Pavlenko Irina Alexandrovna
Job title: piano teacher
Educational institution: MBUDO "DSHI" Usinsk
Locality: Usinsk city
Name of material: Methodological report
Subject:“Stages of work on the artistic image of a musical work in a modern art school”
Publication date: 21.05.2018
Chapter: additional education

“Stages of work on the artistic image of a musical

works in a modern art school"

Work on the artistic image of a musical work

must begin at the earliest stages of contact

learning with music - from the first lessons and from the beginning of mastering musical notation

Even with the initial performance of the simplest melody

it is necessary to try to ensure that the performance is expressive, and the character

performance corresponded to the nature of the melody.

G.G. Neuhaus wrote: “As early as possible, you need to get the child to

he played a sad melody sadly, cheerfully - cheerfully, solemnly

solemnly, etc., etc. and would bring his artistic and musical

intention until completely clear.”

Any performer always faces a difficult task - it is necessary

hand over emotional character, mood and intention laid down

How can this be achieved?

\The study of the work can be divided into three stages:

the first one is introductory,

second – detailed work on the work

the third is the final one, preparing for the concert

execution.

At the first and third stages, a holistic, generalized approach to

the work, and on the second - a more detailed consideration of it.

Let's look at each stage:

First step– introductory. At this stage you need to create

initial generalized idea of ​​the work, about

character, mood of the music. This stage is extremely important. Freshness

and the brightness of the first impression, among other things, carry

special, personal originality of experience, which will subsequently be

determine individual characteristics of interpretation. In class

with the teacher, the initial image is created mainly with the help

teacher who introduces the student to the work,

plays it on the instrument, talks about it.

Skills play a leading role when familiarizing yourself with a work.

quick orientation in musical text, ability to sight read. At

when reading, significant simplification of texture, harmony,

skipping technically complex elements. In difficult works

you can limit yourself to playing the melodic line - the main

meaning-forming element of the musical fabric or, at least

case, by carefully viewing the musical text without an instrument.

Lack of sight reading skills is possible and even necessary

compensate by active work of auditory imagination –

mental reproduction of musical material,

playing the most difficult fragments “in the mind”, due to

recreating imagination. When meeting a new musical

work you can also listen to it performed by outstanding

masters To avoid the desire for literal copying,

It is advisable to listen to the work performed by different

musicians, get acquainted with various interpretation options.

Then the polysemy of the musical image will become clearer,

the diversity of his artistic interpretation. After

preliminary acquaintance with the work at the instrument,

It is useful to consolidate your impressions in verbal form. Wherein

sufficient brief characteristics consisting of several words and

reflecting the general emotional coloring of the musical

image. For example: lyrical-contemplative, poetic,

enlightened, dreamy, determined, impetuously passionate,

gentle, pure, flexible, graceful...

When determining the nature of the work, you should carefully study

designations of tempo, mood of music, sound character, dynamics, etc.

Since these instructions are traditionally given in Italian, you need to know

exact value.

So, the most important points of the first stage of work:

– holistic coverage of the work through sight reading and mental

playing;

– listening to sound recordings;

– a brief verbal description of the musical image.

second phase– detailed work on the work. Main goal

the second stage is a further deepening into the figurative structure

an extended period of work coinciding with the technical

pianistic mastery of musical material. In disclosure

the artistic content of the work has a primary role

plays a competent and comprehensive analysis. Analysis of artistic

a work, by its very essence, must be artistic.

The main tasks of emotional and semantic analysis:

identify the structure of the content of the work, its main sections,

the nature of thematic structures, their expressive meaning;

trace the dynamics of development in a work of art

tensions, climaxes, moments of mood change;

analyze the musical means used in the work

expressiveness - harmony, rhythm, melody, elements of polyphony,

texture of presentation, artistic touches, etc. - from their point of view

emotional and semantic meaning.

In practical work on a work, emotional and semantic analysis

directly intertwined with other methods: techniques

conducting demonstration, singing, methods of associations, comparisons and

comparisons.

Third stage– final. After detailed

work on a piece, it is learned by heart and mastered

technically, the last - final stage of work begins,

the purpose of which is to form a holistic musical

performance image and its real embodiment in performance.

