Landscape in instrumental music. Musical works about nature: a selection of good music with a story about it Genre landscape in musical works

Art talks about the beauty of the Earth.

Landscape in music, literature, painting.

A. Pushkin called art a “magic crystal”, through the boundaries

which the people, objects and phenomena around us are seen in a new way

usual life.

At all times, painters, composers and writers have embodied in their works various natural phenomena that excited them. Through the feelings and experiences that arise in them when perceiving the majestic sea or mysterious stars, endless plains or a smooth bend of a river, they convey their vision of the world.

Thanks to works of art - literary, musical, picturesque - nature always appears before readers, listeners, and spectators in different ways: majestic, sad, tender, jubilant, mourning, touching. These images continue to attract a person, touching the subtlest strings of his soul, help him touch the unique beauty of his native nature, see the unusual in what is familiar and everyday, and give everyone the opportunity to develop a sense of belonging to their native land, to their father’s home.

Landscape (French paysage - view, image of some area) is a genre dedicated to the depiction of nature. In European art, landscape emerged as an independent genre in the 17th century.

Landscape - poetic and musical painting

History of the development of landscape in Russian painting

Venetsianov and his students were the first to turn to the Russian landscape in their work.

Under blue skies

Magnificent carpets,

The snow lies shining in the sun.

The transparent forest alone turns black,

And the spruce turns green through the frost,

And the river glitters under the ice.

A.S. Pushkin. ("Winter morning")

Slide 1 “Winter” Nikifor Krylov. (1802-1831)

Nikifor Krylov painted his painting “Winter” in 1827. This was the first Russian winter landscape.

Krylov painted the landscape seen from the studio window within a month. The outskirts of the village appear, the residents are busy with everyday affairs: in the foreground a woman with a yoke carries full buckets of water, a man leads a horse towards her by the bridle, behind the woman with a yoke are two other women who have stopped to talk. In the distance you can see a forest, and beyond it an endless plain. There is white snow all around, bare trees. The author masterfully captured the atmosphere of the Russian winter. Such a surprisingly sincere and simple winter landscape is a rare phenomenon in Russian painting of the first half of the 19th century. The painting was first presented at an exhibition at the Academy of Arts, where it was well received by contemporaries, who noted “the charmingly captured winter lighting, the nebulosity of the distance and all the differences of the cold well preserved in memory.”

Tretyakov Gallery.

The landscapes of Grigory Soroka, Venetsianov’s favorite student, are captivating and sad. And I'm afraid to break this silence. As if waking up, nature will lose its irrevocable kindness and tenderness and peace. Grigory Sorokin is a serf of the landowner Miliukov.Grigory Vasilievich Soroka (1823-1864)Grigory Vasilyevich Soroka is a student of A.G. Venetsianov, one of the most talented and beloved. A serf of the Tver landowner N.P. Milyukov, a neighbor and good friend of A.G. Venetsianov. Taken by the master to his yard on the Ostrovki estate, Soroka was apparently noticed there by the artist, and, with Miliukov’s permission, the master took him to his village of Safonkovo. Like all of Venetsianov’s students, Soroka works mainly from life, draws a lot, paints landscapes, portraits, and interiors. A.G. Venetsianov tried to redeem him from captivity, but did not have time due to his tragic death. After his death, Grigory Vasilyevich Soroka committed suicide.

And only almost a quarter of a century later, an artist was destined to appear in Russian art, about whom a poet could say: “He breathed life with nature alone, understood the babbling of a stream, and understood the conversation of tree leaves, and he heard the vegetation of grass...” Savrasov. He tried to find in the simplest, most ordinary things those intimate, deeply touching, often sad features that are so strongly felt in the Russian landscape and have such an irresistible effect on the soul.

In 1871, Savrasov created his famous masterpiece - the painting “The Rooks Have Arrived” (Tretyakov Gallery, Moscow). He painted it from life in the village of Molvitino, Kostroma province. The artist loved to depict spring, and in this picture he managed to subtly and convincingly show its first signs: darkened March snow, melt water, air saturated with spring moisture, a sky covered with dark clouds, birds fussing over their nests. Every detail of the landscape expresses a keen sense of anticipation for spring. This is probably why the picture was so loved by the Russian audience, who, in the harsh and long winter, eagerly awaited the arrival of spring and its first messengers - the rooks.

The painting, shown at a traveling art exhibition, attracted the attention of many. The famous art historian Alexandre Benois called her a guiding star for a whole generation of landscape masters of the 19th century. I.N. Kramskoy, who saw the painting at the exhibition, spoke about it like this: “Savrasov’s landscape is the best, and it is really beautiful, although Bogolyubov is also there... and Shishkin. But all these are trees, water and even air, and the soul is only in “Rooks.”

People, as if for the first time, saw in their paintings both the transparent spring air and the reviving birch trees filled with spring sap; We heard the cheerful, hopeful, joyful hubbub of birds. And the sky doesn’t seem so gray and joyless, and the spring dirt is soothing and pleasing to the eye. It turns out that this is what Russian nature is like - gentle, thoughtful, touching! It is thanks to the picture Alexey Kondratievich Savrasov(1830-1897) “The rooks have arrived”, Russian artists felt the songfulness of Russian nature, and Russian composers felt the landscape nature of Russian folk song.

The landscape by Ivan Ivanovich Shishkin “In the Wild North...” was written in 1891 based on the poem “Pine” by M. Yu. Lermontov. The work is done on canvas with oil. This work is kept in the Kiev Museum of Russian Art. On the canvas we see a pine tree that stands on the edge of a cliff and is ready to fall at any moment under the weight of the snow that has clung to its branches in flakes. The top of the pine tree looks like the head of an eagle, which is about to break loose, flap its wings and be freed from an unbearable weight with relief. The gloomy dark blue sky is permeated with anxiety. The middle of the pine tree, closer to the trunk, looks like a skeleton that has lost its flesh-leaves during the winter. This work is imbued with the spirit of loneliness and cold.

Read the poem by M.Yu. Lermontov “It’s lonely in the wild north”

It's lonely in the wild north
There's a pine tree on the bare top,
And dozes, swaying, and snow falls
She is dressed like a robe.
And she dreams of everything in the distant desert,
In the region where the sun rises,
Alone and sad on a burning cliff
A beautiful palm tree is growing.

In general, oak is one of the favorite trees of the landscape artist, who tirelessly depicted these magnificent titans created by unpredictable nature. In this canvas, Shishkin’s oak trees are magnificent heroes of the forest epic, with their mighty paw-branches spread wide. The trees are illuminated by the rays of the sun, which is about to leave the sky soon. The time of day depicted in the picture is evening. However, Shishkin masterfully emphasizes the unusual play of the luminary on the mighty trunks of oak trees.

Contemporaries called Shishkin “the patriarch of the forest,” and these words very accurately conveyed the artist’s attitude towards nature and art. The forest, which the painter loved selflessly, became the main character of his paintings. Shishkin did not just write nature: he, as a scientist, studied it. The master never tired of repeating to his students: “You can never put an end to the study of nature, you cannot say that you have learned it completely and that you don’t need to study anymore.” Shishkin was the first of the Russian painters of the 19th century to understand the importance and significance of sketches from nature. He knew the forest perfectly, the structure of every tree and plant.

“If pictures of the nature of our dear Rus' are dear to us, if we want to find our own, truly folk ways to depict its soulful appearance, then these paths also lie through your mighty forests, full of unique poetry.” - This is what Viktor Vasnetsov wrote to landscape painter Ivan Shishkin.

“This boy will still show himself; no one, including himself, has any idea about the possibilities hidden in him.” - These are the words of the artist Kramskoy about the Russian artist Fyodor Vasiliev. Vasiliev lived only 23 years, but he managed to do so much. His excited brush told people so much about the greatness and mystery of nature.

Painting “Birch Grove” (1879). In the foreground, not entire trees are depicted, but only flexible white trunks. Behind them are silhouettes of bushes and trees, and around them is the emerald green of a swamp with a clearing full of dark water.

The gift of color sensations is the kind of luxury that elevates a person” - this statement by the scientist Petrashevsky can be fully attributed to the work of Kuindzhi.

“The illusion of light was his God, and there was no artist equal to him in achieving this miracle of painting. Kuindzhi is an artist of light,” wrote Repin in 1913.

A contemporary of A. Savrasov and I. Shishkin, he brought the magic of light to the landscape. The natural world on his canvases is like a fairy-tale palace, where a person is visited by beautiful and eternal dreams.

The simple beauty of the Central Russian strip did not attract the attention of artists for a long time. Boring, monotonous flat landscapes, gray

the sky, spring thaw or summer grass withered by the heat... What's poetic about this?

