A musical image is the combined character, musical means of expression, socio-historical conditions of creation, construction features, composer's style. Musical images are:
Lyrical images of feelings, sensations;
Epic-description;
Dramatic-images-conflicts, clashes;
Fairy-tale-images-fairy tales, unreal;
Comic-funny, etc. Taking advantage of the rich possibilities of the musical language, the composer creates a musical image in which
embodies one or another creative ideas, one or another life content.
Lyrical images
The word lyric comes from the word "lyre" - this ancient instrument, on which singers (rhapsodists) played, narrating various events and emotions experienced.
Lyrics are a monologue of the hero in which he talks about his experiences.
Lyrical image reveals individual spiritual world creator In a lyrical work there are no events, unlike drama and epic - only the confession of the lyrical hero, his personal perception of various phenomena. Here are the main properties of the lyrics:
Mood
Lack of action Dramatic/..imagery
Drama (Greek Δρα´μα - action) is one of the types of literature (along with lyrics, epic, and lyroepic), 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 depicting the process of action.
The main subject of dramatic art became human passions in their most striking manifestations.
The main properties 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, and as a result of this struggle either wins or dies - most often... 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 power of these feelings, commits active actions.
Almost everything Shakespearean heroes relate to dramatic images: Hamlet, Othello, Macbeth.
They're all overwhelmed 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 thirst for power, because of which he decides to kill the king.
Drama is unthinkable without a dramatic hero: he is its nerve, focus, source. Life swirls around him, like water churning under the action of a ship’s propeller. Even if the hero is inactive (like Hamlet), then this is explosive inaction. "The hero is looking for a catastrophe. Without a catastrophe, a hero is impossible." Who is he - a dramatic hero? Slave to passion. It is not he who is looking, but she who is dragging him towards disaster.
Works embodying dramatic images: 1. Tchaikovsky " Queen of Spades"
“The Queen of Spades” is an opera based on the story of the same name by A. S. Pushkin. Epic images
EPOS, [Greek. epos - word]
Epic work- This is usually a poem telling about heroic people. deeds.
The origins of epic poetry are rooted in prehistoric tales of gods and other supernatural beings.
Epic is the past, because tells about past events in the life of the people, about their 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.
First and simple diagram The division of arts associated with the word was proposed by Aristotle, according to which an epic is a story about an event, a drama represents it in persons, and lyrics respond with a song of the soul.
The place and time of action of the epic heroes resemble real story and geography (how epic differs radically from fairy tales and myths, which are completely unreal). However, the epic is not entirely realistic, although it is based on real events. Much of it is idealized and mythologized.
This is the property of our memory: we always embellish our past a little, especially if it concerns our great past, our history, our heroes. And sometimes it’s the other way around: some historical events and the characters seem worse to us than they really were. Properties of the epic: -Heroism
The unity of the hero with his people, in whose name he performs feats
Historicity
Fabulousness (sometimes epic hero fights not only with real enemies, but also with mythical creatures)
Evaluativeness (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 own 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 epic and lyricism and drama: what comes first is not the hero with his personal problems, but the story.
Works epic character:
1. Borodin "Heroic//symphony"
2. Borodin "Prince//Igor"
Borodin Alexander Porfirievich (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.
This is the subject of both the “Heroic Symphony”, which captures the image of the mighty heroic Motherland, and the opera “Prince Igor”, created based on the Russian epic “The Tale of Igor’s Campaign”.
“The Tale of Igor’s Campaign” (“The Tale of the Campaign of Igor, Igor, son of Svyatoslavov, grandson of Oleg, is the most famous (considered the greatest) monument of medieval Russian literature. The plot is based on the unsuccessful campaign of 1185 by Russian princes against the Polovtsians, led by Prince Igor Svyatoslavich. Fabulous ..images The name itself suggests storyline these works. These images are most vividly embodied in the works 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. Fairy-tale, fantastic images appear in close unity with nature in Rimsky-Korsakov’s music. Most often they personify, as in the works folk art, certain elemental forces and natural phenomena (Frost, Leshy, Sea Princess, etc.). Fantastic images contain, along with musical, picturesque, fairy-tale and fantastic elements, also features appearance and character 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 instrumental type are distinguished by great originality, complex in melodic-rhythmic structure, mobile and virtuosic, which are used by the composer in musical depiction fantastic characters. Here we can also mention fantastic images in music. fantastic//music//some//reflections
No one now has any doubts that science fiction works, published in huge numbers every year, and science fiction films, of which many are also produced, especially in the USA, are very popular. What about “fantastic music” (or, if you prefer, “musical fiction”)?
