Plots and heroes of a musical work presentation. Heroic images in music. ancient form of rondo

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What is form in music?

It is customary to call a musical form a composition, that is, the features of construction piece of music: correlation and methods of development of musical-thematic material, correlation and alternation of keys.

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couplet form

What one sings - the soloist - is the singing of the song. Have you ever paid attention to how the song is composed? Especially a song that can be sung by many people together - at a demonstration, on a hike or in the evening at pioneer campfire. It seems to be divided into two parts, which are then repeated several times. These two parts - sang, otherwise, a verse (the French word couplet means a stanza) and a chorus, otherwise called a refrain (this word is also French - refrain).

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IN choral songs often the chorus is sung by the singer alone, and the choir picks up the chorus. The song does not consist of one, but usually of several verses. The music in them usually does not change or changes very little, but the words are different each time. The chorus always remains the same both in the text and in the music. Think of any pioneer song, or any of those you sing when you go camping in the summer, and see for yourself how it's built. The form in which the vast majority of songs are written is therefore called the couplet form.

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SCHOOL SHIP Lyrics: Konstantin Ibryaev Music: Georgy Struve And on a serene September day, And when February sweeps, School, school, you look like a ship running into the distance. Chorus: Now our watch is at the blackboard, So, a little bit we are all sailors. We are familiar with the thirst for discovery, Our roads are far away. 2Every year we enter together new class like a new port. And our dreams and songs, As always, we take on board. Chorus. Now our watch is at the blackboard, So it means that we are all sailors a little. We are familiar with the thirst for discovery, Our roads are far away. 3In the footsteps of Green's heroes, Through the pages good books We are under the invisible sail To sail straight with friends. Chorus. Now our watch is at the blackboard, So it means that we are all sailors a little. We are familiar with the thirst for discovery, Our roads are far away. 4 Will we become sailors, Will we lead a starship - We will never leave a Man overboard. Chorus. Now our watch is at the blackboard, So it means that we are all sailors a little. We are familiar with the thirst for discovery, Our roads are far away.

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ancient form of rondo

They are based on two (or - in a rondo - several) different thematic materials. The form in such cases is based on the comparison, development, and sometimes collision of these often contrasting, and sometimes even conflicting themes.

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tripartite form

The three-part is built according to the scheme, which is usually depicted in letters like this: ABA. This means that the initial episode at the end, after the contrasting middle episode, is repeated. In this form, the middle parts of symphonies and sonatas, parts of suites, various instrumental pieces, for example, many nocturnes, preludes and mazurkas by Chopin, songs without words by Mendelssohn, romances by Russians and foreign composers.

Slide 8

two-part form

The two-part form is less common, as it has a shade of incompleteness, comparisons, as if “without conclusion”, without a result. Its scheme: AB. There are also musical forms based on a single theme. First of all, these are variations, which can be more accurately called a theme with variations (a separate story in this book is also devoted to variations). In addition, many forms of polyphonic music, such as fugue, canon, invention, chaconne and passacaglia, are built on the same theme.

Slide 9

free form

that is, a composition not related to established standard musical forms. Most often, composers turn to free form when creating program works, as well as when composing all kinds of fantasies and medleys on borrowed themes. True, often in free forms there are features of tripartiteness - the most common of all musical constructions. It is no coincidence that the most complex, the highest of all musical forms - the sonata - is also basically three-part. Its main sections - exposition, development and reprise - form a complex three-part structure - a symmetrical and logically complete construction.

Slide 10

View all slides

Heroic - important topic in the work of many domestic and foreign composers. It can be said that along with love theme, the heroic theme is the most common in music. Any plot musical work is characterized by the presence of a hero (and often an anti-hero), and therefore, the author faces the task of creating his artistic image.

Heroic images are very typical for, the composer creates them, relying on the motives of patriotism, sacrifice for the Motherland, military and human exploits. And since the history of any country does not lack gers, the main layer of the national musical culture is dedicated to them.

