“Methodological development “Development of creative abilities in solfeggio and musical literature lessons. Development of creative abilities in solfeggio and musical literature lessons

The purpose of this work:

attract the attention of teachers and students to the joint creative process;
show the results of many years of joint creative activity between students and the teacher, what children are capable of if they are constantly involved in creativity.

teach children to work competently with literature, musical text, electronic dictionaries and the Internet.
develop their abstracting skills, oral speech, erudition, and editorial skills.

The work is compiled on the basis of assignments done by students and edited by the teacher.

Musical literature is one of the fascinating and educational subjects among musical theoretical disciplines at Children's Musical School (DSHI). At correct selection material, artistic and musical illustrations for it, the works being studied almost always evoke a lively active response from students. The “key” to a teacher’s success is often stimulating children to independent creativity. Students carry out creative tasks proposed by the teacher with interest, but with even greater interest they come up with games, crosswords, tests, write essays, make abstracts and reports. All these forms of work are implemented both during class time and outside of class hours (as homework).

Creative tasks help not only to develop students’ natural abilities and their imagination, but also to identify talented children. We have to face in practice that when completing a task on musical literature, a child demonstrates, in addition to analytical and musical abilities, also artistic abilities. A clear example of this is the design of some student reports (see appendix).

Studying this or that topic every year, a fairly large number of interesting creative works by children accumulate. Of these, I would like to present the most striking tasks as the result of many years of joint creativity between the teacher and students. It is impossible to show all the works that deserve attention, so I will limit myself to the topic “Review of the life and work of M.P. Mussorgsky,” which belongs to the section of monographic topics “Russian classical composers” and is studied in the 6th grade of the Children's Music School (DSHI). The presented tasks can be used by the teacher both in music literature lessons in children's music schools (DSHI), and in music lessons and extracurricular musical events, competitions in secondary schools.

Crosswords on the works of M. P. Mussorgsky

Crossword No. 1

Horizontally:

The name of the vocal ballad, the program of which was a painting by V. Vereshchagin.
The title of the vocal cycle is “Songs and Dances...”.
Real name False Dmitry (Impostor) from Pushkin’s tragedy “Boris Godunov” and the opera of the same name by M. Mussorgsky.
The name of the chronicler from M.P. Mussorgsky’s opera “Boris Godunov”.
The title of a piece from the piano cycle “Pictures at an Exhibition.”
Genre of Boris’s solo number from Act II “I have reached the highest power.”

Vertically:

8. The name of the artist whose paintings served both as an incentive and as a program for the creation of the piano cycle “Pictures at an Exhibition.”

1. “Dwarf”, 2. “Forgotten”. 3. "...death." 4. Otrepiev. 5. Pimen. 6. "Walk." 7. Monologue. 8. Hartmann.

Crossword No. 2

Horizontally:

The name of the prince discussed in the opera "Boris Godunov".
The surname of the main character of one of M. Mussorgsky's operas, based on the plot of A. Pushkin's tragedy.
The name of one of M. Mussorgsky's vocal cycles.
The title of one of the operas created by Mussorgsky on a historical plot.
The village where the composer was born.
The name of one of the piano teachers with whom M. Mussorgsky studied.
An opera created by the composer based on the plot of Flaubert's novel.
The title of a piece from the piano cycle “Pictures at an Exhibition.”
A character (position) in an opera who forced the people to ask Godunov to become king.
The surname of the prince, a close person of Tsar Boris in the opera “Boris Godunov”.

Vertically:

11. The name of the composer to whose work this crossword is dedicated.

1. Dmitry. 2. Godunov. 3. "Children's room." 4. “Khovanshchina”. 5. Karevo. 6. Gehrke. 7. "Salambo". 8. "Catacombs". 9. Bailiff. 10. Shuisky. 11. Mussorgsky.

Game “Guess what (who) we are talking about?”

In 1857, in Dargomyzhsky’s house, M. Mussorgsky met ..... (him). At that time...he was 20 years old, but he was already a recognized musician, composer, and concert pianist. This man had the right taste, critical instinct, and immediately recognized Mussorgsky as an extraordinary talent. This man led the “Mighty Handful”. Who are we talking about? (M. Balakirev).
This musical work was written by M. Mussorgsky based on the novel by the French writer Flaubert. The plot, taken from the life of ancient Carthage, attracted the composer with its dramatic events and the opportunity to create large folk scenes. Work on this work lasted about 3 years, but it remained unfinished. What work of Mussorgsky are we talking about? (opera "Salambo")
By the end of 1869, one of Mussorgsky’s operas was completed and presented to the Mariinsky Theater in the first edition, in order to decide on its production. The opera was rejected by the repertory committee. “The novelty and unusualness of music,” recalled Rimsky-Korsakov in “My Chronicle musical life“- the venerable committee was baffled, reproaching, among other things, the author for the absence of any significant female part... Distressed and offended, Mussorgsky took his score back, but, after thinking about it, decided to subject it to thorough alterations and additions.” Which Mussorgsky opera are we talking about? ("Boris Godunov")
During the period of work on “Boris Godunov” Mussorgsky maintained the closest friendly relations with one of the composers “ Mighty bunch" “Our life with Modest,” this composer recalled, “was, I believe, the only example of two composers living together. How could we not interfere with each other? That's how. From morning until 12, Mussorgsky used the piano, and I either rewrote or orchestrated something that had already been completely thought out. By 12 o'clock he left for work at the ministry, and I used the piano. In the evenings, things happened by mutual agreement... During this fall and winter, we both worked a lot, constantly exchanging thoughts and intentions. Mussorgsky composed and orchestrated the Polish act of Boris Godunov and folk painting near Kromy. I orchestrated and finished “Pskovianka”. Which composer of The Mighty Handful are we talking about? (N. Rimsky-Korsakov)
V. Stasov became the inspirer and closest assistant of Mussorgsky in creation of an opera, on which the composer worked from 1872 until almost the end of his life. In this opera, the composer was again attracted to the fate of the Russian people at a turning point in Russian history. Mutiny events late XVII century, the bitter struggle between Rus' and the new young Russia of Peter I, the riots of the Streltsy and the schismatic movement gave Mussorgsky the opportunity to create a new folk musical drama. This opera is dedicated to V. Stasov. Which Mussorgsky opera are we talking about? (“Khovanshchina”)
The successful premiere of the opera Boris Godunov gave Mussorgsky new strength. The year 1874 became unusually intense for him creatively. In just 3 weeks, the composer composes a major piano work, which, like the opera “Khovanshchina,” was dedicated to V. Stasov. This work arose as Mussorgsky’s passionate response to the death of his friend, artist and architect W. Hartmann, and was created under the impression of a posthumous exhibition of his works. What work are we talking about? ("Pictures at an Exhibition")
In the 1860s, Mussorgsky created several songs that can be called “folk pictures.” The plot of one of these “pictures” was a true episode from the composer’s life. V. Stasov recalled the story of Mussorgsky himself:
“He once stood at the window and was amazed at the bustle that was happening before his eyes. The unfortunate holy fool declared his love for a young woman he liked... and he was ashamed of himself, of his ugliness and unfortunate situation; he himself understood how nothing in the world, especially the happiness of love, existed for him. Mussorgsky was deeply amazed; the type and the scene sank deeply into his soul; “Instantly, unique forms and sounds appeared to embody the images that shocked him.”
The composer himself wrote the lyrics of the song. Which of Mussorgsky's songs are we talking about? (“Svetik Savishna”)
IN last years life, Mussorgsky repeatedly turned to images of death in his work. One of the most striking “dramatic songs”, created under the impression of a painting by V. Vereshchagin, is dedicated to this topic. V. Stasov wrote the following about the painting:
“...This is a poor soldier, killed in battle and forgotten in the field. In the distance, across the river, “their own” are leaving, perhaps so that the same thing that happened to this one will soon happen to them, to each in turn. And then guests fly from the sky in a cloud: eagles are flapping their wide wings, and a whole flock of ravens have descended and are about to begin a rich feast... It seemed to me that the whole heart was painfully turning over for the one who conceived and painted this picture. What love, tenderness and indignation must have been in full swing there!”
Mussorgsky's ballad song was written to the verses of A. Golenishchev-Kutuzov. Which of the composer's songs are we talking about? ("Forgotten")
M. Mussorgsky is the author of several vocal cycles. In one of them, the composer reveals to us the world of children's feelings. “Everything that is poetic, naive, sweet, a little crafty, good-natured, charming, childishly hot, dreamy and deeply touching in the world of a child - appeared here in unprecedented forms, untouched by anyone,” V. Stasov wrote about this cycle . Here, miniature scenes (there are 7 of them) were created based on the texts of the composer himself. About what vocal cycle are we talking? ("Children's room")
It is known that M. Mussorgsky had unsurpassed comic talent. The composer showed it in many works, including vocal ones. In the song, which, according to the author, can be called a “picture from life,” a healthy village guy stupidly and senselessly memorizes Latin that is incomprehensible and unnecessary to him, and in his thoughts the image of the ruddy Stesha, the priest’s daughter, whom he fell in love with during the service, constantly appears. , for which he was beaten by the priest. The song contrasts two musical images - a monotonous “cramming” recitative, mechanically repeating Latin words on one sound, and a wide, sweeping melody associated with memories of the beautiful Stesha. What song are we talking about? ("Seminarian")

