What is music? The role of music in human life. Character of a piece of music Determining the character of music by tempo and sound

Development musical abilities- one of the main tasks musical education children. Fundamental to pedagogy is the question of the nature of musical abilities: are they innate human properties or develop as a result of influence environment, education and training. Other important theoretical aspect The problem on which the practice of music education significantly depends is the definition of the content of concepts musical abilities, musicality, musical talent. The direction of pedagogical influences, the diagnosis of musical abilities, etc., largely depend on what is taken as the basis for the content of these concepts.

At different historical stages of the formation of musical psychology and pedagogy (foreign and domestic), as well as at present, in the development of theoretical, and therefore practical aspects of the problem of the development of musical abilities, there are different approaches, and there are discrepancies in the definition of the most important concepts.

B.M. Teplov in his works gave a deep, comprehensive analysis of the problem of developing musical abilities. He compared the points of view of psychologists representing a variety of directions in psychology, and outlined his view of the problem.

B.M. Teplov clearly defined his position on the issue of innate musical abilities. Based on the work of the outstanding physiologist I.P. Pavlov, he recognized the innate properties nervous system human, but did not consider them only as hereditary (after all, they can be formed during the period of intrauterine development of the child and for a number of years after birth). Innate properties of the nervous system B.M. Teplov separates from the mental properties of a person. He emphasizes that only anatomical and physiological characteristics can be congenital, i.e., inclinations that underlie the development of abilities.

Abilities B.M. Teplov defines it as individual psychological characteristics of a person that are related to the success of performing any one activity or many. They are not limited to the presence of skills, abilities or knowledge, but can explain the ease and speed of their acquisition.

Musical Abilities Required for Successful Performance musical activity, are combined into the concept of “musicality”.

Musicality, as B.M. writes. Teplov, this is a complex of abilities required for practicing musical activity, unlike any other, but at the same time associated with any type of musical activity.

In addition to musicality, which includes a complex of special, namely musical, abilities of B.M. Teplov points out that a person has more general abilities that manifest themselves in musical activity (but not only in it). This is creative imagination, attention, inspiration, creative will, sense of nature, etc. The qualitative combination of general and special abilities forms a broader spectrum than musicality. concept of musical talent.

B.M. Teplov emphasizes that each person has a unique combination of abilities - general and special. The peculiarities of the human psyche suggest the possibility of widespread compensation of some properties by others. Therefore, musicality is not reduced to one ability: “Each ability changes and acquires a qualitatively different character depending on the presence and degree of development of other abilities.”

Each person has an original combination of abilities that determines the success of a particular activity.

“The problem of musicality,” emphasizes B.M. Teplov, “this is a problem that is primarily qualitative, not quantitative.” Everyone normal person there is some musicality. The main thing that should interest a teacher is not the question of how musical this or that student is, but the question of what his musicality is and what, therefore, should be the ways of its development.

Thus, B.M. Teplov recognizes certain human characteristics, predispositions, and inclinations as innate. The abilities themselves are always the result of development. Ability by its very essence is a dynamic concept. It exists only in movement, only in development. Abilities depend on innate inclinations, but develop in the process of education and training.

An important conclusion made by B.M. Thermal is the recognition of dynamism, developed abilities. "That's not the point,- the scientist writes, - that abilities are manifested in activity, but that they are created in this activity.

Therefore, when diagnosing abilities, any tests or tests that do not depend on practice, training, and development are meaningless.

So, B.M. Teplov defines musicality as a complex of abilities developed on the basis of innate inclinations in musical activity, necessary for its successful implementation.

In order to highlight the complex of abilities that make up musicality , It is important to determine the specifics of the content of music (and, therefore, the qualities necessary for its perception), as well as the features that distinguish musical sounds from other sounds encountered in life (and, therefore, the qualities necessary for their discrimination and reproduction).

Answering the first question (about the specifics of the music content), B.M. Warm argues with the representative of German aesthetics E. Hanslick, who defends the view of musical art as an art that cannot express any content. Musical sounds, according to Hanslick, can only meet the aesthetic needs of a person.

B.M. Teplov contrasts this with the point of view of music as an art that has various possibilities for reflecting life content, conveying life phenomena, and the inner world of a person.

Highlighting two functions of music - visual and expressive, B.M. Teplov notes that programmatic visual music, which has specific, “visible” prototypes (onomatopoeia, natural phenomena, spatial representations - approaching, moving away, etc.), a specific name or literary text, the plot, conveying specific life phenomena, always expresses a certain emotional content, emotional state.

It is emphasized that both visual, programmatic music (the share of which in musical art is negligible) and non-visual, non-programmatic music, always carry emotional content - feelings, emotions, moods. The specificity of musical content is determined not by the visual capabilities of music, but by the presence of emotional coloring of musical images (both program-visual and non-program). Thus, main function expressive music. Wide range of possibilities musical art convey the finest nuances human feelings, their change, mutual transitions and determine the specifics of musical content. B.M. Teplov emphasizes that in music we understand the world through emotion. 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 by its very essence is an emotional experience and the content of music cannot be understood otherwise than through an emotional way, the center of musicality is a person’s ability to respond emotionally to music.