This stage assumes, like the familiarization period, holistic coverage

work, playing it in its entirety. Between initial and

The final stages of mastering a work have much in common. And in that

and in another case, a synthetic, generalizing approach to

work. But at the final stage, a holistic view

is formed at a different, much higher level, taking into account all

work done, all extracted from previous stages knowledge and

impressions. Particular attention at the final stage

artistic work attention should be paid to the work

formation of an emotional performance culture. Necessary

observe a sense of proportion in expressing feelings, strive for

naturalness and sincerity of aesthetic experience.

Emotional excesses, mannerisms and exaggerated affectation

incompatible with a truly artistic experience of music. About

A.G. Rubinstein said this well: “Feelings cannot be too

a lot: a feeling can only be in moderation, and if there is a lot of it, then it

false." Therefore, the performer needs outside control

consciousness, the ability to control oneself, regulate one’s

emotional condition.

The most important points of work at the final stage of study

works:

creating an emotional execution program, plan

interpretations;

trial plays at the appropriate tempo and mood;

orientation of performance to the listening audience;

formation of an emotional performance culture;

training of performing will and endurance;

if necessary, return to a slow pace or take a break from work

over the work.

In modern pedagogy, for the most effective work on

musically The following types of classes have been developed:

1. Monothematic lessons. They concentrate around one

artistic and semantic core and are dedicated to solving any

one problem. This could be analysis of the musical text, the meaning of the melody,

freedom and ease in handling the instrument, different types

pedal, harmonic, polyphonic, textual,

fingering lessons.

2. Polythematic lessons. They combine various, often

contrasting tasks. They are aimed at a larger spectrum

knowable material. This often helps to increase the student’s interest.

This form of lesson organization is often used as highlighting

"core" in each of several works studied by the student.

Important details seem to be grouped around the central task,

the number of which should be limited.

3.Lessons in free form. They are carried out with students standing on

higher level of development, able to assimilate complex instructions

teachers who can work proactively and independently. Above especially

you can work on a difficult piece in detail and for a long time until you see

noticeable result. If the student is already on track to achieve the goal,

he has the opportunity to strive for improvement right there in the lesson.

At the same time, the teacher only occasionally gives guiding instructions. This form

work under the unobtrusive control of a teacher is extremely effective, as

how it allows you to check and guide the student’s independent work.

During any of the above types of activities, it is necessary to

switch the student from actual work to acting out. In terms of work

lesson, it is necessary to distinguish between learning and execution. This will help education

the pop state of mind of the young pianist. One more point: during

work must be given to the student and some relaxation, for example, to play

him some piece, talk about the latest musical impressions,

play with him four hands. As a result, the child's attention is refreshed and

he is again ready for persistent work that requires the mobilization of all forces.

The main task in working on the figurative structure of musical works is

create conditions for the student’s artistic performance of what he has learned

compositions, to give the child the opportunity to feel like a musician -

an artist.

Ideally, inspiration should appear whenever a child

turns to music. Pedagogical success will be the success of the student on the stage.

Thus, work on the artistic image of the musical

The work must be multifaceted. Student and teacher

full of enthusiasm and love for their work, this, in turn, is complemented by

the individuality of the student and the enormous charm of the teacher’s personality

(culture). In this union a great variety of forms and methods is born.

work on artistic images of musical works.

Nadyrova D.S. Working on the artistic image of a musical

works - Kazan, 2013

Savshinsky S.I. A pianist working on a piece of music. – M.:

Classics XXI, 2004.

Tsypin G.M. Learning to play the piano. - M., 1984

The purpose of the lesson: improving the techniques of conveying figurative content in the play “Andantino” by A. Khachaturian

Tasks:

• work on playing the melody, articulation,
• clarify voice guidance, sound balance between melody and accompaniment,
• find out the dynamic plan,
• work on conveying the form of the play,
• consolidate the skill of competent pedaling.

This lesson is dedicated to working on the artistic image in a work small form cantilena character – the play “Andantino” by A. Khachaturian.

