The center of any lyrical work is a person. If there are no people in a song or story, then each object is described through the prism of the feelings of the author or a fictional character.

Lyrical image

In a work of art or music, there is a character whom the author describes, endowing him with some characteristic features. In lyricism - a type of work based on the emotional disclosure of the narrator himself and his character - he completely bares his soul and heart.

The reader or listener can identify all the feelings that lyrical images conceal. Only an attentive audience will read the author's message through his work.

What are lyrics?

This is a genus that came from Ancient Greece. It was named after the stringed instrument, the lyre. During such concerts, ancient artists conveyed their sensitive side through music. The most common misconception is that the lyrics are based on melancholy motives. It is not true. It can focus on one emotion, but most often reflects the whole spectrum: grief, joy, sadness, fun. Whatever feelings a person experiences, if they are brought to the fore in art, it becomes lyrical.

The main types of works are poetry, music, messages. The most ancient lyrical texts are considered to be the Song of Songs, which was written by the legendary King Solomon, and the Psalms of David. The first work is a poem, the second is religious poetry.

This type of creation can simply be a segment or digression in a larger work, during which the main character experiences a series of feelings and shares them with the audience.

What makes a lyric unique?

The main feature of this kind of work is that, apart from feelings and personal sensations from some phenomena, the author does not describe anything. It’s as if an individual confession is being heard from the stage. There are no active events developing.

Main characteristics:

• inaction,
• feelings and emotions,
• mood.

Ancient times

Lyrics began their development in ancient Greece. Stesichorus and Alcman, who glorified heroes and the state, were considered prominent representatives of this style at that time. Lyrics reached their greatest development in the first century, during the period of the activity of Virgil, the author of the Aeneid, and Ovid with his Metamorphoses. The authors chose love as the main themes of moral experiences. She had a variety of dramatic images: love for her father (like Aeneas), love for her homeland, for close people.

Middle Ages and Renaissance

In the Middle Ages, the main lyricists were troubadours. They wandered around different villages, sang, read poetry, and played flutes. With their creativity, the troubadours combined different types of lyrics into one. They even gave theatrical performances.

The Renaissance brought the flourishing of love poetry into world art. Of the poets, the most famous were Dante and Petrarch. At the same time, musical ballads appeared. A prominent representative of the genre was Charles of Orleans.

The lyrics were not only love in this period. For Ulrich von Hutten it was entirely polemical in nature. Lyrical images, examples of which were taken from philosophers and musicians of the classical era, had to be made more modern, less emotional. But still, the unhappy love of Petrarch’s hero for his lovely Laura dominated in all subsequent works. His poems were taken as a basis.

In England, lyricism developed little. A song about Robin Hood in the style of a lyrical ballad arose among the people. William Shakespeare, as the pioneer of this literary genre in his country, brought to the fore the dramatic images of the sufferer and martyr Hamlet, hiding the truth of Macbeth and other heroes.

The recent past

The nineteenth century is replete with the names of lyricists: Friedrich Schiller, Johann Wolfgang von Goethe, William Wordsworth, Percy Bysshe Shelley, Alfred de Musset...

In Russia, famous poets working in this style were Alexander Pushkin, Vasily Zhukovsky, Mikhail Lermontov, Kondraty Ryleev, Vladimir Odoevsky.

Description of the hero in the lyrics

In a work of this kind, the main character does not necessarily have to be a person. The lyrical hero is a man, woman, child, old man, nature, heavenly body, season. Only the author can choose the object that will ultimately endow it with emotions. The creator of the work tries to put his own thoughts into the mouths of his lyrical images. He does not transfer himself completely to the hero, but he gives them the feelings that he experiences.

Even if the author did not intend to expose his personal experiences, he cannot avoid it. The main lyrical image will reflect the worldview and perception of a musician or writer. The main character exhibits all those traits that are characteristic of a person of the present time, his social class. In this image, everyone can learn for themselves the lesson hidden by the author inside the work.

Lyrical images in music

Lyrics are conveyed through music. She is the closest to her. Music without words can express all the feelings that are not so difficult for an attentive person to understand. Lyrical images in a melody can be conveyed using an instrument or vocals.

Among the instrumental lyrical works, the classic works of Mozart, Schubert, Debussy, Beethoven, Vivaldi, Tchaikovsky, Rachmaninov and others stand out. With the help of melodies, they formed lyrical images. A striking example is Beethoven's Ninth Symphony. The composer focuses on the whole people, the entire ethnic group appears lyrically. The music sounds attempts to reconcile warring people.

Throughout his life, Beethoven tried to bring positive features to all his images. He said: “What comes from the heart must lead to it.” Many researchers take this statement into account when forming a definition of the lyrical image as a whole. In “Spring Sonata” the melody talks about nature, about the awakening of the world after winter sleep. Lyrical images in the composer's music were embodied in abstract concepts - spring, joy, freedom.