Russian artists of the 19th century. A. Savrasov, I. Levitan, I. Shishkin and others discovered the beauty of their native land.

Levitan's paintings require slow viewing. They do not overwhelm the eye, they are modest and precise, like Chekhov's stories. So few notes and so much music. The great poet of nature, Levitan, fully felt the inexplicable charm of the Russian landscape, and in his paintings he was able to convey love for the Motherland, unembellished by anything, beautiful in its spontaneity.

The canvas “Fresh Wind” is also marked by a mood of joy. Volga” (1895, Tretyakov Gallery, Moscow). The free wind covers the water with light ripples, fills the sails, and drives light clouds across the sky. With the help of sonorous, fresh colors, the master conveys the dazzling whiteness of the steamship and clouds slightly gilded by the sun, the bright blue of the sky and river.

In “The Quiet Abode” the artist managed to show a generalized image of nature in a fresh and emotional way. Levitan repeated the same motif of the temple, reflected in calm and clear river water, in the painting “Evening Bells” (1892, Tretyakov Gallery, Moscow).

Levitan is recognized as one of the most subtle and soulful landscape painters. With the work of Levitan, the concept of “mood landscape” entered Russian painting. The ability to objectively convey the beauty of nature in all the diversity of its changing manifestations and at the same time, through the landscape, to express the state of the human soul and its subtlest experiences were precious qualities of the artist’s talent. Imbued with a jubilant mood, the painting “Golden Autumn” is a kind of farewell hymn to the last flowering of nature: the extraordinary brightness of colors, the “burning” of gold of birches, the multicolored cover of the earth. Painted with brilliant skill, the landscape is distinguished by a complex color scheme and a variety of pictorial surfaces, on which textured colorful strokes stand out.

Probably, it is about the paintings “Golden Autumn” and “Fresh Wind. Volga” Grabar wrote: “...They instilled cheerfulness and faith in us, they infected and raised us. I wanted to live and work.”

But Levitan has few such life-affirming and joyful landscapes.

The canvas “Spring” is imbued with quiet sadness. Big Water” (1897, Tretyakov Gallery, Moscow). The color of the picture is very harmonious. With the help of subtle color nuances, the artist conveys the fresh charm of the coming spring. Thin tree trunks are permeated with dim sunlight. Their fragility and grace are emphasized by clear reflections in the water. This emotional and heartfelt picture of nature conveys the depth of human feelings and experiences. A lonely boat near the shore and modest peasant houses on the horizon remind of the presence of a person.

Plyos is a small provincial town on the banks of the Volga, where Levitan worked for three years (1888-1890). Here Levitan first found those motifs and plots that subsequently immortalized his name, and, at the same time, the name of Ples. Zolotoy Plyos is one of the masterpieces created by Levitan at this time. With amazing sensitivity, this canvas conveys the feeling of peaceful silence, the soft glow of the pre-sunset light, the gentle haze of fog floating over the sleeping river... Everything is filled with a precious feeling of the integrity and beauty of being, and it seems that the bell will now strike and the canvas will tremble to the beat his blows. Levitan rented part of a white stone house with a red roof for some time.

The artist's philosophical make-up and dramatic inner world are revealed, as well as his reflections on the frailty of human existence in the face of eternity.

Levitan's painting Lake (Rus)(1895, State Russian Museum, St. Petersburg) is the artist’s last large painting, on which he worked for a long time and with inspiration. Perhaps he did not make so many preparatory studies and sketches for any of his works. It is known that in the process of creation Lakes the artist more than once traveled for sketches to the Tver province, to places that once served as the basis for the painting Above eternal peace. But in comparison with the last one in Lake one hears not mournful, but solemn music of nature. Lake makes a strong impression with its bright, festive sound, the “chime” that unites the high blue sky, along which snow-white clouds float, and the wonderful freedom of a blue lake, on the near shore of which the reeds agitated by the fresh wind are green, and on the far shores one can see villages and raising heads to white churches and bell towers to the sky.

Wonderful day, centuries will pass,

They will also be in eternal order

The river flows and sparkles,

And the fields to breathe in the heat.

Fedor Tyutchev

Read words of the Russian poet I. Bunin.

No, it’s not the landscape that attracts me,

It’s not the colors that the greedy gaze will notice,

And what shines in these colors:

Love and joy of being.

How do you understandwords of the Russian poet I. Bunin?

Quote from the French writer A. de Saint-Exupéry: “You cannot see the most important things with your eyes, only your heart is vigilant.”

Assignment: o explain the meaning?

Write down in a creative notebook in prose or poetic form, impressions of any natural phenomenon that struck you with its beauty.

Select pieces of music that are in tune with the paintings of Russian artists. What artistic associations arise in your imagination?

Listen to music:

S.I.Taneev “Pine” based on lyrics by Y. Lermontov.

“You are my field” Russian folk song.

It is necessary to analyze and compare it with literary text and artists’ paintings.

Literary pages

Listen to poems about nature:Native. D.Merezhkovsky

Autumn evening. F. Tyutchev.

Read aloud two literary works written in the 20th century, find intonation, tempo, and vocal dynamics to convey the emotional state reflected in these works.

Everything is in a fading haze

Everything is in a melting haze:

Hills, copses.

The colors are not bright here

And the sounds are not harsh.

The rivers are slow here

Foggy lakes,

And everything slips away

From a quick glance.

There's not much to see here

Here you need to take a closer look,

So that with clear love

My heart was full.

It's not enough to hear here

Here you need to listen

So that there is harmony in the soul

They poured in together.

So that they suddenly reflect

Clear waters

All the beauty of shy

Russian nature.

N. Rylenkov

To an unknown friend

This morning is sunny and dewy, like an undiscovered land, an unknown layer of heaven, this is the only morning, no one has gotten up yet, no one has seen anything, and you yourself are seeing for the first time. The nightingales are finishing their spring songs, dandelions are still preserved in quiet places, and perhaps the lily of the valley is whitening in the dampness of the black shadow. Lively summer birds began to help the nightingales.<…>The restless chatter of blackbirds is everywhere, and the woodpecker is very tired of looking for live food for his little ones, so he sat down on a branch far from them just to rest.

Get up, my friend! Gather the rays of your happiness into a bundle, be brave, start the fight, help the sun! Listen, and the cuckoo has begun to help you. Look, a harrier is swimming over the water: this is not an ordinary harrier, this morning he is the first and only one, and now the magpies, sparkling with dew, came out onto the path<…>. This is the only morning, not a single person has ever seen it on the entire globe: only you and your unknown friend see it.

And for tens of thousands of years people lived on earth, accumulating joy, passing it on to each other, so that you would come, pick it up, gather its arrows into bundles and rejoice. Be brave, be brave!

And again my soul will expand: fir trees, birch trees, and I can’t take my eyes off the green candles on the pine trees and the young red cones on the fir trees. Fir trees, birch trees, how good!

M. Prishvin

Answer the questions;

* What thoughts of the poet and writer, revealing the secrets of our native Russian nature, help us feel its beauty? Highlight key words that are important to you in these texts.

What works of art do you associate with these literary images?

Select reproductions of landscapes by Russian artists that are in tune with them.

Artistic and creative tasks

Prepare a computer presentation on the topic “Landscape in literature, music, painting.” Justify your choice of works of art.

Imagine yourself as a sound engineer, select musical compositions familiar to you that can be used to sound the literary works presented above. Read them to this music.

Listen to music:

Autumn.G.Sviridov;

The Legend of the Invisible City of Kitezh. Introduction;

Answer the question: Which of these musical works is voiced by F. Tyutchev’s poem about nature?

Remember music lessons. Listen to Valery Gavrilin's music again. Is it consonant with the paintings of I. Levitan?

Visible music

Listeners all over the world know and love the masterpieces of musical classics - “The Seasons” - a series of concerts by the Italian composer XVIII

V. Antonio Vivaldi(1678-1741) and a cycle of Russian piano pieces

19th century composer Pyotr Ilyich Tchaikovsky(1840-1893). Both compositions belong to program music: they have titles and are accompanied by poetic lines - sonnets of the composer himself in Vivaldi concerts and poems by Russian poets for each of the 12 plays of the cycle Tchaikovsky.

A. Vivaldi "The Seasons" for string orchestra.

Spring is coming! And a joyful song
Nature is full. Sun and warmth
Streams are babbling. And holiday news
Zephyr spreads like magic.

Suddenly velvet clouds roll in,
Heavenly thunder sounds like good news.
But the mighty whirlwind quickly dries up,
And the twitter floats again in blue space.

The breath of flowers, the rustle of grass,
Nature is full of dreams.
The shepherd boy is sleeping, tired for the day,
And the dog barks barely audibly.