First of all, if you think about it, “fantasy music” has been around for quite some time. Isn’t it possible to include ancient songs and ballads (folklore) in this direction? different peoples all over the Earth to praise legendary heroes and various events (including fabulous - mythological)? And around the 17th century, operas, ballets and various symphonic works, created based on various fairy tales and legends. The penetration of fantasy 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 motifs are heard 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 fairy-tale and fantastic elements, closely intertwined with the theme of the confrontation between man and surrounding reality. It is impossible not to remember and Norwegian composer Edvard Grieg, famous for his musical canvases based on folk epic, and the works of Henrik Ibsen "Procession of the Dwarves", "In the Cave mountain king", Dance of the Elves, also by 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 an original way in Russian musical culture. Mussorgsky's works "Pictures at an Exhibition" and "Night on Bald Mountain", which depicts the Sabbath of Witches, are filled with fantastic imagery on the night of Ivan Kupala, which had a tremendous influence on modern rock culture, Mussorgsky also created a musical interpretation of N.V. Gogol’s story. Sorochinskaya fair". By the way, the penetration of literary fiction into musical culture is most clearly noticeable in the works of Russian composers: “The Queen of Spades” by Tchaikovsky, “The Mermaid” and “The Stone Guest” by Dargomyzhsky, “Ruslan and Lyudmila” by Glinka, “The Golden Cockerel” by Rimsky-Korsakov, "The Demon" by Rubinstein and others. At the beginning of the twentieth century, a true revolution in music was made brave experimenter Scriabin, apologist synthetic art, who stood at the origins of light music. In the symphonic score, he wrote the light part as a separate line. 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) began in the 70s of our century, with the development of computer technology and the appearance of the famous films “2001: A Space Odyssey” by S. Kubrick (where, by the way, they were very successfully used). classical works R. Strauss and I. Strauss) and "Solaris" by A. Tarkovsky (who in his film, together with composer E. Artemyev, one of the first Russian "synthesizers", created a simply wonderful sound "background", combining mysterious cosmic sounds with brilliant music J.-S. Bach). Is it really possible to imagine the famous “trilogy” of J. Lucas? star Wars" and even "Indiana Jones" (which was directed by Steven Spielberg - but the idea was Lucas!) without the fiery and romantic music of J. Williams, performed by a 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 model, to create amazing, downright magical sounds, weave them into music, “sculpt” the sound like a sculptor!.. Perhaps this is real science fiction in music. So from now on it begins new era, a galaxy of first master synthesizers and authors-performers of their works appears. Comic images The fate of the comic in music was dramatic. Many art critics 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, in musical creativity the comic has not won and, apparently, will never win the place that it has long occupied in literature, drama theater, fine arts, cinema.” So, the comic is funny, having broad significance. The task is “correction with laughter.” A smile and laughter become “companions” of the comic only when they express the feeling of satisfaction that a person’s spiritual victory evokes over what contradicts his ideals, what is incompatible with them, what is hostile to him, since to expose what that contradicts the ideal, to realize its contradiction means to overcome the bad, to free oneself from it. Consequently, as the leading Russian esthetician M. S. Kagan wrote, the collision of the real and the ideal lies at the basis of the comic. It should be remembered that the comic, unlike the tragic, occurs only if it does not cause suffering for others and is not dangerous for humans.
Shades of the comic are humor and satire. Humor is a good-natured, gentle mockery of individual shortcomings and weaknesses of an overall positive phenomenon. Humor is friendly, good-natured laughter, although not toothless. Satire is the second type of comic. Unlike humor, satirical laughter is a menacing, cruel, withering laughter. 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 have the ability to create comedy. There is no need to talk about literature, theater, cinema, painting - it is so obvious. Scherzo, some images in operas (for example, Farlaf, Dodon) - realize the comic in music. Or let’s remember the finale of the first movement of Tchaikovsky’s Second Symphony, written on the theme of the humorous Ukrainian song “Crane”. This is music that makes the listener smile. Mussorgsky's "Pictures at an Exhibition" is full of humor (for example, "Ballet of the Unhatched Chicks"). Rimsky-Korsakov’s “The Golden Cockerel” and many musical images of the second movement of Shostakovich’s Tenth Symphony are sharply satirical.
11.Concepts
Song or song - the simplest but most common form vocal music, uniting poetic text with a melody. Sometimes accompanied by orcestics (also facial expressions). A song in a broad sense includes everything that is sung, subject to the simultaneous combination of words and tune; in a narrow sense - small poetic lyrical genre, existing among all nations and characterized by simplicity of musical and verbal construction. Songs differ in genres, composition, forms of performance and other characteristics. The song can be performed either by one singer or by a choir. The songs are sung like instrumental accompaniment, and without it (a cappella).
The purpose of the lesson: comprehend the meaning and content of musical images in the works heard in the lesson.
Lesson objectives.