In Tchaikovsky’s “Seasons” cycle, nature also becomes central. Debussy's lyrical image is focused on the Moon in the composition "Tenderness". Each maestro found inspiration in nature, in man, in some moment. All this later became the main theme in music.

Among the most famous romances with lyrical images are:

• "The Beautiful Miller's Wife", "Winter Reise" by Schubert,
• Beethoven's "To a Distant Beloved"
• “Romance about romance” - words by Akhmadulina, music by Petrov,
• “I loved you” - words by Pushkin, music by Sheremetyev,
• “Thin Rowan” by I. Surikov.

Lyrical images in literature

This is most evident in poetry. It is in it that the lyrical images of characters are most often revealed by describing their worries. Poets brought their own “I” into their works. The hero became the double of the author of the lines. A description of the fate of a person, his inner world, as well as some characteristic features and habits appeared. This special poetry was forever immortalized by Byron, Lermontov, Heine, Petrarch, and Pushkin.

These great geniuses secretly invented the basic rules in the chosen genre, according to which the lyrical images were formed. The works became softer, more individual, more intimate. Writers call these poets romantics, which once again emphasizes the subtle connection with style. However, a lyric poem may not have a self. So, an example would be Blok’s poems, where the author does not transfer himself into the work. The same goes for Fet.

Pushkin in his poems “The Cart of Life” and “To Chaadaev” emphasized not “I”, but “we” - in them he appears on a par with his characters.

In Russian literature, a hero can even be the opposite of a poet in his spiritual worldview. Vivid examples of this stylistic direction are images in Russian literature in the works of:

• “Borodino” by Mikhail Yurievich Lermontov,
• “Black Shawl”, “I’m here, Inesilya...”, “The Page, or the Fifteenth Year”, “Imitations of the Koran” by Alexander Sergeevich Pushkin,
• “Philanthropist”, “Moral Man”, “Gardener” by Nikolai Alekseevich Nekrasov.

This is not a complete list of works. The lyrical images in them became iconic for Russian literature.

In the poems of Sergei Yesenin, such a surge of emotions was transferred to the horse. And Marina Tsvetaeva has heroes in the form of birds. Poets endowed the characters with their own feelings, combining them into one image.

Many researchers of the lyrical hero in Russia, including Gudkovsky, Ginzbursh, Rodnyanskaya, believe that the audience itself complements it with its own perception. Each person can imagine the feelings experienced by the hero of the work in his own way. He is guided by the emotions that were evoked by music or a poem, a ballad or a theatrical performance. Timeless images in literature support this theory. The author of the lyrical image tries to convey his vision, relying on the fact that the audience will understand it.

What is music?

Music is a cultural practice and art form that consists of a combination of sounds and silence of varying lengths. These sounds and silences necessarily follow a rhythm that can vary depending on the musical style. Through their works, composers can convey different messages and thoughts to the audience. This turns music into a means of communication to the fullest.

Difference between musical genres

To distinguish between musical genres, several criteria must be taken into account.
The sound source is the most important criterion. Depending on the instruments present in the music, the use of the voice or the set of voices and/or instruments, the musical genre may differ.

The destination of the music also helps determine its musical genre. For example, church music and a military march differ depending on the place in which they are played.

The duration of songs is also an important specific characteristic. The national anthem does not last as long as a classical piece of music or opera music.

The social role of music facilitates the differentiation of musical genres. For example, religious, funeral, dance music, music for films, computer games, etc. have well-defined social roles.

Depending on the musical genre and perception, listeners experience completely different emotions. So we're going to look at how these emotions differ and how they are communicated from a general perspective.

What emotions?

Emotion is a psychological and physical reaction to a situation, internal or external stimulus. As Rene Descartes showed, there are different types of emotions. According to Descartes, there are 6 primary emotions: admiration, love, hatred, sadness, desire and joy. All other existing emotions consist of these primary emotions or are some modified form of them. Meanwhile, the intensity of one individual's emotions may differ from that of another because all people do not respond in the same way to the same stimuli. Therefore, we will look at several common emotions and the times in which we experience them.

Several emotions

Joy - positive emotion. It usually means satisfaction with the situation at the moment, such as the joy of eating your favorite food or when you succeed at something difficult. Physically, people experience joy by smiling and/or laughing. Joy is usually associated with hope and jubilation. Indeed, if we achieve a goal that we have been pursuing for years, then we are happy and experience joy.

Sadness ranges from mild malaise to deep depression, experiencing which people have no desires and seem drowned in their emotions. Sadness is associated with despair, powerlessness and melancholy.