Shepherd bagpipe sound
The buzzing sound spreads over the meadows,
And the nymphs dancing the magic circle
Spring is colored with wondrous rays.

The herd wanders lazily in the fields.
From the heavy, suffocating heat
Everything in nature suffers and dries up,
Every living thing is thirsty.

The cuckoo's voice is loud and inviting
Coming from the forest. Tender conversation
The goldfinch and the dove lead slowly,
And the space is filled with a warm wind.

Suddenly a passionate and powerful
Borey, exploding the silence and peace.
It’s dark all around, there are clouds of evil midges.
And the shepherd boy, caught in a thunderstorm, cries.

The poor thing freezes with fear:
Lightning strikes, thunder roars,
And he pulls out the ripe ears of corn
The storm is mercilessly all around.

The peasant harvest festival is noisy.
Fun, laughter, lively songs!
And Bacchus juice, igniting the blood,
It knocks all the weak off their feet, giving them a sweet dream.

And the rest are eager for a continuation,
But I can no longer sing and dance.
And, completing the joy of pleasure,
The night plunges everyone into the deepest sleep.

And in the morning at dawn they jump to the forest
Hunters, and with them huntsmen.
And, having found the trail, they unleash a pack of hounds,
They drive the beast excitedly, blowing the horn.

Frightened by the terrible noise,
Wounded, weakening fugitive
He runs stubbornly from the tormenting dogs,
But more often he dies in the end.

You're shaking, freezing, in the cold snow,
And a wave of north wind rolled in.
The cold makes your teeth chatter as you run,
You beat your feet, you can’t keep warm

How sweet it is in comfort, warmth and silence
Take shelter from bad weather in winter.
Fireplace fire, half asleep mirages.
And frozen souls are full of peace.

In the winter expanse the people rejoice.
He fell, slipped, and rolled again.
And it’s joyful to hear how the ice is cut
Under a sharp skate that is bound with iron.

And in the sky Sirocco and Boreas met,
The battle between them is going on in earnest.
Although the cold and blizzard have not yet given up,
Winter gives us its pleasures.

P.I. Tchaikovsky "Seasons" - cycle for piano

12 plays - 12 pictures from Tchaikovsky’s Russian life received epigraphs from poems by Russian poets during publication:

And don’t rush after the troika
And sad anxiety in my heart
Hurry up and put it out forever."
N.A. Nekrasov

"Christmas time." December:
Once on Epiphany evening
The girls wondered
A shoe behind the gate
They took it off their feet and threw it."
V.A.Zhukovsky

"Snowdrop". April Listen
"The blue one is clean
Snowdrop: flower,
And next to it is draughty
The last snowball.
Last tears
About the grief of the past
And the first dreams
About other happiness..."
A.N. Maikov

"White Nights". May Listen
"What a night! What a bliss everything is like!
Thank you, dear midnight land!
From the kingdom of ice, from the kingdom of blizzards and snow
How fresh and clean your May flies out!”
A.A.Fet

"Barcarolle". June Listen
"Let's go ashore, there are waves
They will kiss our feet
Stars with mysterious sadness
They will shine on us"
A.N. Pleshcheev

"The Mower's Song" July:
"Get itchy, shoulder. Swing your arm!
Smell it in your face, Wind from noon!"
A.V.Koltsov

"Harvest". August:
"People with families
They began to reap
Mow to the roots
Tall rye!
In frequent shocks
The sheaves are stacked.
From carts all night
The music will hide."
A.V.Koltsov

"Hunting". September:
"It's time, it's time! The horns are blowing:
Hounds in hunting gear
Why are they already sitting on horses?
Greyhounds jump in packs."
A.S. Pushkin

In Russian landscapes-moods - poetic, pictorial and musical - images of nature, thanks to the amazing songfulness of intonations, melodies that last like an endless song, like the melody of a lark, convey the lyrical desire of the human soul for beauty, helping people to better understand the poetic content of sketches of nature.

These are the words I used to describe my impressions of I. Levitan’s painting

"Spring. Big Water" expert on Russian painting M. Alpatov:

Thin, like candles, girlishly slender birches look like the very ones that have been sung in Russian songs from time immemorial. The reflection of birch trees in clear water seems to be their continuation, their echo,

melodic echo, they dissolve in the water with their roots, their pink branches merge with the blue of the sky. The contours of these bent birch trees sound like a gentle and sadly plaintive pipe; from this choir, individual voices of more powerful trunks burst out, all of them are contrasted with a tall pine trunk and the dense greenery of spruce.

Pay attention to the epithets in the description of the picture. Why did the author use musical comparisons?

I can imagine how wonderful it is now in Rus' - the rivers have overflowed, everything is coming to life. There is no better country than Russia... Only in Russia can there be a real landscape painter.

I. Levitan

Why did a simple Russian landscape, why a walk in the summer in Russia, in the village, through the fields, through the forest, in the evening in the steppe, used to put me in such a state that I lay down on the ground in some kind of exhaustion from the influx of love for nature, those inexplicable sweet and intoxicating impressions that the forest, steppe, river, distant village, modesta church, in a word, everything that made up the wretched Russian landscape of our native land? Why all this?

P. Tchaikovsky

What attracts composers and artists to Russian nature?

Complete a task of your choice

Listen to fragments of program works by A. Vivaldi and P. Tchaikovsky. How does this music make you feel?

Find in them similar and different features, expressive means that convey the composers’ attitude to nature. What distinguishes Russian music from Italian?

What visual and literary associations emerge from these works? Match the poems to the music played.

Listen to modern adaptations of classic works depicting nature. What new do modern performers bring to the interpretation of familiar melodies?

Artistic and creative task

Select reproductions of landscape paintings. Write a short story about one of the paintings in a creative notebook, find musical and literary examples for it.

Musical works: P.I. Tchaikovsky cycle of piano pieces “The Seasons”; A. Vivaldi. Concerto for string instruments “The Seasons”; (fragments).

Landscape in music

The depiction of nature in art has never been a simple copying of it. No matter how beautiful the forests and meadows were, no matter how the elements of the sea attracted artists, no matter how the moonlit night enchanted the soul - all these images, being captured on canvas, in poetry or sounds, evoked complex feelings, experiences, moods. Nature in art is spiritualized, it is sad or joyful, thoughtful or majestic; she is what a person sees her.

The theme of nature has long attracted musicians. Nature gave music sounds and timbres that were heard in the singing of birds, in the murmur of streams, in the noise of a thunderstorm. Sound-imagery as an imitation of the sounds of nature can be found already in the music of the 15th century - for example, in the choral plays by K. Janequin “Birdsong”, “The Hunt”, “The Nightingale”.

Thus, the path was laid out for music to master its landscape and visual capabilities. Gradually, in addition to imitating sounds, music learned to evoke visual associations: in it, nature not only began to sound, but also sparkled with colors, colors, highlights - it became visible. “Musical painting” - this expression of the composer and critic A. Serov is not just a metaphor; it reflects the increased expressiveness of music, which has opened up another figurative sphere - the spatial-pictorial one.

Among the bright musical paintings associated with the image of nature is P. Tchaikovsky’s cycle “The Seasons”. Each of the twelve plays in the cycle represents an image of one of the months of the year, and this image is most often conveyed through the landscape.

The theme of the seasons, their reflection in nature is the basis of the content of this work, supported by a poetic epigraph from Russian poetry that accompanies each play.

Despite the poetic original source, Tchaikovsky’s music is vividly picturesque – both in a generalized emotional sense, associated with the “image” of each month, and in terms of musical imagery.

Here, for example, is the play “April”, which is given the subtitle “Snowdrop” and is preceded by an epigraph from a poem by A. Maykov:

Blue, pure snowdrop - flower,

And next to it is the last draft of snow.

Last dreams of past grief

And the first dreams of a different kind of happiness...

As often happens in lyrical poetry, the image of early spring, the first spring flower is associated with the awakening of human strength after winter torpor, the darkness of frost and blizzards - to new feelings, light, sun. A small flower growing right from under the snow becomes a symbol of these fresh feelings, a symbol of the eternal desire for life.

If Tchaikovsky's music - with all its vivid imagery - is still aimed at conveying the mood, the experience caused by the first flowering of spring, then in the work of other composers one can find a vivid visual image, accurate and specific. Franz Liszt wrote about it this way: “A flower lives in music, as in other forms of art, for not only the “experience of a flower”, its smell, its poetic enchanting properties, but its very form, structure, the flower as a vision, as a phenomenon is not may not find its embodiment in the art of sound, for in it everything, without exception, that a person can experience, experience, think through and feel finds embodiment and expression.”

