What pieces of music evoke joy, sadness, calmness. The influence of music on the emotional sphere of a person

Basics music psychology Fedorovich Elena Narimanovna

8.2. Musical emotions

8.2. Musical emotions

Any human activity accompanied by emotions, causes an emotionally active or passive attitude.

Emotions play a dominant role in music. This role is predetermined by sound and time O th nature of music, capable of conveying an experience in motion, in the process of development with all changes, increases, decreases, conflicts or mutual transitions of emotions. Music can embody a human mood, not directed at any object: joy or sadness, cheerfulness or despondency, tenderness or anxiety. Music can convey the emotional side of intellectual and volitional processes: energy and restraint, seriousness and frivolity, impulsiveness and elasticity. Thanks to this property, music is able to reflect human character. Music can express thoughts-generalizations that relate to the dynamic side of social and mental phenomena: harmony - disharmony, stability - instability, power - human powerlessness, etc.

The perception and performance of music has a strong emotional impact on a person due to the properties of sound. Sound carries a colossal amount of information for a person. A. Schnabel wrote brilliantly about this: “Life is given to sound in man; in him, sound became an element, aspiration, idea and goal... It was revealed to man that the sound he created was capable of quenching spiritual thirst and, obviously, was called upon... to elevate joy and alleviate suffering. Thus was born the destiny and desire of man to create from this transcendental substance, from this sounding vibration, with the help of his intellect, an ever-moving, tangible and yet intangible world... We call the result of this creativity, which is nothing more than a sequence of sounds, music.”

Music in human society becomes an active and effective means of emotional communication. Music can reveal a person’s thoughts, feelings, experiences, events public life and pictures of nature, evoke various associations.

In other words, music embodies the endless variety of human emotional experiences and all the richness spiritual world humanity.

Such properties of sound as timbre, register, volume, articulation, direction of movement of the melody, its accentuation in combination with the tempo of movement are transformed into musical intonation. It is no coincidence that B.V. Asafiev called music “the art of intoned meaning.”

The properties of musical intonation are similar to speech intonation, which conveys the meaning of a statement. However, feelings can be expressed incomparably more fully by means of music than by words. Therefore it is very difficult to translate into verbal form music content. “This translation will inevitably be incomplete, rough and approximate,” wrote B. M. Teplov. The main difference between a speech utterance and musical speech is how the content and meaning are expressed. In speech, the content is conveyed through the meaning of the words of the language; in music - directly expressed in sound images. If the main function of speech is the function of designation, then the main function of music is the function of expression.(B. M. Teplov). Similar thoughts are expressed by A. Schnabel: “Among all the arts, music occupies an exceptional and incommensurable position with other types. She is everywhere a becoming and, because of this, can never be “grabbed.” It cannot be described, it has no practical use; one can only experience it...”

Studying issues related to musical experience, B. M. Teplov makes the following very significant conclusions.

1. The experience of music is an emotional experience and acts as a type of non-verbal knowledge, as a unity of “affect and intellect” (L. S. Vygotsky). “It is impossible to comprehend the content of music in a non-emotional way.” At the same time, the experience of music is associated with its understanding (i.e., form, structure, structure of the musical fabric, etc.). That's why understanding music becomes emotional. “Music is emotional cognition” [ibid].

2. A musical experience is an emotional and cognitive experience at the same time. You can learn about music using other methods and means of cognition: comparisons with other types of art, spatial and color associations, ideas, symbols. In combination with other extra-musical means of cognition, the cognitive significance of music is expanded to the widest limits. At the same time, music deepens existing knowledge and gives it a new quality - emotional intensity.

B. M. Teplov considered a person’s ability to experience music to be a sign musical talent, musicality, and the core of musicality – “emotional responsiveness to music”.

Musicians usually convey the sphere of emotions with various words used as synonyms: feeling, mood, sensation, affect, excitement, etc. The differences between them are manifested in the intensity of the expression of emotion: for example, sensation is weaker, excitement is stronger.