Delight- an emotion experienced in relation to what is great, beautiful or the actualization of an ideal. We admire someone whom we find to be the best in a certain field or in general.

Love- the emotion of affection, sentimental and/or sexual attraction between people. In a broader sense, we can also love something abstract. Then we try to find spiritual, intellectual, physical or imaginary intimacy with what we love.

Hatred- a deep and bitter dislike for someone or something. This emotion is the opposite of love. Therefore, we do not seek any intimacy with the person or thing we hate.

Wish- an emotion that implies the fact of wanting something. We always want to get what we don't have. Therefore, when we get what we want, we fill that lack.

Therefore, it is interesting to ask yourself what is the relationship between music and emotion, and how does a musician convey the exact emotion through his or her work.

The relationship between music and emotions

Music has always been one of the main emotional vectors. As the famous German philosopher Emmanuel Kant said about it: “Music is the language of emotions.”
Meanwhile, people have different personalities, are sensitive to different things and react differently to situations. Consequently, music awakens different emotions and memories in each person. That is, people are not the same in their attitude towards music. This explains why they don't like the same genre of music, the same tone of voice, or why some prefer one instrument faster than another. For example, a man may love a piece of music because he danced to it with his wife for the first time. Conversely, a person may hate and/or may be overcome with sadness because he heard this music when he learned of the death of a loved one. These emotional associations enhance the subjective evaluation of individuals and are a minimal part of our musical experience.

Likewise, musical works have a strong expressive structure that allows them to convey emotional states to a large number of individuals. Something that allows for the power of significant social cohesion across cultures. This social cohesion occurs mainly during adolescence. During this period, music translates the emotional states experienced by teenagers. It also makes it easier to group according to musical preferences, so we find groups of rockers, rappers, goths. This also explains why, during the dating process, a teenager most often asks about musical preferences. The act of listening to a certain style of music allows teenagers to belong to something and have common ground with other people. Emotional responses in music may change over the course of life, but they will remain a major focus during adolescence.

Music is also different from other forms of art because, contrary to painting, for example, where emotions are conveyed by vision, music conveys emotions only by hearing. Therefore, it requires the presence of sounds, exceptional and original ways in order for each piece of music to correctly convey the desired emotions.

Moreover, music is an art form and, like all art, individuals can appreciate it voluntarily. Therefore, the audience listens to music willingly to experience pleasure. This pleasure can take different forms and depends mainly on what the listener has experienced, on his state at the time of listening. For example, when a couple is alone at a candlelit dinner, they would rather listen to romantic pieces of music to enhance the emotions of the moment than heavy metal with a volume of 130 decibels.

So, we can come to the conclusion that 4 large categories of music emotions predominate in music: joy, anger (or fear), sadness and calm. An interesting fact is that even if the emotions are negative, the music is nevertheless pleasant for the listener. Therefore, it is interesting to know how composers convey emotions through their works.

How to convey the exact emotion through music?

As said earlier, music has several characteristics such as scales, notes, silence and much more. Therefore, the musician must play and change its characteristics at his own discretion in order to create the desired piece of music, and therefore the emotion that he wants to convey.
However, there are several rules to follow depending on the genre of music the musician wants to compose. The composer must carefully choose which instruments he wants to use and who he will use. The sound of each instrument is extremely significant in order to obtain a common participation with the music.

Also, tempo can quickly determine the genre of music. A slow tempo with a piano melody will make you feel sad or calm. Conversely, a fast tempo with appropriate melodies will convey some joy. People are happy to listen and want to dance. However, tempo alone cannot convey a specific emotion. Therefore, every instrument is important and can change the entire music. Indeed, if the tempo remains fast, but there is an aggressive double bass, a heavy battery with a double pedal, the emotions will be completely different, as will the dance. This is a pretty rough example, but the same is true depending on where the note is placed. These little tweaks can absolutely change the music.

The composer may also use the normal hearing of the majority of the audience to enhance the conveyance of emotion. For example, sounds reminiscent of negative events will convey emotions with a negative valence (anger, fear or sadness). Conversely, sounds reminiscent of positive events will convey emotions with a positive valence (joy, calmness).

Consequently, it is quite difficult to perfectly manipulate all sounds to convey the desired emotion. It requires a lot of experience and mainly listening. The composer must be inspired by everything that surrounds him, that exists musically, in order to ultimately create his own music.

2.2 Beauty and fidelity of human feeling

The fantasy overture “Romeo and Juliet” is an outstanding work of world musical classics. For Tchaikovsky this is the first major achievement in the field of program symphony. In “Romeo and Juliet” many of the principles that would later characterize the composer’s mature work have already found their embodiment.