The heroic theme has always attracted the attention of Russian composers, in the work of some of them it has become the main one. The overthrow of the Mongol-Tatar yoke, the Patriotic War of 1812, the Revolution of 1917, the Civil and Great Patriotic Wars left an indelible mark on Russian music, each of these events has its heroes. Many of these heroes, or rather their images, were embodied in the works of domestic authors. Foreign composers also dedicated many works to the heroes who fought for their fatherland.

Of the images of Russian heroes, especially beloved in musical art, one can name: Prince Igor Borodin, Ivan Susanin Glinka, Alexander Nevsky and Kutuzov from Prokofiev's operas. In many musical works, a collective heroic image of the Russian people is displayed, for example, in the operas Boris Godunov and Khovanshchina by Mussorgsky.

In the work of foreign composers, a lot of heroic images are also displayed, to heroism in different time addressed Beethoven, Mozart, Liszt.

Glinka was the first Russian composer who wrote an opera, he lived in a difficult historical period - during the Patriotic War of 1812. This struggle of the Russian people not for life but for death, the desire to protect their fatherland at all costs, inspired Glinka to write the opera Ivan Susanin.

The story of Ivan Susanin himself echoes the realities of the war with Napoleon, in the era of which the composer lived and worked. As follows from the legend (some historians are convinced that in fact Susanin's feat is fictional), Susanin, not being afraid for his life, led a detachment of Polish invaders into the forest, where they disappeared. Susanin himself died along with the enemies. In his opera, Glinka draws a multidimensional image of the hero, who appears before us as the serf Ivan Susanin. A characteristic sign of this image is the bell ringing that accompanies his aria. The ringing symbolizes the victory of the people over foreign invaders, it was the bells in Russia that called the people to the council and announced significant events. So Glinka connected the image of the hero with the image of the tocsin.

The feeling of pride that arises when listening to Glinka's opera was undoubtedly the author's idea. For this, the composer used the entire rich palette of musical means of expression and, in particular, melodies similar to folk songs. Before his death, Susanin sings that he is afraid to die, but he sees no other way out than to die for the Motherland, but not to give in to her enemy. Even at the cost of terrible torment (enemies torture him to show them the way out of the thicket), Susanin does not betray his own.

In the opera Ivan Susanin, Glinka also created the heroic image of the people, who perform the part of the choir and, as it were, confirm the words of the protagonist, who, without fear of death, is ready to give his life to save the Motherland. The entire Russian people glorifies the feat of Susanin and, without hesitation, will go to death, in the name of life.

The plot of Borodin's opera "Prince Igor" is based on the history of the struggle old Russian princes with nomadic Polovtsians. The story itself was described in The Lay of Igor's Campaign, which the composer used when writing his work. In Borodin's opera, as in Glinka's opera, much attention is paid to folk motives, especially in choral parts. Prince Igor is a true hero, he passionately loves his homeland - Russia and is ready to defend it from enemies with fire and sword.

The opera "Prince Igor" is a majestic folk epic, truthfully recreating in generalized, vivid and vitally convincing images one of the tragic periods of the past of the Russian people in its struggle for unity and national independence. In the heroic concept of the opera, in its main musical images, Borodin embodied the most typical features national character and spiritual warehouse of the Russian people: selfless love and devotion to the Motherland, moral stamina and heroic unity in the fight against the enemy, resistance to despotism, violence and arbitrariness.

In the operas "Khovanshchina" and "Boris Godunov" their author - M. Mussorgsky draws a heroic image of the people.

Work on "Khovanshchina" continued until last days composer's life, one might say it was the work of his whole life.