Or the differences become stylistic. “Affect” is used in relation to the theory of affects in music of the 17th–18th centuries. ; "feeling" - in relation to style direction sentimentalism in music XVIII V. ; “feeling, excitement, mood” - to characterize a romantic music of the XIX century.

In addition, the emotional and suggestive impact of music is associated with the time O and the length of the musical work. Affect theory is based on this relationship. European music Baroque era: one “affect”, one feeling is maintained throughout the entire work or its large part. This affect can intensify or weaken, but it cannot change to another. So A. Kirchner in his work “ Musurgia universalis“gives eight affects that music should evoke: love, sadness, courage, delight, moderation, anger, grandeur, holiness. That is why the works of J. S. Bach, associated with the long development of one affect, have a deep emotional impression on listeners.

The 19th century brought new discoveries: music capable of conveying inner world of a person, the development or transformation of his feelings, becomes the leading form of art, which literature, poetry, and painting strive to imitate. It is no coincidence that the variety of epithets poetic images, program titles emphasizing the nature of musical emotions, found in the works of F. Liszt, F. Chopin, R. Schumann, and Russian composers “ Mighty bunch", P. Tchaikovsky and others.

In the music of the 20th century, despite anti-romantic trends, the embodiment of new emotions continues: anxiety, anger, sarcasm, grotesque.

Summarizing the above, we emphasize that music contains a rich spectrum of different emotions, among which are: 1) vital emotions of the surrounding world; 2) emotions adequate to the emotions of other types of art; 3) specific musical emotions.

In this regard, the complexity of studying the problem of musical emotions and the lack of a developed theory becomes clear. Exploring Theory musical content, V.N. Kholopova offers the following classification of the most important types of musical emotions.

1. Emotions as a feeling of life.

2. Emotions as a factor of personality self-regulation.

3. Emotions of admiration for the mastery of art.

4. Subjective emotions of a practicing musician – composer, performer.

5. Emotions depicted in music (emotions of the image embodied in music).

6. Specific natural emotions of music (emotions of natural musical material).

Emotions in music remain connected to life's emotions, but are expressed in fantasy images. In this case, the main one is specific natural musical material, which include: a) motor-rhythmic sphere; b) the singing or vocal sphere, transferred to the sound of timbres musical instruments; c) speech or declamation sphere.

Motor-rhythmic sphere affects rhythmic periodicity, a variety of accents, melodic peaks and culminations, the sound of harmonies and various gradations of sound strength. This area has a universal effect on a person, up to immersion in a state of hypnosis.

Singing or vocal field includes the entire range of intonations human voice and is continuously replenished with intonations of the speech sphere.

Speech or declamation sphere contains enormous and very emotional material: intonations of request or complaint, fear or threat, delight or indignation, etc.

The specific natural emotions of music are interconnected with those depicted, that is, with the emotions of the image embodied in music. The emotions portrayed are emotions artistic image, composer's intention. In comparison with specific natural emotions in music, they are symbolic, conventional, have the character of an allegory, an artistic idea.

Thus, musical emotions represent “the hierarchy of human artistic reactions to different levels, from a passing mood, a local “affect” inspired musical material(rhythm, melody), to the elements of attitude, worldview, brought up musical art, his masterpieces. Music affects a person with the help of the emotional generalization that has developed in it over centuries,” points out V. N. Kholopova. Emotional generalization embodies the aesthetic and ethical ideas of art. Based on emotional generalization, symbols depicting emotions arise in music. With the help of associations and allegories, the idea of a feeling, affect or mood is instilled. Musical emotions are given artistic design works and influence the human worldview. “Emotions in music are emotions-excitement, emotions-ideas, emotions-images, and emotions-concepts.”

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Music project

Subject " Feelings of joy in works of art"

Completed by a student of grade 8 "B"

Kozachenko Vyacheslav

Head music teacher

Gubkina N.V.

2016-2017 academic year

1.Introduction………………………………………………………………………………3pp.