The first edition of the overture dates back to 1869; then this work was revised by the composer twice (in 1870 and 1880). In the 80s, Tchaikovsky began composing an opera on the same plot, but wrote only the scene of the farewell meeting of Romeo and Juliet, the basis of which was the music of the fantasy overture.

The idea to choose Shakespeare’s tragedy “Romeo and Juliet” as the plot of a symphonic work was inspired by Tchaikovsky’s Balakirev, who by that time had already created the music for “King Lear” and thereby laid the foundation for the embodiment of Shakespeare’s creativity in Russian symphonic music. Tchaikovsky dedicated his composition to Balakirev.

The work of the brilliant English playwright - a representative of the Renaissance - aroused exceptionally great interest in the middle of the 19th century on the part of leading figures of Russian culture. The humanism of Shakespeare's works, their accusatory power, aimed at combating the inertia and prejudices of medieval society in the name of high ethical ideals, in the name of the prosperity of a strong, harmonious human personality! were close to advanced Russian artists.

Tchaikovsky repeatedly turned to themes from Shakespeare. The fantasy overture “Romeo and Juliet” is the most artistically perfect and closest to the character of Shakespeare’s work. It is based on the plot of one of Shakespeare's early tragedies (1595), which is based on an ancient Italian legend about the love and fidelity of two young heroes and their tragic death due to family feud and hatred of their families.

The fantasy overture is a striking example of that generalized approach to the embodiment of the idea of ​​a work that is characteristic of Tchaikovsky. With Shakespearean depth, the composer revealed in music the beauty and fidelity of human feeling; together with the poet, he pronounced a harsh verdict on the cruelty, prejudice and inertia of the social environment surrounding the heroes.

The main ideological concept of the tragedy is conveyed by the composer through a contrasting comparison and collision of musical themes that are different in nature. As the most consistent with the dramatic concept, the composer chose a sonata form with a broad introduction and an extended coda-epilogue. The impetus for the emergence of musical themes was, undoubtedly, individual specific images and scenes of the tragedy. However, each of the themes changes in a variety of ways during the development process (especially the introduction theme). And only in the interaction of all topics and! the general ideological meaning of the work is revealed.

The first gloomy, focused theme (F-sharp minor, clarinets and bassoons), receiving a choral character thanks to its four-voice presentation and calm, measured movement, introduces us to the world of the Middle Ages:

Already the second time it is performed (for flutes and oboes), the overall color of the music becomes somewhat lighter, but at the same time, thanks to the new rhythm of the accompaniment, the theme sounds more excited. It becomes dramatically tense at the end of the introduction, appearing at a changed tempo and with a new sonority. Here, various groups of the orchestra imitate one of the most active motives of the theme:

Further modifications will occur in development. There, the opening theme will appear predominantly in the timbre of brass instruments and personify the image of an evil, cruel force that stands in the way of Romeo and Juliet.

In the introduction, immediately after the first performance of the chorale theme, it is contrasted with mournful intonations of the strings, which introduce a feeling of tense anticipation. They are preparing a new theme, which will sound in the key of G-flat major:

This is an initial, still sketchy, description of lyrical images, which will later find wide development in the side part of the allegro. Thus, already in the music of the introduction the main emotional spheres of the overture are outlined and the plot of the subsequent drama is given.

The introduction moves into the main section of the overture, which begins with an energetic, impetuous, forward-moving theme with a syncopated, jerky rhythm, dissonant harmonies and frequent changes of keys (the main key is B minor):

This theme contrasts both with the entire intro music and with the lyrical themes that appear in the side section. In the 4th measure of the main part, a new thematic element appears (scale-like passages in sixteenth notes), which plays an important role in the subsequent development and contributes to the creation of great dramatic tension, as well as the characteristic “throw-strikes” of chords and elastic rhythm (This rhythm appears on foreground in the middle section of the main part while a gradually ascending motif of three sounds is playing).

The influence of music on the emotional sphere of a person

For the practice of aesthetic education, it seems very important to find ways to form a high emotional culture in schoolchildren. Cultivating the ability to respond to the whole gamut of human experiences is one of the important tasks of musical education. To do this, the music teacher must have information regarding the patterns on the basis of which human emotions are reflected in music.

All existing music education programs and methodological recommendations emphasize that music is a means of developing the emotional sphere of students, but the proposed repertoire is built according to historical, thematic or genre principles. In none of the existing music education programs has it been possible to find principles for selecting musical works based on their emotional content, as well as those objective grounds on which a particular musical work can be attributed to the expression of a certain emotional state. Music programs say nothing about the connection between the value attitude towards an object and the nature of the experiences experienced at the same time. As a rule, it is stated that if a person loves something, then it should somehow excite him. The main question is to identify the connection between the emotional sphere of a person and the patterns of its reflection in music, i.e. the translation of everyday emotions into aesthetic ones has not yet been fully disclosed in musicology.