In the center of the opera "Khovanshchina" - an idea tragic collision old and new Russia, the disappearance of the old way of life and the victory of the new. The contents are genuine historical events late XVII century, the struggle of the reactionary feudal nobility, led by Prince Khovansky, against the party of Peter I. The plot is given in a complex, multifaceted development, various social groups- archers, schismatics, peasants (“alien people”), a rude feudal feudal lord Khovansky and a “half-European, half-Asiatic” Vasily Golitsyn. Not everything in the opera corresponds to the actual events, but the drama of the Russian people is given with amazing depth, their spiritual strength and their steadfastness are shown. In "Khovanshchina" Mussorgsky created images of Russian people (Dositheus, Martha), striking with the greatness of the soul.

The people are at the center of the Khovanshchina action. The peculiarity of this opera by Mussorgsky is that the author does not show the people as a whole, but singles out various social groups, which receive a special musical outline, and the characteristics of each group are given in development. Thus, the characteristics of the archers differ sharply from the characteristics of the schismatics; a group of "alien people", peasants, stands out in particular; Other features are emphasized by Mussorgsky, depicting Khovansky's serfs. Various characteristics are given to individual groups with the help of different song genres and different characters of the songs. The choirs of exuberant archers are built on the intonations of valiant, dance songs with energetic, dance rhythms; the song "about Gossip" reflected the features of urban ditty folklore. The contrast is represented by the prayer choirs of the archers and the choirs of the archers' wives in the scene of the "procession to the execution" - where the basis is folk lamentations, wailing, wailing. The choirs of the schismatics sound archaic, they combine the features of a folk song warehouse with the severity of the znamenny chant (the choir "Pobedikhom", in which the melody of the folk song "Stop, my dear round dance" is reworked); in act V (“In the skete”), ancient schismatic prayers and chants are widely used in music. The choirs of "alien people" and serf girls directly use the peasant song - lyrical, drawn out, majestic.

The heroic theme is also reflected in the work of S. Prokofiev. We can say that all the music he wrote is literally saturated with heroism. Most of the composer's works were created using historical plots, and where there is history, there are heroes. The images of heroes are especially vivid in his famous opera "War and Peace", written based on the epic novel of the same name by L. Tolstoy. With particular care, the composer works out the image of Kutuzov, who was forced to leave Moscow to be plundered by the enemy, and the collective image of a Russian soldier fighting for his Fatherland.

The idea for the opera War and Peace came to Prokofiev in the spring of 1941. The beginning of the Great Patriotic War made this topic especially close and relevant. The composer wrote: “... Even then, the thoughts that were wandering in my mind to write an opera based on the plot of Tolstoy's novel “War and Peace” took clear forms. The pages that tell about the struggle of the Russian people against the hordes of Napoleon in 1812 and about the expulsion of the Napoleonic army from Russian land became somehow especially close. It was clear that it was these pages that should form the basis of the opera.

The steadfastness of the Russian character, which endured, did not break in the face of severe trials that fell to its lot during the difficult years of the enemy invasion, is shown in the opera in scenes on the battlefield, folk images(soldiers, militias, residents of Moscow, partisans) and in the images of individual heroes. The majestic figure of the commander, Field Marshal Kutuzov, stands out especially. musical characteristic which consists of unhurried phrases separated by pauses, recitatives, its main theme and the aria-monologue that completes the image. In Prokofiev's opera, two principles are concentrated, generally expressed in the theme of war, national disaster, and in the theme of Moscow - the Motherland. The first theme, with its insistent sharp sounding of the trumpet and horns against the background of the ostinato of the trumpet and bassoons, forms a symphonic introduction. This formidable and disturbing "screensaver" plays an important dramatic role, sounds like an alarm, announcing the mortal danger hanging over Moscow and Russia. The second theme - the symbol of the immortality of the Motherland - sounds in Kutuzov's aria. The majestic, structurally completed monologue of Kutuzov is the culmination of the 10th picture. This aria, written in a complex three-part form with a declamatory introduction and a middle part, stands out as a mighty pinnacle above the "fluid" recitative music of the preceding dialogues of the participants in the military council. It was created on the basis of the epic portrait characteristics Russian hero in the operas of Glinka and Borodin, which were mentioned above. Kutuzov's thoughts and feelings are turned to the fate of Moscow and the Motherland.