Educational:
- expand auditory representations child about the expressive means of music;
- develop the ability to analyze, compare, and make generalizations in the process of comparing musical images;
- compare the nature and content of musical works played in the lesson.
Educational:
- to achieve in performance a vivid embodiment of the musical image in the work “Elegy” by Yu. Dolzhikov;
- develop pitch, timbre and dynamic hearing;
- to update the child’s knowledge about the expressive means of music in the process of analyzing “Aria of the Shemakha Queen” by N. Rimsky-Korsakov from the opera “The Golden Cockerel”.
Educational
- to form an emotional and value-based attitude towards the music played in the lesson;
- bring up musical taste;
- promote the development of emotional responsiveness to music.
Lesson type: combined.
Teaching methods:
- comparison method;
- visual-auditory method;
- music observation method.
- method of thinking about music
- method of emotional dramaturgy;
- verbal methods: conversation (hermeneutic, heuristic), dialogue, explanation, clarification;
- method of musical generalization;
- plastic modeling method.
Basic concepts and terms: “Elegy”, melody, musical image, intonation, character, Jota, Mudeira, Cachucha, Spanish dances, aria.
Tasks for the student in the lesson:
- characterize the musical image;
- compare musical intonations;
- name the means musical expressiveness, which dominate the process of revealing the musical image;
- to follow the development of the musical image in the genre “Elegy of various composers;
- formulate lesson conclusions;
- perform the play “Elegy” by Yu. Dolzhikov, pondering the meaning of musical intonations;
- perform a fragment (first period) of “Spanish Dance” by M. Moszkowski
Works studied in the lesson:
- Dolzhikov Yu. “Elegy”;
- G. Fauré “Elegy”;
- J. Massenet “Elegy”;
- S. Rachmaninov” “Elegy”;
- Moshkovsky M. “Spanish dance”;
- Rimsky-Korsakov N. “Aria of the Shemakha Queen” from the opera “The Golden Cockerel.
Lesson equipment: musical instruments: bells, xylophone, vibraphone, piano; computer with speakers.
Structural lesson plan.
- Introduction – introduction to the topic of the lesson – 3 min.
- Work on “Aria” by Yu. Dolzhikov – 15 min.
- Analysis and Analysis Spanish dance” M. Moshkovsky – 10 min.
- Listening and analysis of “Aria of the Shemakha Queen” from the opera by N. Rimsky-Korsakov – 12 min.
- Lesson conclusion – 5 min.
Abbreviations used: P – teacher, U – student.
P: Hello Stepan. Today we will fill our lesson with different musical images. Do you know what a musical image is?
U: This is a phenomenon, thought or content that we embody in sounds.
P: Yes, you correctly listed several options. All of them are aimed at creating the content of a musical work. What is included in the concept of “content of a musical work”. Look at the notes, for example, the works of Yu. Dolzhikov “Elegy”.
U: Notes, dynamics, tempo.
P: Yes, you emphasized the “visible” part of the work. But today we will “open the invisible curtain” of a piece of music and find ourselves in Magic world your emotions, your mood, your attitude towards a piece of music. And the key for us to understand and comprehend this mystery will be: the musical text - the visible part of the work - everything that you saw and listed.
What do you think the invisible part is?
U: What is not in the notes is how the performer plays the notes.
P: Great, that means this is a side that is connected and heard only in direct performance. How do you feel when you perform a piece?
U: Depends on the nature of the work. I listen to music and kind of follow it.
P: Let me help you decide - these are emotions, feelings, experiences. Right?
U: Yes. If the work is sad, I don’t feel sad, but certain memories come to me and I try to convey in sounds what kind of mood these memories make me feel.
P: I suggest you fill out a small plate, after filling it out we will immediately see where the visible and invisible parts of the work are.
The teacher takes out a pre-prepared tablet and fills it out together with the child, summing up the introductory part of the lesson.
P: Great. This sign will remain with you, and when you feel that you have mastered the entire “visible side”, try to think about each “not visible side!”, because it is much more complicated, but also more interesting.
Let's return to “Elegy” by Yu. Dolzhikov, the work that we learned, we have already heard it along with the accompanist’s part. Tell me about his character?
U: It is sad, leisurely, thoughtful, heartfelt.
P: What visible side did you think about when you thought about the character?
U: About melody, tempo, rhythm.
P: Now I want you to perform the piece “Elegy” by Yu. Dolzhikov.
A child performs “Elegy” by Yu. Dolzhikov on bells with an accompanist.
P: Well done. You feel this music well, but to make your performance more soulful, I suggest turning to the title of this work - “Elegy”.
“Elegy is a genre ancient greek poetry. When composers turned to this genre, they left its original meaning - a work with a pensive character, which contains features: unhappy love, the motive of disappointment, loneliness, the frailty of earthly existence.