The search for a solution to the problem under consideration has a long history. The ancient Greek philosophers, in whose works we find the development of the principles of the ethical influence of music on humans, proceeded from its imitative nature. By imitating one or another affect with the help of rhythm, melody, timbre, the sound of one or another musical instrument, music, according to the ancients, evokes in listeners the same affect that it imitates. In accordance with this position, classifications of modes, rhythms, and musical instruments were developed in ancient aesthetics, which should be used to cultivate appropriate character traits in the personality of an ancient citizen.

In the Middle Ages, this problem was studied within the framework of the theory of affects, which established a connection between a person’s emotional manifestations in life and the ways they are reflected in music. This theory examined in detail the interaction of tempos, rhythms, modes, and timbres in the transmission of emotional states, their effect on people with different temperaments, but a complete concept for modeling emotions in the theory of affects was never created.

Among modern studies, noteworthy are the works of V.V. Medushevsky, who points out that “the principle of modeling implies the presence of a certain correspondence between the semantic structure of a musical work and our intuitive ideas about emotions.”

Experiment: To identify the most significant parameters for the reflection of emotion in music, a group of five expert musicians were offered 40 pieces of music with the task of sorting them out according to the commonality of the emotional states expressed in them. It was necessary to differentiate musical works according to the parameters “anger”, “joy”, “sadness”, “calmness”. As a result of the experiment, 28 works were selected, which were classified by all experts as expressing emotions of the same modality. The proposed model for categorizing emotions based on two parameters (tempo and mode) obeys the law of quantitative changes and their transition into qualitative differences. The same melody, performed in a major or minor mode, fast or slow tempo, will, depending on this, convey a different emotion. Therefore, if we set out to place various musical works in the proposed coordinate grid, then some of them, depending on the intensity of the expressed emotion, would be located closer to one of the coordinate axes, and others further. For example, a very sad work will be further from the y-axis than a work expressing a slight elegiac sadness.

As the practice of pedagogical observations shows, the given categorization of emotions based on two components of means of musical expression is quite clearly manifested in the perception of music of the Baroque era (A. Vivaldi, J.S. Bach), Viennese classics (F. Haydn, W. Mozart, L. Beethoven ), romantic composers (F. Schubert, R. Schumann, F. Chopin, F. Liszt, E. Grieg, J. Brahms), Russian classical music (P.I. Tchaikovsky, N.A. Rimsky-Korsakov, A .K. Glazunov), modern music (S.S. Prokofiev, D.D. Shostakovich).

In traditional works of musical expression, the following patterns can be identified that should be taken into account when perceiving music in order to understand the emotions inherent in it:

1. Slow tempo + minor coloring of the sound in a generalized form simulates the emotion of sadness and conveys the mood of sadness, despondency, grief, regret about the past wonderful past.

2. Slow tempo + major coloring simulate emotional states of peace, relaxation, contentment. The character of the musical work in this case will be contemplative, balanced, and peaceful.

3. Fast tempo + minor coloring generally model the emotion of anger. The nature of the music in this case will be intensely dramatic, excited, passionate, heroic.

4. Fast tempo + major coloring simulates the emotion of joy. The character of the music is life-affirming, optimistic, cheerful, joyful, jubilant.

Further analysis of the proposed model for reflecting emotions in music showed that in its characteristics it is in some sense isomorphic to the well-known classification of temperaments proposed by Eysenck. But instead of the “introversion-extroversion” parameter, our model takes the tempo - slow-fast, and instead of “stability-instability” - the major-minor parameter. In both models, to characterize both a person’s temperament and the mood of a musical work, it turns out to be sufficient to have indicators of two variables - tempo (either mental activity or a musical work) and the qualitative features of emotional experience, revealed in one case in the concept of “stability-instability”, and in the other - a major or minor mode. The main thing is that between the emotional life of a person and its manifestation in natural temperament, on the one hand, and the reflection of its characteristics in music, on the other, there are certain dependencies and connections,

It is known that choleric and sanguine people are distinguished by a fast pace of mental activity, while melancholic and phlegmatic people are slower. If melancholic and choleric people are distinguished by instability, instability of mood, then phlegmatic and sanguine people will be distinguished by stability, a general majority of the emotional worldview.

The affect theory mentioned above postulated that listeners most like the music that best suits their natural temperament. The task was set to test this position in an experiment. 58 schoolchildren in grades VIII-IX were asked to listen to several pieces of music expressing different emotions (sadness, joy, anger, calm).

Participants in the experiment were asked to rate each of the listened works on a five-point scale - from -2 to +2 with gradations - “don’t like it at all”, “don’t like it”, “indifferent”, “like it”, “like it very much”. It was also necessary to rank the listened works according to the degree of their preference.