What capabilities does musical art have for conveying certain emotional content?

Music is the movement of sounds, different in height, timbre, dynamics, duration, organized in a certain way in musical modes (major, minor), having a certain emotional connotation, expressive possibilities. In each mode, sounds relate to each other, interacting with each other (some are perceived as more stable, others - less). To perceive more deeply musical content, a person must have the ability to differentiate moving sounds by ear, to distinguish and perceive the expressiveness of rhythm. Therefore, the concept of “musicality” includes an ear for music, as well as a sense of rhythm, which are inextricably linked with emotions.

Musical sounds have various properties: They have pitch, timbre, dynamics and duration. Their discrimination in individual sounds forms the basis of the simplest sensory musical abilities. The last of the listed properties of sounds (duration) underlies musical rhythm. The feeling of the emotional expressiveness of a musical rhythm and its reproduction form one of the musical abilities of a person - the musical-rhythmic feeling. The first three named properties of musical sounds (pitch, timbre and dynamics) form the basis of pitch, timbre and dynamic hearing, respectively.

In a broad sense, musical ear includes pitch, timbre and dynamic hearing.

All of the listed properties (pitch, timbre, dynamics and duration) are inherent not only to musical sounds, but also to others: speech sounds, noises, the voices of animals and birds. What makes up the uniqueness of musical sounds? Unlike all other sounds and noises, musical sounds have a definite, fixed pitch and length. Therefore, the main carriers of meaning in the music of B.M. Teplov calls pitch and rhythmic movement.

Musical ear in the narrow sense of the word B.M. Teplov defines it as pitch hearing. Giving theoretical and experimental justifications, he proves that the leading role in sensation musical sound height plays a role. Comparing the perception of height in noise sounds, speech sounds and music, B.M. Teplov comes to the conclusion that in noise and speech sounds, pitch is perceived in totality, undifferentiated. Timbre components are not separated from the pitch components themselves.

The sensation of height is initially fused with timbre. Their division is formed in the process of musical activity, since only in music does pitch movement become essential for perception. Thus, a feeling of musical height is created as the height of sounds that form a certain musical movement, standing to each other in one or another height relationship. As a result, the conclusion is drawn that musical ear by its very essence must be pitch hearing, otherwise it will not be musical. There can be no musicality without hearing the musical pitch.

Understanding musical ear(in a narrow sense) as a sound pitch does not reduce the role of timbre and dynamic hearing. Timbre and dynamics allow you to perceive and reproduce music in all the richness of its colors and shades. These properties of hearing are especially important for the performing musician. Since the pitch of sounds is fixed in notes, and there are only general instructions from the author regarding timbre and dynamics, it is the choice of different colors of sounds (timbre and dynamic) that largely determines the possibilities creative freedom performer, originality of interpretation. However, B.M. Teplov advises cultivating timbre hearing only when the basics of pitch hearing are available: “Before taking care of the development of a performing ear, it is necessary to ensure the presence of simple musical, i.e. pitch, hearing."

Thus, musical ear is a multi-component concept. Pitch hearing has two varieties: melodic and harmonic. Melodic hearing is pitch hearing as it manifests itself to a single-voice melody; harmonic hearing - pitch hearing in its manifestation in relation to consonances, and therefore to polyphonic music. Harmonic hearing can lag significantly behind melodic hearing in development. In preschoolers, harmonic hearing is usually underdeveloped. There is observational data indicating that in preschool age Many children are indifferent to the harmonic accompaniment of a melody: they cannot distinguish an out-of-tune accompaniment from a non-out-of-tune one. Harmonic hearing involves the ability to sense and distinguish consonance (euphony), which, apparently, is developed in a person as a result of some musical experience. In addition, in order to demonstrate harmonic hearing, it is necessary to simultaneously hear several sounds of different pitches, and to distinguish by hearing the simultaneous sound of several melodic lines. It is acquired as a result of activities that cannot be carried out without it, when working with polyphonic music.

In addition to melodic and harmonic hearing, there is also concept of absolute pitch. This is a person’s ability to distinguish and name sounds without having a real standard for comparison, that is, without resorting to comparison with the sound of a tuning fork or musical instrument. Absolute pitch is a very useful quality, but even without it it is possible to successfully practice music, so it is not one of the basic musical abilities that make up the structure of musicality.

As already noted, musical ear is closely related to emotions. This connection is especially clearly manifested when perceiving music, distinguishing emotional, modal coloring, moods, feelings expressed in it. When playing melodies, a different quality of hearing operates - it becomes necessary to have ideas about the location of sounds in height, i.e., to have musical-auditory ideas of pitch movement.

