Message lyrical images of musical art. The concept of musical image
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 ) establishment of 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” by Dante. This work was written based on the Fifth Canto 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 under the new program are aimed at developing the musical culture of 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 for the 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 emerges musical image, which is then embodied in a piece of music.
Listening to a musical image, - i.e. life content, embodied in musical sounds, determines all other facets of musical perception.
Perception is a subjective image of an object, phenomenon or process that directly affects the analyzer or 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 figurative 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. Very important feature figurative thinking - the establishment of unusual, “incredible” combinations of objects and their properties.
Various techniques are used in figurative thinking. These include: an increase or decrease in an object or its parts, 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 constitutes an independent type of thinking in an adult, 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 representing situations and their transformations.
In psychology, imaginative thinking is sometimes described as a special function - imagination.
Imagination - psychological process, which consists in creating 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 is the independent creation of 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 a desired and more or less distant one, 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 determined by the musical work, 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, the 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 understand why it is incorrect, why it is unreasonable, confirming your thoughts evidence available to 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 ever more complete disclosure of the vital content of music in unity with the activation associative thinking 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.
Music obeys the laws of life, it is reality, and therefore has an impact on people. It is very important to learn to listen and understand classical music. Even at school, children learn what a musical image is and who creates it. Most often, teachers define the concept of image as a particle of life. The rich possibilities of the language of melodies enable composers to create images in musical works to realize their creative ideas. Plunge into the rich world of musical art, learn about the different types of images in it.
What is a musical image
It is impossible to master musical culture without appreciating this art. It is perception that makes it possible to carry out composing, listening, performing, pedagogical, and musicological activities. Perception makes it possible to understand what a musical image is and how it originates. It should be noted that the composer creates an image under the influence of impressions with the help of creative imagination. To make it easier to understand what a musical image is, it is better to imagine it in the form of a set of musical expressive means, style, character of the music, and construction of the work.
Music can be called a living art that unites many types of activities. The sounds of melodies embody the content of life. Under the image piece of music This refers to thoughts, feelings, experiences, actions of certain people, various natural manifestations. This concept also includes events from someone’s life, the activities of an entire people and humanity.
A musical image in music is a complexity of character, musical and expressive means, socio-historical conditions of its origin, principles of construction, and style of the composer. Here are the main types of images in music:
- Lyrical. Conveys the author’s personal experiences, reveals it spiritual world. The composer conveys feelings, mood, sensations. There are no actions here.
- Epic. It narrates, describes some events in the life of the people, talks about their history and exploits.
- Dramatic. Depicts privacy man, his conflicts and clashes with society.
- Fairy. Shows fictitious fantasies and imaginations.
- Comic. He exposes everything bad using funny situations and surprise.
Lyrical image
In ancient times there was such a folk stringed instrument - the lyre. Singers used it to convey their various experiences and emotions. From him came the concept of lyrics that convey deep emotional experiences, thoughts and feelings. The lyrical musical image has emotional and subjective elements. With its help, the composer conveys his individual spiritual world. A lyrical work does not include any events, it only conveys state of mind lyrical hero, this is his confession.
Many composers have learned to convey lyrics through music, because it is very close to poetry. Instrumental lyrical works include works by Beethoven, Schubert, Mozart, and Vivaldi. Rachmaninov and Tchaikovsky also worked in this direction. Musical lyrical images they formed with melodies. It is impossible to formulate the purpose of music better than Beethoven did: “What comes from the heart must lead to it.” When forming a definition of the image of musical art, many researchers take exactly this statement. In his "Spring Sonata" Beethoven made nature a symbol of the awakening of the world from hibernation. The musical image and skill of the performer help to see in the sonata not only spring, but also joy and freedom.
We must also remember " Moonlight Sonata"Beethoven. This is truly a masterpiece with a musical and artistic image for piano. The melody is passionate, persistent, ending in hopeless despair.