I have selected for you works by composers who turned to this genre. There will be three of them. The first work we will turn to is “Elegy” by the French composer Gabriel Fauré. We'll listen to a fragment.
When listening, please compare the melody with “Elegy” that you perform. (Listening task)
Listen to a fragment (2 min.) by G. Fauré “Elegy”.
P: What was the melody?
U: It is similar in character to the melody of “Elegy by Yu. Dolzhikov.” Thoughtful, doomed.
P: Or maybe you heard some differences?
U: Yes, there are differences - the melody that I perform is divided, as it were, into waves, or into steps that lead to the peak - the climax - the main phrase of the work. And the melody that we listened to is indivisible, it moves as if in one stream, it seems to “breathe”.
P: Your incredibly subtle remarks relate to the structure of the phrases of the melody. Having highlighted the common and the different, we can conclude that the nature of the work is in tune with the “Elegy” genre and the performer must be in the same emotional state in order to convey it, but the way in which the composers achieved this state is different. Let’s listen to the next fragment “Elegy” too French composer Jules Masse. While listening, pay attention to the melody and find similarities and differences ( Listening task).
Listen to a fragment (1 min.) of J. Massenet’s “Elegy”.
P: Let's turn to the melody. What is she like in this “Elegy”
U: It is also consonant with the image of “Elegy” - the same doom is heard. Here the composer made the melody memorable, there were also waves - but they were not the main thing, the main thing was that I wanted to sing this melody.
P: Yes, that's right. This melody fits easily under the vocal line.
And the last fragment “Elegy” by Russian composer Sergei Rachmaninoff. And we listen to the peculiarities of the melody ( Listening task).
Listen to a fragment (1:40.) S. Rachmaninov “Elegy”.
P: Tell us about the features of the melody in this “Elegy”
P: Right. Look at the “kaleidoscope” of melodies we listened to, but they all lead us to the same state. This is the meaningful, invisible side of music.
Let's turn to a new piece for you, which we just started learning - M. Moshkovsky “Spanish Dance”.
He's completely different figurative content and character.
I suggest you remember the melody.
The student plays the melody at a slow tempo. The teacher stops him after the first period.
P: You already play the melody well, you’ve learned the notes, but I don’t hear the character of this music. This is Spanish music. look at the screen, I have prepared for you several pictures related to this country. Look and tell me what is typical for this country ( Assignment for the slides)?
Slide show
U: The weather is hot there, red, an aggressive color, predominates. It seems to me that the people there have will, perseverance and determination.
P: Yes, that's true. And in order to embody the Spanish character in music, it is necessary to emphasize the first beat in a bar and play the second third easier, but with development again to the first. Let's try.
We play twice and the second time we get the task.
P: Now let’s turn to the word “dance”. Dances are very different. But we are interested in Spanish dances. I have prepared a table for you with dances existing in Spain. And we need to determine which of these dances is similar to the one you perform. While you are getting acquainted with the tablet, fragments of Jota, Muneira and Cachucha will be heard.
The student reads the tablet, listens and finds that our dance is similar in characteristics to “Cachucha”.
P: Now knowing the peculiarities of Spanish culture, when learning “Spanish Dance” by M. Moshkovsky, you will be able to meaningfully intonate the melody into the image of the work.
Today I would like to perform for you “Aria of the Shemakha Queen” by N. Rimsky-Korsakov from the opera “The Golden Cockerel”. You see a picture of the Shemakhan queen on the screen. Take the notes and a picture of the Shemakha Queen. Follow the melody carefully, and I will describe the musical image to me ( Listening task).
Performance of “Aria of the Shemakhan Queen” by N. Rimsky-Korsakov from the opera “The Golden Cockerel” on vibraphone, accompanied by piano.
P: What is the musical image in this work?
U: Wayward, oriental, rich, lush.
They told you right. If you noticed, “Aria” sounds in opera - a vocal-instrumental genre. So Aria has words. Read the words of the first verse and listen again to the fragment of the aria.
And tell me, do the words help us understand the musical image or not?
Performance of “Aria of the Shemakhan Queen” by N. Rimsky-Korsakov from the opera “The Golden Cockerel” on the vibraphone of the first verse, accompanied by piano.
U: Yes, they are just painting a picture of the east.
P: To summarize our lesson, I would like you to tell us how music reveals a musical image to us?
U: It’s always different: sometimes you need to look at the name, sometimes you need to turn to the country from where this music came to us, and sometimes, in vocal music, you need to carefully think about the content and the musical image will come on its own.
P: That's right, Stepan. Every time, turning to this or that work, it is necessary that it be “overgrown” with, as it were, invisible content, but it is this that will tell you what sound you need to play, what character the work has, what emotions and memories will help you in embodying the musical image. You take all the lesson materials with you, put them in a folder with notes. Thank you for the lesson.