These two components of pitch hearing - emotional and actual auditory - are distinguished by B.M. Thermal as two musical abilities, which he called the modal sense and musical-auditory perceptions. Ladovoe feeling, musical and auditory perceptions And sense of rhythm constitute three basic musical abilities that form the core of musicality.

Let's look at the structure of musicality in more detail.

Fret feeling. Musical sounds are organized in a certain mode. Major and minor modes differ in emotional coloring. Sometimes major is associated with an emotionally positive range of moods - a cheerful, joyful mood, and minor - with a sad one. In some cases this is exactly the case, but not always.

How is the mode coloring of music distinguished?

Modal feeling is an emotional experience, an emotional ability. In addition, the modal feeling reveals the unity of the emotional and auditory sides of musicality. Not only the fret as a whole has its own color, but also the individual sounds of the fret (which have a certain pitch). Of the seven degrees of the scale, some sound stable, others - unstable. The main steps of the mode (first, third, fifth), and especially the tonic, sound steadily ( first stage). These sounds form the basis of the mode, its support. The remaining sounds are unstable; in melody they tend to be stable. Modal feeling is the distinction not only of the general nature of music, the moods expressed in it, but also of certain relationships between sounds - stable, complete (when the melody ends on them) and requiring completion.

The modal sense manifests itself when perception music as an emotional experience, “felt perception.” B.M. Teplov calls him perceptual, emotional component of musical hearing. It can be detected when recognizing a melody, determining whether the melody has ended or not, in sensitivity to the accuracy of intonation, the modal coloring of sounds. In preschool age, love and interest in music are indicators of the development of the modal sense. Since music is essentially an expression of emotional content, then musical ear should obviously be an emotional ear. Modal feeling is one of the foundations of emotional responsiveness to music (the center of musicality). Since the modal feeling manifests itself in the perception of pitch movement, it traces the relationship between emotional responsiveness to music and the feeling of musical pitch.

Musical and auditory performances. To reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory representations of how the sounds of the melody move - up, down, smoothly, abruptly, whether they are repeated, i.e., to have musical-auditory representations of pitch (and rhythmic) movement. To reproduce a melody by ear, you need to remember it. Therefore, musical-auditory representations include memory and imagination. Just as memorization can be involuntary and voluntary, musical-auditory representations differ in the degree of their voluntariness. Voluntary musical-auditory representations are associated with the development of internal hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but to voluntarily operate with musical auditory ideas.

Experimental observations prove that to arbitrarily imagine a melody, many people resort to internal singing, and students learning to play the piano accompany the presentation of the melody with finger movements (real or barely recorded), imitating its playback on the keyboard. This proves the connection between musical and auditory perceptions and motor skills. This connection is especially close when a person needs to voluntarily remember a melody and retain it in memory. “Active memorization of auditory ideas,” notes B.M. Teplov, - makes the participation of motor moments especially significant.” 1 .

The pedagogical conclusion that follows from these observations is the ability to engage vocal motor skills (singing) or playing musical instruments to develop the ability of musical and auditory perceptions.

Thus, musical-auditory perception is an ability that manifests itself in playback by hearing melodies. It is called auditory, or reproductive, component of musical hearing.

Sense of rhythm- this is the perception and reproduction of temporary relationships in music. Accents play a major role in the division of musical movement and the perception of the expressiveness of rhythm.

As evidenced by observations and numerous experiments, during the perception of music a person makes noticeable or imperceptible movements that correspond to its rhythm and accents. These are movements of the head, arms, legs, as well as invisible movements of the speech and respiratory apparatus. Often they arise unconsciously, involuntarily. Attempts by a person to stop these movements lead to the fact that either they arise in a different capacity, or the experience of rhythm stops altogether. The ego speaks about the presence of a deep connection between motor reactions and the perception of rhythm, about the motor nature of musical rhythm.

The experience of rhythm, and therefore the perception of music, is active process. “The listener only experiences rhythm when he co-produces, makes... Any full perception of music is an active process that involves not just listening, but also doing. and making includes a very diverse range of movements. As a result, the perception of music is never just an auditory process; it is always an auditory-motor process.”

The sense of musical rhythm has not only a motor, but also an emotional nature. The content of the music is emotional.

Rhythm is one of the expressive means of music through which content is conveyed. Therefore, the sense of rhythm, like the sense of modality, forms the basis of emotional responsiveness to music. The active, effective nature of musical rhythm allows one to convey in movements (which, like music itself, have a temporary nature) the smallest changes in the mood of the music and thereby comprehend the expressiveness of the musical language. Characteristics musical speech(accents, pauses, smooth or jerky movements, etc.) can be conveyed by movements corresponding in emotional coloring (claps, stamps, smooth or jerky movements of the arms, legs, etc.). This allows them to be used to develop emotional responsiveness to music.

Thus, the sense of rhythm is the ability to actively (motorly) experience music, feel the emotional expressiveness of the musical rhythm and accurately reproduce it. Music memory does not turn on B.M. Thermal among the basic musical abilities, since "immediate memorization, recognition and reproduction of pitch and rhythmic movements are direct manifestations of musical ear and sense of rhythm.”