2. Main part…………………………………………………..4 pages.

3. Conclusion (conclusions)…………………………………….6 p.

Introduction

“Joy comes into our lives when we have something to do, someone to love and something to hope for.” Victor Frank.

In music lessons, we looked at big topic"World human feelings", where the listened works were used to determine what feelings and emotions are manifested in musical works. The most varied and vibrant manifestation was the feeling of joy. Here we talked about what brings joy to our guys, how differently they would describe this feeling, and even tried to portray it. And I decided not to stop there and find out how great people conveyed feelings of joy in their works.

Purpose of the work: to consider how the feeling of Joy manifests itself in other forms of art.

Tasks:

Find the concepts of Joy and Art, how they are related
Consider examples of works in various types arts that convey the feeling of Joy
Draw conclusions

Main part

To figure out what works to look for, I decided to find out what the words Joy and Art mean, I went to the library, where I looked through many dictionaries: musical ____________, Ozhigov’s dictionary, dictionary of synonyms... In which I learned:

Joy is a human-expressed emotion that is a positive feeling internal state man and his spiritual satisfaction.

Synonyms for the word Joy: delight, fun, fun, happiness, triumph, pleasure.....

In science, art is called the creative activity itself. artistic activity, and so is its result -piece of art .

Types of art: Painting, architecture, sculpture, cinema, literature, music...

Having learned about various types of art, I went to a teacher of music, literature, art, and also turned to the Internet, looking for examples of works expressing a feeling of joy. There were a lot of them; I cited only a few in my work.

Literature

1. The story “Gooseberry” by A.P. Chekhov.

In which the feeling of joy was manifested throughthe happiness of a person whose cherished dream came true, who got what he wanted: he finally grew, picked and tasted his gooseberries.

2. Poem by M. Kuzmin“Oh, to be abandoned - what happiness!”

This poem expresses a feeling of joy through love for another person, expressed through the perception of the surrounding nature.

Painting

1. Ekaterina Babok “Sunny Childhood”

The bright and wonderful colors of these images convey a feeling of joy and delight.
2. Painting “Three Joys” by N. Roerich In this painting, N. Roerich showed the joy of a person from doing what he loves.

Music

1." Smile" Plyatskovsky.M; Shainsky V.

IN this fragment songs, joy comes from friendship, have a fun day, from just one smile to each other.

2. L .V. Beethoven Symphony No. 9 “Ode to Joy” -is a hymn of joy

W.A. Mozart “Little Night Serenade” -night celebration under the windows of a loved one

P.I. Tchaikovsky “Kamarinskaya” -festive fun party

Photo

These photos show the spontaneous joy that comes from enjoying fleeting moments in life, the delight of happiness.

Cinema

“The Night Before Christmas” N.V. Gogol

I took a fragment where people’s feeling of joy is manifested in sliding downhill, in games, in winter fun.

Conclusion:

Love for another person

Love for what you love,

Achieving the goal

Holidays,

Short description

1.Music project

Topic: “Feelings of joy in works of art”

2. Completed by a student of grade 8 “B”

Kozachenko Vyacheslav

3.Head music teacher

Gubkina N.V.

4. Purpose of the work: to consider how the feeling of Joy manifests itself in other forms of art.

5. Research methods:

Information retrieval

Analysis of works

6.Conclusion:

In the course of my work, I revealed how the feeling of Joy manifests itself in various forms of art, such as literature, music, painting, cinema, photography through

Love for another person

Love for what you love,

Perception of the surrounding world,

Achieving the goal

Holidays,

Fleeting moments of happiness

Admiring children's emotions.

During the work, we encountered difficulties: to choose specific works among the many works.

“Joy is a special wisdom. Man has the highest gift to know joy,” wrote Helena Roerich, “A high brow is given to see the highest.” From the Distant Worlds to the small flower, everything offers people joy."