The shape of a flower, the vision of a flower, is tangibly present in the introduction to I. Stravinsky’s ballet “The Rite of Spring.” An amazing natural phenomenon - the opening of buds and stems - is captured in this music, conveying, in the words of B. Asafiev, “the action of spring growth.”

The initial tune-theme, performed by the bassoon, in its outline resembles the structure of a stem, which constantly stretches and rushes upward. Just as the stem of a plant gradually grows overgrown with leaves, the melodic line throughout the entire sound also “overgrows” with melodic echoes. The shepherd's flutes gradually turn into a thick musical fabric in which the chirping of birds can be heard.

The landscape in music can probably be likened to the landscape in paintings - the pictures of nature that composers turned to are so diverse. Not only the seasons, but also the times of day, rain and snow, forest and sea elements, meadows and fields, earth and sky - everything finds its sound expression, sometimes literally striking in its visual precision and power of impact on the listener.

The creation of many landscape images belongs to impressionist composers (impressionism is an artistic movement that developed in Western Europe in the last quarter of the 19th - early 20th centuries). In their work, themes requiring special musical visualization, including themes of a landscape nature, were widely developed.

The musical landscape of the impressionists is an area of detailed development of all means of expression that give the sound color, visibility, and picturesqueness. Picturesqueness is already present in the titles of the works: for example, “Sails”, “Wind on the Plain”, “Steps on the Snow” (all these are the names of preludes by C. Debussy), “A Wonderful Evening”, “Wild Flowers”, “Moonlight” (romances K. Debussy), “The Play of Water”, “Reflections” (piano pieces by M. Ravel) and so on.

The need to embody such complex and subtle images in music has led to an increase in spatial and colorful musical possibilities. The harmonies became more tart, the rhythms more refined, and the timbres more refined. The music of the Impressionists revealed the ability to convey not only colors, but also highlights and shadows - as, for example, in “The Play of Water” by M. Ravel. Such possibilities of music turned out to be in tune with impressionist painting; Perhaps never before have these two arts been so close to each other.

Turning to poetry, impressionist composers chose works that also had a clearly expressed colorful, picturesque element. Here is one such poem; its author is the poet Paul Verlaine.

An endless row of fences and wild grapes;

The expanse of distant blue mountains; tart aroma of the sea.

The windmill is like a scarlet lighthouse on the light greenery of the valley;

The foals run freely near the coastal snags.

Sheep lush on the slopes, flowing like a river -

They are bright green on the carpets, whiter than milk.

Lace of foam behind the stern, and a sail over the water,

And there, in the Sunday azure, the copper call of bells.

If there was a genre of landscape in poetry, then this poem would fully meet its requirements. Each of its lines is an independent image, and taken together they form a single picture of a Sunday summer landscape.

The romance by C. Debussy, created on the basis of this poem, gives the poetic image even greater depth. The composer introduces an element of movement, lively and cheerful, but this movement is also figurative, it, as in Verlaine’s poem, seems to be captured.

The initial figure of the accompaniment - a quintole (a rhythmic group of five sounds) - resembles a pattern - either a pattern of endless fences, or a lace of foam, but we feel that this pattern is definitely connected with the images of the poem.

So, we see that landscape in music is present in all the richness of its manifestations - both as a “mood landscape” (for example, in Tchaikovsky), consonant with the landscape paintings of I. Levitan and V. Serov, and as a dynamic landscape that conveys the processes occurring in nature (for Stravinsky), and as a colorful painting that contains diverse manifestations of the beauty of the surrounding world (for the Impressionists).

Landscape images in music allow us to see how much music has learned from painting in conveying the appearance and vision of nature. And maybe, thanks to such music, our perception of nature becomes richer, fuller, more emotional? We begin to see and feel details better, perceive colors and moods, and hear unique music in everything. “Nothing in musicality can compare with the sunset,” wrote C. Debussy, and this musicality of perception of the world becomes equal to the perception of its boundless beauty. The ability for such perception lies the secret of a person’s spirituality - the highest of all inherent principles.

Olga Chernodub
"Musical Landscapes". Music lesson in the preparatory group

Thematic music lesson

"Musical Landscapes"

preparatory group.

Dominant educational field: artistic and aesthetic development. According to the Federal State Educational Standard DO.

Type of children's activity: Gaming, communicative, cognitive, musical and artistic, motor.

Methods and techniques: Visual (visual-auditory and visual-visual, verbal (explanations, brief instructions, poetic word, conversation, questions, practical (games, exercises).

Organization of the environment for conducting classes: piano, stereo system, laptop and monitor, presentation, easel and crayons, portrait of composer E. Grieg, musical instruments: bells, triangle, metallophones, whistles, attributes for dance improvisation: butterfly wings, ribbons, flowers.

Preliminary work: introduction to the concept of landscape: examination of reproductions of paintings by I. Shishkin, I. Levitan, A. Savrasov, V. Polenov and others; reading poems by I. Bunin, A. Fet, A. Pushkin; generalization of knowledge on the surrounding world and ecology; familiarization with the concept of “musical landscape”, listening to the musical works of S. Rakhaninov “Spring Waters”, E. Grieg “Morning”, A. Vivaldi “Spring”; learning a finger game with singing “Snail”, E. Frolova’s song “Spring”, familiarization with the music for dance improvisation by G. Gladkov “The Good Fairy”.

Target: Creating conditions for the development of musical responsiveness and creative imagination of children. Formation of a positive attitude towards nature.

Tasks:

Encourage children to determine the creative image and intention of the composer, artist;

Arouse a desire to participate in the musical and creative process;

Ensure the development of vocal skills and pitch hearing using cluster singing technology;

Contribute to the formation of children’s musical and rhythmic abilities and spatial orientation skills

Psycho-emotional relief for children

Increasing the level of speech development

Abstract

1. Introductory part. Introduction to the topic.

The music of G. Gladkov “On Paintings” sounds, children and their teacher enter the hall and stand in a circle.

Hello friends, I'm glad to see you. Today we have guests. Let's say hello and smile at each other together.

Valeological song - "Greeting" chant.

Place a yellow hoop (“sun”) in the center of the hall

Guys, look how bright the sun has appeared in our hall.

Psycho-gymnastics “Exercise for the sun.”

The sun woke up in the morning and began to shine hotter. What is he missing? (rays). I will ask …. design a sun

The children are posting.

Motivation for activity.

Guys, such a wonderful day! I want to invite you to go for a walk in the artist's studio. Do you agree?

What can you see there?

Who can I meet?

Let's walk around the sun one after another, and the music will tell us how we will walk (slowly or quickly).

Walking with transition to running.

Now let's go in pairs. Each pair will stand near the ray. Find yourself any ray of light. The boys will stand closer to the sun, protecting our beautiful girls from the hot rays of the sun.

Dance exercise “Friendly couples”

1 hour. Walk to the music until the next ray of light and stop, making a spring. (please remind a couple of children)

2h – side gallop in pairs. (please remind the 2nd pair of children)

I really want to play with this ray and that one. Let's approach the ray and say hello with a spring.

(The teacher puts on a scarf and takes it)

Here we are. Look, the Artist is meeting us. Hello, Artist. We came to visit you and would like to see your paintings!

Artist: Hello guys. I'm very glad to see you. Unfortunately, not all of my work is completed. I painted spring landscapes, but I didn’t have time to come up with names for them.

Guys, maybe we can help you?

Artist: Well, come on in and have a seat.

Hearing.

Let's look at the first landscape. (slide) “Stream”

What is shown on it?

What can you call this landscape? (invite the artist to choose the best option)

Composers also composed musical landscapes. What do you think these pieces of music were talking about?

Updating previously acquired knowledge

Game "If you were composers." Questions:

What kind of music did you compose while looking at this landscape?

What mood would she be in?

Would she be slow or fast?

Would it be performed by singers or musical instruments? Which?

Communicating new knowledge.

Let's listen to a piece of music that was written by composer E. Grieg and called it “Stream”. Listen carefully and tell me how the music tells the story and what musical instrument performs it?

Analysis of musical expressive means (character, tempo, dynamics)

Game "Piggy Bank" (excited, fast, agile, seething, anxious)

See how the stream runs? On a flat path or turns and twists?

Please draw a stream running (modeling on an easel).

Guys, let's turn into a cheerful stream and come up with a dance for it.

I slept under the snow for a long time,

I'm tired of silence.

I woke up and rushed

and met Spring:

(V. Lanzetti)

Communicative musical and rhythmic game “Stream”. Creating a search situation.

Game massage "Rucheek"

Independent activities to consolidate knowledge.

Look who else has appeared on our landscape? (show Finger puppet “Snail”)

Finger game with singing “Snail” (child – demonstration)

The child shows finger play.