Tests on the works of M. P. Mussorgsky

"Vital and creative path M.P. Mussorgsky"

In what century did M. Mussorgsky live and work?
a) in the 20th century
*b) in the 19th century
c) in the 18th century.
When and where was the composer born?
A) March 9, 1839 in the village of Karevo, Pskov province
b) May 20, 1804 in the village of Novospasskoye, Smolensk province
c) March 6, 1844 in the city of Tikhvin, Novgorod province.
Who was M. Mussorgsky's first music teacher?
And the father
b) mother
c) brother.
In what institution did the composer receive his education?
a) in the St. Petersburg Marine Corps
b) at the St. Petersburg Medical-Surgical Academy
V) at the St. Petersburg School of Guards Ensigns.
In what year did M. Mussorgsky meet the composers of the “Mighty Handful”?
A) in 1857
b) in 1860
c) in 1861.
What was the name of the first romance created by the composer?
a) “We parted proudly”
b)“Where are you, star?”
c) “Sleep, sleep, peasant son.”
Which of M. Mussorgsky's operas, created in the 60s, became the pinnacle of the composer's work?
a) "Salambo"
b) "Marriage"
V)"Boris Godunov".
With which of the figures of the “Mighty Handful” did M. Mussorgsky become especially close and maintain warm friendly relations in the years 1868-72?
a) with Ts.Cui
b) with M. Balakirev
V) with V. Stasov.
Which composer, after the death of M. Mussorgsky, completed “Khovanshchina” and made a new edition of “Boris Godunov”?
A) N. Rimsky-Korsakov
b) A. Borodin
c) M. Balakirev.
With which of the famous vocalists of that time did the composer make his last concert tour in the south of Russia?
A) D. Leonova
b) F. Chaliapin
c) I. Kozlovsky.

Opera "Boris Godunov"

Who suggested M. Mussorgsky to Pushkin’s tragedy “Boris Godunov” as a plot for an opera?
a) Chernyshevsky
b) Nikolsky
c) Stasov.
Who in the opera M. Mussorgsky “... understood as great personality»?
a) Godunov
b) Pimena
V) people.
Who created the libretto for the opera?
A) Mussorgsky
b) Stasov
c) Borodin.
Which of the following folk choirs in the opera contains a quote from an authentic folk song?
a) Chorus “To whom are you leaving us?”
b) Chorus “Like glory to the red sun in the sky”
c) Choir “Bread!”
Which of the listed opera characters does not have a clearly defined leittheme?
A) Shuisky
b) Bailiff
c) Holy Fool
Which of the following opera characters is an “off-stage” hero?
A) Tsarevich Dmitry
b) chronicler Pimen
c) Varlaam.
What was the real name of False Dmitry in the opera?
a) Stepan Razin
b) Emelyan Pugachev
V) Grigory Otrepiev.
Which of the following choruses serves as the culmination of the image of the people in the opera?
a) “Like the glory of the red sun in the sky”
b) “Bread!”
V)“The strength was in full swing, the bravery was brilliant.”

*Correct answer options are highlighted in bold.

Music quiz. Find out a familiar musical theme from the works of W. A. Mozart: title of the work part, action part, theme, section tonality tempo 1 Symphony 40 IV part GP g-mollAllegro assai 2 Sonata 11 I part I part IV var. A-durAndante grazioso 3 “The Marriage of Figaro” I d.I d. Cherubino’s Aria Es-durAllegro vivace 4 Symphony 40 I part I part PP B-durAllegro molto 5 Sonata 11 III part middle section fis-mollAllegretto 6 Symphony 40 II part GP Es-durAndante 7 “The Marriage of Figaro” I part I part Figaro’s Aria C-durVivace 8 “Requiem” VII part Lacrimosa d-mollLarghetto 9 “Little Night Serenade” I part I part GP G-durAllegro 10 "The Marriage of Figaro" overture3P A-durPresto

Through the pages of the biography of W. A. Mozart. Select and write down the dates that correspond to the events in the composer’s life 1756 y y y y yy yy dateage event Staging the opera “The Marriage of Figaro” in Vienna Meeting Haydn Birth in the family of a court musician Break with Archbishop Colloredo, moving to Vienna Writing symphony 40 in Vienna Appointment as court composer of Emperor Joseph II in Vienna Meeting Beethoven in Vienna Marriage to Constance Weber Writing the opera “The Magic Flute”, “Requiem”, death of the composer Awarded the Order of the Golden Spur Concert tour of Europe with his father and sister for 3 years

From the pages of the opera “The Marriage of Figaro” Find out the opera hero’s aria from the notes, sign the initial words in Russian, put key signs, fill out the table: opera hero act number holostonality tempo

Countries and languages on the pages of “The Marriage of Figaro” question answer What is the name of Beaumarchais's comedy, which formed the basis of the plot of the opera? What language is this comedy written in? What language is the libretto of the opera in? In what country does the opera take place? In what country was the creator of the opera, Mozart, born and lived? What is the composer's native language? Who translated the text of the opera into Russian in 1875?

Complete the titles of W. A. Mozart's operas The Abduction from ……………………………………. Don…………………………………………..…. All of them ……………………………………………………….… Imaginary ………………………………………………………..….. Director ……………… …………………………… Mercy …………………………………….. Magic …………………………………… Bastien and …… ……………………………………..

Write in what classical musical forms were the studied works of W. A. Mozart written? musical forms of works by W. A. Mozart Simple two-part form Simple three-part form Complex three-part form Rondo form Variation form Sonata form

Determine by ear the musical form of one of the parts of the sonatina by W. A. Mozart ………………………………………………….. (the rondo of the sonatina in C major sounds, performed by the teacher - twice) * * * Answer the questions: 1) In what key does the side part of the exposition sound? sonata form, if in the reprise it is written in A major?) In what key is the final part of the exposition of the D minor sonata sounded? ………

Give short answers to the questions: Which work did Mozart dedicated to Haydn? In which compositions have you studied the meter 6/8? What countries did Mozart visit? What languages did you speak? What instruments did you play? Who is the author of the little tragedy “Mozart and Salieri”? Who composed opera of the same name? What is the name of the novel with Mozart by D. Weiss?

Give brief answers to the questions: Who composed the orchestral suite “Mozartiana” in 1887? Name the genre of comic opera of the 18th century. in Austria and Germany? Name the genres of Italian operas of the 17th-18th centuries. V. (serious and comic) What does “pair composition” mean? symphony orchestra? What instrument (stringed - bowed) is not in the string quartet? What Italian dance are reminiscent of the themes of the sonata A-dur 1st part and Suzanne's aria from the 4th movement of the opera?

