the image of the composition, revealing the facets and expanding the boundaries of self-knowledge. The creation of a musical image in music reflects a palette of feelings and emotional experiences, philosophical reflections and an enthusiastic attitude towards beauty.

The amazing world of musical images

If the composer paints an early morning, he creates musical images in music, offering the audience to feel the dawn, the sky in blurry clouds, the awakening of birds and animals. At this time, the dark hall, filled with sounds, instantly changes its scenery to a projection of the morning landscape of endless fields and forests.

The listener's soul rejoices, emotions overwhelm with their freshness and immediacy. And all because the composer, when creating a melody, used sounds, their intonation, certain musical instruments capable of orienting human memory to such sensations of sounds. The sounds of a bell, a shepherd's pipe or the cries of roosters fill the associative image of the melody so much that the time of action in the composition leaves no doubt - morning. In this case, we are talking about constant, predictable associations.

I. Haydn, Glinka, Verdi tried to explain what the musical image of lightning is, and N. A. Rimsky-Korsakov spent a lot of effort on creating a musical image in music. Sound rises were used for light and atmospheric imagery, and low sounds were given to the depths of the earth, maintaining a logical juxtaposition of low and high both in art and in real life.

Random associations of a musical image

There are also random associations that are unpredictable and strictly individual for each person, like his life experience. These are smells, features of mood, atypical lighting, coincidence of circumstances at the time of listening and much more. One association always provokes another, saturating the musical image with additional details, giving a unique, deeply personal character to the entire composition.

Associations created as a result of listening to music have their own age and relevance. That is why the real-pictorial music of the past centuries is gradually turning into the formal, more abstract music of our time. Concrete pictorial associations are becoming obsolete. Thus, the compositions of Mozart or Bach do not evoke in the soul of the modern listener those images that were characteristic of their contemporaries. It is not easy to answer the question what is a musical image in modern music. Electronic sounds have long since replaced the live ones, but would have been absolutely alien to the musicians of the time of Tchaikovsky and Beethoven.

Lyrical images in music

What is in music, Russian classics are well aware. In 1840, Glinka wrote a romance to the verses of the great Russian poet A. S. Pushkin "I remember a wonderful moment." The composer created images of an enchanting moment: memories of the first minutes of acquaintance, the bitterness of parting with his beloved and the joy of a new meeting. The weightless melody at first flows smoothly, spilling over with gentle motives, and is suddenly interrupted by an unstable syncopated rhythm.

Rhythmic accents, expressive repetitions and the energy of the “progressive” rhythm of the middle section so vividly reflected the effects of the poetic style that the famous poems of the poet in love acquired brighter, sensual emotions, striking in their depth and residual effect.

In turn, the tremulous love for Ekaterina Ermolaevna Kern and the deep feelings that accompanied this relationship created a unique work of spectacular contrasts, flexible options and intonations and revealed new little-studied possibilities for creating in and his images.

What is a musical image in a romance? This is an emotional speech that reveals the secret of the experiences of the beloved and makes the listener a witness, an accomplice, and even the beloved hero himself, plunging into the world of ambiguous feelings and secret fears.

The talented performer of the romance merges with the image of the lyrical hero, as A. S. Pushkin and Glinka once were one with him, and the invisible trio embraces all the senses of the listener, seizes his imagination and pours into him a spiritualized impulse of love and beauty with one energy stream experienced suffering.

“All arts, like music, require the feeling that inspiration brings,” said Glinka. - And forms. What does harmony mean, and “forme” is beauty, i.e. the proportionality of the composition of a harmonious whole ... Feeling and form are soul and body. The first is a gift of the highest grace, the second is acquired by labor ... "

Lesson 1 - "The amazing world of musical images" (Grade 6)

Hello guys!

Please open your notebooks and write down the topic of our lesson.

“Art is a means of conversation with people,” said M. Mussorgsky, and N.A. Rimsky-Korsakov called music the art of poetic thought, which is akin to our speech.

Today in the lesson we have to answer the question: What do musical and colloquial speech have in common?

Guys, what do you think musical speech and spoken language have in common? (Answers guys)

Please look at our "chamomile" - a means of musical expression.

Musical and colloquial speech have in common - intonation.

Let's draw a "chamomile". I will tell you what to write in your notebook.

While you are sketching, I will tell you how each of the means of musical expression affects the musical language.

So, from musical intonations it is formedmelody . Below we writemelody is the soul of a piece of music, its most significant aspect. The birth of a musical image depends on how the melodies develop, how they combine with each other, interact with each other.

And now, let's open the textbook on page 6, and read what a musical image is. (We read). Write down the first sentence.

In artistic images, various facets of the spiritual world of a person, his attitude to the most diverse phenomena of the surrounding life are revealed. Plunging into the figurative structure of the work, we worry, sad, rejoice ...

Guys, do you know any musical images? (Answers).

Today we will get acquainted with several musical images.

Let's write down, a lyrical image is an image that conveys the personal experiences of the author.

1. A. Rubinstein - romance "Mountain Peaks".

Dramatic image - a musical interpretation of the literary image of the hero. Shows character traits.

2. F. Schubert - "Forest King".

Epic image - images depicting the Motherland in a certain historical era.

3. A. Borodin - Symphony No. 2 "Bogatyrskaya".

The first section of the textbook introduces us to amazing images of vocal and instrumental music.

Let's read in the textbook what vocal music is.

(We read ... Italianvocale…)

Guys, what is romance? (Answers guys)

Let's write down what romance is.

Romance is a short piece of music for voice accompanied by an instrument, written on lyrical verses.

Let's listen to another Russian romance with you.

4. A. Varlamov - "Red Sundress".

What is this romance like?

To a Russian folk song.

What feelings do Russian romances glorify?

Love for a person, mother, love for the motherland, the earth.

Let's read what is instrumental music.

Instrumental music is intended for playing various musical instruments.

What is vocalization? (Singing without words) Let's write it down.

5. S.V. Rachmaninoff - vocals.

What musical images did we meet today? (Answers guys)

The lesson is over.