Among foreign composers, it is worth highlighting Beethoven, who wrote the famous Coriolan overture. Coriolanus was a Roman general and lived in the 1st century BC. The name Coriolanus was given to him in honor of his conquest of the Volscian city of Coriola. Beethoven wrote his own music for a production of Collin's play. In the overture, the composer draws a psychological "portrait" of Coriolanus, shows tragic conflict his soul. According to Beethoven, it is a great misfortune that allows a person to become courageous, which is what we see in Kriolan. The whole overture is the hero's inner monologue, the formation of his heroic image.

Summarizing the above, we note that Russian composers in their work often turned to the heroic-patriotic theme, since it was relevant at all times. The main thing is that the heroic images created in music reflect the idea of ​​​​defending the Motherland, glorify peaceful life and show that the heroes only defend the Fatherland from the enemy, but never attack. The hero in general brings only good to people, protects and protects them, and in itself belongs to the people's environment. Such is Ivan Susanin, whose image is drawn in Glinka's opera, such is the people from Mussorgsky's Khovanshchina, such is Prokofiev's Kutuzov, forced to surrender the capital to the enemy, in the name of saving the whole country.

A necessary condition for the significance of the heroic images embodied by the composer is the historicism of the author's thinking. In heroic musical works, the connection of times is traced from a spark of the national spirit that flared up in the distant past, asserting the need to fight for oneself, one's clan, one's nation, to the selfless struggle for the liberation of the peoples of Europe from fascism in the Great Patriotic war, for universal peace on Earth for all peoples - in our time. The appearance of each composition - opera, symphony, cantata - is always conditioned by the needs of its era. Or as they say, every era has its own hero. But the important thing is that no era can exist without heroes at all.

MUNICIPAL STATE EDUCATIONAL INSTITUTION FOR ADDITIONAL EDUCATION OF CHILDREN
Penzhinsky Children's Art School

SCRIPT OF THE CONVERSATION
"LITERARY AND MUSICAL HEROES IN THE WORKS OF COMPOSERS - CLASSICS"

for students secondary school

Compiled by: Selezneva T. I.,

piano and music teacher

theoretical disciplines of PDSH

from. Kamenskoe

2016

Conversation script

"Literary and musical heroes in the works of classical composers"

Good afternoon our dear viewers. Welcome to the world of music and literature. Meeting with the beautiful is always a holiday. By tradition, on New Year's Eve, we invite secondary school students to concerts prepared by students of the piano department. The topics of conversations are very diverse, the works represent different styles and trends in the art of music. Today we decided to hold our event together with 4th grade students.

Young musicians prepared a small concert program, made presentations on composers, and students of a comprehensive school will introduce us to the heroes of literary works, read poetic passages. To make the event more interesting, we included quizzes, tests, viewing and listening to excerpts from musical works in our program.

Any work has content and image, reveals some topic.

The theme can be heroic, patriotic, lyrical, fabulous.

Let's give examples of literary and musical works on heroic, fabulous, lyric-dramatic, lyrical-psychological, household plots. (Children list)

Each work has a character, mood, image.

In a poem, we can present a picture of nature, an image of a person (sad or cheerful, brave or cowardly, etc.). If in literary work a poet or writer conveys the mood with the help of words, then in music, the content is revealed through sounds, notes.

Dmitry Eremenko opens our program, he will perform two diverse works, after listening to them, please determine the character, mood, come up with a name for the musical image.

Sounds "Etude" and "Sonatina" (Eremenko Dmitry)

In the repertoire of our musicians there are works that differ in style and direction. Let's remember what musical directions found in music and literature, which distinguishes classical from modern works. (Baroque style, classical, romantic, impressionism).

Sounds "Etude" and "Samba" (Deinega Polina)

Musical works, like literary works, have their own genre. In literature, this is a story, a story, a poem, an epic, a story, a novel, a fable. TO musical genres include: opera, ballet, concerto for some instrument, operetta, musical, symphonic works.