Guys, do you like to sail a boat in streams?

Cluster singing “Boat”

Let's look at another landscape. (slide) What can you call it? Guys, what's missing here? (paints) What colors would you use? A song will help us color it.

Take a look and guess which song will help us?

Mnemonic table.

Can this song be called a musical landscape? What words are found in the song that talk about nature?

What mood should the song have?

Let's take the tools and fill this beautiful spring landscape with colors, sounds and see what we can come up with.

Song with playing children's musical instruments

E. Frolova “Spring”

Artist: Thank you guys, you helped me a lot. Now everyone will be able to admire the wonderful landscapes.

Tell me, Artist, do you still have any landscapes left?

Only this one...

Guys, something is wrong here! I can not understand! There's just an empty frame here! Let's create our own spring landscape, which will be called “In the spring meadow”! What will be depicted on it? (flowers, rainbow, butterflies, birds)

Dance improvisation with objects.

Analysis and self-analysis of children's activities.

Our meeting came to an end.

Guys, did you like the artist's workshop?

Were you interested? And me.

What landscape do you remember most?

I say goodbye to you.

Further development of the topic.

Educator: And I invite you to my studio to paint spring landscapes.

Drawing to music.

Publications on the topic:

Dominant musical activity on listening to music in the preparatory group “Peter and the Wolf” Objectives: to provide an opportunity to update knowledge about symphonic music; enrich the understanding of the timbres of symphonic instruments.

Integrated music lesson in the preparatory group “White Book of Winter” Goal: To draw attention to the beauty of winter sounds of nature. Develop timbre hearing, sense of rhythm, imagination, associative thinking.

Goal: Continue to introduce children to landscape painting. Objectives: Educational: Improving the skill of viewing a picture, forming.

Abstract of the GCD "African Landscapes". Drawing in a preparatory group for school. Program objectives: Continue teaching children how to create backgrounds.

Music and nature

“In musical language, to paint means to awaken certain memories in our hearts with sounds, and certain images in our minds” (O. Balzac).

It is difficult to name a composer who would not reflect his admiration for the images of nature in his music. The sound of rain, birdsong, the play of water jets sparkling in the sun... All these sounds of nature inspired composers to create musical works.

Listen, the music is all around...

It is in everything – in nature itself.

And for countless melodies

She herself gives birth to sound.

She is served by the wind, the splash of the waves,

The sound of thunder, the sound of dripping,

Birds incessant trills

Among the green silence.

And the woodpecker beats, and the train whistles,

Barely audible in drowsiness,

And the downpour - a song without words

All on one cheerful note...

(M. Evensen)

Music often evokes different pictures of nature in our imagination. Nature and art are inseparable from one another, because nature enters the life of every person from childhood and forever.

If, while reading books, looking at paintings, listening to music, we pay attention to everything connected with nature, we may even be surprised at how often and deeply nature penetrates into art, how closely they are connected to each other with a friend. That is why for any person, love for art and love for nature are very close and related feelings.

Man is inextricably linked with nature, he is part of it. And the enjoyment of nature, the desire to find in it consonance with one’s feelings, one’s ideals, has always been a source of creativity for writers, composers, and artists.

Musicians, artists and poets have always strived to convey the amazing beauty of the world in their works. On the canvases of artists, nature never looks dead and silent. Peering into the picturesque landscape, we will definitely hear sounds inspired by living nature.

Natural phenomena and musical sketches of flora and fauna appear in instrumental and piano works, vocal and choral works, and sometimes even in the form of program cycles.

Pictures of the changing seasons, the rustling of leaves, bird voices, the splashing of waves, the murmur of a stream, thunderclaps - all this can be conveyed in music. Many famous composers were able to do this brilliantly: their musical works about nature became classics of the musical landscape.

What an ocean of sounds surrounds us! The singing of birds and the rustling of trees, the sound of the wind and the rustle of rain, the rumble of thunder, the roar of waves. Hear music in nature, listen to the music of rain, wind, rustling leaves, sea surf, determine whether it is loud, fast or barely audible, flowing.

Music can depict all these sound phenomena of nature, and we, the listeners, can imagine them. How does music “depict the sounds of nature”?

Composers use their own musical means of expression, which help to vividly depict an image or action. They are compared to artists' paints. "Colors of Music" is

melody (musical thought),

tempo (sound speed),

mode (major, minor, pentatonic, etc. – the mood of the music)

pitch (register),

dynamics (sound volume),

rhythm (alternating different durations),

harmony (chord sequence).

If composers have their own musical colors, then their works can be called musical paintings. What is a musical picture? A musical picture is a work that very clearly and easily conveys the composer’s impression of pictures of nature, events, and phenomena.

Pictorial music is colorful, bright, rich, rich in musical voices – timbres, expressive music. Listening to it, it’s easy to imagine a certain picture. This is fine music, where the amazing beauty of the world is conveyed through musical means of expression.

In fine art there is a genre of painting that depicts pictures of nature - landscape. Music also has landscapes that we will observe. A musical landscape is a “mood landscape” in which the expressiveness of intonation merges with the visual details of the musical language. Harmony and timbres of musical instruments play an important visual role in music.

One of the brightest and most majestic musical paintings was created by Beethoven. In the fourth movement of his symphony (“Pastoral”), the composer “painted” a picture of a summer thunderstorm with sounds. (This part is called “Thunderstorm”). Listening to the mighty sounds of an intensifying downpour, frequent rumbles of thunder, the howl of the wind depicted in music, we imagine a summer thunderstorm.

Russian composer A.K. masterfully uses the orchestra to create a mysterious landscape. Lyadov. Lyadov wrote: “Give me a fairy tale, a dragon, a mermaid, a goblin, give me what you don’t have, only then I’m happy.” The composer prefaced his musical fairy tale “Kikimora” with a literary text borrowed from folk tales. “Kikimora lives and grows with a magician in the stone mountains. From morning to evening, Kikimora is entertained by the cat Bayun, who tells tales from overseas. From evening until broad daylight, Kikimora is rocked in a crystal cradle. Kikimora grows up. She keeps evil on her mind for all honest people.” When you read these lines, your imagination begins to picture the gloomy landscape “at the magician’s place in the stone mountains,” and the fluffy cat Bayun, and the flickering of the “crystal cradle” in the moonlight.

The composer uses the low register of wind instruments and cellos with double basses to depict stone mountains drowned in the darkness of the night, and the transparent, light high sound of flutes and violins to depict a “crystal cradle” and the twinkling of night stars. The fabulousness of the distant kingdom is depicted by cello and double bass, the alarming roar of timpani creates an atmosphere of mystery, leading to a mysterious country. Suddenly, the short, poisonous, caustic theme of Kikimora bursts into this music. Then, in a high transparent register, magical, heavenly sounds of celesta and flute appear, like the ringing of a “crystal cradle”. The whole sonority of the orchestra seems to be highlighted. The music seems to lift us from the darkness of the stone mountains to the transparent sky with the cold, mysterious twinkling of distant stars.

The musical landscape of “Magic Lake” resembles a watercolor. The same light transparent paints. The music breathes peace and quiet. Lyadov said about the landscape depicted in the play: “This is how it was with the lake. I knew one such thing - well, a simple, forest Russian lake and in its invisibility and silence especially beautiful. You had to feel how many lives and how many changes in colors, light and shade, and air took place in the constantly changing silence and in apparent stillness!” And in the music you can hear the sound of forest silence and the splash of a hidden lake.

The creative imagination of the composer Rimsky-Korsakov was awakened by Pushkin’s “The Tale of Tsar Saltan.” It contains such extraordinary episodes that “you can’t tell it in a fairy tale, you can’t describe it with a pen!” And only music was able to recreate the wonderful world of Pushkin’s fairy tale. The composer described these miracles in the sound pictures of the symphonic film “Three Miracles”. We will vividly imagine the magical city of Ledenets with towers and gardens, and in it - the Squirrel, who “gnaws a golden nut in front of everyone,” the beautiful Swan Princess and mighty heroes. It’s as if we really hear and see in front of us a picture of the sea - calm and stormy, bright blue and gloomy gray. You need to pay attention to the author's definition - “picture”. It is borrowed from fine art - painting.

Imitating the sounds and voices of nature is the most common technique of visualization in music. One of the most favorite techniques is imitating the voices of birds. We hear the witty “trio” of a nightingale, a cuckoo and a quail in “Scene by the Stream” - 2 parts of Beethoven’s Pastoral Symphony. Bird voices are heard in the harpsichord pieces “Roll Call of Birds”, “Cuckoo”, in the piano piece “The Lark’s Song” from P. I. Tchaikovsky’s “The Seasons” cycle, in the prologue of Rimsky-Korsakov’s opera “The Snow Maiden” and in many other works.