So, B.M. Teplov identifies three main musical abilities that form the core of musicality: modal sense, musical-auditory perception and sense of rhythm.

ON THE. Vetlugina names two main musical abilities: pitch hearing and a sense of rhythm. This approach emphasizes the inextricable connection between the emotional (modal feeling) and auditory (musical-auditory perceptions) components of musical hearing. The combination of two abilities (two components of musical ear) into one (pitch hearing) indicates the need to develop musical ear in the interrelation of its emotional and auditory bases.

The concept of “musicality” is not limited to the three (two) basic musical abilities mentioned above. In addition to them, the structure of musicality can include performing, Creative skills etc,

The individual uniqueness of the natural inclinations of each child, the qualitative originality of the development of musical abilities must be taken into account in the pedagogical process.

The acquisition of knowledge, skills and abilities in music education is carried out on artistic material. The perception of musical works in all types of activities is always unique and creative nature. Creative learning activity should permeate the entire process of acquiring knowledge, developing skills and abilities and therefore not stand out as an independent element of learning.

In connection with the above, the elements of the content of music education are: - the experience of a person’s emotional and moral attitude to reality, embodied in music (that is, the music itself, “musical material”); - musical knowledge; - musical skills; - musical skills.

Selection criteria musical material - the main component of the content of music education, are:

Artistry;

Fun and accessible for children;

Pedagogical feasibility;

Educational value (the possibility of forming moral ideals and aesthetic tastes of students.

Musical knowledge. The basis for understanding the art of music is knowledge at two levels: 1) knowledge that contributes to the formation of a holistic understanding of the art of music; 2) knowledge that helps the perception of specific musical works.

The first level of knowledge characterizes the nature of musical art as social phenomenon, its function and role in public life, aesthetic standards.

The second level is knowledge about the essential features of the musical language, the laws of construction and development of music, and the means of musical expression.

These provisions of musical science determined the approach to the selection of knowledge about music. In accordance with them, D.B. Kabalevsky identified generalized (“key”) knowledge in the content of music education. This is knowledge that reflects the most general phenomena of musical art. They characterize typical, stable connections between music and life, and correlate with patterns musical development children. Key knowledge is necessary to understand the art of music and its individual works.

In the content of school music education, the second group of knowledge correlates with knowledge that is usually called “private” (D.B. Kabalevsky). They are subordinate to the key ones. This category includes knowledge about individual specific elements of musical speech (pitch, metrhythm, tempo, dynamics, mode, timbre, agogics, etc.), biographical information about composers, performers, about the history of creation of the work, knowledge musical notation and etc.

Musical skills. The perception of music is the basis for the formation of musical culture among schoolchildren. Its essential aspect is awareness. Perception is closely related to knowledge and includes artistic appreciation. The ability to give an aesthetic assessment of a work can serve as one of the indicators of a student’s musical culture. Perception is the basis of all types of performance, since it is impossible without an emotional, conscious attitude towards music, without its evaluation.

So, the ability of students to apply knowledge in practice, in the process of perceiving music, is manifested in the formation of musical skills.

"Key" knowledge is used in all types of music educational activities schoolchildren, therefore the skills formed on their basis are considered as leading ones.

Along with the leading musical skills, particular ones are distinguished, which are also formed in specific forms of activity.

Among the “private” skills, three groups can be distinguished:

Skills related to knowledge of individual elements of musical speech (pitch, rhythm, timbre, etc.);

Skills associated with application musical knowledge about composers, performers, musical instruments, etc.;

Skills related to knowledge of musical notation.

Thus, leading and private skills are correlated with key and private knowledge, as well as various forms musical educational activities.

Musical skills are in direct connection with the educational musical activities of schoolchildren and perform in certain techniques of music performance. Performing skills are also formed on the basis of musical perception. Without their acquisition, one cannot speak of complete assimilation of the learning content.

Subject 6:

The concept of music education and the music program D.B. Kabalevsky: past and present

1. general characteristics

By the 70s of the twentieth century, domestic pedagogy had accumulated great experience in the field of musical education of schoolchildren. At the same time, there is a need to create a unified, generalizing concept that gives clear directions for the formation of the musical culture of schoolchildren.

A concept, according to the dictionary, is a system of views on a phenomenon, the main point of view from which this phenomenon is viewed, the leading idea, etc.

A group of young scientists led by famous composer And public figure Dmitry Borisovich Kabalevsky. The concept and program were developed in the laboratory of the Research Institute of Schools of the Ministry of Education of the RSFSR in the period from 1973 to 1979. The main ideas of the concept are embodied in the article preceding the music program “Basic principles and methods of the music program for secondary schools.” The program itself was released in small editions with the note “Experimental”. At the same time, music anthologies were published for the musical support of the program, as well as phonochrestomathy with recordings of all the works of the program. During the experimental testing of the program, music lessons in one of the Moscow schools were taught by Kabalevsky himself. These lessons were shown on television. The book for children “About Three Whales and Much More,” written by D.B., was also widely distributed throughout the country. Kabalevsky for children.