Each genre is divided into certain types: vocal, dance, instrumental.

Sounds "Waltz" performed by Vasina Elizaveta. This is an instrumental piece that has the characteristic features of a waltz dance. Name the characteristics of this dance. (Three-quarter size, graceful character, refer to ballroom dancing).

Many composers, before writing a work, turn to a literary source. Let's remember what fairy tales you read, what is your favorite fairy tale character.

Children list works and authors.

Teacher. Now the young musicians will list us the works that are written in fairy tales.

Children list pieces of music.

Teacher. I suggest you play a video game: identify the hero by the costume.

(Display video files)

Guys, you know literary and musical heroes, you know that in order to stage a musical performance, you need music and literary image, plot. To see the play, I suggest going to Musical Theatre. What is the theater made of?

Children. The theater is made up of a stage auditorium, lodges, balconies, curtains, lighting fixtures, orchestra pit, holds, grates, etc.

Which one then musical performance did we watch?

Children. We watched Cinderella, The Nutcracker, Romeo and Juliet.

Teacher. What is the name of the performance in which the actors do not say anything, only dance and use gestures.

Children. Such a performance is called ballet (from the word ballo - “to dance”).

Teacher. List the parts of ballet.

Children. Pas de deux, pas de trois, divertissement, final scene- apotheosis.

Today, at our meeting, works of various musical genres will be performed, one of which is ballet. The ballet has a fabulous plot. This is The Sleeping Beauty by P. I. Tchaikovsky. This composer will be presented by Dmitry Eremenko

Student. Tells the biography of the composer, shows a presentation

Viewing a presentation.

Teacher. The content of Tchaikovsky's music covers the images of life and death, love, nature, childhood, the surrounding life, it reveals in a new way the works of Russian and world literature - A. S. Pushkin and N. V. Gogol, W. Shakespeare and Dante. Let's list these works.

Children. Opera "Eugene Onegin", "Queen of Spades", overture - fantasy "Romeo and Juliet", "Hamlet". Ballets written on fairy tales " Swan Lake”,“ Nutcracker ”,“ Sleeping Beauty ”.

Teacher. And who wrote the fairy tale?

Children. French writer C. Perrault.

Teacher. Let's remember the content of the tale, the main characters.

Student. Retells the content of the story.

Teacher. How does the ballet end? (victory of good over evil, life over death)

Teacher. I suggest you watch an excerpt from the ballet "Sleeping Beauty"

Teacher. And now to go to next piece I suggest playing the game. Children are divided into two groups, ask each other questions in turn, the one who gives the most correct answers wins.

Questions are hints.

After which character is Rimsky-Korsakov's opera named? (Sadko)

What was the name of the sea princess? (Volkhova)

What epic formed the basis of the plot of the opera "Sadko"

Who was Volkhov's father? (sea king)

The instrument played by Sadko? (gusli)

What does a flock of swans turn into? (In beautiful girls)

On the shore of which lake did Sadko sing his song? (Lake Ilmen)

Teacher. Guys, you remember the heroes of the epic well. And what do you know about the composer Rimsky-Korsakov and the opera, let's recall its components.

Student. Tells the biography of Rimsky-Korsakov.

Children. The components of the opera answer. Opera (in Latin opus) means action, work, composition. Refers to vocal genre, includes 4 actions.

It has an overture, introduction, epilogue, aria, arietta, ariose, divertissement, etc.

Teacher. Who will tell us the content of this epic?

Children. Read excerpts from the work.

Teacher. Let's listen to an excerpt from the opera Sadko.

Teacher. In literature classes, you memorize excerpts from works. Now Eremenko Dmitry will perform an excerpt for us, and you will determine the author and name the work.

Student. Reads an excerpt from Pushkin's fairy tale "The Tale of Tsar Saltan" (Eremenko D) Children determine a literary and musical work.