General concepts, genres, forms, programmatic and visual music

1. Which king performed solo roles in ballets _______________________________

2. What was created in Paris in 1661 _________________________________________

3. When did the minuet begin to be danced in Russia __________________________________________

4. Which country was the trendsetter of dance fashion in the 17th century _________________

5. Who became the “waltz king” _____________________________________________________

6. Under which king in France was the “Academy of Dance” created _____________________

7. What complex genres of the 18th century did the minuet become part of? ______________________________

8. What was the name of the first ensemble of violinists of Louis 14. __________________________
__

9. What dance was the predecessor of the waltz _____________________________________

10. What were the names of the public meetings established by decree of Peter I in 1718?

11. In what country did the polka dance originate? _____________________________________

12. The creators of the “Viennese Waltz” were...__________________________________________ 13. Which dance movement is a symbol of the sun ________________________________

14. Who headed the “Royal Academy of Music” in France in the 17th century _______________ 15. In which country do the Czardas and Verbunkos dance ____________________________________

16. What does the word “genre” mean in French? ____________________________

17. In what country was E. Grieg born __________________________

18. In what century did ballet separate from opera and become an independent form of musical and theatrical art _______________________

20. Which country and when became the birthplace of opera, name the first operas _________________

21. Name the dances in 6/8 _________________________________________________

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22. What is a “corps de ballet” _______________________________________________________

24. Explain the word “ballet” _______________________________________________________ 25. What are “secondary genres” _________________________________________________

26. What “secondary” genres arose in the 18th century ____________________________________ 27. What is “pantomime” ____________________________________________________________
28. What is an overture, where does it sound and what is it intended for ____________________
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29. Name an outstanding choreographer, contemporary of Pushkin _______________________

30. What is a libretto ____________________________________________________________

31. When and where was E. Grieg born ___________________________________________________

32. Who wrote the music for Goethe’s play “Egmont” _____________________________________

33. What types of art are combined in a ballet performance ___________________________

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34. Name the first opera buffa, its author, when and where the performance took place _______________

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35. Which works are classified as musical and stage: _________________________

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36. What dramatic plays gained popularity thanks to the music of _______________

37. Name the first classical Russian opera, its creator and date of premiere ________________________________________________________________________________________________________________________________________________________________________________

38. When and where was the Royal Academy of Dance founded __________________________

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40. When and where did the first operas appear, what were they called _________________________
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41. What is opera buffa, what plots were these operas based on ___________________________

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42. When was the ballet school opened in Moscow _____________________________________

43. Who is Solveig ____________________________________________________________

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44. Which composer became the founder of Russian classical ballet

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45. What is opera seria, what plots were these operas written on _________________________ _______________________________________________________________________________

46. Which composer became the founder of Norwegian classical music

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47. In which play by Grieg does the music shock listeners with the power of grief and pain of loss?

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48. In which countries did Grieg perform? _____________________________________________

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49. What images are shown in Beethoven’s “Egmont” overture _____________________________
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50. What does the word “pastoral” (“pastoral”, “pastoral”) mean? ___________________
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51. Name the characteristic stable features of the march ___________________________________

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52. List the plays from the first suite “Peer Gynt”: _________________________________

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53. Name the characteristic stable features of the march ___________________________________

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54. In which play does Grieg “paint” the landscape of his native nature ______________________________

55. Which composer became the founder of Norwegian classical music ________

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56. How many suites were composed from the music for Ibsen’s drama “Peer Gynt” _______________

57. What form does the ancient French dance “Minuet” have? _______________________

58. Name two types of simple 2-part form. ____________________________________
___________________________________________________________________________

59. Write the formula for a simple 3-part form _________________________________

60. What can be a reprise in 3-part form. ______________________________________________________________________________

61. What is the name of the period in which there are 8, 16, 32 measures ___________________________________

62. Translate the inscription “Da capo all fine” ____________________________________________

63. What does the word “Rondo” mean? _____________________________________________________

64. What is a “refrain” ________________________________________________________________

65. What is “cadence” ____________________________________________________________
___________________________________________________________________________

66. Write the formula for a simple 2-part reprise form. ______________________________________________________________________________

67. Write the formula for a simple 2-part form without repetition. ______________________________________________________________________________

68. Write the rondo formula _____________________________________________________

69. What is the variation form _____________________________________
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70. How does a complex 3-part form differ from a simple one _____________________________

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71. What are they called? musical themes in rondo, sounding between refrains ______________

72. What is the name of the period in which there are 7, 9, 10 measures ___________________________________

73. Name the main means of expression for depicting movement. ______________________________________________________________________________

74. What is “programmatic visual music”. _________________________________
____________________________________________________________________________

75. What music can depict. ___________________________________________________

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76. What can be depicted in music using rhythm and tempo _________________________

77. What expressive means can you use to depict space _______________________________________________________________________________

78. Name a few examples of programmatic visual music _________________
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79. List the types of marches _____________________________________________________

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80. In which songs real events are intertwined with a fairy tale _______________________

Preview:

Questions on Russian musical literature

1. Introduced into Russian opera music the principle of continuous musical development.

Who?___________________________Example_______________________________________________

2. What was the name of Dargomyzhsky’s first opera, based on the plot of Victor’s novel?

Hugo “Notre Dame Cathedral” _____________________________________________________

3. Which fragment of the opera “Eugene Onegin” was Tchaikovsky’s favorite?

Was it with him that he began to create opera music? ___________________________________

_____________________________________________________________________________

4. Gave up his inheritance in favor of the peasants? __________________________________

5. He sang the heroic and heroic traits of the Russian character in music _________________ 6. Captured ancient Russian rituals in his operas? _______________________________

7. In what genre was the opera “Eugene Onegin” written? _________________________________

8. Composed an opera about the patriotic feat of a Russian peasant? _________________________________

9. The title of R.-Korsakov’s work, which has a pronounced oriental character?

____________________________________________________________________________

10. Who discovered a socially accusatory theme in Russian music? ______________________

11. This cycle of piano pieces was written under the influence of the works of a friend of the composer, famous artist. Name:

A).surnames of the artist and composer _____________________________________________

B).name of the cycle of plays _________________________________________________________________

12. Who gave Borodin the idea and plot of the opera “Prince Igor”? _______________________

13. Which play by Glinka marked the beginning of the birth of the Russian symphonic school?

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14. How many symphonies did Tchaikovsky write? What is the name of the last one?

15. What operas by other composers did R.-Korsakov complete? ___________________________

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16. What is the name of the first Russian fairy-tale-epic opera?

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17. Title of Borodin’s 2nd symphony _______________________________________________

18. The first of the Russian composers, depicting the Russian people, divided them into 2 classes

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19. What choral technique did Mussorgsky use for the first time in one of his operas? The name of this opera? _____________________________________________________________________

20. “Orchestral Sorcerer” _________________________________________________________

21. Introduces new things into music means of expression- recitative? _________________________________

22. Which Russian composer lived his short life in loneliness, poverty, illness and lack of understanding of his work? ______________________________________________

23. Since childhood, have you been interested in chemistry, natural science, and music? ____________________________

24. Did you initially become a lawyer? _________________________________________

25. Whose music is based on a broad, songlike, plastic melody? ____________________

26. Who loves Russians folk songs instilled by a serf nanny, and to the orchestral

Music - musicians of the serf orchestra? _______________________________________

27. I was the first to compose string quartets(in Russian music)? ______________________ 28. Did you have color and music hearing? _____________________________________________________

29. About whom it is said: “In his music he recreated the entire ocean of Russian people, lives, characters -

Terov, relationships, unhappiness, unbearable burden, humiliation” (V. Stasov)

___________________________________________________________________________

30. What is the name of the first Russian opera in the character of psychological everyday musical

31. What is literary basis opera "Prince Igor"

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32. Who said these words: “Music is my soul!” or “The people create music, and we, the com-

Positors, we’re just recording and arranging it”? __________________________________

33. How many operas did R.-Korsakov write? Which? _______________________________________

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34. Was he the first to write romances and songs of a satirical nature (for the Iskra magazine)?

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35. “Singers” of the difficult lot of the Russian people (3 people: composer, poet, artist):

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36. Founder of the genre of Russian lyrical opera? _______________________________

37. Founder of Russian classical music ___________________________________

38. Was he an officer of the Preobrazhensky Regiment? __________________________________________

39. Did you study with A.G. Rubinstein? _____________________________________________________

40. Who was friends with Sechenov, Botkin, Mendeleev? _______________________________

41. Founder of the symphonic fairy tale genre? ___________________________________

42. Who (Russian composer)’s music is of a lyrical-dramatic nature?

____________________________________________________________________________

43. What is the main idea of the opera “Boris Godunov”? ____________________________________

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44. The founder of the genre of Russian historical and everyday opera? _________________________

45. Was friends with Pushkin. Delvig, Zhukovsky. A puppeteer? _______________________

46. Composer, doctor, chemist, major public figure ___________________

47. " Great teacher musical truth." Who? ____________________________________

48. Name Glinka’s romance dedicated to the opening of the first railway in Russia?

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49. How many operas did Tchaikovsky write? Which? _______________________________________

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50. To the performance of which opera by a Russian composer were the guilty soldiers taken?