Eysenck’s personality questionnaire “Extraversion-neuroticism” (Form A) made it possible to identify the temperament of the experiment participants. During the analysis, eight questionnaires were excluded as unreliable, since the number of points on the “False” scale exceeded 5 units. Of the remaining 50 questionnaires, in 21 cases we obtained a match between the student’s temperament identified using the questionnaire and the nature of the music he liked most. In 29 cases, schoolchildren liked music that did not correspond to the characteristics of their temperament. Thus, the assumption that schoolchildren should most like the music that best suits their natural temperament was not fully confirmed. We found that the preference for musical works whose mood corresponds to the temperamental characteristics of a particular schoolchild is noted mainly among those who have little musical experience. Musically developed students, who react vividly to music, gave high marks to all the works they listened to and found it difficult to choose the one they liked best. Such schoolchildren seemed to move away from their natural preferences and could positively evaluate music of a different character compared to their temperament. It can be assumed that the liveliness of reaction to musical works of different nature indicates the development of the emotional sphere of students. However, finding more subtle correlations between the level of development of the student’s emotional sphere, the level of his musical responsiveness and the characteristics of his natural temperament requires further study.

Musical education, offering students emotions of various modalities in the content of musical works, makes them at the same time more capable of experiencing those emotional states that are not part of the structure of emotions of their natural temperament, thereby expanding and deepening contacts with people around them and reality.

……………………………………………………………………………………………………………………………………………………………………………………. EMOTIONAL RESPONSE TO MUSIC

A special place in raising the level of moral and aesthetic culture of the younger generation belongs to music, which, actively influencing a person’s consciousness and his emotional sphere, is the most important, indispensable means of spiritual development of the individual. Perception of the expressive meaning of musical language, penetration into the content of the work, into its emotional meaning, is possible only if there is the ability to respond emotionally to music, therefore, cultivating in children a love for music, the ability to empathize with the figurative and emotional meaning contained in it, is one of the main tasks of musical education children.

In psychology emotional responsiveness (receptivity, sensitivity) is understood :

as a property of an individual to easily, quickly and flexibly react emotionally to various influences - social events, the process of communication, characteristics of partners, etc.

as an emotional reaction to the state of another person, as the main form of manifestation of an effective emotional attitude towards other people, including empathy and sympathy;

as an indicator of the development of humane feelings and collectivist relations.

Emotional responsiveness to works of art is understood :

as the ability to respond to events, phenomena, works of different genres;

as the ability to empathize with characters, to correlate literary facts with life experience;

as the ability of emotional empathy for music;

as an emotional response to works of art.

Emotional responsiveness is the starting point for the development of aesthetic feelings, relationships, needs, as well as aesthetic tastes and interests of the individual.

Aesthetic feelings and aesthetic emotions constitute the highest stage in the development of human feelings and are an indicator of the level of a person’s spiritual life.

According to I. Kant, “emotional responsiveness is a catalyst for thinking (more precisely, intelligence), since it initially ennobles the mind, aestheticizing it.”

Preschool age is a period when sensory knowledge of the world predominates. It is at this age that it is necessary to teach the soul to work: to empathize with another person, his feelings, thoughts, moods.

Aesthetic education is aimed at developing the skills of preschool children to perceive, feel and understand the beautiful, notice the good and the bad, act creatively independently, thereby becoming involved in various types of artistic activities.

One of the brightest means of education is music. Emotional responsiveness to music is the basis of musicality. It is associated with the development of emotional responsiveness in relationships with people, with the cultivation of such personality qualities as kindness, the ability to sympathize with another person (A.I. Katinene, M.L. Palavandishvili, O.P. Radynova).

Music is emotional cognition. Therefore, the main sign of B.M.’s musicality is Teplov calls the experience of music in which its content is comprehended. “Since musical experience in its essence is an emotional experience and the content of music cannot be understood except through an emotional way, the center of musicality is a person’s ability to respond emotionally to music.”

Lesson developments (lesson notes)

Basic general education

Line UMK V.V. Aleev. Music (5-9)

Attention! The administration of the site rosuchebnik.ru is not responsible for the content of methodological developments, as well as for the compliance of the development with the Federal State Educational Standard.

UMK on music by T. I. Naumenko, V. V. Aleev.

Lesson type: combined (consolidation, learning new material)

Lesson type: lesson-reflection.

Artistic and pedagogical idea: “ All the thrill of life of all centuries and races // Lives in you. Always. Now. Now." Maximilian Voloshin

The purpose of the lesson: To form in students an attitude towards universal moral and spiritual values, to prepare them for the perception of the complex, sometimes contradictory inner world of a person, recreated in the music of different eras.