Teacher. We have already said that the composer composes the music, the writer writes the libretto, and the symphony orchestra performs the music.

We'll have a little competition. For each of the proposed letters, you need to make up the name of the tools, select the tools from them symphony orchestra and folk.

The game "Create an Orchestra" is being played.

Teacher. The guys would like you to name another Russian composer, in whose work there are a lot of romances written to the verses of A. S. Pushkin “I remember wonderful moment”, “Night marshmallow”, “The fire of desire burns in the blood”, “I am here, Inezilla”; E. Baratynsky "Do not tempt"; N. Kukolnik "The Lark", "Following", "Doubt"; Zhukovsky "Night review". In the work of this composer there is also an opera written based on Pushkin's poem. Name it and the main acting heroes what genre it belongs to.

Children. This is the opera "Ruslan and Lyudmila", a fabulous genre.

Teacher. I want to bring to your attention a music quiz. Excerpts from musical works will sound on the screen, and you must determine the name and composer of the work, and determine the fragment from the opera Ruslan and Lyudmila.

Themes are listened to in video and audio recordings.

In our conversation, we talked about opera and ballet. I would like to introduce you to symphonic works, but not in large symphonies, but in small miniatures, musical pictures. Why exactly for the orchestra, because there are a lot of instruments in the orchestra, so it's easier to draw a picture. In music, a small work is called a miniature. The prefix "mini" means "little". In Russian music, the master of such symphonic miniatures was Anatoly Konstantinovich Lyadov. (1855 - 1914).

Symphonic paintings are called "Kikimora", "Magic Lake", "Baba Yaga".

In the musical "fairytale picture" A. K. Lyadov depicted not only the "portrait" of Kikimora, but also her malicious character. « Kikimora (shishimora, maara) - evil spirit, the baby is a female invisible woman who lives in the house behind the stove and is engaged in spinning and weaving. The character of Kikimora is wonderfully depicted in the fairy tale of A. N. Tolstoy .. The musical work “Kikimora” is prefaced by such a program, taken in the form of an excerpt from the collection of I. Sakharov “Tales of the Russian people”.

Student. Reads a description of Kikimora.

Teacher. Let's listen to the piece.

Listening to the work "Kikimora"

Teacher. I suggest you do a test game.

Conducted test - game.

Conclusion

At our meeting, you all learned a lot of new things, discovered composers and poets, whom you may have heard about before, but you didn’t know very well how their work is interconnected. Now, while reading or listening to works, you will pay attention to literary source, and remember the composer who wrote an opera or ballet based on this plot.

1 slide

2 slide

It is customary to call a musical form a composition, that is, the features of constructing a musical work: the ratio and methods of developing musical-thematic material, the ratio and alternation of keys.

3 slide

What one sings - the soloist - is the singing of the song. Have you ever paid attention to how the song is composed? Especially such a song that many people can sing together - at a demonstration, on a campaign or in the evening at a pioneer fire. It seems to be divided into two parts, which are then repeated several times. These two parts are a chorus or, otherwise, a couplet (the French word couplet means a stanza) and a chorus, otherwise called a refrain (this word is also French - refrain).

4 slide

In choral songs, the chorus is often performed by the singer alone, and the choir picks up the chorus. The song does not consist of one, but usually of several verses. The music in them usually does not change or changes very little, but the words are different each time. The chorus always remains the same both in the text and in the music. Think of any pioneer song, or any of those you sing when you go camping in the summer, and see for yourself how it's built. The form in which the vast majority of songs are written is therefore called the couplet form.

5 slide

6 slide

They are based on two (or - in a rondo - several) different thematic materials. The form in such cases is based on the comparison, development, and sometimes collision of these often contrasting, and sometimes even conflicting themes.

7 slide

The three-part is built according to the scheme, which is usually depicted in letters like this: ABA. This means that the initial episode at the end, after the contrasting middle episode, is repeated. In this form, the middle parts of symphonies and sonatas, parts of suites, various instrumental pieces, for example, many nocturnes, preludes and mazurkas by Chopin, songs without words by Mendelssohn, romances by Russian and foreign composers are written.