51. In which operas by R.-Korsakov does the image of Ivan the Terrible appear? _____________________

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52. Traveled around a lot foreign countries, was familiar with Brahms. Grieg, Saint-Saens (Russian)

Composer) ___________________________________________________________________

53. What was the original title of Glinka’s opera “Ivan Susanin”?

_______________________________________________

54. Who composed romances of an accusatory nature, dark and tragic in sound?

___________________________________________________________________________

55. Under the impression of what events did R. Korsakov arrange for a symphony orchestra?

Burlatsky's song "Dubinushka"? _______________________________________________

56. He loved the waltz very much and introduced it into all genres of his work _______________________

57. To whom are the works “Waltz-Fantasy” and the romance “I Remember a Wonderful Moment” dedicated?

58. What is the name of the big, climactic scene of the 2nd act of the opera “Prince Igor”?

_____________________________________________________________________________

59. Composer, doctor, chemist, major public figure ___________________.

60. “The Great Teacher of Musical Truth.” Who? ____________________________________

Preview:

Questions on foreign musical literature

After passing a serious exam, he received the title of honorary member of the Bologna Philharmonic Academy, professor, and he was then 14 years old? ________________________________________________________________________
Is it possible to dance to the music of Chopin's waltzes? _______________________ Why? _______________________________________________________________
What is the difference between a sonata and a symphony (structure, performance)? ___________________________________________________________________________________________________________________________________________________
. His work received recognition during his lifetime. IN last way saw him off

A crowd of 20 thousand fans? _______________________________________

What distinguishes the hero of Schubert's songs from the hero of Beethoven's works? What causes this difference? ______________________________________________________________

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The music of which Mozart work is based on the development of second intonation?

Where else can you find this intonation in Mozart? ___________________________

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Served as bandmaster for the wealthy Hungarian prince Esterhazy for thirty years? ____________________________
He had a multifaceted talent: genius composer, organist, harpsichordist and virtuoso violinist, unsurpassed improviser?________________________
The German composer decided to embody the grandiose idea of the universal brotherhood of humanity. To achieve this extremely difficult task, he used means of expression that were unusual for his chosen genre. This symphony is performed by an enlarged symphony orchestra and a choir, singing lines from Schiller's ode at the finale

“To joy” call:

A).this work_________________________________________________________

10. The first representative of romanticism in music?________________________________

11. At the age of 19, he went on a concert tour and was never able to return to his homeland -

Poland? ______________________________________________________________

12. What is a suite? What are the components of a dance suite?

_________________________________________________________________________

One Austrian composer of the 18th century, a major opera reformer, wrote a comic opera in which he glorified the man of the third estate, showed his lively mind, love of life, and willingness to fight for his rights. The composer managed musical means create bright, lively characters of the heroes, convey their state of mind.

Name:

A). name of the opera_____________________________________________

IN). literary source_________________________________

The founder of which artistic style was Haydn in music?

____________________________________________________________________

In 1822 one Viennese composer composed a symphony that announced the beginning new era V symphonic music. It is considered to be the first Western European lyric-romantic symphony. There is a lot of unusual things in it: a new form of structure

(2 parts in total), intimate poetic character, sad thoughtfulness and inner

This is psychological drama.

Name:

A). name of the symphony_________________________________

B). its tonality_____________________________________________

The composer said: “I will grab fate by the throat and will not allow it to crush me!” ___________________________________________________________________
"The Poet of the Piano." Who is this?_______________________________________________
What artistic style in music was J. S. Bach representative of?

__________________________________________________________________

Musical thoughts visited him day and night. He even slept with glasses on so that when he woke up quickly he could record his musical dreams. _________________________
As a child I had beautiful voice, that's why he sang in the church choir of St. Stephen's Cathedral in Vienna? _________________________________
He was buried in a common grave at the Vienna Cemetery among other human rabble: criminals, beggars, homeless people. The exact burial place is unknown ________________________________________________________________
According to the composer's last wish, after his death his heart was sent to his homeland in a special vessel, where it is kept to this day? ____________________
The young pianist first frightened, and then conquered Vienna with his extraordinary style of playing: very stormy, loud, expressive ___________________________________
What is polyphony? What are the polyphonic genres? _______________________

_________________________________________________________________________

Nothing could break this musician: material disadvantage, illness, loneliness and even complete deafness Who is this!__________________________________________
One composer of the 19th century wrote 9 symphonies, but never heard a single one during his lifetime, wrote 22 sonatas for piano, but only 3 were published, composed 604 songs, but only 174 were published, and not a single opera of his was accepted for production. Who is this unfortunate composer?___________ _________________________
In Paris, in the artistic salon, he was considered a “star” of the first magnitude among no less bright “stars”: writers - Balzac, Musset, Heine, Mickiewicz, composers - Liszt, Bellini, etc. _____________________________________
He entered the history of music as the “father” of the symphony and quartet genres.
At the age of 6 he was already a virtuoso and began concert activities at home and abroad? _________________________________
Was he a representative of an ancient and very musical family? ___________________
What is a chapel? _______________________________________________________

________________________________________________________________________

Which composers worked as bandmasters? _____________________________

_______________________________________________________________________

Living in a foreign land, he was very homesick for his homeland, so he often turned to national melodies. This is how his polonaises and mazurkas were born. Who is this? ___________________________________________________________________
The father demanded that his son follow in his footsteps, i.e. became a teacher at school _____________________________________________
Born in the Austrian city of Salzburg, lived a short but very colorful life? _________________________________
When (in what centuries) and where did L. Beethoven live ____________________________________

________________________________________________________________________

Which composer piano music distinguished by a pronounced everyday character, simplicity and clarity for perception and execution, melodiousness and expressiveness? ___________________________________________________
Lay the foundation for the composition of a symphony orchestra? ______________________

How many groups? __________________

What tools are included? ______________________________________________

________________________________________________________________________

He had a large, friendly musical family. In our free hours we played music

Together? ____________________________

Which Beethoven symphony has a main theme that dominates the entire 1st movement? ________________________________________________
What is a nocturne? Who wrote them? __________________________________________

________________________________________________________________________

Having become acquainted with a new musical instrument, the “pianoforte,” the composer and brilliant performer immediately appreciated its merits and was the first to play it. Who is this man?_____________________________________________________
Did you go blind at the end of your life? _________________________
During a trip to Italy, he attended a church service, and then wrote down the most difficult polyphonic work, which was considered the property of the church and was performed only once a year, name:

A). where did this happen?______________________________________________________________

B). what was performed in the church once a year_____________________________________________

B).who wrote down this work from memory___________________

. Who wrote 11 symphonic program overtures? (“Egmont”, “Coriolanus”, “Leonora”) ________________________
Founder of Austrian classical opera?___________________________

A) the name of the opera_______________________________________________________________

B). its genre affiliation_______________________________________________

IN). in what language was it performed?________________________________________________

Whose three sons became composers?________________
In which two of his works does Schubert tell a unique musical story about love, betrayal, social inequality and tragic loneliness? __________________________________________________________________________
In what genre did Mozart's talent for reform manifest itself most clearly? ___________________________________________
Which musical genres Chopin greatly transformed them, turning them into virtuoso concert pieces? ___________________________________________________________
At times he took a very free approach to the traditional forms of sonata and symphonic cycles, breaking the sequence of parts and musical themes, introducing new themes. For example: he called the 3rd movement of the symphony “scherzo” and not “minuet”.

A). who is this composer_______________________________________________________________

B). why did he do this?______________________________________________________________

53 What new form was born in the era of classicism? Its features?

_________________________________________________________________________

__________________________________________________________________________

54 What is “HTK”? How is this work constructed? _____________________________
__________________________________________________________________________
__________________________________________________________________________

55 Which ones musical instruments played Schubert?__________________________________________
__________________________________________________________________________
56. What is cavatina ____________________________________________________________

57. She was born in southern Europe. Her name means "on outdoors" Now with one, then

Its sounds can be heard from another street in the evenings. Who is she? _________________________________

58. Which work was called “symphony with candles” __________________
____________________________________________

59. Say the word “fiction” in Latin _______________________________________

60. Name the pseudonym of Emanuele Conegliano, the author of the librettos of the most popular operas

Mozart. __________________________________________________________

Preview:

Musical material for the quiz

1. Agapkin. March "Farewell of the Slav"

2. Albinoni. Adagio in G minor

3. Anonymous. Gregorian chant, 9th century

4. Bach. Toccata and Fugue in D minor

5. Beethoven. Symphony No. 5, intro. and gl.p. 1 hour

6. Beethoven. Symphony No. 5, def. p. 1h.

7. Beethoven. Sonata No. 8, intro. 1 hour

8. Beethoven. Sonata No. 8, ch.p. 1 hour

9. Beethoven. Sonata No. 8, 3 hours.

10.Beethoven. Overture "Egmont"

11. Borodin. Opera "Prince Igor" - chorus "Glory to the Red Sun"

12. Borodin. Opera “Prince Igor” - Prince Igor’s aria “Oh give, give me freedom”

13.Wagner. Ride of the Valkyries

14.Haydn. Symphony No. 103, 1 hour, intro.