For mass use, a music program for grades 1-3 (with lesson-based methodological developments) was released in 1980, and for grades 4-7 - in 1982.

Kabalevsky's program is still widely used in our country. It is the starting point for the development of new music programs. However, in last years this program is increasingly becoming a target of criticism. At the same time, she also has a lot of supporters. It seems that it is unlawful to consider it outdated and unsuitable.

This concept is a major achievement of our culture. It absorbed the best experience of domestic pedagogy, and also anticipated a number of qualitatively new processes emerging both in art history and in all aspects of public life. Namely, the desire to preserve and nurture spiritual culture, recognition of the priority universal human values. This concept has great potential for development. While maintaining the essence, this development has the following directions:

Development of artistic didactics and theory of art pedagogy;

Justification of the musical material of the program;

Expansion of the musical material of the program;

Expanding the role of improvisation, vocal and instrumental music-making;

Enriching the lesson with folklore, sacred music, samples of modern folk musical creativity etc.

One of the most important tasks of a teacher working according to the D.B. Kabalevsky - to develop the humanistic ideas of the concept. In line with their content educational process is a spiritual dialogue between different cultures. The content becomes the process of instilling in children a moral and aesthetic attitude towards reality, through art itself, artistic activity the child as his “life” in art, the creation of himself as an individual, a look into himself.

Thus, understanding the content of the concept as the process of forming a child’s spirituality through music, through experience, feeling and impression, it can be argued that there is nothing to update in the program.

If we talk about updating the content of the program as updating musical material, ways of communicating with music, etc., then this process is inherent in the concept as constant, necessary and natural.

It focuses on the fact that musical material can be replaced, and on the fact that when implementing the program, the teacher’s creative approach is necessary in choosing methods and forms of practical music-making.

In 1994 came out new edition program that Bader and Sergeeva made. The main objectives of the reissue are to eliminate the ideological content of the content and to enable the teacher to show creative initiative in planning lessons. Thus, in this edition the musical material has been changed and lesson-based methodological developments have been eliminated.

2. The purpose, objectives, principles and fundamental methods of the music program,

developed under the leadership of D.B. Kabalevsky

Purpose of music lessons V secondary school– nurturing the musical culture of schoolchildren as a necessary part of their general spiritual culture.

Leading tasks: 1) formation of an emotional attitude towards music based on its perception; 2) formation of a conscious attitude towards music; 3) the formation of an active and practical attitude towards music in the process of its performance, especially choral singing, as the most accessible form of music-making.

Basic principles of the program:

Studying music as a living art, relying on the laws of music itself;

Connections between music and life;

Interest and passion in music education;

Unity of the emotional and conscious;

Unity of artistic and technical;

Thematic structure of the music program.

According to the last principle, each quarter has its own theme. Gradually becoming more complex and deepening, it reveals itself from lesson to lesson. There is a continuity between quarters and stages (grades). All secondary, secondary topics are subordinated to the main ones and are studied in connection with them. The topic of each quarter corresponds to one “key” knowledge.

Fundamental methods of the program. The leading methods of the program in their entirety are primarily aimed at achieving the goal and organizing the assimilation of content. They contribute to establishing the integrity of the process of musical learning in a music lesson as an art lesson, that is, they perform regulatory, cognitive and communicative function. These methods interact with all other methods.

Method of musical generalization. Each topic is general in nature and unites all forms and types of activities. Since the topic is of a generalizing nature, it is possible to master it only by the method of generalization. Students master generalized knowledge based on musical perception. This method First of all, it is aimed at developing in children a conscious attitude towards music, at the formation of musical thinking.

The method of musical generalization appears in the form of cumulative ways of organizing students’ activities aimed at mastering key knowledge about music and developing leading skills.

The method includes a number of sequential actions:

1st action. The task is to activate the musical and life experience of schoolchildren, which is necessary to introduce the topic or deepen it. Duration preparatory stage is predetermined by the nature of generalized knowledge. The duration of preparation also depends on the level of musical experience of the students. The main thing is not to allow the topic to be studied formally, without relying on sufficient auditory experience for this.

2nd action. The goal is to introduce new knowledge. Techniques of a productive nature are of primary importance—various options for organizing a search situation. In the search process, three points stand out: 1) the task clearly formulated by the teacher; 2) gradually, together with students, solving a problem with the help of leading questions, organizing one or another action; 3) the final conclusion, which the students themselves must make and pronounce.

The 3rd action is associated with consolidating knowledge in various types of educational activities, with the formation of the ability to independently navigate music on the basis of acquired knowledge. The implementation of this action involves the use of a combination of various techniques of a productive and reproductive nature.

The method of “running ahead” and “returning” to what has been covered. The content of the program is a system of interrelated topics. It is important that the lesson in the minds of the teacher and students acts as a link general theme and the entire program. The teacher needs, on the one hand, to constantly prepare the ground for upcoming topics, and on the other, to constantly return to the material covered in order to comprehend it at a new level.