8 slide

The two-part form is less common, as it has a shade of incompleteness, comparisons, as if “without conclusion”, without a result. Its scheme: AB. There are also musical forms based on a single theme. First of all, these are variations, which can be more accurately called a theme with variations (a separate story in this book is also devoted to variations). In addition, many forms of polyphonic music, such as fugue, canon, invention, chaconne and passacaglia, are built on the same theme.

Music obeys the laws of life, it is reality, therefore it has an impact on people. It is very important to learn to listen and understand classical music. Even at school, children learn what a musical image is and who creates it. Most often, teachers give the concept of an image a definition - a particle of life. The richest possibilities of the language of melodies enable composers to create images in musical works in order to realize their creative ideas. Immerse yourself in the rich world of musical art, learn about various types images in it.

What is a musical image

It is impossible to master the musical culture without the perception of this art. It is perception that makes it possible to carry out composing, listening, performing, pedagogical, musicological activities. Perception makes it possible to understand what a musical image is and how it is born. It should be noted that the composer creates an image under the influence of impressions with the help of creative imagination. To make it easier to understand what a musical image is, it is better to imagine it as a combination of musical expressive means, style, character of music, construction of a work.

Music can be called a living art that brings together many activities. The sounds of melodies embody the life content. The image of a musical work means thoughts, feelings, experiences, actions of certain people, various natural manifestations. Also, this concept implies events from someone's life, the activities of an entire nation and humanity.

The musical image in music is the complexity of character, musical and expressive means, socio-historical conditions of origin, principles of construction, and style of the composer. Here are the main types of images in music:

1. Lyrical. It conveys the personal experiences of the author, reveals it spiritual world. The composer conveys feelings, mood, sensations. There are no actions here.
2. Epic. Narrates, describes some events in the life of the people, talks about their history and exploits.
3. Dramatic. Depicts privacy man, his conflicts and clashes with society.
4. Fairy. Shows fictional fantasies and imaginations.
5. Comic. Exposes all evil, using funny situations and suddenness.

lyrical image

In ancient times there was such a folk stringed instrument - the lyre. The singers conveyed their various experiences and emotions with the help of it. From him came the concept of lyrics, conveying deep emotional experiences, thoughts and feelings. The lyrical musical image has emotional and subjective elements. With the help of it, the composer conveys his individual spiritual world. A lyrical work does not include any events, it only conveys state of mind lyrical hero, this is his confession.

Many composers have learned to convey lyrics through music, because it is very close to poetry. To instrumental lyrical works include the works of Beethoven, Schubert, Mozart, Vivaldi. Rachmaninov and Tchaikovsky also worked in this direction. They formed musical lyrical images with the help of melodies. It is impossible to formulate the purpose of music better than Beethoven did: "What comes from the heart must lead to it." Forming the definition of the image of musical art, many researchers take this very statement. In his Spring Sonata, Beethoven made nature a symbol of the awakening of the world from hibernation. The musical image and skill of the performer help to see in the sonata not only spring, but also joy and freedom.

It must also be remembered that moonlight sonata"Beethoven. This is a truly masterpiece work with a musical and artistic image for piano. The melody is passionate, persistent, ending in hopeless despair.

The lyric in the masterpieces of composers connects to figurative thinking. The author tries to show what imprint this or that event left in his soul. Prokofiev simply skillfully conveyed the "melodies of the soul" in Natasha Rostova's waltz in the opera "War and Peace". The nature of the waltz is very gentle, one can feel timidity, slowness and, at the same time, excitement, a thirst for happiness. Another example of the composer's lyrical musical image and mastery is Tatyana from Tchaikovsky's opera Eugene Onegin. Also an example of a musical image (lyrical) can be the works of Schubert "Serenade", Tchaikovsky "Melody", Rachmaninov "Vocalise".