15.Haydn. Symphony No. 103, 1 hour, ch. P.

16. Glinka. Opera “Ivan Susanin” - polonaise, 2d.

17. Glinka. Opera “Ivan Susanin” - Krakowiak, 2d.

18. Glinka. Opera “Ivan Susanin” - mazurka, 2d.

19. Glinka. Opera “Ivan Susanin” - Vanya’s song “How they killed their mother...”

20. Glinka. Opera “Ivan Susanin” - Susanin’s aria, 4d.

21.Glinka. Opera "Ivan Susanin" - chorus "Glory"

22. Glinka. Op. "Ruslan and Lyudmila" - overture

23. Glinka. Op. "Ruslan and Lyudmila" - Lyudmila's cavatina

24.Glinka. Op. "Ruslan and Lyudmila" - Farlaf's rondo

25.Glinka. Op. "Ruslan and Lyudmila" - March of Chernomor

26.Glinka. A passing song

27. Glinka. Lark

28. Glinka. I remember a wonderful moment

29.Glinka. Kamarinskaya

30. Glinka. Waltz fantasy

31.Glitch. Op. "Orpheus and Eurydice" - flute melody

32.Glitch. Op. "Orpheus and Eurydice" - chorus of Furies

33.Grieg. "Peer Gynt" - "Morning"

34.Grieg. "Peer Gynt" - "The Death of Ose"

35.Grieg. "Peer Gynt" - "Anitra's Dance"

36.Grieg. "Peer Gynt" - "In the Cave of the Mountain King"

37.Grieg. "Peer Gynt" - "Solveig's Song"

38.Gregorian chants (2)

39. Debussy. "Puppet cakewalk"

40.Pity. Round dance tune

41.Janequin. "Birdsong"

42. Lyadov. "Baba Yaga"

43. Lyadov. "Kikimora"

44.Masho. Mass – “Sanctus”

45.Mendelssohn. Wedding March

46.Mozart. Symphony No. 40 - 1 hour, ch.p.

47.Mozart. Symphony No. 40 – 4 hours, main section

48.Mozart. Op. "The Marriage of Figaro" - overture

49.Mozart. Op. “The Marriage of Figaro” - Figaro’s aria “The Frisky Boy...”

50.Mozart. Requiem - No. 7 “Lacrimoso”

51. Mussorgsky. "Pictures at an Exhibition" - "Walk"

52. Mussorgsky. "Pictures at an Exhibition" - "Limoges Market"

53. Mussorgsky. “Pictures at an Exhibition” - “The Hut on Chicken Legs”

54. Mussorgsky. Op. " Sorochinskaya fair" - hopak

55. Mussorgsky. Op. “Boris Godunov” - chorus “Glory to the red sun in the sky”

56. Mussorgsky. Op. “Boris Godunov” - Varlaam’s song “Like in the city...”

57. Mussorgsky. Op. “Boris Godunov” - monologue of Boris “I have reached the highest power...”

58. Organum (ancient form of chants)

59. Purcell. Op. "Dido and Aeneas" - Dido's aria

60. Prokofiev. "Peter and the Wolf" - final march

61. R-Korsakov. Op. "Snow Maiden" - introduction

62. R-Korsakov. Op. “Snow Maiden” - songs and dances of birds

63. R-Korsakov. Op. “Snow Maiden” - 3rd song by Lelya

64. R-Korsakov. Op. “The Tale of Tsar Saltan” - “Three Miracles” (squirrel)

65. R-Korsakov. Op. “The Tale of Tsar Saltan” - “Flight of the Bumblebee”

66. R-Korsakov. "Scheherazade" - 1 hour.

67. Saint-Saens. "Carnival of Animals" - "Kangaroo"

68. Saint-Saens. "Carnival of Animals" - "Elephant"

69. Saint-Saens. "Carnival of Animals" - "Swan"

70. Vogelweide. Knight's song

71. Khachaturian. Lezginka from the ballet “Gayane”

72. Tchaikovsky. “Children’s Album” - “Kamarinskaya”

73. Tchaikovsky. Ballet "The Nutcracker" - March

74. Tchaikovsky. Ballet "Nutcracker" - Chinese dance "Tea"

75. Tchaikovsky. Ballet "The Nutcracker" - Dance of the Shepherdesses

76. Tchaikovsky. Ballet "The Nutcracker" - Russian dance "Trepak"

77. Tchaikovsky. Ballet "The Nutcracker" - Dance of the Sugar Plum Fairy

78. Tchaikovsky. Ballet "The Nutcracker" - Waltz of the Flowers

79. Tchaikovsky. Op. “Eugene Onegin” - Lensky’s arioso “I love you...”

80. Tchaikovsky. Op. “Eugene Onegin” - Onegin’s aria “Whenever life...”

81. Tchaikovsky. Op. “Eugene Onegin” - Lensky’s aria “Where, where have you gone...”

82. Chopin. Waltz cis-moll

83. Chopin. Etude No. 12 c-moll “Revolutionary”build and sing with permission:

B6/4, D7, umVII7, M6, uv4

3. Sight sing and analyze No. 292

4. What chord is called a seventh chord?

What are the types of introductory seventh chords?

B I L E T No. 2

1. In the key of D major build and sing:

A). harmonic scale;

B). resolution newts;

T6 – S5/3 – D2 – T6 – D4/3 – T5/3 – VII7 – D6/5 – T5/3

2. From the sound “mi”

D2, M6/4, umVII7, uv2, uv4

3. Analyze and sing from sheet No. 283

4. Characteristic intervals

B I L E T No. 3

1. In the key of h-moll build and sing:

A). natural range;

B). all reduced intervals;

IN). harmonic sequence:

T6 – D4/3 – t5/3 – umVII7 – D6/5 – t5/3 – s6/4 – D6 – t5/3

2. From the sound “fa” build, determine the key, resolve and sing:

Um5/3, D4/3, VII7, ch4, um5

3. Analyze and sing from sheet No. 296

4. What is “chromatism”, “modulation”, “deviation”?

B I L E T No. 4

1. In the key of Es-dur build and sing:

A). harmonic scale;

IN). harmonic sequence:

T6 – D4/3 – T5/3 – VII7 – D6/5 – T5/3 – S6/4 – D6 – T5/3

2. From the sound “re” build, determine the key, resolve and sing:

UV5/3, M6, umVII7, B6, uv4

3. Analyze and sing from sheet No. 323

4. Tell everything about newts.

B I L E T No. 5

1. In the key of E major build and sing:

A). harmonic scale;

B). newts;

IN). harmonic sequence:

T6 - S5/3 - D2 – T6 – T5/3 – VII7 – D6/5 – T5/3

2. From the sound “re” build, determine the key, resolve and sing:

B6, umVII7, D2, uv4, ch5.

3. Analyze and sing from sheet No. 316

4. Modes of folk music

B I L E T No. 6

1. In the key of c minor build and sing:

A). natural range;

B). all extended intervals;

IN). harmonic sequence:

T6 – s5/3 – D2 – t6 – D4/3 – t5/3 – umVII7 – D6/5 – t5/3

2. From the sound “mi” build, determine the key, resolve and sing:

M6/4, D4/3, VII7, um5, m3

3. Analyze and sing from sheet No. 294

4. Related keys

B I L E T No. 7

1. In the key of f minor build and sing:

A). melodic scale;

B). characteristic intervals;

IN). harmonic sequence:

T5/3 – umVII7 – D6/5 – t5/3 – t6 – s5/3 – D2 – t6

2. From the sound “fa” build, determine the key, resolve and sing:

D4/3, um5/3, M6/4, h4, uv2

3. Analyze and sing from sheet No. 289

size 4. Types of sizes.