The teacher writes homework and ends the lesson.
Introduction
The subject “Listening to Music” is a kind of introduction to the art of music. Understanding music is a very complex skill that develops through learning.
Listening to music helps to actively perceive music and listen carefully to its various features. In addition, listening to music allows children to be introduced to much more complex music compared to what they themselves perform in a specialty class. Children get the opportunity to hear great vocal, instrumental, orchestral works in good performance. Listening gives the opportunity to hear music of different genres, forms, styles, eras performed famous performers and composers.
My observations show that teaching children to actively listen to music is difficult, but doable. The task is precisely to ensure that the perception process is active and creative, so in our work we use various creative tasks, for example, reflect your attitude to music through a drawing, compose your own story, fairy tale and much more. After all, how much more meaningful will it be for children to perform musical works if they have a good command of the means of musical expression, know how to listen to music, hear themselves, correctly imagine musical images, and much more that a competent musician needs to master.
The introduction of the “musical graphics” method has particular pedagogical effectiveness as a method of polyaesthetic, polyartistic education and upbringing. Drawing music is a creative act that requires independence of thinking and action, which creates conditions for maximum concentration, activation of attention, and interest.
Children’s drawings with the content and form of the work reflected in them serve as a kind of visually fixed “document”, allowing: on the one hand, to judge the depth of perception of music, and on the other, about the typological characteristics of the personality of the students themselves. This is a type of “feedback” that is unattainable by other means (survey, conversation, questionnaire), and in every lesson and in relation to every child.
For six months we studied the uniqueness of musical language in comparison with literature, fine arts. After all, the word in literature, color and design in painting are the specific material of these types of arts; in music, such material is sound, creating a complex world of musical intonations. They learned to perceive unfamiliar works from the point of view of an emotional-figurative structure, to penetrate into the content of music, relying on the elements of musical speech and the logic of dynamic development. Learned the ability to memorize a piece of music and analyze it; learned the ability to determine general character and figurative structure of the work; the ability to identify expressive means of music, learned to convey their observations and impressions in drawings.
Today we will present to you final lesson on the topic “Musical image and features of musical speech.”
Lesson steps
1. Organizing time. Emotional mood students, message the topic of the lesson.
2. Introduction to the topic. A conversation about the features of music, painting and poetry, what means of expression the poet, artist, and composer use to create images of their works.
3. Main part. Definition of the concept of “musical image”, definition of the means of expression that create this or that musical image. Conducting a music quiz, analyzing students' drawings from homework. Explanation of new material.
4. Summing up the lesson.
During the classes
Teacher - The great artist and scientist of the Renaissance said: “Music is the sister of painting,” what do these sisters have in common, let’s look further: “Painting is poetry that is seen, And music is painting that is heard” (Slides 3, 4). So, these types of art are very close to each other? The only difference is in the means of expression.
What do artists use to create their paintings (Slide 5)? Poet - ? Composer - ?
Answer - using paints and brushes, pencils or special artistic crayons. Poets - with the help of words, composers - with the help of sounds.
Teacher - Can a composer paint musical pictures?
Let's remember Kushnir's poem: “If you see a river drawn in the picture...”, “If you see that one of us is looking from the picture... (students read Kushnir’s poems).
Teacher - Can music draw? - How does music paint? - What or who can music depict?
Is it possible to draw landscapes, portraits, animals in music (Slide 6)? Is it possible to create musical images in music? But first of all, let's define what a musical image is? This is... (Slide 7)
Answer - A musical image is a conventional character of a musical work.
Teacher - How are musical images created?
Answer - They are created using different means of expression.
Teacher - What means of musical expression do you know? Let's look at the screen (Slide 8). Choose from the proposed concepts those that relate to means of expression.
Answer - Melody, harmony, registers, dynamics, tempo, rhythm, harmony, strokes, texture and much more (Each of the students who answers gives a definition of the means of musical expression).
Teacher - Each of these elements of musical language helps us in perceiving a musical image. And now music quiz(Slide 9). Let us now remember what musical works we are already familiar with (The “Royal March of the Lions” sounds).
Answer - This is the “Royal March of the Lions” from “Carnival of the Animals” by composer Saint-Saëns.
Teacher - The Carnival Suite opens with the “Royal March of the Lions”. What is the character of the music?
Answer - A march sounded. The music - solemn, calm, majestic, proud - paints an image of a strong and intelligent predator.
Teacher - Carnival of animals. Which animal should open this carnival and stand at the head?
Answer - A lion.
Teacher - Why?
Answer - He is the king of beasts. He's in charge.