The lesson begins with working on scales and exercises. After playing the C minor scale (the play “Andantino” was written in this key) in forward and reverse motion, the student must pay attention to the precise execution of the fingering. To correct mistakes, it is useful to clarify the fingering when playing with each hand in one, then in two octaves. Play the scale with different rhythmic options, with different dynamics and strokes. The same techniques can be used to work on chromatic scale, arpeggios, chords, etc.

Scales and exercises are material for working on the student’s technical development, along with etudes and pieces of a virtuoso nature. In this lesson we are working on a sketch by K. Czerny (Selected sketches edited by G. Germer, part 1, Study No. 23). The student is offered a clear pronunciation of the upper sounds in the melody, tenacious fingers when playing staccato. When working on passages, precise fingering and the ability to place 1 finger are required. It is necessary to control the freedom and flexibility of the hand, the active work of the fingers, the precise execution of strokes, rhythm, and pauses.

The main time of the lesson is devoted to working on the artistic image in the play “Andantino” by A. Khachaturian.

From the very beginning of training and in the future, the teacher needs to develop and improve not only the technological skills of using the instrument of his students. It is important to intensively “immerse” the student in the music being performed, to “infect” it with it. The work should touch his soul and awaken his imagination. Already from the performance of the first melodies at the beginning of training, it is necessary to get the child to play them expressively, with an understanding of character, i.e. a sad melody - sad, a cheerful one - cheerfully, a solemn one - solemnly, etc.

Work on an artistic image begins with familiarization with the play. It is recommended to choose works with interesting figurative content, in which the emotional and poetic principle appears more clearly. If the music has captivated the student, his emotional state will have a positive effect on his diligence and will contribute to more focused, persistent work on the sound, tempo, nuances, and playing techniques of performing this work, so that as a result it sounds bright, meaningful, and expressive. We need to tell the student about the author of the play and his work. After listening to the play performed by the teacher, talk about its character and artistic content.

At the stage of text analysis, it is necessary to select the most suitable fingering for a particular student. Rational fingering contributes to better solving artistic problems, and relearning it delays the process of studying the work.

“Andantino” is a work with a hidden program; the title only gives a definition of the tempo. The student's imagination is given scope in determining the content of the play. We can assume that this is a musical poetic sketch. For example, a student presented such a picture, came up with such an artistic image: beautiful Mountain landscape, autumn, a young girl is standing on the river bank. A sad song sounds, reminiscent of the intonations of Armenian music, like a memory of spring, of past happiness, of a friend who has left. The melody is sad, leisurely, in a minor key. The accompaniment is set out in repeating thirds. The low second degree and the use of fifths give the music an oriental flavor. The play was written in 2 private form. In Part 2, the melody is repeated an octave higher, which intensifies the feeling of sadness. The accompaniment takes on a more agitated character, a sustained bass and a syncopated echo appear. The final phrase sounds like a sad but calm conclusion in the middle register, reminiscent of the voice of a cello.

Working on an artistic image also means working on sound production, a variety of performing techniques necessary to convey the character of a musical work. In the play “Andantino” it is necessary to achieve good legato, expressiveness, and depth of sound of a beautiful melody, similar to human singing. It is necessary to constantly monitor the freedom of the performing apparatus, the ability to immerse the hand in the keys with weight “from the shoulder”, and control the sound by ear. Work on the evenness and softness of the thirds in the accompaniment in part 1, and the hand should not be frozen, as if it were “breathing.” Then over the deep dive of the left hand when playing the bass line and the soft sound of the backing in the 2nd part, performed with 1 finger. You need to learn to play bass and backing notes in one movement. The left hand part in the piece presents quite a challenge. It must be brought to automaticity so that it does not interfere with the performance of the melody.

It is necessary to determine the form of the play, its structure, division into motives, phrases, sentences in order to phrase correctly; find out the features of the presentation of the melody, accompaniment, as well as dynamics (beginning, rise, culmination, decline in each construction). An artistic and dynamic execution plan is drawn up. Having determined the boundaries of phrases, it is necessary to trace the development of the melody and find intonation peaks. When performing a piece, the student must listen to the end of each phrase and learn to take a breath before the next formation. To achieve greater brightness of performance, it is useful to come up with and use subtext. The main culmination is revealed, which in “Andantino” is located in the 2nd part of the play, a single line of development of the musical material is determined with a feeling of not only the supporting sounds in phrases, small peaks, but also the main culmination of the work. It is necessary to achieve in the student’s performance an increase in emotional tension precisely towards the central climax point, which leads to the brightness and integrity of the sound of the play.