Tasks:

• educational: to form an idea of ​​the stylistic features of the work of the Russian composer P. I. Tchaikovsky using the example of the fantasy overture “Romeo and Juliet” and the ability of a bard song to reveal the emotional world of a person.
• educational: to instill in students, through the works of P. I. Tchaikovsky and Yu. Vizbor, spiritual and moral qualities: humanism, mutual understanding, devotion, the ability to find a compromise, rejection of violence against the individual, faith in goodness and love.

• developing: develop emotional responsiveness and musical thinking.

Equipment: PC, multimedia projector, ID, interactive presentation, Power Point presentation, piano.

Lesson plan:

Lesson structure	Teacher's actions	Student Actions
1. Org. moment – ​​2-3 min.	Greetings. Landing.	Entering the classroom, greeting, preparing for the lesson.
2. Updating knowledge - 5 min.	Asks questions about the material covered on the topic “The World of Human Senses”	Answer the teacher's questions.
3. Listening to music – 15 min.	Introduces a new work on this topic that will be performed in the lesson, its authors and genre, suggests turning to the presentation and using the text of the prologue to highlight and name the main images that could become the main ones in music. (Power Point presentation).	Listen to the teacher’s speech, the prologue from the tragedy and identify the main images of this work.
	Offers, imagining themselves as composers, to try to create musical images, guided by the tables of the Interactive presentation.	After identifying the main images, the proposed musical versions of these images are created using an Interactive presentation.
	The teacher suggests listening to the music of P. I. Tchaikovsky and comparing your assumptions about musical images with the composer’s expression.	After creating the expected images, they listen to the music of P. I. Tchaikovsky and compare them with their images and draw conclusions to what extent the opinions of the listeners and the composer coincide.
	Offers repeated listening to identify human feelings expressed in music.	Listen to a fragment of the work again and determine the feelings expressed in each image.
	Gives homework and summarizes the conversation in poetry.	Write down homework.
4. Choral singing – 18 min.	Introduces and shows Yu. Vizbor’s song “You are the only one I have,” offering to compare the world of human feelings.	Students listen to the song and determine what feelings this song expresses, how it is similar to the work of P. I. Tchaikovsky and how it is different.
	Having summarized the children’s answers, he offers to learn the song and works on learning verses I and II.	Students learn a song.
5. Consolidation and generalization – 4 min.	Asks questions about the musical material listened to and performed, their significance in understanding and revealing the topic of the lesson, and makes a generalization.	They answer the teacher’s questions, reinforcing the material covered. Listen to the teacher's summary.

During the classes

1. Organizational moment

Entering the classroom, greeting, seating.

2. Updating knowledge

U: Today we will continue our conversation with you about music dedicated to an eternal theme in art. Maybe you will remember and name yourself what this topic is?

D: This theme is “The World of Human Senses.”

U: That's right, but how often do you think artists, poets, musicians, and playwrights have addressed and are addressing this topic?

D: Often enough.

U: Let's turn to the artistic and pedagogical idea of ​​our lesson, think about its meaning and tell me how it can work in our lesson, why did I choose it for today's lesson? (Reading).

D: These lines hide a very broad and deep meaning. They say that today's man, our contemporary, experiences the same feelings that other people experienced. New generations do not invent new relationships and feelings; they experience the same ones that people who lived far from us in space and time could experience.

U: Well done, you very accurately understood the meaning of these lines. Tell me, how can we connect it with works of art, in particular with the music that will be played in the lesson?

D: Any work of art tells us about people, their experiences, passions. And music is precisely the language that, like no other art, will clearly and clearly tell about this!

3. Listening

U: Great, you have understood the focus of our lesson today, and I invite you to get acquainted with a new piece of music that will reveal to us a wonderful world - the world of human feelings.

Look at the screen ( Slides 3, 11 and 12).

Today we will learn a sad story that was told to the world almost 4 centuries ago by the great English playwright, poet and actor - William Shakespeare. A person who was most interested in human relationships, feelings and a willingness to defend his views and principles, even dying for them. This story is told in the tragedy Romeo and Juliet. Listen to its beginning - the Prologue - and think about what is the basis of the plot? ( Slide 4)

D: The plot of this work is based on the conflict between two warring families, which led to the death of their children.

U: Why do you think their children died - their names were Romeo, the son of Montague, and Juliet, the daughter of Capulet?

D: Probably because they fell in love and wanted to always be together, but their parents most likely did not allow this, so they stayed together and resisted blind unnecessary enmity.

U: Take a look at the assignment and think about it. ( Slide 5) Is there a place for human feelings in this difficult story?

D: Yes, of course, very different, vivid and contradictory feelings can appear here.

U: Well, what images, in your opinion, should a composer who would write music for this story have to show?

D: Most likely this is the Love of Romeo and Juliet and the Enmity of the Parents.