Teacher - Right. What kind of lion character did the composer portray? What means of expression did he use for this? It is important for him that people pay attention to him, to his gait. What musical means of expression did Saint-Saëns convey this to? (Re-listening, Slide 10).
Answer - The lion's gait(s) is depicted by the entire ensemble, and the roar is depicted by the piano, so the lion is not scary, but important.
Teacher - In what register is the music sounded? What instruments perform it?
Answer - The music sounds in a low register and is performed by cellos and double basses.
Teacher - What texture does the composer use to show this majestic king of beasts? Let's follow the notes.
Answer - The texture is also majestic and powerful. First - chordal, since this is a march, and then unison: it is performed by cellos and double basses in a low register.
Teacher - Why do we say “conventional character”?
Answer - I think that the composer, when composing the work, wanted to reflect his attitude to life, to embody some of his thoughts, and we, listening to this music, can only guess what he wanted to tell us in this work. Sometimes the composer gives us hints. For example, we listened to the “Royal March of the Lions” from “Carnival of the Animals” by Saint-Saëns. Of course, we imagined lions, but each in our own way.
Teacher - Of course, in gamma-shaped passages, some of you heard the “roar” of a lion, and some heard how he runs across the savannah, that’s why we say “conventional character”, everyone imagines the image in their own way.
Teacher - And again the question (Slide 11). Let's remember one more work. What is the name of this work? Who wrote it? Is music good or evil in nature? In what register did the music sound, with what dynamics? What texture?
Answer - Father Frost, composer Schumann.
Teacher - Yes - this is Santa Claus - How do you imagine him? What means of expressiveness did the composer use to depict this image?
Answer - The music is harsh, even ominous, the dynamics are very loud, the melody sounds in a low register. Minor mode.
Teacher - Was the music always the same, or did it change? Let's listen again and trace the texture of the piece through the notes (Slide 12). What has changed compared to part 1?
Answer - In the middle the music stopped as if it froze, because the dynamics became very quiet, mysterious, the scale was major, the register was medium, and then Santa Claus got angry again. The texture in part 1 is unison and at the end of phrases it is chordal, as if someone is knocking very loudly with a staff. And in the second - homophonic-harmonic, the melody sounds like a background, against this background a very ominous melody appears in a low register. Santa Claus is not at all kind.
Teacher - Let's see your drawings. Describe Santa Claus who comes to you for the New Year.
Teacher - What other musical images do you know?
Answer - There are a lot of things in music different images. For example, “image-portrait”, “image-landscape”, “image-mood” and many others.
Teacher - In music you can convey literally everything: feelings, experiences, thoughts, reflections, actions of one or several people; any manifestation of nature, an event in the life of a person, a people, an image of animals, birds, and a lot of other things. In other words, the language of music is inexhaustible.
Today we will get acquainted with the “image-mood”. Each person can have one mood or another: happy or sad, calm or anxious. The sun smiled at you, and you want to smile back at him. If your mother scolds you for some offense or your favorite toy breaks, your mood becomes sad and melancholy. Music has a magical property - it can convey any mood of a person, express different feelings, experiences - tenderness, excitement, sadness and joy (Slide 13).
· Determine what feelings of mood are expressed in this music?
· Determine the nature of the music?
· Listen, will the mood of the music change or not?
· Think about what means of expression the composer used?
(The play is played Slides 14, 15).
The play you just heard is called “Fun - Sad.” This play was written by a wonderful German composer Ludwig van Beethoven (Slide 16).
The story is like this: Part 1 - “Merry” - this is a so-called drinking song. The friends have all gathered together at the table, and perhaps one of the friends, and perhaps Beethoven himself, sets off on the road. They're all having fun and the lyrics are:
Sing, friends, spring has come.
We were all waiting for a warm day.
Well, Maria, let's sleep together,
We will all sing and dance.
Part 2 - “Sad.” Beethoven hits the road. He says goodbye to home, he wants to move to Vienna to meet the already world-famous Mozart. Beethoven is young and he wants to present his works to Mozart. He is worried, he is leaving his home for the first time and traveling to unknown lands. The journey to Vienna is very long - that's why he is sad.
Goodbye dear ones, goodbye dear mother,
I will write to you.
I don't know if I'll see you again.
I'm leaving the house where I was born
Where I grew up dreaming, where I grew up suffering.
I don’t know what will happen to me.
It is with such sad thoughts that Beethoven goes to meet Mozart. He does not yet know how the great Mozart will meet him.
Let's listen again, open the notes, and trace the changes in the music and the texture of the musical piece.
Teacher - Listen to the melody in the first part of the piece (called “Merrily”) , smooth or jerky? (Performs fragment). What stroke?
Answer - Jerky, staccato stroke.