In Andantino, a cantilena piece, the role of the pedal as a means of color is important. The sound is given not only new colors and a new timbre, but also greater volume and fullness. The pedal helps to more clearly reveal the expressive artistic possibilities of the piece. The right pedal links different sounds into one harmony, helping to combine different elements of texture. It is necessary to carry out detailed work: find the bars where the pedal is used as a binding or colorful means, carefully consider the moment of taking it on and off, listen to each bar with the pedal so that its use does not violate the purity of vocal performance. It is recommended to put it in the notes. We need to carry out special work to consolidate the skill so that the foot does not knock on the pedal, does not rise above it, but constantly feels it with a soft touch. When working on the Andantino piece, it is useful to first learn the pedal by hand, then both hands together, while constantly monitoring the purity of the sound.

Before each performance of a piece by a student, he must be reminded of the need to constantly listen to himself, his performance as if from the outside, try to play not only correctly, but also expressively, emotionally, and also notice shortcomings in order to correct them later.

Achieving success in working on the embodiment of an artistic image is possible only by continuously developing the student’s musicality, his intellect, his emotional responsiveness to music, and improving sound production techniques. He must be captivated by the content and images of the piece, then he works more persistently, improves his pianistic technique, trying to more clearly convey the artistic image of the work in his performance.
To work at home, you must be given the task to continue the work started in class, on the performance of the melody, accompaniment, dynamic shades, use of the pedal, and work on the artistic image of the play.

References:

1. Neuhaus G. About the art of piano playing. Publishing house "Deka-VS", 2007
2. Lyubomudrova N.A. Methods of learning to play the piano. M.: Muzyka, 1982.
3. Alekseev A.D. Methods of learning to play the piano. Third edition - M.: Muzyka, 1978
4. Timakin E.M. Education of a pianist. – M.: Muzyka, 2011.

Summary of an open lesson on accordion for students in grades 1-2 of children's music school

Topic: “Work on the artistic image of a work using the example of B.N.P. “Quail”, “Polyushko-field” by L. Knipper.”

Description of work: Developing a student’s artistic image when playing a musical instrument is one of the most important tasks for a music teacher. When working on the artistic image of a musical work, the main task of the teacher is to develop a number of abilities in the student that contribute to his “passion” when playing. These include creative imagination and creative attention. Upbringing creative imagination aims to develop his clarity, flexibility, initiative. The ability to clearly and vividly imagine an artistic image is characteristic not only of performers, but also of writers, composers, and artists. This summary presents the forms and methods of work in specialty lessons with primary school students of children's music schools to reveal the artistic image of a work using the example of various plays.

Lesson type: open
Form of work: individual
Lesson topic: Work on the artistic image of a work using the example of B.N.P. “Quail”, “Polyushko-field” by L. Knipper
The purpose of the lesson: Learn to reveal the artistic image of works.
Tasks:
Educational – define the concept of “artistic image of a work”; teach to reveal the intention of the work.
Educational – to cultivate a culture of performing the work.
Developmental– Develop listening and understanding skills performed work, develop imagination, thinking, memory, sense of rhythm.

During the classes
The structure of the lesson consists of five parts:
Part 1 – organizational;
Part 2 – work on new material;
Part 3 – consolidation of the material studied in the lesson;
Part 4 – summary of the lesson;
Part 5 - wording of homework.

Part 1 – Organizational
Preparing the gaming machine:
playing scales C, G Major with the right hand in different strokes: legato, staccato; arpeggios, right hand chords at a slow tempo;
playing the C major scale with the left hand;
playing the C major scale with two hands.
analysis of homework - oral report on the work done homework: what tasks were set for the student, what was accomplished and what did not quite work out, why? What difficulties did you encounter during implementation? homework check - complete playing of pieces with both hands “Polyushko-Field” by L. Knipper and B.N.P. “Quail” with the completion of previously assigned tasks:
1. change the bellows in the indicated places of the musical text;
2.accurately fulfill the fingering requirements - observe the fingers placed above the musical notes;
3. accurately maintain all durations;
4.keep a uniform tempo of performance;
5. achieve non-stop play with both hands, while strictly observing music text.