B I L E T No. 8

1. In the key of E major build and sing:

A). harmonic scale;

B). characteristic intervals;

IN). harmonic sequence:

T5/3 – VII7 – D6/5 – T5/3 – T6 – S5/3 – D2 – T6

2. From the sound “mi” build, determine the key, resolve and sing:

B6, D4/3, umVII7, b3, uv4

3. Analyze and sing from sheet No. 317

4. Intervals. Name all the decreased and increased intervals.

B I L E T No. 9

1. In the key of fis-moll build and sing:

A). natural range;

B). resolution newts;

IN). harmonic sequence:

T5/3 – s6 – t6/4 – D7 – t5/3 - umVII7 – D6/5 – t5/3

2. From the sound “to” build, determine the key, resolve and sing:

VII7, M6/4, D2, m6, b2

3. Analyze and sing from sheet No. 325

4. Enharmonism. List all enharmonically equal tonalities.

B I L E T No. 10

1. In the key of Des major build and sing:

A). harmonic scale;

B). all extended intervals;

IN). harmonic sequence:

T5/3 – S6 – T6/4 – D7 – T5/3 – VII7 – D6/5 – T5/3

2. From the sound “si” build, determine the key, resolve and sing:

D7, M6/4, uv5/3, ch5, uv4

3. Analyze and sing from sheet No. 281

4. Lad. Key. Gamma. List all major scales in fifths

OK.

Developed by: Head of Theoretical Ministry of Defense T.V. Volkova

MKOU DO "Korenevskaya children's art school named after A.M. Rudenko" Kursk region, Korenevsky district
Methodological development on the topic:
"Development of creative abilities

literature"

Prepared and carried out
teacher of theoretical disciplines
Minasyan Gohar Zhorai 2015-2016 academic year “Development of creative abilities
in solfeggio and music lessons
literature"
Content
Introduction

Conclusion
Bibliography
Target:
mastering the forms and methodological provisions of creative tasks in the courses of musical and theoretical disciplines of the Children's Art School
Tasks:
- analysis of modern textbooks on musical theoretical disciplines in the Children's Art School in order to identify methodological guidelines for creative tasks;
- identifying forms of activities in solfeggio lessons that contribute to the development of children’s creative skills;
- selection of creative tasks for music literature lessons.
Introduction
It has long been no longer controversial to assert that musicians are more hardworking, diligent, sociable, purposeful, have multidimensional thinking, know how to play a situation in advance and evaluate what has already been “played”, in a word, they have many qualities necessary in our rapidly changing life. However, such qualities are formed over the years and they are not always obvious. But the fact that there is no practical benefit from attending an art school is immediately puzzling. Indeed, in addition to working, grueling and long, on the academic program, graduates of children's art schools, for the most part, do not know how to select popular music, harmonize a melody, arrange a song, do not have the skills of transposition, in a word, everything that would make playing music on an instrument an urgent daily need. However, there have been periods in the history of music education when the ability to compose and improvise was integral part professions. “In the XYI-XYIII centuries, organists and keyboard players were often forced to resort to improvisation. Skillfully improvise a piece on given topic was considered the highest achievement of the performer. Accompaniment was also a unique form of improvisation. The improviser was considered a composer of the highest type. The improviser was placed infinitely higher than the performer, who was able to play only memorized notes. The ability to improvise was seen as an art, which, of course, given certain data, could and should be learned. The teaching of improvisation was inextricably linked with the teaching of composition and music theory.” In our opinion, the era of classicism became a turning point in relation to improvisation. Beethoven began to limit the performer's imagination in piano concertos, writing out a cadenza for an instrumental concerto, so as not to destroy author's intention. Accurate reproduction of the text by the performer began to be valued much more highly. But even in the 19th century, musical and historical journalism is replete with enthusiastic responses to the improvisations of Liszt and Paganini.
Back in the last century, researchers and scientists who made a great contribution to the development of psychology and methods of musical teaching and education, K. Orff, B. Asafiev, L. Vygotsky, B. Teplov, E. Nazai-Kinsky in their works raised the problem of the development of creative abilities students. Thus, Carl Orff pointed out the need to cultivate creativity in a child, creative thinking, which will then manifest itself in any area of his future activity. Today it is confirmed by science that the development creative qualities stimulates the development of children through art mathematical abilities, that is, the ability to act creatively (creativity) can be successfully transferred from the field of art to the field of exact sciences.
The importance of creative forms of work in Children's Art School
In modern music education, the problem of developing the creative abilities of students is becoming increasingly relevant: the pace and success of social progress largely depend on the number of creatively developed individuals who are able to solve emerging social and professional problems in a non-standard, proactive, and competent manner. Therefore, nurturing the ability to be creative should become the leading task of modern education.

There is some kind of “strange” but very strong opinion that musical creativity is something extremely complex, inaccessible to a “mere mortal” and causing almost “sacred” horror. For some reason, no one is surprised by children painting paper with paints, fashioning figures out of plasticine, writing three essays a week on the Russian language or literature, and even testing the strength of the “poetic pen”, but as soon as it comes to the need to compose a simple melody, doubts not only about the “need” and usefulness of this work, but also about the very possibility of its implementation. In fact, you don’t need to have any supernatural abilities for this, but it is impossible to exaggerate the benefits this type of activity brings for musical development.
The second problem is related to the fact that children come to art school already having certain priorities and behavior patterns. World musical creativity can frighten with its novelty, unusualness and apparent complexity, provoking a reaction of “rejection”. Therefore, it is especially important to properly organize creative work in the first lessons.
Creative tasks in solfeggio lessons
Before moving on to the consideration of the main forms of creative work, it is necessary to recall that performing these tasks in solfeggio lessons is not intended to teach the student to compose music “well.” the main objective– to awaken interest in a deep and varied study of music, music theory, literature, and form a stable and unconditional need for the development of their musical abilities. However, if the student, while completing these tasks, demonstrates extraordinary creative abilities, then such a result can be considered a great pedagogical “victory” - by studying in the composition class, the student will undoubtedly achieve even greater success in his creative and general musical development.
During the musical education of schoolchildren, the focus of the teacher’s attention is on three main types of children’s musical creativity: listening, performing and composing music. However, if the first two have long been given sufficient attention in our schools, then no less important side musical education - identifying and developing students' ability to improvise and compose - is, unfortunately, still lagging behind. Some teachers do not see the benefit of the “primitive”, “inept” melodies composed by their students. However, for the student, this melody sometimes seems more interesting and meaningful than those proposed by the teacher.