Teacher - Yes, the cheerful, playful melody of this part sounds abrupt, light and gentle. And what about the melody of the second part of the play, which is called “Sad”? (Performs fragment.)
Answer - Melody - smooth. Legato stroke. Slow pace, everything expresses a mood of sadness.
Teacher - Right. The sad, melancholy mood of this part is created by a smooth, “smooth” melody.
At the end of the lesson, I would like to ask you, did you like the music we listened to? What new did you learn in the lesson? What interesting things did you learn in the lesson? Is it true that the language of music is inexhaustible? What is the purpose of our lesson?
We achieved it, I think we were quite successful.
Maybe you yourself want to compose a play, or a story, or a fairy tale called “Fun and Sad”? And for homework, you have pictures with clowns on your table (Slide 17). What is missing from their face? Therefore, their faces are faceless, color them and draw them so that it is clear where sad clown, and where - cheerful. Lesson summary: assessment of each student’s work in class.
Guys! Thank you for the lesson. You gave me great pleasure communicating with you, your deep understanding of such a topic as “Musical Image”.
lesson musical image student
Bibliography
1. Asafiev B.D. On musical and creative skills in children // B.V. Asafiev. Selected articles on music education and education / Under. ed. E. M. Orlova. - M.; L., 1965.
2. Geilig M. Essays on methods of teaching musical literature. M. 1986.
3. Goryunova L.V. Development of children's artistic and imaginative thinking in music lessons. // Music at school. 1991. No. 1.
4. Kritskaya E.D. Intonation analysis - creativity of teacher and student / Art at school. 1993. No. 1.
5. Mikhailova M.A. Development musical abilities children. - Yaroslavl: Academy of Development, 1996.
6. Osovitskaya Z.E., Kazarinova A.S. Musical literature: Textbook for children's music school: First year of teaching the subject. - M.: Music. - 2001. - 224 p.
7. Ostrovskaya Ya., Frolova L. Musical literature in definitions and musical examples: 1st year of study. Tutorial. - St. Petersburg: Publishing house "Composer - St. Petersburg", 2010. - 208 p., ill.
8. Pervozvanskaya T.E. World of music: Full course theoretical disciplines: Complete course of theoretical disciplines: Textbook “Listening to Music”, 1st grade - Publishing House “Composer - St. Petersburg”, 2004. - 85 p.
9. Terentyeva N.A. Artistic and creative development of junior schoolchildren in music lessons in the process of holistic perception various types art. - M.: Prometheus, 1990.
10. Shornikova M. Musical literature: music, its forms and genres: first year of study: tutorial- Rostov n/d: “Phoenix”, 2008. - 186 p.
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 through the means of musical art. The basis of the musical image is the musical theme. A musical image is a unity of objective and subjective principles. Contents artistic The image in music is human life.
The musical image embodies the most essential, typical features of the phenomenon - this is objectivity. The second side of the image is subjective, associated with the aesthetic aspect. The image conveys a 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 help but draw attention to the fact that the abstractly generalized is subject to music. An image in music is always a reflection of life passed through the artist. Each musical image can be called life, which is reflected in the music by the composer. When defining a musical image, you need to keep in mind not only the means with 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 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 height, saturation, length, timbre. Music as sound art is 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 musical language is the language of feelings, moods, states, and then the language of thoughts. 
The specificity of a musical image is a problem for musical-aesthetic theory. Throughout the history of its development, music has sought in different ways specify musical image. The methods for this specification were different:
1) sound recording;
2) the use of intonations with a clearly defined genre belonging(marches, songs, dances);
3) program music and, finally,
4 ) establishing various synthetic connections.
Let's consider these methods of concretizing musical images. There are two types of sound recording: imitation and associative.
Imitation: imitations of real-life sounds reality: the singing of birds (nightingale, cuckoo, quail) in Beethoven’s “Pastoral Symphony”, the sound of bells in Berlioz’s Symphony Fantastique, 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) by movement
("Flight of the Bumblebee" ). Associations arise in the listener due to 2) the height and high-quality coloring of the sound (bear - low register of sound, etc.). 
Associations represent a separate form of associations in music 3) by color
when, as a result of the perception of a piece of music, an idea of the color of the phenomenon arises.
Associative sound recording is more common compared to imitation. Regarding the use of intonations with a bright genre belonging, then there are an infinite number of examples here. Thus, in the scherzo from Tchaikovsky’s symphony there is both a march theme and the Russian folk song “There was a birch tree in the field...”.
Program music is of particular importance for concretizing the musical image. In some cases, the program is: 1) the title of the work itself or an epigraph. At other times, the program presents 2) the detailed content of a musical work. In language programs, a distinction is made between picture and story programs. A textbook example can serve as a painting - “The Seasons” by Tchaikovsky, the piano preludes of the impressionist Debussy “The Girl with Flaxen 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 sequentially developed. Tchaikovsky used a detailed plot for the symphonic fantasy “Francesca do Rimini” after Dante. This work was written based on the Fifth Song of “Inferno” from The Divine Comedy.