Part 2 - work on disclosure work of art
Setting a lesson goal – In order to learn to reveal the intent of the work, i.e. artistic image, you need to understand what it is and by what means the intention of the work is revealed. Therefore, the goal of our lesson is to derive the concept of “artistic image” and learn to reveal it using the means of musical expressiveness.
Methods of working on L. Knipper’s play “Polyushko-Field”
complete playback of the play by the teacher;
analysis of performance: student’s answers to teacher’s questions:
1.what do you think this work is about? During dialogue, it is possible to use paintings and drawings to help understand the meaning of the work.

2. do you know the words of the song?

3.what helped you understand what this work is about? What means of musical expression did the composer use?
4.What is the tempo in this piece? Dynamics, strokes, character of the accompaniment?
5. How many parts can the play be divided into? What did we present in the first part and what in the second? How is this change noticeable in the music?

6.Try to explain what an “artistic image” is?

After the student answers the questions, you should begin to work on the artistic image of the play “Polyushko-Field”.
Working methods
1.detailed demonstration of the teacher on the instrument - playing each part separately;
2. playing in an ensemble with a teacher;
3.work on phrasing: determining the climax in each phrase, graphically depicting the dynamics in the notes, singing the melody, showing the teacher on the instrument; comparison game method (the game of the teacher and the student is compared, analysis)
4.work on rhythm: playing with counting out loud, clapping the rhythm of each part, working on difficult rhythmic places;
5.work on the strokes - to achieve coherent, smooth playing in the right-hand part, and in the left-hand part - to achieve clear accompaniment (playing with separate hands);
6. connection of two parts: in the first part there is an artistic image - “a column of foot is marching”, and in the second part - “cavalry” (the creation of such an image is facilitated by a change in the accompaniment);
7.work on a uniform tempo of performance - playing to a metronome;
8. If difficulties arise when connecting, you should return to working with separate hands to clarify the musical text, fingering, and changing the bellows.

Methods of working on B.N.P. “Quail” is similar to the methods of working on L. Knipper’s play “Polyushko-Field”

Part 3 – Consolidating the skills learned in the lesson
Complete playing of plays by students with both hands with precise fulfillment of the assigned task - when playing, to reveal the artistic image of the work. Analysis of your own performance, indicating positive and negative aspects when playing plays.

Part 4 - Lesson summary
The student coped with the tasks assigned to him: he tried to convey the artistic image of the works when playing, learned to independently analyze his own performance, find errors, difficulties in performance and look for ways to overcome them. The student realized that in order for a piece to sound, it is not enough to learn the musical text accurately; you need to pay a lot of attention to working on dynamics, phrasing, rhythm, strokes, i.e. over the means of musical expression. In the future it is planned to independent work student to reveal the artistic image of a work.

Part 5 – formulation of homework
Consolidation of the skills acquired in the lesson - complete playback of plays by heart, taking into account all comments.
These methods used when working on revealing the artistic image using the example of the works “Polyushko-Field” and “Quail” can be used when working in other works. Such methods of working on a work help students in the future to independently work on revealing the artistic image in the works.

METHODOLOGICAL WORK

Subject: " Work on expressive means and artistic image in musical works"

Music instrument (accordion)

Rev. Ilyina A.V.

Introduction

Working on expressive means in the accordion class is a necessary condition for the perception and reproduction of the artistic content of a musical work. It is characterized by the fact that it is based on figurative material. Musical images are intonationally meaningful sound representations, the content of which is a person’s feelings, emotions and experiences.

It is known that artistic content a musical work is expressed through melody, rhythm, tempo, dynamics, strokes, bellows movement, which in general represents the specific language of music. Preparing students for the emotional perception of music is carried out using different methods and techniques. During the lesson, I organize work with the student on a work to demonstrate emotional response in music and bring him to an awareness of the content of the work, with the help of expressive elements musical speech and a complex of expressive means. By conveying the composer's intention in his performance, the student must learn to express his attitude towards what is being performed and reveal his understanding of the work.