The lyric in the composers' masterpieces connects to imaginative thinking. The author tries to show what imprint this or that event left on his soul. Prokofiev simply masterfully conveyed the “melodies of the soul” in Natasha Rostova’s waltz in the opera “War and Peace.” The character of the waltz is very gentle, it feels timid, unhurried and, at the same time, excited, thirst for happiness. Another example of the lyrical musical image and skill of the composer is Tatiana from Tchaikovsky's opera "Eugene Onegin". Also an example of a musical image (lyrical) can be the works of Schubert “Serenade”, Tchaikovsky “Melody”, Rachmaninoff “Vocalise”.
Dramatic musical image
Translated from Greek, "drama" means "action". By using dramatic work the author conveys events through the dialogues of the characters. In the literature of many nations, such works existed a long time ago. There are also dramatic musical images in music. Composers show them through the actions of heroes looking for a way out of the situation and entering into a fight with their enemies. These actions are very strong feelings forcing people to do things.
The audience sees the dramatic hero in constant struggle, which leads him either to victory or to death. Actions, not feelings, come first in drama. The most striking dramatic characters are Shakespeare's - Macbeth, Othello, Hamlet. Othello is jealous, which leads him to tragedy. Hamlet is overcome by a desire for revenge on the murderers of his father. Macbeth's strong thirst for power forces him to kill the king. Without a dramatic musical image in music, drama is unthinkable. He is the nerve, the source, the focus of the work. The dramatic hero appears to be a slave to passion, which leads him to disaster.
One example dramatic conflict is Tchaikovsky's opera "The Queen of Spades" based on Pushkin's story of the same name. At first, viewers meet the poor officer Herman, who dreams of getting rich quickly and easily. He's never been into it before gambling, although he was a player at heart. Herman is motivated by his love for the rich heiress of an old countess. The whole drama is that the wedding cannot take place due to his poverty. Soon Herman learns about the secret of the old countess: she supposedly keeps the secret of three cards. The officer is overcome by the desire to find out this secret at all costs in order to disrupt big jackpot. Herman comes to the countess's house and threatens her with a pistol. The old woman dies of fear without revealing the secret. At night, a ghost comes to Herman and whispers the treasured cards: “Three, seven, ace.” He comes to his beloved Lisa and confesses to her that it was because of him that the old countess died. Lisa threw herself into the river out of grief and drowned herself. The ghost’s cherished words haunt Herman; he goes to a gambling house. The first two bets, on three and seven, turned out to be successful. The win turned Herman's head so much that he goes all-in and bets all the money he won on the ace. The intensity of drama is approaching its peak, instead of an ace in the deck it turns out queen of spades. At this moment, Herman recognizes the old countess in the queen of spades. The final loss leads the hero to suicide.
It is worth comparing how Pushkin and Tchaikovsky show the drama of their hero. Alexander Sergeevich showed Hermann as cold and calculating; he wanted to use Lisa to enrich himself. Tchaikovsky approached the portrayal of his dramatic character a little differently. The composer slightly changes the characters of his heroes, because inspiration is needed to portray them. Tchaikovsky showed Herman as romantic, in love with Lisa, and with a passionate imagination. Only one passion displaces the image of his beloved from the officer’s head - the secret of three cards. The world of musical images of this dramatic opera is very rich and impressive.
Another example of a dramatic ballad is Schubert's "The King of the Forest". The composer showed the struggle between two worlds - real and fictional. Schubert was characterized by romanticism, he was fascinated by mysticism, and the work turned out to be quite dramatic. The collision of two worlds is very vivid. Real world embodied in the image of a father who looks at reality sensibly and calmly and does not notice the Forest King. His child lives in a mystical world, he is sick, and he dreams of the Forest King. Schubert shows fantastic picture a mysterious forest shrouded in gloomy darkness and a father rushing through it on a horse with a dying child in his arms. The composer gives each character his own characteristics. The dying boy is tense, frightened, and in his words there is a plea for help. A delirious child finds himself in the terrible kingdom of the formidable Forest King. The father tries with all his might to calm the child.