U: That's right, you, like real composers, coped with this task! You have identified and named the main images. But let's clarify which image to show first - Love or Enmity? What came first?

D: Enmity. But, despite it, Love appeared!

U: Well done! Look at the screen to see how exactly you did it! ( Slides 6 and 7).

Now let's try to “compose” the music of these images, resorting to basic musical expressive means and using an Interactive presentation (or tables on slides 15 and 16).

(Students select musical and expressive means for the image of Enmity and the image of Love, thereby creating images as a whole). We check the result and clarify it.

U: Well, you are real masters, you presented the images very vividly. And now I want to introduce you to the music already created based on this tragedy. The author of this music is a well-known composer - Pyotr Ilyich Tchaikovsky ( Slide 8). This is the fantasy overture of Romeo and Juliet.

Are you familiar with the genre overture? What it is?

D: Overture is an orchestral introduction to an opera, ballet, play or film, in which the main images of the work are briefly shown. Sometimes an overture can be an independent symphonic work.

U: A completely comprehensive answer, all that remains is to find out what type our overture should be classified as?

D: Most likely, this is an independent work.

U: Yes, indeed, this is so. Today we will hear a fragment from P.I. Tchaikovsky’s overture, while listening to the music, try to answer these questions - ( Slide 10).

Listening to a fragment of P.I. Tchaikovsky’s “Romeo and Juliet” overture.

Children's answers to questions No. 1 and 2, placed on slide No. 10, marking in the table with a green matrix the elements that match the composer's choice and red - the elements that are different (in a simple table + and -).

Listen to the fragment again and answer the remaining tasks. Checking them out.

U: Guys, I would like you to think again and again not only about the music of this work, but also about the actions of our heroes. Write at home in your notebooks your reflection on how you feel about the actions of Romeo and Juliet, did they manage to preserve their feelings in this way or did their love die with them? What do you think is the ending of this overture, with what theme, Enmity or Love, will the author end his overture and why?

(Record homework).

Thus, today we were once again able to verify that music can very clearly convey people’s feelings to the smallest shades and not only convey, but also force the listener, that is, you and me, to empathize with them.

They take your breath away - powerful sounds!
They contain the rapture of painful passions,
In them is the voice of crying separation,
They contain the joy of my youth!

The excited heart skips a beat,
But I have no power to quench my longing;
The mad soul languishes and desires
And sing, and cry, and love!

V. Krasov

4. Choral singing

U: Guys, today I want to introduce you to another piece of music - a song created in the 20th century by the famous bard Yuri Vizbor ( slide 10). Yuri Vizbor is a poet, bard, journalist, screenwriter, creator of a youth radio station, and has starred in several films. Most of his songs are related to mountaineering themes. Listen to his song and tell me, can modern music express people's feelings? Does this song have any similarities with the music of P. Tchaikovsky, what does it say and how does it sound?

Listening to Yu. Vizbor’s song “You are the only one I have” and talking about it.

The teacher summarizes the children's answers and concludes that in the 20th century and in all other eras, people love, suffer, carry their feelings through any adversity and trials, just like the heroes of William Shakespeare.

Learning a song, when learning it uses the techniques of “echo”, singing in a chain, etc.

When working on a song, pay special attention to the manner of performance: a quiet, warm, soulful sound should truthfully convey the confidential, friendly atmosphere in which bard songs are usually performed.

5. Consolidation and generalization of the lesson

U: What music did we meet in class today?

When were these works created? What do these works have in common?

What has music taught us today?

Children's answers.

Turn again to the artistic and pedagogical idea of ​​today's lesson and tell me, have we found confirmation of their meaning in the music and conversation in this lesson?

Well, well, it’s time to say goodbye, the lesson is over, but I hope that today’s lesson will make you and I think again and again about the feelings and relationships of people, will teach us how to build these relationships and develop feelings.

Literature:

1. Kabalevsky D. B. “How to tell children about music?” M., "Enlightenment", 1989.
2. "Music". Program for general education institutions. V. V. Aleev, T. I. Naumenko. M., Bustard, 2003.
3. “Music” T. I. Naumenko, V. V. Aleev. Textbook for general education institutions, grade 8. M., Bustard, 2002.
4. “Big Encyclopedia of Cyril and Methodius”, version 2004, Internet resources, www.KM.ru.
5. Smolina E.A. "Modern music lesson." Creative techniques and tasks. Yaroslavl, Development Academy, 2006.
6. “I explore the world” Children's Encyclopedia, volume “Music”, M., “Astrel” 2002.
7. “...Both music and words...” (Poems for musical works). Compiled by N. V. Leshchova, State Educational Institution of Secondary Professional Education "Omsk Musical Pedagogical College", Omsk, 2005.