Undoubtedly, this understanding is based on the text - its expressive elements and author's instructions. Of course, I, the teacher, will help you “get used to” the work, read the text, listen to what is being played. Only the teacher can see what in each specific case requires more attention from the student, what needs to be emphasized, “pronounced” more expressively. The time required for analysis and the level of a piece of music will be very different for students of varying degrees of musical development and talent.

The methodological message is based on step-by-step work on musical expressiveness in specialty lessons in the accordion class. Musical examples, used in the message - from repertoire plan my students.

Working on expressive means is a necessary condition for perceiving and reproducing the artistic content of a musical work. It is characterized by the fact that it is based on figurative material. Musical images are intonationally meaningful sound representations, the content of which is a person’s feelings, emotions and experiences. The world of musical images is extremely vast: each artistically complete work has a unique content, reveals its own range of images - from the simplest to those striking in their depth and significance. Whatever the student plays - folk songs, dances, plays modern composers or classical music– he needs to understand this work, realizing the expressive meaning of every detail, and be able to perform it, i.e. convey artistic content in your game.

According to the outstanding Russian pianist and teacher G. Neuhaus, it is necessary, simultaneously with initial learning to play an instrument and mastering musical notation begin to teach the child to understand musical speech with its patterns and components. Working on a piece of music includes “getting used to” figurative world works, the gradual formation of a specific performance concept, taking into account program titles, figurative and emotional remarks, as well as the student’s own associations and specific images that arise in the student’s mind. All musician teachers face a difficult task: developing the skills of high-quality playing and the completeness of the embodiment of artistic ideas in students. One of the keys to fruitfulness teaching activities is close contact between teacher and student. Their mutual understanding is based on creative interests in the knowledge of music, when the student does not formally reproduce and perceive the work, but contributes something of his own, relying on his own existing musical experience. The artistic image of a musical work is its integral part . A composer, when composing music, always sees one or another image in front of him, and tries to depict it by all possible means. The path to creating and implementing an artistic image in musical performance is usually presented as a chain: composer-performer-listener. The task of the teacher is to help the beginning musician see the artistic image of the work, feel the character of the musical work, and reveal its content. To do this, from the very first steps of learning, it is necessary to instill in students the necessary practical skills, and teach the child not only to listen to music, but also to feel and “see” it. Repertoire on initial stage learning is usually very simple. Simple plays with a title (for example, “Jolly Geese,” “Two Grouse,” “Horse,” etc.) allow you to quickly imagine the artistic image of the work. Mechanically pressing the necessary keys does not reveal the musical image of the work, but makes the game dry and insensitive. But naturally, complete mastery of all the means of music that are necessary to create an artistic image of a work does not occur immediately, but in a systematic learning process.

Preparing students for the emotional perception of music is carried out using different methods and techniques. During the lesson, work with the student on the work to demonstrate an emotional response in the music and bring him to an understanding of the content of the work, with the help of expressive elements of musical speech and a set of expressive means. By conveying the composer's intention in his performance, the student must learn to express his attitude towards what is being performed and reveal his understanding of the work.