Creative forms of work in solfeggio lessons serve as a kind of “prime mover” that triggers the entire mechanism of the student’s musical development. It is assumed (and not without reason) that every child has a internal need to study the surrounding world, one of the forms of which is active (creative) influence on it. In fact, creation is the most interesting and exciting “game” that humanity has “invented”. It is only necessary to naturally, without “violence” and psychological pressure, “draw” a beginning student into this amazing “game” that can completely and completely “capture” him. However, some difficulties may arise here, mostly of a psychological nature.
As experience suggests, one of the most effective ways introducing a child into the world of musical creativity - participation in a collective musical and theatrical performance. Participation not only as a performer, but also, partially, as a co-author of the work (not necessarily at the musical level - active participation in the organization and staging of the action is quite sufficient). Unfortunately, the individual form of work in the classroom does not allow this method to be fully applied in the Children's Art School. However, there are certain “reserves” even in such conditions. Learning songs in a dialogue form has a good effect. Musical dialogue with the teacher is the first and very important stage of “pulling” the student into creative process. It not only “forces” the student to actively listen to the teacher’s “cues,” but also allows them to show creative initiative in the intonation “characteristics” of the performance. This, as a rule, is quite enough to “hook” the student and awaken his interest in actively interpreting the text. At the next stage, you can invite the child to perform his lines with various other intonations, improvise the end of the phrase, come up with rhythmic and melodic versions of lines and complete melodies for a given text (orally). One more step - and you can include basic forms of creative tasks in your work.
As mentioned earlier, creative tasks can perform various functions: stimulating, developing and reinforcing. In some cases, two or three functions can be performed at once in one job. There is nothing paradoxical in this; it all depends on the teacher’s attitude. In one case, the selection of accompaniment chords can serve as an incentive to study the relevant topics of theory, in another case - as a method of consolidating this material. In addition, the stimulation of one task may well be accompanied by the consolidation of another, since tasks concentrated exclusively on one theoretical material are practically impossible or of little interest. As for the developmental function, it is present to one degree or another in any creative task. Despite this, it is necessary to make some division of the forms of creative work in accordance with specific pedagogical tasks.
“Stimulating” tasks are set in such a way that their completion is impossible or very difficult without knowledge of a certain theoretical topic or a certain practical skill. In particular, completing a simple task in itself to “orally” compose several melodies will sooner or later encounter the problem of memorizing them, and will raise the question of the need to write them down. The next task - recording a composed melody - is fundamentally impossible without knowing the basics musical literacy. In other cases, completing a creative task is possible both on an “intuitive” level and on the basis of already acquired theoretical knowledge. Here it makes sense to divide the work into two stages. For example, the previously proposed task of composing an “exotic” melody in an “oriental spirit” is carried out “intuitively” at the first stage. If it is successfully completed, the modal features of the melody are considered and analyzed and formulated theoretical concepts harmonic modes, their structure and application features. If the student was unable to solve this problem on his own, similar examples are analyzed, the corresponding concepts are again formulated, and the problem is solved on the basis of a certain theoretical preparation. It is very important not to consider the first attempt as a failure; it is important to focus the student’s attention on the “special” advantages of knowing the relevant theory.
Another version of the scenario involves analyzing and analyzing the theoretical part in class immediately after “posing an artistic problem.” In any case, it is necessary that each topic studied at a theoretical level has its own “reflection” in creative practice.
All “stimulating” creative tasks, in the overwhelming majority, are written tasks for composing a melody or other textural elements that meet specified conditions according to the theory of the topic being studied. As practice shows, it is better to complete these written creative tasks in the form of homework, so that the student can, in a calm atmosphere, not only understand the very essence of the tasks, but also “creatively” (in the literal sense of the word) approach them. It is important that the student understands from the very beginning that creativity does not tolerate a “fussy” attitude towards itself.
At the first stage, at the very beginning of schooling, as well as at later stages, you can give tasks in an improvisational form, so that you can understand in the most general terms and “try” the task already in class, without taking up time. this is a lot of time.
“Developmental” tasks can also coincide in wording with tasks of the other two types. As already noted, the developmental function is present to one degree or another in any creative task. However, the program also offers a number of special tasks aimed at developing musical abilities, primarily ear for music. “Developmental” tasks can be completed both in class and at home. As practice shows, creative forms of work contribute to the development of musical abilities much more effectively than conventional auditory and intonation exercises. One of the most useful developmental exercises is writing melodies and other textural elements without the help of a piano or any other instrument - an exercise that allows you to develop the skill of writing dictations better than actually working on dictations. In the classroom, a similar exercise can be done together with the teacher - for example, composing a melody one by one. On the one hand, this also allows you to save precious class time, and on the other hand, the student will have to not only write down the melody he heard with his “inner” ear, but also hear a fragment written by the teacher. In the early stages, it is highly recommended to sing the jointly composed fragment at each stage of its composition. This will allow you to control the real work and activity of the student’s hearing, and will not allow him to write “whatever”.
“Reinforcing” tasks in their form and content may coincide with stimulating ones or differ from them in greater complexity or specificity. This type of task is quite widely used in pedagogical practice, and therefore there is no point in analyzing them in detail. Let us only note that the greatest effect from their use will appear if they are “paired” with stimulants, as shown in the previous example. However, the situation of using these tasks in an “independent” form is quite possible, especially if the “stimulating” task for the topic being studied is difficult to formulate or its implementation obviously cannot bring tangible benefits to the student.
Forms of creative work in musical literature lessons
Musical literature is one of the fascinating and educational subjects among musical theoretical disciplines at the Children's Art School. With the correct selection of material, artistic and musical illustrations for it, the works being studied almost always evoke a lively, active response from students. The “key” to a teacher’s success is often stimulating children for independent creativity. Students carry out creative tasks proposed by the teacher with interest, but with even greater interest they come up with games, crosswords, tests, write essays, make abstracts and reports. All these forms of work are implemented both during class time and outside of class hours (as homework).
The ability to hear music and think about it must be cultivated in children from the very beginning of school music lessons. Already in the first lesson of the first year of study, an immutable law should be established in the class: when music is played in the class, none of the children should raise their hands. At the same time, it is necessary that students immediately understand that they must fulfill this law not because discipline requires it, but because when music sounds, only by carefully following its sound can it be deeply perceived and truly understood.
Children's answers give an idea of the level of their development musical perception. So, for example: this happened with a fragment from Grieg’s “Morning”. The guys called it differently: “Spring”, “Sunrise”, “Flowers are blooming”, “Morning in the forest”. Gradually leading them to the correct name, you need to carefully and unobtrusively bring listeners closer to the music, and not take them into the world of naive fantasies that are far from music. You can resort to “hints”, believing that they help the perception of music.
It is necessary to practice written work, a kind of composition on musical topics. Students' independent reflections must be carefully prepared by their thoughts. Creative perception a certain direction must be given so as not to hamper the imagination of children and not limit their associative thinking. These are just some of the forms of communication between children and music, which are aimed at developing creative imagination, developing the perception of a musical image, and through it, the perception of different aspects of life.
Children's creativity is based on vivid musical impressions. Listening to music, a child always hears not only what is contained in it, what is put into it by the composer (and, of course, the performer), but also what is born under its influence in his soul, in his consciousness, that is, what what his own creative imagination creates. Thus, the listened work gives rise to a complex fusion of the objective content of music and its subjective perception. The creativity of the listener joins the creativity of the composer and the creativity of the performer!
The imagination of children, especially those of primary school age, is, as a rule, bright, lively, and " music pictures"They listen with pleasure, and most often with eyes closed, so as not to be distracted, but to see the music in your imagination.
The artistic and pedagogical value of a question lies in the possibility of giving different correct answers to it, in its versatility and creative basis. And then creativity manifests itself in the originality of the children’s answers from the first grade. Reflecting on the nature of the song “The Groundhog” by L. Beethoven, the children answer: “Sad, tender, calm, quiet, slow, affectionate, beautiful,” “This is a very sad song,” “I feel sorry for the poor lonely organ grinder.” All children are under the influence sounding music: they create together, recreate her image, revealing their relationship. At the same time, it is great if the children themselves “gather” collective reflection. Those. It is not the teacher who will combine what they said, but one of the students. The predominance of collective forms of work in music lessons creates objective prerequisites for deep, comprehensive personal communication between children and their mutual influence on each other. That is why it is necessary to feel, understand and preserve the individuality and uniqueness of each child.
One of the methodological provisions of the program is the definition of a single, holistic musical and creative activity as the disclosure life content music, carried out in various forms of communication with art.
If during training students discover “for themselves” the laws that constitute the heritage of humanity, and do not just receive them in ready-made form, then to a certain extent they become involved in creativity, in the process of discovery. The process of identifying and developing a student’s creative activity is closely related to his liberation from mandatory learning and memorization.
Children need to create and experience in order to understand. “I hear and forget. I see and remember for a long time. I do and I understand. (Chinese folk wisdom). To make music yours personal experience they need to sing, play instruments, dance, invent and change themselves. Children's creativity in the classroom is understood as the ability and desire to do something in their own way, individually, perhaps even original. “Play, sing, dance as you want” - these magical words open the invisible gates to the child into the world of fantasy, resourcefulness, ingenuity, where he is not constrained by almost any restrictions.
On music lessons students encounter works not only specially written for children, but also those that go beyond the children's repertoire - with classical and modern works, domestic and foreign composers, as well as with musical folklore different nations. At the same time, students’ ability to emotionally - directly and at the same time based on reflection, meaningful perception musical classics, indicates the degree of their musical development and musical culture. Music, while performing many vital tasks, is called upon to solve the most important one - to instill in children a sense of inner involvement in the spiritual culture of humanity, to cultivate students’ life position in the world of music.