The entire ballad is permeated with a heavy rhythm, the stomping of a horse is represented by a continuous octave beat. Schubert created a complete visual-auditory illusion filled with drama. At the end of the speaker musical development the ballad ends as the father held him in his arms dead baby. These are the musical images (dramatic) that helped Schubert create one of his most impressive creations.
Epic Portraits in Music
Translated from Greek, “epic” means story, word, song. In epic works, the author talks about people and the events in which they take part. Characters, circumstances, social and natural environment. Literary epic works include stories, legends, epics, and stories. Most often for writing epic works composers use poems, they are the ones that tell about heroic deeds. From the epic you can learn about the life of ancient people, their history and exploits. The main dramatic musical images and the composer's skill represent specific characters, events, stories, and nature.
The epic is based on real events, but there is also a share of fiction in it. The author idealizes and mythologizes his heroes. They are endowed with heroism and perform feats. Also present are negative characters. Epic in music shows not only specific persons, but also events, nature, symbolizing the native land in one or another historical era. Thus, many teachers present a lesson on musical image in the 6th grade using excerpts from Rimsky-Korsakov’s opera “Sadko”. Students try to understand by what means of music the composer was able to draw a portrait of the hero after listening to Sadko’s song “Oh, you dark oak tree.” Children hear a melodious, smooth melody and an even rhythm. Gradually, the major is replaced by a minor, the tempo slows down. The opera is quite sad, melancholy and thoughtful.
The composer of The Mighty Handful, A.P. Borodin, worked in the epic style. The list of his epic works can include " Bogatyr Symphony" No. 2, the opera "Prince Igor". In symphony No. 2, Borodin captured the mighty heroic Motherland. At first there is a melodious and smooth melody, then it turns into a jerky one. An even rhythm is replaced by a dotted one. Slow pace goes with minor.
Monument medieval culture The famous poem "The Tale of Igor's Campaign" is considered. The work tells the story of Prince Igor’s campaign against the Polovtsians. Bright epic portraits of princes, boyars, Yaroslavna, and Polovtsian khans were created here. The opera begins with an overture, then there is a prologue about how Igor prepares his army for a campaign, watches solar eclipse. Four acts of the opera follow. A very striking moment in the work is Yaroslavna’s crying. At the end, the people sing glory to Prince Igor and his wife, even though the campaign ended in defeat and the death of the army. To display historical hero of that era, the musical image of the performer is very important.
It is also worth including in the list of epic creations the work of Mussorgsky's "Bogatyr Gate", Glinka's "Ivan Susanin", Prokofiev's "Alexander Nevsky". Heroic deeds Composers conveyed their heroes through various musical means.
Fairytale musical image
The very word “fabulous” contains the storyline of such works. Rimsky-Korsakov can be called the most brilliant creator of fairy-tale creations. Even from the school curriculum, children will learn his famous fairy tale-opera “The Snow Maiden”, “The Golden Cockerel”, “The Tale of Tsar Saltan”. It is also impossible not to remember symphonic suite"Scheherazade" based on the book "1001 Nights". Fairy-tale and fantastic images in Rimsky-Korsakov's music are in close unity with nature. It is fairy tales that lay the moral foundation in a person, children begin to distinguish good from evil, they learn mercy, justice, and condemn cruelty and deceit. As a teacher, Rimsky-Korsakov spoke in the language of fairy tales about high human feelings Oh. In addition to the above operas, one can name “Kashchei the Immortal”, “The Night Before Christmas”, “May Night”, “The Tsar’s Bride”. The composer's melodies have a complex melodic-rhythmic structure, they are virtuosic and moving.
Fantastic music
It is worth mentioning the fantastic musical images in music. Fantastic works A lot is created every year. Since ancient times, various folk ballads and songs of praise different heroes. Musical culture began to be filled with fantasy in the era of romanticism. Elements of fantasy are found in the works of Gluck, Beethoven, and Mozart. The most prominent writers of fantastic motifs were German composers: Weber, Wagner, Hoffmann, Mendelssohn. Their works have Gothic intonations. The fairy-tale-fantastic element of these melodies is intertwined with the theme of man’s confrontation with the world around him. Folk epic with elements of fantasy is based on the works of composer Edvard Grieg from Norway.