Undoubtedly, this understanding is based on the text - its expressive elements and author's instructions. Of course, the teacher will help you “get used to” the work, read the text, and listen to what is being played. Only the teacher can see what in each specific case requires more attention from the student, what needs to be emphasized, “pronounced” more expressively. The time required for analysis and the level of a piece of music will be very different for students of varying degrees of musical development and talent. When analyzing a musical work, it is necessary to immerse the child’s consciousness in the atmosphere in which this work was written, analyze its structure in detail, draw a tonal plan, determine the climax, determine with what means of expressiveness and techniques the main topic will be shown. First of all, you should tell the student about the creator of the work (whether it is a composer or a people); about the era in which it arose; about the style and required manner of performance; about its content, character, plot; basic rates; about form, structure, Acquaintance with the text begins with the visual coverage of the musical score. First, I play the melody by notes, attracting the student’s auditory attention to the rhythmic pattern of the melody and character. Next, the student, looking at the notes, names the duration of the notes (if in junior grades), calculates the most difficult places, and you can also tap out this rhythmic pattern. Along with a thorough analysis of the text, it is important to choose a good fingering that is most suitable for the student. This needs to be taken care of specifically early stage work, since a successfully found fingering contributes to a better solution of the required artistic tasks and the speedy automation of game movements. But the main thing is that the fingering should facilitate free performance. Before you finally set the fingering for of this student, you can try it with it first various options. No musician can achieve a high level of performance without mastering phrasing. It is necessary that the student from the very beginning pay attention to phrasing, perceive each phrase in development and be able to perform it musically. Phrasing is a means of expressing the musical image of a work; it includes means of sound production, synthesizes strokes, dynamics, fur, etc., and is always individual. As a result of initial acquaintance with the work, the student should learn as much as possible about it, understand the upcoming technical and artistic tasks, represent the final sound of the piece. Like any other art form, music has its own specific characteristics and means of expression. For example, music is not capable of depicting various phenomena, like painting, but it can very accurately and subtly convey a person’s experiences, his emotional state. Its content lies in artistic and intonation images formed in the mind of a musician, be it a composer, performer or listener. Each type of art has a language that is unique to it. In music, such a language is the language of sounds. So, what are the main means of musical expression that reveal the secret of how music is born?

Slide1 The basis of any musical work, its leading principle is melody. A melody is a developed and complete musical thought, expressed monophonically. It can be very different - both smooth and jerky, calm and cheerful, etc. Melody is one of the main means of music. expressiveness. Maybe the most important thing.

In music, melody is always inseparable from another means of expression - rhythm, without which it cannot exist. Translated from Greek, rhythm is “measurement,” that is, a uniform, coordinated alternation of short and long sounds. It is rhythm that has the ability to influence the character of music. For example, lyricism is imparted to a piece of music using a smooth rhythm, while some excitement is added to a piece of music using an intermittent rhythm.

Pace- expresses the speed with which something is performed musical composition. Tempo greatly changes the character of the music, even if other means of expression are very similar. When a student is asked to specialize in plays in fast pace, you need to teach them slowly at first. And often this makes the music seem boring. And the student wants to immediately try to play at the tempo. And this is harmful. It is necessary to play slowly, but with the help of imagination imagine how such a piece should sound at a real tempo. After all, imagination, which is so necessary for a musician, oddly enough, also needs constant training. The tempo can be fast (allegro), slow (adagio) or moderate (andante). Slide 4

A special means of musical expression is timbre. It represents the color of sound characteristic of any voice and instrument. It is thanks to timbre that one can distinguish the human voice or the “voice” of a musical instrument. Equally important okay as a means of expression. There are two types: major and minor. We know that major and minor can convey certain moods: major music evokes clear, joyful feelings in listeners, while the minor one evokes a little sad and dreamy feelings.

Dynamics- sound strength, dynamic shades (nuances) - shades of sound strength. The expressiveness of musical dynamics is similar to the dynamics of speech. Tender, sweet words are pronounced quietly, commands and calls are pronounced loudly. Like the human voice, music can both “scream” and “whisper”. Composers usually indicate nuances in notes, but often the desired dynamic tone can be guessed based on the nature of the music. Dynamic tones can even give the impression of sound moving through space. For example, if a song starts very quietly, barely audible, and then becomes louder and louder, then it seems that at first it is being sung very far away, and then gradually getting closer. This technique is often used in operas when you need to create the impression of a large space on a small stage. Slide 6

No less important okay as a means of expression. There are two types: major and minor. We know that major and minor can convey certain moods: major music evokes clear, joyful feelings in listeners, while minor music evokes a little sad and dreamy feelings.

Register- this is a part of a scale that has a certain sound color. There are three registers: upper, middle and lower.