Basic parameters of music (dark and mode)	Basic mood	Characteristic	Titles of works
Slow major	Calm	Lyrical, soft, contemplative, melodious, elegiac	Borodin. Nocturne from string quartet:
			Chopin. Nocturne in F major (extreme movements);
			Chopin.Etude E major(extreme parts);
			Schubert.Ave Maria:
			Saint-Sane.Swan.
Slow minor	Sadness	Gloomy, tragic, sad, depressing, sad. mournful	Chaikovsky. V Symphony, introduction;
			His VI symphony, finale;
			Grieg. Death;
			Chopin.Prelude in C minor;
			Chopin.March from Sonata in C-flat minor.
Fast minor	Anger	Dramatic, agitated, anxious, restless, rebellious, angry, desperate	Chopin.Scherzo No. 1 Etude No. 12, Op. 10;
			Scriabin.Etude No. 12, op. 8;
			Tchaikovsky.VI Symphony. 1st part, development;
			Beethoven. Finals of sonatas No. 14, 23;
			Schumann.Impulse.
Fast major	Joy	Festive, solemn, jubilant, cheerful, cheerful, joyful	Shostakovich. Festive Overture;
			Liszt. Finals of rhapsodies N? 6.12;
			Mozart. A Little Night Serenade, finale;
			Glinka.Ruslan and Lyudmila, overture;
			Beethoven. Finals of symphonies No. V. IX

Music program packages for regulating emotional state

1. To reduce irritability, disappointment and to increase the sense of frailty of life	Bach "Cantata No. 2"
	Beethoven" Moonlight Sonata"
	Prokofiev “Sonata “RS” Frank “Symphony in D minor”
2. To reduce feelings of anxiety and uncertainty about the successful outcome of what is happening	Chopin "Mazurka and Preludes"
	Strauss "Waltzes"
	Rubinstein "Melody"
3. For general calm, peace and agreement with life as it is	Beethoven "6th Symphony"
	Part 2 Brahms “Lullaby”
	Schuberg "Ale Maria"
	Schuberg "Andante from the quarget"
	Chopin "Nocturne in G minor"
	Debussy "Light of the Moon"
4. To reduce anger and envy of other people’s successes	Bach "Italian Concerto"
	Haydn "Symphony"
	Sibelius "Finland"
5. To relieve emotional tension in relationships with other people	Bach "Violin Concerto in D minor"
	Bartok "Sonaga for piano"
	Bruckner "Mass in E minor"
	Bach "Cantata No. 21"
	Bartok "Quartet No. 5"
6. To reduce headaches associated with emotional stress	Beethoven "Fidelio"
	Mozart "Doi Giovanni"
	Liszt "Hungarian Rhapsody No. 1"
	Khachaturian “Masquerade Suite”
	Gershwin "An American in Paris"
7. To improve your mood	Chopin "Prelude"
7. To improve your mood	Liszt "Hungarian Rhapsody No. 2"

The invocation of various emotional states is possible not only arbitrarily by reviving certain emotional situations in the imagination, but also with the help of music. Even in Ancient Vavilo, non-priest musicians knew about the relieving meaning of mournful songs for grief and performed them during mourning ceremonies. Emotional experience as the main condition for the perception of music was also noted by philosophers and doctors Ancient Greece(Aristotle, Plato, Hippocrates). Aristotle wrote that "... musical scales differ significantly from each other, so that when listening to them we have a different mood and we do not have the same attitude towards each of them; so, for example, listening to some modes, we experience a more pitiful and depressed mood, listening to other, less strict modes, we soften in our mood; other modes evoke in us a predominantly average, balanced mood; Apparently, only one of the modes, namely the Dorian, possesses the latter property. As for the Phrygian mode, it has an exciting effect on us.” (1911, pp. 367-368). Many composers also spoke about this (L. van Beethoven, F. Mendelssohn, D. D. Shostakovich). P. I. Tchaikovsky (1878) noted that music conveys everything “for which there are no words, but what asks from the soul and wants to be expressed.”

The influence of music on human emotions is also reflected by A. S. Pushkin, this is how he described the influence church music on Salieri in early childhood:

As a child, when the organ sounded high in our ancient church, I listened and listened, involuntary and sweet tears flowed1.