Another technique exists for depicting not sounds, but the movements of people, birds, and animals. Drawing a bird, a cat, a duck and other characters in music, S.S. Prokofiev (“Peter and the Wolf”) depicted their characteristic movements, habits, and so skillfully that you can personally imagine each of them in motion: a flying bird, a creeping cat, jumping wolf. Here the main visual means were rhythm and tempo.

After all, the movements of any living creature occur in a certain rhythm and tempo, and they can be very accurately reflected in music. In addition, the nature of the movements can be different: smooth, flying, sliding or, conversely, sharp, clumsy. Musical language responds sensitively to this too.

The depiction of nature in art has never been simple copying. No matter how beautiful the forests and meadows were, no matter how the elements of the sea attracted artists, no matter how the moonlit night enchanted the soul - all these images, being captured on canvas, in poetry or sounds, evoked complex feelings, experiences, moods. Nature in art is spiritualized, it is sad or joyful, thoughtful or majestic, it is the way a person sees it.

Landscape in instrumental music

Listening to the instrumental works of modern European composers, sometimes you almost visually feel the pictures of nature captured in them. This, of course, testifies to the incredible talent of the music author. Often, the image of landscape in music is based on sound design. Sound recording is associated with the imitation of various sounds - birdsong (“Pastoral Symphony” by Beethoven, “The Snow Maiden” by Rimsky-Korsakov),

peals of thunder (“Symphony Fantastique” by Berlioz), ringing of bells (“Boris Godunov” by Mussorgsky). And there is also an associative connection between music and all kinds of phenomena in nature. For example, an enlightened listener does not need to explain that in Mussorgsky’s symphonic picture

“Dawn on the Moscow River” depicts the sunrise, and in Rimsky-Korsakov’s symphonic suite “Scheherazade” entire fragments are devoted to the image of the sea.

It is more difficult to perceive a picture when the author sets himself a more abstract goal. Then the titles or verbal remarks of the authors act as a guide in the circle of associations. For example, Liszt has studies called “Evening Harmonies” and “Blizzard”, and Debussy has plays “Moonlight” and “The Hills of Anacapri”.

Musical art has always operated with expressive means characteristic of its era. Images of the surrounding world, which seemed to representatives of various styles a worthy object of art, were chosen based on the artistic tastes of their time.

One of the most famous masterpieces of Baroque music can be considered the cycle of 4 instrumental concerts “The Four Seasons” by Antonio Vivaldi (1678-1741). The author appears here not only as a great imitator of natural phenomena (in the “Summer” concert there is a picture of a thunderstorm), he also demonstrates to the world his lyrical perception of nature.

In the era of classicism, the role of landscape was more than modest. However, such great pantheists as Joseph Haydn (1732-1809) were able to perfectly depict sunrises and sunsets in this style: the images of the slow movements of his sonatas and symphonies immerse the listener in an atmosphere of spiritual contemplation. The pinnacle of classicism in the depiction of nature, its recognized masterpiece, is Beethoven’s “Pastoral Symphony” (1770-1827).

Romantics were the first to draw parallels between personal experiences and the state of the environment. The image of natural phenomena serves as a magnificent background against which the experiences of a proud and independent hero are highlighted. The most obvious examples of musical romanticism can be found in the piano work of Liszt and in the symphonic works of Berlioz. On Russian soil, one of those who managed to brilliantly convey pictures of nature in a romantic manner was Rimsky-Korsakov. His symphonic sketches of the sea are akin in impact only to the magnificent paintings of Aivazovsky.

In the second half of the 19th century, a new style of painting and music appeared - “impressionism”. The creators of his musical “dictionary” were the composers of the new French school - Claude Debussy (1862-1918) and Maurice Ravel (1875-1937). The statements of C. Debussy are well known, characterizing the main points of his worldview: “I made a religion out of mysterious nature... Only musicians have the privilege of embracing the poetry of night and day, earth and sky, recreating the atmosphere and rhythm of the majestic awe of nature.”

Many of Ravel’s piano pieces, including “The Play of Water,” also belong to this direction. It is in Ravel’s work that the piano becomes an instrument “which is subject to images of butterflies in the darkness of the night, the singing of birds in the sultry stupor of a summer day, the boundless waves of the ocean, the predawn sky in which the sounds of bells float” (as the outstanding pianist of the 20th century Jourdan-Moran writes about his cycle of plays called “Mirrors”).

Music and painting

Examples of the relationship between sound and color are numerous in both music and painting. Thus, V. Kandinsky (1866–1944) correlated this or that musical timbre with a certain color, and the famous painter M. Saryan (1880–1972) wrote: “If you draw a line, then it should sound like a violin string: or sad , or joyfully. And if it doesn’t sound, it’s a dead line. And the color is the same, and everything in art is the same.”

Outstanding Russian composers N. Rimsky-Korsakov and A. Scriabin also possessed the so-called “color hearing”. Each tonality seemed to them painted in a certain color and, in connection with this, had one or another emotional flavor. “Colorful hearing” is also inherent in the creative individualities of many modern composers. For example, E. Denisov (1929–1996) - some of his works are inspired by the play of color, the play of light in the air and on water.

The parallels between musical opuses and paintings are especially clear in French and Russian art. Art historians are closely studying the relationship between Rococo painting and the work of 18th-century clavicinists, between the romantic images of E. Delacroix and G. Berlioz, between the paintings of the Impressionists and the works of C. Debussy. On Russian soil, they regularly emphasize the parallels between the paintings of V. Surikov and the folk dramas of M. Mussorgsky, find analogies in the depiction of nature by P. Tchaikovsky and I. Levitan, fairy-tale characters by N. Rimsky-Korsakov and V. Vasnetsov, symbolic images by A. Scriabin and M. Vrubel.

Meanwhile, one can speak about a true fusion of artistic and musical vision of the world only after becoming acquainted with the work of M. Ciurlionis (1875-1911), an outstanding Lithuanian artist and composer. His most famous paintings “Sonatas” (consisting of paintings Allegro, Andante, Scherzo, Finale) and “Preludes and Fugues” bear the imprint of the author’s musical perception of the surrounding reality. From the musical heritage of M. Čiurlionis, in which the pictorial element is manifested in the most original way, his symphonic poems (“In the Forest”, “Sea”) and piano pieces stand out.

Among the musical works inspired by all kinds of paintings and sculptures, the following are of particular interest to performers: “The Betrothal” based on the painting by Raphael and “The Thinker” based on the sculpture by Michelangelo F. Liszt, as well as “Pictures at an Exhibition” created by M. Mussorgsky under the influence drawings by W. Hartmann.

Municipal educational institution

"Voronovskaya secondary school"

636171, Tomsk region, Kozhevnikovsky district, village. Voronovo, st. Proletarskaya, 17

cont. tel. 31208, tel/fax 31208; mail: [email protected] INN 7008004715

Abstract on the topic:

"Music and Fine Arts"

(materials for the student essay competition “Krugozor”)

Performed:

Turchkov Alexander

8th grade student

Supervisor:

Kunitsyna Anna Vladimirovna

music teacher

Tomsk – 2011

1. Introduction……………………………………………………….. 2 – 3

2. Images of painting in music …………………………………… 4 – 11

3. Landscape in music…………………………………………….. 11 – 16

4. “Musical painting” of fairy tales and epics……………………. 16 – 18

5. Conclusion………………………………………………………. 19

6. List of used literature…………………………….. 20

Introduction

Music can be studied in different ways.

You can talk about musical works, learn to understand them and admire their sound.

You can devote lessons to the works of great composers and performers to see how much effort goes into creating even the lightest and most cheerful music.

Finally, you can, step by step, master musical notation, learn to sing, play various musical instruments, comprehending the science of music as if from the inside.

I set before myself target: the study of music in unity with what gives birth to and surrounds it: with life, nature, customs, beliefs, poems, fairy tales, paintings and much, much more.

Tasks:

· learn to observe, compare, contrast, see the big in the small;

· learn to understand that the world is one, and what such understanding serves;

· learn all this with the help of music, because music can tell you everything;

· learn to listen to music.

All these are different ways to get involved with music.

But one day I have a question: what is music?

Is it true that this is a miracle born from the Cosmos, from the movement of the planets, from itself? After all, the great Edvard Grieg said: “Words sometimes need music, but music does not need anything.” Is it so? Yes and no.

Yes, because each art is valuable in its own right, it speaks about itself in its own language, it never invades the domain of another art. Sound cannot compete with color, just as sculpture cannot compete with poetry, just as in nature air does not compete with fire. This very opposition seems absurd. Every thing on Earth is valuable in itself and from this point of view does not need anything.