When implementing the method, the teacher’s task is to choose the best “run-in” and “return” options for a particular class. There are three levels of connections here.

1. Connections between the stages of learning 2. Connections between the topics of the quarters. 3. Connections between specific musical works in the process of studying program topics.

Method of emotional dramaturgy. Lessons are structured mainly according to two emotional principles: emotional contrast and consistent enrichment and development of one or another emotional tone of the lesson.

Based on this, the task is to correlate one or another principle of lesson construction proposed in the program with specific conditions, the level of musical and general development of students.

The method of emotional dramaturgy is primarily aimed at activating the emotional attitude of schoolchildren to music. It helps create an atmosphere of passion and keen interest in music lessons. This method allows, if necessary, clarification of the sequence of works planned for the lesson (its beginning, continuation, culmination - especially important point lesson, at the end) in accordance with the specific conditions of the lesson.

It is important to determine the best combination of forms and types of musical activity (activities) in the conditions of a given class.

The personality of the teacher (his passion for the subject, manifested in the performance of music, in judgments, objectivity in assessing students, etc.) acts as a powerful incentive to intensify the activities of schoolchildren in the classroom.

Topic 1. Music as a phenomenon. Types of musical creativity.

Music(from the Greek musike, lit. - the art of muses) - a type of art in which the means of embodiment artistic images serve meaningful and in a special way organized (in pitch and time) sound sequences. Expressing thoughts and feelings in audible form, music, along with speech, serves as a sound means of human communication.

In developed musical culture creativity is represented by many intersecting varieties that can be differentiated according to different criteria.

Classification musical phenomena by type of musical creativity:

1. Folklore or folk art.

Characteristics of creativity:

1) Oral. Passed on by word of mouth.

2) Unprofessional.

3) Canonical (canon is a model, the law according to which this or that work is created)

2. Creativity of the minstrel type. Or urban entertainment music from early Middle Ages to modern pop or pop music.

Characteristics of creativity:

1) Oral.

2) Professional.

3) Canonical.

4) Theoretically unintelligible.

3. Canonical improvisation(religious music).

Characteristics of creativity:

1) Oral.

2) Professional.

3) Canonical.

4) Theoretically meaningful.

4. Opus - music(opus is an original composition recorded in musical notation). Opus - music is also called - composer's, autonomous, serious, classical, academic.

Characteristics of creativity:

1) Written.

2) Professional.

3) Original (requirements – uniqueness, individuality).

4) Theoretically meaningful.

Classification characteristics of music as art:

1. Non-figurative.

2. Temporal (not spatial).

3. Performing.

Topic 2. Properties of musical sound. Expressive means of music.

IN musical language separate musical sounds conceptualized and organized in such a way that they form complex of expressive means of music. The expressive means of music serve to embody artistic images that can evoke in the listener a certain range of associations through which the content is perceived piece of music.

Properties of musical sound:

1. Height.

2. Duration.

3. Volume.

Expressive means of music:

1. Melody.

2. Harmony.

3. Texture.

5. Dynamics.

Melody. Organizes sounds by pitch in their sequence.

One of the most important (along with rhythm) means of expression. The word "melody" can be used as a synonym for the word "music". (Pushkin A.S. “Of the pleasures of life, music is inferior to love alone, But love is also a melody”). Melody is also called musical thought.

The expressiveness of a melody is based on the fact that its analogue outside of musical phenomena is speech. Melody in music plays the same role as speech in our Everyday life. What is common between melody and speech? intonation. In speech, intonation carries mainly an emotional connotation, in music – both semantic and emotional.

Harmony. Organizes sounds by height (vertical) in simultaneity.

Harmony organizes sounds into consonance.

Consonances are divided into consonances(nice sound) and dissonances(sharp sound).

Consonances can sound stable and unstable. These qualities are colossal expressive means. They convey an increase in tension, a decrease in tension, and create a feeling of development.

Texture. This is a musical fabric that organizes sounds both horizontally and vertically.

Types of invoices:

1. Monody (melody without accompaniment).

A) polyphony is the simultaneous sound of equal melodies.

3. Melody with accompaniment (homophonic texture).

4. Chord and Chord figuration.

Rhythm is the organization of sounds in time. Sounds have different durations. Sounds have an accent (accented and unaccented). Rhythm functions:

a) rhythm organizes musical time, divides it into proportional sections from accent to accent. The section from accent to accent is a beat. This is a metric function of rhythm (called "meter");

b) rhythm conveys forward movement, creates a feeling of life, uniqueness, since sounds of different durations are superimposed on the metric grid.

The associative field of rhythm is very wide. The main association is with body movement: the plasticity of a gesture, the rhythm of a step. May also be associated with heartbeat and breathing rhythm. Reminds you of the countdown. Through rhythm, music is connected with other forms of art, especially poetry and dance.