Is fantastic imagery inherent in Russian musical art? The composer Mussorgsky filled his works “Pictures at an Exhibition” and “Night on Bald Mountain” with fantastic motifs. Spectators can watch the witches' Sabbath at night on the holiday of Ivan Kupala. Mussorgsky also wrote an interpretation of Gogol's work " Sorochinskaya fair". Elements of fantasy are visible in the works of Tchaikovsky "The Mermaid" and Dargomyzhsky "The Stone Guest". Such masters as Glinka ("Ruslan and Lyudmila"), Rubinstein ("Demon"), Rimsky-Korsakov ("Golden cockerel").
A real revolutionary breakthrough in synthetic art was made by the experimenter Scriabin, who used elements of light music. In his works, he specially wrote lines for light. His works are filled with fantasy" Divine Poem", "Prometheus", "Poem of Ecstasy". Some techniques of fantasy were present even in the realists Kabalevsky and Shostakovich.
Appearance computer equipment has made fantastic music a favorite for many. Films with fantastic compositions began to appear on television and cinema screens. After the advent of musical synthesizers, great prospects for fantastic motifs opened up. The era has come when composers can sculpt music like sculptors.
Comic displays in musical works
It’s difficult to talk about comic images in music. Few art critics characterize this direction. The task of comic music is to correct with laughter. It is smiles that are the true companions of comic music. The comic genre is easier; it does not require conditions that bring suffering to the heroes.
To create a comic moment in music, composers use the effect of surprise. Thus, J. Haydn in one of his London Symphonies created a melody with a timpani part that instantly shakes up the listeners. A pistol shot disrupts the smooth melody in Strauss's waltz with a surprise ("Bull's-eye!"). This immediately cheers up the room.
Any jokes, even musical ones, carry with them amusing absurdities, funny inconsistencies. Many people are familiar with the genre of comic marches, joke marches. From start to finish, Prokofiev's march from the collection "Children's Music" is endowed with comedy. Comic characters can be seen in Mozart’s work “The Marriage of Figaro”, where laughter and humor are heard already in the introduction. Cheerful and smart Figaro cleverly plays tricks in front of the count.
Elements of satire in music
Another type of comic is satire. Satirical genre inherent rigidity, he is menacing, withering. With the help of satirical moments, composers exaggerate and exaggerate certain phenomena in order to expose vulgarity, evil and immorality. Thus, Dodon from Rimsky-Korsakov’s opera “The Golden Cockerel” and Farlaf from Glinka’s “Ruslan and Lyudmila” can be called satirical images.
Image of nature
The theme of nature is very relevant not only in literature, but also in music. By showing nature, composers depict its real sound. Composer M. Messiaen simply imitates the voices of nature. Such English and French masters as Vivaldi, Beethoven, Berlioz, Haydn were able to convey pictures of nature and the feelings they evoke with melody. A special pantheistic image of nature is found in Rimsky-Korsakov and Mahler. The romantic perception of the surrounding world can be observed in Tchaikovsky's play "The Seasons". Sviridov’s composition “Spring” has a gentle, dreamy, friendly character.
Folklore motives in musical art
Many composers used the melodies of folk songs to create their masterpieces. Simple song melodies became the decoration of orchestral compositions. Images from folk tales, epics, and legends formed the basis of many works. They were used by Glinka, Tchaikovsky, Borodin. Composer Rimsky-Korsakov used Russian in his opera "The Tale of Tsar Saltan" folk song“Whether in the garden or in the vegetable garden” to create the image of a squirrel. Folk melodies can be heard in Mussorgsky's opera Khovanshchina. Composer Balakirev based on Kabardian folk dance created the famous fantasy "Islamey". The fashion for folklore motifs in the classics has not disappeared. Many people are familiar with V. Gavrilin’s modern symphony-action “Chimes”.