V. M. Bekhterev considered music to be the ruler of human feelings and moods. Therefore, in one case, it is able to reduce excessive excitement, in another, it can transfer from sad to good mood, in the third - to give vigor and relieve fatigue.

‘ Pushkin A. S. Mozart and Salieri. Collection op. in 10 volumes. T. 4. - M.: Fiction, 1960. -S. 323.

Biblical story: Saul, from whom the spirit of the Lord had departed, ordered his servants to find and bring to him a man who played the harp well. David came to him, liked him and became his squire. And when David played, Saul felt more joyful and better, and the evil spirit

retreated from him.

True, there was another point of view, according to which music is perceived not so much emotionally as intellectually. One of the representatives of aesthetics, E. Hanslick (1895), wrote: “The layman feels the most when listening to music, the educated artist feels the least” (p. 144). In his opinion, music becomes a pleasure when the listener finds satisfaction in guessing the composer's intentions, noting how expectations are met or pleasantly deceived in them. It's obvious that we're talking about about different levels of music perception, which causes different emotional response. As I. Glebov (1930) showed, among professional musicians the perception of music deepens due to intellectual

tual operations of “comprehension of sound”. B. M. Teplov (1947) wrote that the perception of music goes through emotion, but does not end with emotion. For him, music is an emotional experience. In light of the above, the development of the ability to perceive music and experience the whole scale human emotions is an important task musical education children.

The role of music in emotional development person and the formation of character traits was also considered ancient Greek philosophers. In the Middle Ages, this problem was studied in line with the theory of affects, which established a connection between human emotional phenomena and the ways they are reflected in music.

Exploring Emotional Significance individual elements music (rhythm, tonality) showed their ability to evoke certain emotional states in a person. Minor keys have a “depressive effect”, fast pulsating rhythms and consonances are stimulating and cause negative emotions, “soft” rhythms and consonances are calming. A large number of studies have been conducted in our country and abroad on the influence of music on the physiological functions of the body. It was concluded that the cardiovascular system responds markedly to music when it is enjoyable and creates pleasant mood: the pulse slows down, heart contractions increase, blood pressure decreases. With the irritating nature of the music, the heartbeat quickens and becomes weaker. They began to talk about the coding of emotions in music, about musical emotions, which can be presented in the form of various formulas.

According to V.I. Petrushin (1988), the coding of musical emotions and the attribution of different works to the expression of emotions of the same modality can be carried out using the coordinate system shown in Fig. 10.1.

From the presented data it follows that the same melody, depending on how it is performed: in a major or minor mode, fast or at a slow pace, will convey different emotions.

The explanation for this may be that right hemisphere, in addition to being associated with negative emotions, specializes in frequency analysis amplitude-modulated stimuli, and the left, associated with positive emotions, in recognizing the rhythmic structure of complex sound signals. Hence the music in which big role belongs to frequency-amplitude modulation, will be more addressed to the right hemisphere and the emotions associated with it, and music in which significant place assigned to a rhythmic sound signal

Table 10. Generalized characteristics of musical works expressing similar

emotional states

Basic parameters of music (tempo and mode)	Basic mood	Characteristic	Titles of works
Slow major	Calm	Lyrical, soft, contemplative, melodious, elegiac	Borodin. Nocturne from string quartet; Chopin. Nocturne in F major (outer parts); His own. Etude in E major (extreme parts); Schubert. Ave Maria; Saint-Sane. Swan.
Slow minor	Sadness	Gloomy, tragic, sad, depressing, sad, mournful	Chaikovsky. V Symphony, introduction; His own. VI Symphony, finale; Grieg. Death; Chopin. Prelude in C minor; His own. March from the sonata in B flat minor.
Fast minor	Anger	Dramatic, agitated, anxious, restless, rebellious, angry, desperate	Chopin. Scherzo No. 1 Etude No. 12, Op. 10; Scriabin. Etude No. 12, Op. 8; Chaikovsky. VI Symphony, 1st part, development; Beethoven. Finals of sonatas No. 14, 23; Schumann. Rush.
Fast major	Joy	Festive, solemn, jubilant, cheerful, cheerful, joyful	Shostakovich. Festive Overture; Sheet. Finals of Rhapsodies No. 6,12; Mozart. Little night serenade, finale; Glinka. Ruslan and Lyudmila, overture; Beethoven. Finals of symphonies No. V, IX

the hemisphere and the emotions associated with it.