Dynamics– organization of sounds by volume. Forte is loud, piano is quiet. Crescendo - decrease in dynamics, tension and diminuendo - increase.

Timbre- color of sound that distinguishes this or that instrument, this or that singing voice. To characterize timbre, visual, tactile, and taste associations are most often used (bright, shiny or matte timbre, warm or cold timbre, juicy timbre), which once again speaks of the associative nature of music perception.

Men's: tenor, baritone, bass

Women's: soprano, mezzo-soprano, contralto

Compound symphony orchestra:

4 main groups

(the order of listing instruments in groups is by pitch, from top to bottom):

Strings (violin, viola, cello, double bass).

Woodwinds (flute, oboe, clarinet, bassoon).

Brass (trumpet, horn, trombone, tuba).

Percussion (timpani, big drum, snare drum, cymbals, triangle).

Compound string quartet:

2 violins, viola, cello

Kholopova V. N. Music as a form of art. St. Petersburg, 2000

Gusev V. E. Aesthetics of folklore. L., 1967

Konen V. J. The third layer: New mass genres in music of the 20th century. M., 1994

Martynov V.I. Zone Opus Posth, or Birth new reality. M., 2005

Orlov G. A. The Tree of Music. St. Petersburg, 2005

“You say that words are needed here.

Oh no! This is precisely where words are not needed, and where they are powerless,

is fully armed with its “language of music...”

(P. Tchaikovsky)

The desire to embody the features of nature can constantly bring to life significant works of art. After all, nature is so diverse, so rich in miracles that these miracles would be enough for more than one generation of musicians, poets and artists.

Let us turn to P. Tchaikovsky’s piano cycle “The Seasons”. Like Vivaldi, Tchaikovsky’s each play has a title corresponding to the name of the month to which it is dedicated, as well as an obligatory subtitle and epigraph that deepens and specifies its content.

"January. At the Fireplace", "February. Maslenitsa", "March. Song of the Lark", "April. Snowdrop", "May. White Nights", "June. Barcarolle", "July. Song of the Mower", "August. Harvest", "September. Hunt", "October. Autumn Song", "November. On the troika”, “December. Christmas time."

Tchaikovsky associated such images with the perception of special poetry, the soul of each month of the year.

Probably, for any person, a certain time of year evokes a whole layer of images, thoughts, experiences that are close and understandable only to him. And if different composers created their own “Seasons,” then, of course, these are completely different works that reflect not only the poetry of nature, but the special artistic world of their creators.

However, just as we accept nature in its various manifestations - after all, rain, a snowstorm, and cloudy weather have their own charm. autumn day, - in the same way we accept the one full of love artistic view, which the composer embodies in his works. Therefore, listening to the play “November. On the troika,” we don’t think about the fact that the troikas of horses ringing with bells are long gone from our lives, that November awakens in us completely different ideas. We are again and again immersed in the atmosphere of this beautiful music, which so expressively tells about the “soul of November” that the great Tchaikovsky breathed into it.

Music can tell us about wonderful countries and the eternal poetry of nature, it immerses us in the distant historical past and gives us a dream of a wonderful future, it re-creates the characters of heroes - even those that are already known to us from works of literature or fine art.

History, people, characters, human relationships, pictures of nature - all this is presented in music, but presented in a special way. Correctly found intonation, a bright rhythmic pattern will tell us much more about the work than the longest and most detailed literary description. After all, each art expresses itself with its own, unique means: literature influences with words, painting with colors and lines, and music captivates with its melodies, rhythms and harmonies.

Listen to the playP. Tchaikovsky “November” from the piano cycle “The Seasons”.

Listen to the sound of the initial section of the play “November” and try to imagine what kind of autumn the composer depicts in his music, what feelings and moods its sound evokes in us.

P. Tchaikovsky

Music example 2

P. Tchaikovsky. "November. At three." From the piano cycle “The Seasons”. First section. Fragman T

You remember that this cycle was conceived by the composer as a kind of musical narrative about the life of nature, about its continuously changing appearance, so subject to the endless movement of the seasons.

The second section of the play brings us closer to the content expressed in the title of the play - “On the Troika”. The music of this section is enriched by the introduction of a striking pictorial moment - the ringing of bells. In it one can discern the cheerful running of three horses, which once made up integral part Russian national life. This ringing of bells gives the sound of the play visibility and at the same time introduces another cheerful moment - the moment of admiring a picture dear to every Russian heart.

Music example 3

P. Tchaikovsky. "November. At three." From the piano cycle “The Seasons”. Second section. Fragment

The ringing of bells ends the play “November”, the sound of which becomes quieter towards the end, as if the troika that had just rushed past us was gradually moving away, disappearing in the haze of a cold autumn day.

Perhaps, in this final dissipation of sound, the lines from the epigraph to the play are remembered for the first time? After all, in the play itself there are no echoes of the promised melancholy and anxiety that are given in the poem. How then can we understand the programmatic content from the epigraph to the play?