Lesson No. 6 7th grade 1st quarter
Based on the textbook by T.I. Naumenko, V.V. Aleev
Subject: “What is a musical image”
The purpose of the lesson:- formation of means of expression different types arts (literary, musical and visual) in creating a single image using the example of the ballad “The Forest King” by F. Schubert
Lesson Objectives: educational – introduce the concept of “musical ballad”, the biography of F. Schubert, identify the musical image in the ballad “The Forest King”;
Developmental– develop communication skills, skills in independent work with information, the ability to analyze and synthesize the information received;
Teaching techniques used:
explanation;
practical tasks;
analysis and synthesis;
compare and contrast.
Forms of organization of cognitive activity:
individual;
pair - group;
collective;
frontal. educational – nurturing a personal attitude towards music, aesthetic taste.
Portraits of Franz Schubert, Johann Goethe Illustrations Predicted result: concepts: ballad methods of action: working with cards, listening to music. judgments: personal attitude towards music.
Lesson type: Learning new material.
Equipment: computer, screen, presentation on the topic: “Dramatic image.”
Interdisciplinary connections : literature, history.
During the classes
1 .Organizing time
Everyone got up, straightened up, prepared for the lesson, hello, sit down. A fragment of “Ave Maria” by F. Schubert is played. (reading in the background)
Epigraph:
“Music is one of the most amazing miracles created by man. Isn't it a miracle that small song is capable of causing great joy in a huge mass of people or plunging them into a state of great sorrow, and raising the morale of soldiers. Literature, painting, choreography, and acting are combined with music...
Isn’t this a miracle – beautiful and amazing?”
. 2 . Setting goals and objectives for the lesson.
Topic: “Dramatic image in music. "(Slide 1)
Read the topic of the lesson and make guesses about what will be discussed in the lesson. Guys. What is an image? A musical image is a particle of life. The composer creates certain ideas, this or that content. Make a guess what drama is? Drama (Greek Δρα´μα - action. Main properties of drama (slide show)
The dramatic hero, unlike the lyrical hero, acts, fights, and as a result of this struggle either wins or dies. In today's lesson we will get acquainted with a very famous work by composer Franz Schubert, determine the features of a dramatic image, and get acquainted with a new genre vocal music and let’s try, together with the music and its creators, to experience and compare several simple and accessible feelings to man, the feeling of struggle and victory, the cry of the soul
To accurately determine the genre of this work, I suggest you solve the crossword puzzle. A consultant will help me.
Its keyword will be the answer to this question.
(Poster on a board with a crossword puzzle.)
1. German composer, whose last name sounds short, reminiscent of a gunshot. (Bach)
4. A type of art, the content of which is conveyed in stage musical and choreographic images. (Ballet)
5. Quiet performance. (Piano)
6. When performed by two people, it is called ... (duet)
Conclusion: The genre we are getting acquainted with today is called ballad.
3 . Update background knowledge Are you familiar with this genre?
Then describe it to me. And in music, a vocal ballad is a song that has free development. The plot of the ballad is acutely dramatic; reality and fantasy, epic and lyricism are intertwined. Slide(2)
Conclusion: As you can see, the definition of a musical genre is not much different from the definition of a literary genre.
4 . Listening to a ballad"The Forest King" by F. Schubert on German. – F. Schubert was fascinated by poetry German poet V. Goethe. (portrait of the poet). She excited, captivated the imagination, mind, soul young composer. Schubert composed the ballad “The Forest King” when he was only 18 years old.
– Now you listen to one of the most famous works Schubert and identify the means musical expressiveness Slide(3,4,5) you listened to the piece
Where does a ballad begin?
What feelings does the music express?
What image did the composer convey in his music?
Who performs this piece of music?
– What is the name of this work?
What dramatic events are conveyed in this work?