Development of creative abilities in solfeggio and musical literature lessons: forms and methods
Back in the last century, researchers and scientists who made a great contribution to the development of psychology and methods of musical teaching and upbringing, K. Orff, B. Asaf, L. Vygotsky, B. Teplov, E. Nazai-Kinsky in their works raised the problem of the development of creative abilities students. Thus, Carl Orff pointed out the need to cultivate creativity in a child, creative thinking, which will then manifest itself in any area of his future activity. Today it has been confirmed by science that the development of children’s creative qualities through the means of art stimulates the development of mathematical abilities, that is, the ability to act creatively (creativity) can be successfully transferred from the field of art to the field of exact sciences. In modern music education, the problem of developing the creative abilities of students is becoming increasingly relevant: the pace and success of social progress largely depend on the number of creatively developed individuals who are able to solve emerging social and professional problems in a non-standard, proactive, and competent manner. Therefore, nurturing the ability to be creative should become the leading task of modern education.
During the musical education of schoolchildren, the focus of the teacher’s attention is on three main types of children’s musical creativity: listening, performing and composing music. However, if the first two have long been given sufficient attention in our schools, then an equally important aspect of musical education - identifying and developing students’ ability to improvise and compose - is, unfortunately, still lagging behind. Some teachers do not see the benefit of the “primitive”, “inept” melodies composed by their students. However, for the student, this melody sometimes seems more interesting and meaningful than those proposed by the teacher. In this regard, it seems to me important to say B. Asafiev’s statement: “A person who has experienced the joy of creativity, even to the most minimal extent, deepens his life experience and becomes different in psychological makeup than a person who only imitates the acts of others.”
We must not forget that children's creativity is a two-way process. On the one hand, a child can show himself in creative tasks freely, without getting confused, only by mastering certain musical and auditory experience and sufficient theoretical material. On the other hand, involvement in creativity provides great benefits: students are involved in an active process of acquiring knowledge. Such knowledge will be durable and productive. At the same time, independence of thinking, the ability to compare, contrast, draw conclusions, and competently apply in practice the entire complex of received theoretical information are developed. Creative methods and techniques help to create an atmosphere of ease and emotional responsiveness in the lesson, which contributes to the fullest disclosure of the individual capabilities of students, increases the motivation and interest of children in the subject. Therefore in Lately we welcome that in programs and textbooks in solfeggio, musical literature, in music, more and more attention is paid to such forms of work as composition, improvisation, playing music on instruments, selecting accompaniment and a second voice, etc.
The atmosphere of ease in the lesson is helped by creating tasks in a playful way. Students, especially junior classes, they really like these forms of work. Any, even the most difficult task can be turned into an exciting game if the teacher formulates the task accordingly. For example, the task “to identify a familiar song based on its rhythmic or melodic pattern” can be presented as follows: “Guess the riddle - what kind of song is written on the board? “Oral dictation (performing a melody with your voice or on an instrument, or showing the movement of a melody along a “ladder”) can be presented in the form of a game “Rescue from Captivity”: if the student makes a mistake, then others rush to his aid. Feeling support behind them, the guys are not afraid to participate in such tasks and are not afraid to make mistakes. At the same time, from lesson to lesson the accuracy of performance increases, as does the acquired musical and auditory experience.
All students, without exception, regardless of ability level, should be involved in the creative process. It is advisable to include elements of creativity in the lesson as early as possible. Six- to seven-year-old children have an unusually rich imagination, a less developed sense of self-criticism, and therefore they improvise more freely, even if their composition is not entirely successful. If you start introducing creative tasks from grades 5-7, they often meet resistance from schoolchildren. The reason, in my opinion, lies in the lack of certain skills and the already increased requirements for the results of one’s own activities. At the same time, having mastered creativity skills at an early age, students willingly compose in high school.
Over many years of practice as a teacher of solfeggio and musical literature, the author has built a variety of creative forms into a system. The small scope of the article does not allow it to be presented in full, so several fragments from this process are offered.
Improvisation Literally in the first lessons, first-graders become familiar with the concepts of “register”, “tempo”, “dynamics”, “strokes”. After a short preliminary stage, including listening to works and an accessible analysis of means of expression, the corresponding themes-images for improvisations on the piano are given: “Tiger”, “Bunny”, “Summer Thunderstorm”, etc. This does not yet require knowledge musical notation or proficiency in playing an instrument. Several students take turns improvising on the same topic. After each improvisation, children take particular pleasure in determining the character of the image: one tiger is timid, another is angry, the third is thoughtfully “pacing” back and forth, etc. An analysis of expressive means is carried out together.
Another striking example of the use of improvisation on the piano is associated with the theme “Intervals”. When studying a topic, it is very important to focus students’ attention on the acoustic coloring of each interval, their individual uniqueness, and artistic and expressive capabilities. IN preparatory stage The simplest improvisation includes: demonstration of the sound of intervals in different registers, tempos, with different strokes and dynamic shades, in harmonic and melodic position, both in ascending and descending movement; joint description of the artistic and expressive capabilities of intervals; showing examples from classical musical literature (for homework, students are given the task of finding bright intonations of intervals in works in their specialty, choir or orchestra).
Then you can start creating. Topics-tasks for improvisations are selected according to the expressive capabilities of each interval. For example: a very bright, imaginative musical picture “Twinking Stars” is obtained, created using the interval of a second in a harmonic form. Students show interesting creative discoveries by improvising a duet on the theme “Donkey and Wasp” using thirds and seconds. Improvisations are systematically included in work at different stages of learning, and can be singing, rhythmic, motor, genre, figurative, plot, free, etc. In improvisations and essays, the teacher has the opportunity to control the process of assimilation of certain theoretical information, monitor the development of the student, identify the degree of his musicality, growth creative possibilities. Improvisation allows you not only to create, but also to use the acquired skills and knowledge during your studies, thereby consolidating them.
An example of creative tasks within the framework of mastering the mode. Already the initial stage of mastering the mode, built on a combination of individual steps, gradually connecting in certain turns, leads to the ability to compose and improvise melodies on a limited number of steps. I would like to note here important role visual aids “Buttons” and “Ladder” as an effective means that not only facilitate cognitive reality, but also organize perception and activate the memorization process. The perception of changes in the movement of a melody is based simultaneously on auditory, visual and motor sensation.
The manual “Buttons” is stave and note buttons in two colors ( symbol long and short durations). Initial (preparatory) forms of work: - laying out melodies of new songs, chants with the help of a teacher, already familiar ones - from memory; - performance of laid out melodies “according to notes” with a voice or on an instrument; transposition of learned songs, chants (“relocation” to another height); - recognizing them from the “music text”; - melodic dictation (laying out short melodic phrases based on a mastered set of steps).
Already the simplest scale intonation model (for example: V-III steps), mastered in the indicated preparatory forms of work, can lead to some “discoveries” using the example of simple creative tasks: “improvisation-prank” (based on the laid out chant, the buttons are rearranged at 2-3 steps in height within the specified steps). Result: many options that are sung together with the teacher or performed on the piano. Conclusion: two (three) sounds were used, and how many different melodies can be composed; composing a melody in 2-3 steps for a short text.
In this seemingly simple task, children already learn to understand the expressive meaning of the movement of the melody and the nature of the rhythm. Starting from the somewhat constructive first creative experiences, the tasks of composing music gradually become more complex.
An example of creative tasks as part of mastering genres
Studying the 3/4 time signature and already knowing how to operate with some rhythmic formulas, we turn to the most popular three-beat genre - waltz. Having become familiar with the characteristic features of the genre through examples of world musical classics, students enjoy composing waltzes of 8-16 bars for different instruments, with or without accompaniment (the student has the right to choose the difficulty of the task according to his own abilities). I would like to note interesting works: “Waltz of the Frogs” by Daria Gritsuk, several waltzes (!) by Olga Kovalchuk (3rd grade student), “Dancing Lesson” in the waltz genre by Alexandra Fedorova (5th grade student) and many others. Similarly, the study of rhythmic groups with sixteenth notes was reinforced by composing a polka, and through the march genre it was easy to master the expressive possibilities of 4/4 time signature and dotted rhythm.
Many interesting, exciting tasks are used to master the topic “ Musical forms": from the individual constituent elements of the period (motive, phrase, sentence) to the forms of rondo, variations, fugue.
From simple to complex
Having mastered all the luggage necessary knowledge, the most difficult tasks for composing program music are given. At the same time, students have the opportunity to “experiment” with various ensemble compositions, for example: Elena Kutinova (student of the 6th grade) composed “A Knight’s Romance” for cymbals, two violins and piano (with this and other works the girl became the winner in the regional competition for young composers). Many duets were created: for domra and piano, flute and guitar, flute and piano, trumpet and piano and others. The students enjoyed playing music in ensembles created by their classmates. The most important condition for creative development students - consistency and systematicity in the use of creative forms of work, and the result will not be long in coming.
Remember - the term “creative tasks” includes two components. The tasks are called creative, since children must combine, improvise, compose, that is, independently find a new expression of their knowledge. But at the same time, they are called tasks, since children’s creativity is not expected to be completely independent, but with the participation of a teacher who organizes conditions, materials, and encourages children to take creative actions. The success of this complex and exciting activity depends on the personality of the teacher, his passion, and ability to participate in the creativity of students.
Conclusion
Creative assignments have two components. The tasks are called creative, since children must combine, improvise, compose, that is, independently find a new expression of their knowledge. But at the same time, they are called tasks, since children’s creativity is not expected to be completely independent, but with the participation of a teacher who organizes the conditions. Materials encourage children to be creative. The success of this complex and exciting activity depends on the personality of the teacher, his passion, and ability to participate in the creativity of students.
Music unites the thought, will, and feelings of the masses and at the same time satisfies the aesthetic needs of the people, introducing the listener to the great joys that art carries. It is through the listener that music influences life and helps transform life.
After all, without music, life loses some meaning, there is no very edge that would make you think, make you admire it, and help people live and create. Music is one of those riches that is given to people.
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