November, last autumn month, last days before the onset of the long winter. Here, ringing the bells, the troika rushed by - and now it is further and further from us, hiding in the distance, and the ringing of the bells is getting quieter... The play of farewell - such is “November” in its location in the cycle of the seasons. And no matter how cheerful the composer’s gaze may be, able to see the beauty and fullness of life at any time of the year, he is still not free from the feeling of acute regret, which is always inevitable when parting with something familiar and, in its own way, dear. And if this is so, then we can say that the software here is significantly expands and deepens a musical image, introducing into it a semantic subtext that we would not have caught in music alone.

Questions and tasks

1. Is the mood of P. Tchaikovsky’s play “November” consistent with your ideas about this time of year?

2. What is the role of N. Nekrasov’s poem “Troika” in the context of the play “November”?

3. Which of the program components of the work (name of the month, title of the play, epigraph poem) do you think best reflects the character of the music?

4. What do you see as the main similarities and differences in the embodiment of artistic images of the seasons in the works of A. Vivaldi and P. Tchaikovsky?

Song repertoire:

Showers. Autumn decorates the road with leaves. Apologizing profusely, he sweeps Wind colorful spots of October. Light flows. Chorus Autumn blues sounds in silence. Don't be silent, write. I want it so much, I strive so much Hear your autumn blues Hear your autumn blues. These sounds They take my hands out of the piano, Evaporating, driving away hearts of torment To the melody of autumn rain. Light flows. A string of ripe berries turns purple, And swinging on the branches - on thin knitting needles, It falls, as if melting before our eyes. Chorus Loss Chorus (2 times)

1.What is autumn? This is heaven Crying sky underfoot Birds with clouds fly in puddles Autumn, I haven’t been with you for a long time. CHORUS: Autumn. Ships are burning in the sky Autumn. I would like to get away from the earth Where sadness drowns in the sea Autumn, dark distance. 2.What is autumn? These are stones Loyalty over the blackening Neva Autumn again reminded the soul of the most important thing Autumn, I am again deprived of peace. Autumn. I would like to get away from the earth Where sadness drowns in the sea Autumn, dark distance. 3.What is autumn? It's the wind Plays again with torn chains Autumn, will we crawl, will we reach the dawn, What will happen to the Motherland and to us? Autumn, will we crawl, will we live to see the answer? Autumn, what will happen to us tomorrow. CHORUS: Autumn. Ships are burning in the sky Autumn. I would like to get away from the earth Where sadness drowns in the sea Autumn, dark distance. The city is melting in a flock in the darkness Autumn, what did I know about you How long will the foliage be torn? Autumn is always right.

Music, as the end result of mixing sounds and silence in time, conveys the emotional atmosphere, the subtle feelings of the person who wrote it.

According to the works of some scientists, music has the ability to influence both psychological and physical state person. Naturally, such a musical work has its own character, laid down by the creator either purposefully or unconsciously.

Determining the nature of music by tempo and sound.

From the works of V.I. Petrushin, Russian musician and educational psychologist, we can highlight the following fundamentals of the musical character in the work:

1. The sound and slow tempo convey the emotions of sadness. Such a piece of music can be described as sad, conveying sorrow and despondency, carrying within itself regret about the irrevocable bright past.
2. The sound and slow tempo convey a state of peace and contentment. The nature of a piece of music in this case embodies peace, contemplation and balance.
3. The minor key sound and fast tempo suggest emotions of anger. The character of the music can be described as passionate, excited, intensely dramatic.
4. The major coloring and fast tempo undoubtedly convey emotions of joy, indicated by an optimistic and life-affirming, cheerful and jubilant character.

It should be emphasized that such elements of expressiveness in music as dynamics, timbre and means of harmony are very important for reflecting any of the emotions; the brightness of the transmission of musical character in the work greatly depends on them. If you conduct an experiment and play the same melody in a major or minor sound, fast or slow tempo, then the melody will convey a completely different emotion and, accordingly, general character piece of music will change.

The relationship between the nature of a piece of music and the temperament of the listener.

If we compare the opuses classical composers with works modern masters, then we can trace a certain trend in the development of musical coloring. It is becoming more and more complex and multifaceted, but emotional background, character, does not undergo significant changes. Consequently, the nature of a musical work is a constant that does not change over time. Works written 2-3 centuries ago have the same impact on the listener as during the period of popularity among their contemporaries.

It has been revealed that a person chooses music to listen to not only based on his mood, but unconsciously taking into account his temperament.

1. Melancholic – slow minor music, emotion – sadness.
2. Choleric - minor, fast music– emotion – anger.
3. Phlegmatic - slow major music– emotion – calmness.
4. Sanguine – major key, fast music – emotion – joy.

Absolutely all musical works have their own character and temperament. They were originally laid down by the author, guided by feelings and emotions at the time of creation. However, the listener cannot always decipher exactly what the author wanted to convey, since perception is subjective and passes through the prism of the listener’s sensations and emotions, based on his personal temperament.