Genre- a type of music, muses. works that are distinguished by special, unique stylistic features (song, dance, march). Slide 9

A special place in working on a work should be given strokes. Strokes are a way of producing sounds. The nature of the music, and therefore the images it creates, largely depends on the method of sound production. In defining strokes, it is necessary to proceed, first of all, from their musically expressive meaning and technical essence. Legato -♫ is a connected game. Your fingers are placed on the keyboard; there is no need to lift them high. When playing legato, do not press the key with excessive force. Non legato - ♫ - not coherent This stroke acquires evenness if the sounding part of the tone is equal to the artificial pause that occurs between the sounds of the melodic line. Staccato - ♪♪ - sharp, abrupt sound. It is usually removed by swinging a finger or hand while moving the fur evenly. Depending on the musical content, this touch may be more or less sharp, but in any case, the actual duration of the sound should not exceed half the note indicated in the text. Fingers are light and collected.

Slide 10 Additional means of musical expression include form- this is the construction of muses. works. The simplest forms of music. pr-niy one-part, two-part, three-part. Thanks to harmonious combination All of the above expressive means or part of them and music appears, accompanying us in life almost everywhere.

Conclusion A student musician must be aware of the task of his activity. First of all, this is the creation of an artistic image of a musical work using your instrument - the accordion. A concert performance is the result and culmination of all the student’s work on a piece of music in class. In order for the concert to be successful, it is necessary that, as a result of familiarization with the work, the student is able to learn as much as possible about it, understand and perform the upcoming technical, emotional and artistic tasks, and imagine the final sound of the piece. Emotional and figurative perception of a musical work contributes to a deeper penetration into its content and comprehension of its idea. Each student perceives a piece of music differently. At the same time, the perception of a musical image depends on his musical and creative individual abilities.

Appendix P.I. Tchaikovsky “Old French Song”

Pyotr Ilyich Tchaikovsky (1840-1893) - great Russian composer. During his life, Tchaikovsky wrote a large number of works in almost all genres and in each of them he said his new word genius artist. His favorite genre was opera: “The Voevoda”, “Ondine”, “Eugene Onegin”, “ Queen of Spades"and others, and he also wrote ballets: "The Nutcracker", " Swan Lake", "Sleeping Beauty" and at the same time important place The composer's life is occupied by symphonic music: 6 symphonies, orchestral suites, concerts, cantatas. Tchaikovsky also composed many piano pieces and romances, various instrumental ensembles (listening to excerpts from some works). He wrote a lot of different adult, serious music. But he has one unique collection of plays specifically for children. Children's album, was written by P.I. Tchaikovsky 1878 and dedicated to his beloved nephew Volodya Davydov. The album includes 24 small plays that depict one day in the life of a child: his play, walks, experiences, fairy tales, dreams, as well as pictures of Russian nature. this is a melancholic, soulful song, like a memory of the distant past in One of these works “Antique French song"(the melody of this piece is also used by the composer in the opera "The Maid of Orleans").
“An old French song” brings to life a sad, sincere, simple folk tune. It is like a song - soulful, thoughtful, dreamy, sad. The pace is calm, unhurried. Character - sad. A very expressive melody. The accompaniment is soft. The play has three parts. The main key of the piece is A minor. The melody of the piece is assigned to the right hand, so the part should sound especially melodious, soft and deep, with a touch of melodious legato. Parts I and III are a sad narrative, smooth, melodious in nature. The off-beat beginning of the motive (“quiet sigh”), the smooth movement of eighth notes to the long (dotted quarter note) “moaning” intonation peak. The three-fold ending of the motives at the V stage conveys hopelessness, aching mental pain. In the first part, the gradual upward movement of the melody conveys the calm flow of the story.
Part II – dramatic event. The character of the second part is excited. The hero relives the memories of the past. In the second part, the melody comes to a climax (bars 21-23). ​​By what means does the composer achieve a change in the character of the music? Why do we hear a memory of a “dramatic event” here?
Conclusions: The nature of the accompaniment has changed. Long leagues were replaced by short ones (“intermittent breathing”). The melody lost the smooth movement of eighth notes into a quarter note with a dot at the end of the motive; quarter notes and a dotted rhythm appeared. In order for the piece to sound, it is not enough to learn the musical text accurately; you need to pay a lot of attention to the work over dynamics, phrasing, rhythm, strokes, i.e. over the means of musical expressiveness.