Sometimes the program in a musical work is determined by a painting. Program music brought the genre to life programmatically - instrumental and program-symphonic music. If the listener is not familiar with the program, then his perception will not be adequate in detail, but there will not be any special deviations (the character will be unchanged in the perception of the 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.
Introduction. Imagery as a basis musical art.
Chapter 1. Concept artistic image in musical art.
Chapter 2. Imagery as the basis of composers’ creativity.
§ 1 The figurative structure of S. Rachmaninov’s music.
§ 2. The figurative structure of F. Liszt’s music.
§ 3. The figurative structure of D. Shostakovich’s music.
Chapter 3. Generalized ideas about ways to comprehend a musical image.
Chapter 4. Disclosure of the topic “Musical image” in music lessons in the 7th grade of a secondary school.
Music classes by new program focused on development musical culture students. The most important component musical culture is the perception of music. There is no music outside of perception, because... it is the main link and a necessary condition study and knowledge of music. It is the basis for composing, performing, listening, teaching and musicological activities.
Music like living art is born and lives as a result of the unity of all types of activity. Communication between them occurs through musical images, because 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 is born, which is then embodied in a musical work.
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 system of analyzers.
Sometimes the term perception also denotes a system of actions aimed at becoming familiar 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 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 objective-practical, sensory-perceptual, mental activity, representing a holistic integral reflection of reality, in which the main categories (space, movement, color, shape, texture, etc.) are simultaneously represented. In information terms, 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.
Imaginative thinking is both involuntary and voluntary. The first technique is dreams, daydreams. “-2nd is widely represented in creative activity person.
The functions of imaginative thinking are associated with the presentation of situations and changes in them that a person wants to cause as a result of his activity, transforming the situation, with the specification of general provisions.
With the help of figurative thinking, the whole variety of different factual characteristics of an object is more fully recreated. The image can capture the simultaneous vision of an object from several points of view. A very important feature of imaginative thinking is the establishment of unusual, “incredible” combinations of objects and their properties.
Used in figurative thinking various techniques. These include: an increase or decrease in an object or its parts, aglutination (the creation of new ideas by attaching parts or properties of one object in the figurative plane, etc.), the inclusion of existing images in new outline, generalization.
Imaginative thinking is not only genetic early stage in development in relation to verbal-logical thinking, but also in an adult independent species thinking, receiving special development in technical and artistic creativity.
Individual differences in figurative thinking are associated with the dominant type of ideas and the degree of development of techniques for presenting situations and their transformations.
In psychology creative thinking sometimes described as a special function - imagination.
Imagination is a psychological process consisting in the creation of new images (ideas) by processing the material of perceptions and ideas obtained in previous experience. Imagination is inherent only to man. Imagination is necessary in any type of human activity, especially when perceiving music and the “musical image”.
There is a distinction between voluntary (active) and involuntary (passive) imagination, as well as reconstructive and creative imagination. Recreating imagination is the process of creating an image of an object based on its description, drawing or drawing. Creative imagination called self-creation new images. It requires the selection of materials necessary to construct an image in accordance with one’s own design.
A special form of imagination is a dream. This is also the independent creation of images, but a dream is the creation of an image of what is desired and more or less distant, i.e. does not directly and immediately provide an objective product.
Thus, the 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, and those interpretations, ideas, associations that are born in the listener’s mind in connection with it. Obviously, the wider the range of such subjective ideas, the richer and more complete the perception.
In practice, especially among children who do not have sufficient experience 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 them; what in this “own” is due piece of music, and what is arbitrary, contrived. If in the fading instrumental conclusion of E. Grieg’s “Sunset” the children not only hear, but also see a picture of the sunset, then only the visual association should be welcomed, because it comes 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 in similar cases It is important not just to say that this answer is incorrect, unreasonably invented, but also, together with the whole class, to figure out why it is incorrect, why it is unreasonable, confirming your thoughts with evidence available to the children at this stage of development of their perception.
The nature of fantasizing to music seems to be rooted in the contradiction between a person’s natural desire to hear its life content in music and the inability to do this. Therefore, the development of the perception of a musical image should be based on an increasingly complete disclosure of the life content of music in unity with the activation of associative thinking of students. The more broadly and multifacetedly the connection between music and life is revealed in the lesson, the deeper the students will penetrate into the author’s intention, the greater the likelihood that they will develop legitimate personal life associations. As a result, the interaction process author's intention and the listener’s perception will be more full-blooded and effective.