– This is a solo narrative song with elements of fantasy. In it, the composer created a living picture in which the subtlest shades of human feelings are revealed.
– What did you hear in the accompaniment?
Can you see it? (Rapid, dramatically tense movement.)
Is the music expressive or visual? (Both expressive and figurative.)
Listening to a piece again.
The piano plays a special role in Schubert's songs. It fills the song with new colors and helps to reveal its content more deeply.
Conclusion: As we see, a large dramatic picture is painted in poetry and music, a scene with the participation of several characters. But even if we hear their individual intonations, the whole scene merges in our minds into a single dramatic image, united by rapid movement; not only by the movement of a horse flying through the forest; but also by the movement (development) of the feelings of the main characters.
5 .Lesson summary.
At the end of the lesson, students can choose to sing previously learned songs.
Musical image
Musical content manifests itself in musical images, in their emergence, development and interaction.No matter how uniform a piece of music may be in mood, all sorts of changes, shifts, and contrasts can always be discerned in it. The appearance of a new melody, a change in rhythmic or textural pattern, or a change in section almost always means the emergence of a new image, sometimes similar in content, sometimes directly opposite.As in the development of life events, natural phenomena or movements human soul There is rarely only one line, one mood, and in music development is based on figurative wealth, the interweaving of various motives, states and experiences.Each such motive, each state either introduces a new image, or complements and generalizes the main one.
In general, in music there are rarely works based on a single image. Only a small play or a small fragment can be considered unified in its figurative content. For example, Scriabin's Twelfth Etude presents a very integral image, although upon careful listening we will definitely note its internal complexity, the interweaving of various states and means of musical development in it. Many other small-scale works are built in the same way. As a rule, the duration of a play is closely related to the peculiarity of its figurative structure: small plays are usually close to a single figurative sphere, while large ones require a longer and more complex imaginative development. And this is natural: all major genres in various forms of art are usually associated with the embodiment of complex life content; they are characterized by a large number of heroes and events, while the small ones are usually addressed to some particular phenomenon or experience. This, of course, does not mean that large works are certainly distinguished by greater depth and significance, it is often even the other way around: a small play, even its individual motive, is sometimes able to say so much that their impact on people turns out to be even stronger and deeper.There is a deep connection between the duration of a musical work and its figurative structure, which is found even in the titles of the works, for example “War and Peace”, “Spartacus”, “Alexander Nevsky” suggest a multi-part embodiment in a large-scale form (opera, ballet, cantata), while while “Cuckoo”, “Butterfly”, “Lonely Flowers” are written in the form of miniatures.Why do works that do not have a complex figurative structure sometimes move people so deeply?Perhaps the answer lies in the fact that, by concentrating on a single imaginative state, the composer invests in small piece all the soul, all the creative energy that his artistic design? It is no coincidence that music of the XIX century, in the era of romanticism, which said so much about man and the hidden world of his feelings, it was the musical miniature that reached its highest flowering.A lot of small-scale, but striking in image works were written by Russian composers. Glinka, Mussorgsky, Lyadov, Rachmaninov, Scriabin, Prokofiev, Shostakovich and other outstanding Russian composers created a whole gallery of musical images. Huge figurative world, real and fantastic, celestial and underwater, forest and steppe, was translated into Russian music, in its wonderful names program works. You already know many of the images embodied in the plays of Russian composers - “Aragonese Jota”, “Dwarf”, “Baba Yaga”, “ old lock", "Magic Lake"
Lyrical images
In many works known to us as preludes and mazurkas, there are hidden the deepest figurative riches that are revealed to us only in the living musical sound
Dramatic images
Dramatic images, like lyrical ones, are very widely represented in music. On the one hand, they arise in music based on dramatic literary works(these are opera, ballet and other stage genres), however, much more often the concept of “dramatic” is associated in music with the peculiarities of its character, musical interpretation heroes, images, etc.
Epic images
Epic images require long and unhurried development; they can be exhibited for a long time and slowly develop, introducing the listener into an atmosphere of a unique epic flavor