No, because there is a universal connection between phenomena and its laws are immutable. Thus, to sound a melody, a tightly stretched string is required, and the string gives an expressive sound only in contact with a special type of wood, processed in a special way - and all this is far beyond the boundaries of the music itself. This happens with all other things in the world: for something, ink and paper, brushes and paints are required, for something, the flow of rivers and the flowering of meadows, and from this point of view, everything needs everything.

Images of painting in music

If the connection between music and literature is indisputable and obvious, then music and fine art form a more complex union. The reason lies in their nature: after all, music and poetry are temporary arts, they interact in a single flow of sound, a single beat of the rhythmic pulse. Fine art is a spatial phenomenon: it inscribes its lines and forms into the natural world, enriches it with colors and colors. Music, it would seem, has nothing to do with it at all: it has its own artistic field, and its meeting with painting, if possible, is only on “neutral territory” - for example, in an opera or musical performance, where the action requires both musical expression and decorative design.

However, studying the vast area of program music, we find in it not only songs and fairy tales, poems and ballads, not only titles inspired by literary images - such as, for example, “Scheherazade” by N. Rimsky-Korsakov, “Peer Gynt” by E. Grieg or “Blizzard” by G. Sviridov. In music, it turns out, symphonic paintings and etudes-paintings, frescoes and prints have long existed. The names of the musical works reflect the images that inspired them - “Forest” and “Sea”, “Clouds” and “Mists”, as well as “Bogatyr Gate in Kyiv”, “Old Castle”, “Roman Fountains”.

It turns out that not only literature, but also fine art can give birth to musical sounds.

“What the will of the gods enviously divided is united by the goddess Fantasy, so that each Sound knows its own Color, through each leaf shines a sweet Voice, calling Color, Song, Aroma as brothers,” wrote the German romantic poet Ludwig Tieck. But if the “envious will of the gods” separated sound and color, drawing boundaries between the arts, then it did not affect the natural world, where everything still lives and breathes in the unity of its manifestations. Each art, striving to create its own full-fledged world, is able to say more than what is traditionally attributed to it.

The forest is like a painted tower,

Lilac, gold, crimson,

A cheerful motley wall

Standing above a bright clearing.

Birch trees with yellow carving

Glisten in blue azure.

This is how I. Bunin described the colors of autumn nature in his poem “Falling Leaves”. The above excerpt is a genuine poetic landscape; in it, every image is saturated with picturesque color: the forest is like an elegant mansion, decorated with carvings. Even this small example shows that literature has enough visual means - its colorful epithets and metaphors paint a bright and three-dimensional visual image.

But musical landscapes are also colorful in their own way - what shades of the seasons, what colors, what butterflies can sometimes be “seen” in music!

And without questioning the temporary nature of musical art, we will try to answer the question: what in music can give the sound visibility?

1. What is a “musical space”?

2. How does it express itself in sounds?

Let us remember the echo in the forest or in the mountains, the echo as a natural “carrier” of sound space.

Let's listen to the sound of the echo and try to understand what its spatial effect is. Isn't it true, the outlines of space depend on

the proximity or distance of the echo, and accordingly the degree of loudness of its sound?

Thus. One of the most important carriers of space in music is volume dynamics. Awareness of this point led musicians to the discovery of a huge layer of expressive means associated with the distribution of volume levels in a piece. It is noteworthy that in music these levels are called shades or nuances - but this is a definition from the field of painting! Perhaps the first creators of musical definitions felt an organic connection between two seemingly distant arts: words often reveal the secrets of their origin.

Shades of musical dynamics have their own scale: the lower indicator of this scale is pp (pianissimo) means extremely quiet performance, upper - ff (fortissimo) – extremely loud. Between these extremes there are a number of intermediate nuances: p (piano) - quietly, mp – moderately quiet, mf - moderately loud f - loud. In the texts of musical works one can even find such notes as ppp And fff , indicating special expressiveness of the performance.

If we compare a work of painting and music from the point of view of dynamics, then here too it is obvious that the object depicted in the foreground of the picture “sounds” louder than what makes up its background. This peculiar “loudness” of the image is expressed in its size, in greater detail, and in the intensity of the colorful embodiment. The background can only represent vague outlines of objects, gradually disappearing on the horizon.

Relief and background - these spatial concepts, which by their nature go back to fine art, have acquired universal meaning in the dramaturgy of any work of art. In music, in addition to the simple echo effect, they are embodied in the combination of a solo voice and instrumental or choral accompaniment, in the organization of operatic dramaturgy, where against the background of cross-cutting scenes sometimes a close-up appears - arias, arioso, ensembles, in the sequence of the main and secondary themes in a sonata form.

In literature, the combination of relief and background manifests itself in the relationships between central and secondary characters, actions, and paintings.

However, the concept of “minor” in art is conditional. In any truly artistic work, the role of the background in relation to the close-up is not mechanically illustrative, but semantic. The artist’s choice of details is not random, even if it is just a framing landscape, details of clothing or the interior of a home. Here, for example, is P. Fedotov’s painting “Breakfast of an Aristocrat.” How much can be seen in such seemingly insignificant things as a bitten piece of bread - the only food of an impoverished aristocrat, next to a book about oysters! And the beautiful interior of his room is not just a frame in which an image of a human figure is placed, but a valuable world of excellent objects in its own right, clearly contrasting with the comedy of the plot.

Another concept universal for all arts, which also originates in painting, is contrast.

Contrast, which initially arose as a comparison of colors or scales, that is, a purely spatial phenomenon, gradually captured the sphere of music. Modern music is already unthinkable without contrasts: major and minor, fast and slow tempo, loud or quiet sonority, high or low registers. Contrasts used in music often have enormous visual potential, depending on the content of the work. After all, in art it is not the contrast of techniques that is important, but the contrast of meanings.

E. Drobitsky’s painting “Life and Death” is an example of a direct comparison of two eternal philosophical categories. The way they relate to each other has found its plastic expression in many details.

The contrast of light and dark in this picture is similar to the contrast of light and shadow: the light figure of Life has detailed facial features - soft, feminine, and detail in the depiction of clothes and even hairstyle. The dark figure of Death represents only a silhouette - without a face, without details, but this silhouette exactly matches the silhouette of the light figure. The only detail is concentrated in the hands of a dark figure - the objects that are depicted here symbolize the possible outcome of life: wealth, many written pages. The bright figure conceals only possibilities - in her hands is only the embryo of life - with all future deeds and achievements.

The contrast of colors in painting can be likened to the contrast of major and minor modes in music, which corresponds to the mood, the contrast of registers, creating a “darker” and a “lighter” sound.

The song “Sleep Well” (No. 1 from F. Schubert’s “Winter Reise” cycle) uses the principle of modal contrast - the juxtaposition of minor and major. Here we can talk about the psychological depth of the music, conveying the duality of the hero’s emotional state. The first song in the cycle - one of the composer's most tragic works - it still contains glimmers of hope for possible overcoming of misfortunes.

The contrast of musical and visual character can be found in numerous “landscape” plays.

This example is the beginning of the prelude by C. Debussy “Sails”. The vivid picturesqueness of the prelude, of course, lies not only in the simple technique of juxtaposing registers. However, the initial “sketch” of the work is precisely in the contrast of the light sail inflated by the sea wind and the dark surface of the water, the entire vast expanse of the sea.

When we talk about registers, we use the words “high”, “low”, “medium”. The concept of “pitch” applies not only to registers, but to all musical tones. “Pitch” - one of the key concepts of music - means the distribution of musical sounds in space.

It is known that music is built on only seven notes.

This is a C major scale, consisting of seven notes: do, re, mi, fa, salt, la, si.

The notes differ in pitch - each subsequent note of the scale is higher than the previous one. But this means that the basis of sound difference also lies in a spatial concept. The high and low sound of a voice, a choir, an orchestra is the basis of the expressiveness of music, and along with the movement in time (rhythm), there is a movement of music in space: down to the gloomy rumble of the bass, up to the shining sonority of the high voices. It is no coincidence that the first examples of music combining these voices at the same time arose in the space of cathedrals, in their architecture reflecting the aspiration to the heights.

Choral music is works created for a church choir; their sound, as well as the arrangement of choral performers in the cathedral, embodied the idea of a single spiritual space - choral, cathedral. Perhaps this is why the great thinker Goethe so insisted on the kinship of architecture and music: the cathedral as a symbol of silenced music, music as the aspiration of the lines of the cathedral.