This assumption, expressed by L.P. Novitskaya (1984), found some confirmation in the experiment she conducted. So, classical music, in which frequency-amplitude modulation is expressed, evoked in listeners a pleasant slight sadness combined with joyful revival, a surge of strength, inspiration, and optimism. Rock and disco music, characterized by rhythm, evoked either a super-cheerful mood or irritation and melancholy.

Yu. A. Tsagarelli (1981) studied which music - classical or jazz - more effectively relieves post-exam psycho-emotional stress. It turned out that the first has a clear advantage. After it, a decrease in psycho-emotional stress was recorded in 91% of students. At the same time, in 71% of students the level of tension decreased to the background level and below.

Influenced jazz music a decrease in emotional stress was recorded only in 52% of students. At the same time, the decrease was below the background

10.3. Inducing Desirable emotions in only 19% of students, and 48% even had an increase in emotional tension. In this regard, rest without listening to jazz music turned out to be even more effective for students in the control group: after 2.5 minutes, emotional stress decreased in 75% of students, with 33% below and below the background level.

Yu. A. Tsagarelli also showed that unfamiliar classical music reduces emotional stress more than familiar music.

According to L. Ya. Dorfman (1981), the influence of music on a person’s emotional arousal depends on the strength and weakness of the nervous system. In “strong” people, activation increases compared to the background with any music (slow and fast minor, slow and fast major), and in “weak” ones - with fast music any way.

As L. R. Fakhrutdinova (1996) showed, the emergence of the emotion of a particular sign depends on the music that is familiar (for a given culture) or unusual. Habitual music causes mainly positive emotional experiences (pleasure, joy, bliss, happiness), or sadness, melancholy, unusual music - emotionally negatively colored states (apathy, fatigue, lethargy).

Considering the influence of music on emotional sphere a person, and the influence of the latter on his health, currently such a direction as music therapy is increasingly developing (Schwabe, 1972; Kohler et al, 1971, etc.).

Music therapy was practiced by doctors in Ancient Greece, such as Hippocrates. Pythagoras also believed that music promotes health by influencing a person’s mood: some melodies act against despondency, others against anger and irritation. Arab doctors used music to improve the patient's mood, which was important for successful treatment. Avicenna recommended that those suffering from melancholy entertain themselves by listening to music and singing. Attempts to use music as a therapeutic agent were made in subsequent centuries.

In Russia, on the initiative of V. M. Bekhterev, in 1913 the “Society for elucidating the therapeutic and educational significance of music and its hygiene” was founded. Original “therapeutic catalogs of music” were compiled, an example of which is table. 10.1.

A decrease in neuroticism and anxiety is observed more when listening to sad music. Moreover, a greater effect is achieved if the anxiety is situational rather than personal (Buller, Olson, Breen, 1974). At the same time, the use of cheerful music to relieve anxiety, according to J. Altshuler (Altshuler, 1954) and a number of other authors, can have the opposite effect, i.e., increase anxiety and irritability.

The same thing was found when trying to treat depression with music. With pathological depression, patients do not perceive cheerful music, it deepens depression even more, actualizing the patient’s experiences and thus preventing the perception of fun. Patients in deep depression, feel relieved when they listen to sad, mournful music. For patients who are mildly depressed, especially with cyclothymia or circular psychosis, elegies, nocturnes, and lullabies have a beneficial effect (Slobodyanik, 1966). According to G.P. Shipulin (1966), it is more advisable for patients with depression to first listen to minor music, which helps to establish “music” with them.