When music is called a temporary art, they mean the inevitability of its movement in time. Music is not comprehended in the simultaneity of all its constituent sounds, but is listened to gradually, from beat to beat. But a work of fine art is so often impossible to comprehend in its entirety! Not only spatial multi-subject compositions, but even individual paintings require sequential consideration and take time. This means that music, although it is a temporary art, carries within itself the features of spatiality, just as fine art, which is spatial in nature, has the qualities of temporary art. So we see that in the life of art everything is interconnected.

If music had developed only as a temporary art, then it would probably have cultivated what is associated with the processes of movement - metric dimensions, rhythms, durations. However, not to a lesser, but even to a greater extent, its spatial capabilities developed and deepened.

The invention of new instruments is a continuous search for timbres capable of expressing not only a variety of sounds, but also a variety of colors and shades. The invention of chords and chord combinations filled music with color capable of expressing the most complex visual associations. The introduction of polyphony and contrasting registers made it possible to distinguish between light and dark sounds in the bizarre musical fabric...

Following the phenomena, concepts came, and now musicians made their own words that had previously been the exclusive property of artists: gamma, tone and halftone, tint and nuance, musical color, color, cold and warm timbres, light and gloomy melodies. Thus, the musical space not only received its outlines, it acquired its “inhabitants”, who have their own unique appearance, color, and flavor.

The musical space breathes and pulsates, expands and contracts, amazes with the colorfulness of sound combinations and thins out to a single sound. The art of sounding space - this definition is quite suitable for music, which has long been given over to the power of choral and orchestral performances. But even beyond complex polyphonic works: isn’t a lonely singing voice a sounding space?

The spatial possibilities of music, the inherent property of sound imagery - this is the reason that music is subject to the embodiment of the ideas of fine art. Whether we are looking at a portrait, admiring a landscape or a still life - all these images have their own musicality, and all this can be conveyed in sounds in their own way.

Landscape in music

The theme of the seasons, their reflection in nature is the basis of the content of this work, supported by a poetic epigraph from Russian poetry that accompanies each play.

Here, for example, is the play “April”, which is given the subtitle “Snowdrop” and is preceded by an epigraph from a poem by A. Maykov:

Blue, pure snowdrop - flower,

And next to it is the last draft of snow.

Last dreams of past grief

And the first dreams of a different kind of happiness...

Turning to poetry, impressionist composers chose works that also had a clearly expressed colorful, picturesque element. Here is one such poem; its author is the poet Paul Verlaine.

An endless row of fences and wild grapes;

The expanse of distant blue mountains; tart aroma of the sea.

The windmill is like a scarlet lighthouse on the light greenery of the valley;

The foals run freely near the coastal snags.

Sheep lush on the slopes, flowing like a river -

They are bright green on the carpets, whiter than milk.

Lace of foam behind the stern, and a sail over the water,

And there, in the Sunday azure, the copper call of bells.

“Musical painting” of fairy tales and epics

The whimsical, magical, fantastic world of fairy-tale creativity found its expression in music in different ways. A fairy tale could become the basis for the plot of an opera, ballet or instrumental composition, but along with the embodiment of its content, the musical world of its images grew, became more and more picturesque and visible. The appearance of fairy-tale heroes, forest, underwater and mountain fairy-tale landscapes and kingdoms, birds and animals - in a word, all the richness of the visible magical world received its sound expression. Thanks to music, we learned that in a fairy tale all the sounds are special, magical: falling snowflakes rustle unusually, and goldfish dance in the water in a special way, and the flight of the fairytale Little Humpbacked Horse is completely different, not like ordinary horse racing.

Here is one example of such “magical” music – “Dance of the Golden-finned and Silver-scaled Fishes” from N. Rimsky-Korsakov’s opera “Sadko”. Already in the very title of this brightly expressive musical fragment, created by the great musical storyteller (N. Rimsky-Korsakov wrote seven operas written on fairy-tale plots), one can see the subtle depiction and picturesqueness of the musical concept. All means of music - from flexible and whimsical melodic lines to the timbre diversity of the orchestra - are aimed at creating a colorful musical picture. Many musicians called the opera “Sadko” an encyclopedia of the fabulous musical language of the 19th century.

This opera also contains many portrait fairy-tale images. The difference in the depiction of fairy-tale characters from musical portraits of real people lies in the introduction of the mysterious, enigmatic, associated with the incomprehensible magical world.

On the one hand, the deep lyricism of the musical statements of fairy-tale characters, on the other, the atmosphere of a fairy tale that envelops their characteristics and actions - this duality is a genuine artistic discovery of the composer. B. Asafiev, comparing the work of N. Rimsky-Korsakov and the “outstanding poet of Russian fairy tales” M. Vrubel, wrote that in a number of scenes in “Sadko” “Vrubel’s visions can be heard.”

The beautiful Swan Princess, depicted in M. Vrubel’s painting, is not just an illustration to the “tale of Tsar Saltan” by A. Pushkin, it is a generalized image of female fairy-tale images. In some ways it is akin to the image of the Sea Princess Volkhova from the opera “Sadko”, also filled with inexpressible charm - and at the same time mysterious, incomprehensible. When the Sea Princess sings her wonderful lullaby, she puts a lot of lyrical feeling into it. The music contains the intonations of a folk song, giving Volkhov the warm, lively features of a real girl.

Thanks to music, many well-known and beloved fairy tales have been supplemented and enriched with musical sounds. We heard what music Masha danced to in The Nutcracker, we heard not only the music of the dance itself, but the entire festively decorated hall - the Christmas tree, New Year's toys, snowflakes outside the window. P. Tchaikovsky, like a kind wizard, only touched the fairy tale with his magic musician’s wand - and it immediately came to life, filled with the charm of a real holiday, warm and deep feeling - and as if it became reality, part of our lives.

So, we see that fairy tales themselves are very musical: the heroes in them willingly sing and dance, and very often these songs and dances become part of the magical world of miracles, holidays and bright hopes. And maybe that’s why fairy-tale music is so picturesque, because it contains all the ideas about the magical, mysterious, that it is a person’s dream of beauty embodied? It is no coincidence that the beautiful fairy-tale images in the imagination of artists surpass all imaginable beauty that is found in reality.

Thus, in folk art, the main thing that determines the viability of any people finds its expression - its deep love of life, rich imagination, poetic attitude to beauty, patriotism and remarkable strength - not predatory, not barbaric, but wise and right.

Fairy tales, legends, legends, epics from century to century pass on to descendants the rich experience of the people. Good and evil, strength and weakness, reality and fiction in their endless string of artistic incarnations form a powerful poetic stream of eternal images, which are called the great word “tradition”.

Conclusion

In conclusion, it can be noted that music is a complex history of its relationship with other forms of art. In the community with whom she was born, grew, strengthened and comprehended the world. Music has become a very independent and developed art, it continues its noble partnership with words and verse, it is full of colors and images. In the same way, both poetry and painting convey the music of the surrounding world in their own way, because art strives for the completeness of each of its statements. Sometimes art relies only on its own capabilities, extracting from them the ability to say more than it is intended by nature. Poetry, music, painting remain themselves, but the creative possibilities of each of these types of art increase many times over; any theme, any image is subject to them.

Color and paint in music, rhythm and tonality in painting, melodiousness and melody of poetry are only a small part of verbal metaphors that reveal the deep interweaving of art forms.

We will grow and mature, we will discover new works, read new books. And with the acquisition of experience, we will again and again become convinced of how everything in life is interconnected, how things, actions, and destinies of people are connected by thousands of invisible threads. You cannot harm one thing so as not to cause damage to everything else. People born on the same land are basically alike. Therefore, the art they create can be close and understandable to everyone: it tells about everything, it is universal.

Bibliography

· www.Wikipedia.ru

· Naumenko T.I., Aleev V.V. Textbook for general education institutions. – 3rd ed., stereotype. – M.: Bustard, 2001

Landscape in instrumental music. Musical works about nature: a selection of good music with a story about it Genre landscape in musical works

It's lonely in the wild north There's a pine tree on the bare top, And dozes, swaying, and snow falls She is dressed like a robe. And she dreams of everything in the distant desert, In the region where the sun rises, Alone and sad on a burning cliff A beautiful palm tree is growing.

Shepherd bagpipe sound The buzzing sound spreads over the meadows, And the nymphs dancing the magic circle Spring is colored with wondrous rays.

Thematic music lesson

It's lonely in the wild north
There's a pine tree on the bare top,
And dozes, swaying, and snow falls
She is dressed like a robe.
And she dreams of everything in the distant desert,
In the region where the sun rises,
Alone and sad on a burning cliff
A beautiful palm tree is growing.

Shepherd bagpipe sound
The buzzing sound spreads over the meadows,
And the nymphs dancing the magic circle
Spring is colored with wondrous rays.