Dramatic musical image

In Greek, "drama" means "action". With the help of a dramatic work, the author conveys events through the dialogues of the characters. In the literature of many peoples, such works existed a long time ago. There are also dramatic musical images in music. Their composers show through the actions of heroes who are looking for a way out of the situation, entering into a fight with their enemies. These actions cause very strong feelings that make you perform actions.

The audience sees the dramatic hero in a constant struggle, which leads him either to victory or to death. Actions come first, not feelings. The most striking dramatic characters are Shakespeare's - Macbeth, Othello, Hamlet. Othello is jealous, which leads him to tragedy. Hamlet is overcome by the desire for revenge on the murderers of his father. Macbeth's strong lust for power drives him to kill the king. Without a dramatic musical image in music, drama is unthinkable. It is the nerve, the source, the focus of the work. The dramatic hero is presented as a slave of passion, which leads him to disaster.

One example of a dramatic conflict is Tchaikovsky's opera The Queen of Spades based on Pushkin's story of the same name. At first, the audience gets acquainted with the poor officer Herman, who dreams of getting rich quickly and easily. He's never been involved before gambling, although at heart he was a player. Herman is stimulated by his love for the wealthy heiress of an old countess. The whole drama is that the wedding cannot take place because of his poverty. Soon Herman learns about the secret of the old countess: supposedly she keeps the secret of three cards. The officer is overwhelmed by the desire to uncover this secret at all costs in order to thwart big score. Herman comes to the Countess's house and threatens her with a gun. The old woman dies of fear, without betraying the secret. At night, a ghost comes to Herman and whispers the treasured cards: "Three, seven, ace." He comes to his beloved Lisa and confesses to her that the old countess died because of him. Lisa, out of grief, threw herself into the river and drowned herself. The cherished words of the ghost haunt Herman, he goes to the gambling house. The first two bets, on a three and a seven, turned out to be successful. The win has turned Herman's head so much that he goes all-in and bets all the money won on the ace. The intensity of drama is approaching its peak, instead of an ace in the deck it turns out queen of spades. At this moment, Herman recognizes the old countess in the lady of spades. The final loss leads the hero to suicide.

It is worth comparing how Pushkin and Tchaikovsky show the drama of their hero. Alexander Sergeevich showed Hermann to be cold and prudent, he wanted to use Lisa for his own enrichment. Tchaikovsky took a slightly different approach to portraying his dramatic character. The composer slightly changes the characters of his characters, because their image needs inspiration. Tchaikovsky showed Herman as romantic, in love with Liza, with a fiery imagination. Only one passion displaces the image of the beloved from the head of an officer - the secret of the three cards. The world of musical images of this dramatic opera- very rich and impressive.

Another example of a dramatic ballad is Schubert's The Forest King. The composer showed the struggle between two worlds - real and fictional. Schubert was characterized by romanticism, he was fascinated by mysticism, and the work turned out to be quite dramatic. The collision of two worlds is very bright. real world embodied in the image of a father who sensibly and calmly looks at reality and does not notice the Forest King. His child lives mystical world, he is sick, and the Forest King seems to him. Schubert shows a fantastic picture of a mysterious forest shrouded in gloomy mist and a father rushing through it on a horse with a dying child in his arms. The composer gives his own characteristic to each hero. The dying boy is tense, frightened, in his words there is a plea for help. A delusional child enters the terrible realm of the formidable Forest King. The father tries his best to calm the child.

The whole ballad is permeated with a heavy rhythm, the horse's tramp depicts an uninterrupted octave fraction. Schubert created a complete visual-auditory illusion filled with drama. At the end of the speaker musical development the ballad ends as the father held in his arms dead baby. These are the musical images (dramatic) that helped Schubert create one of his most impressive creations.

Epic portraits in music

Translated from Greek, "epos" means a story, a word, a song. In epic works, the author tells about people, the events in which they take part. Characters, circumstances, social and natural environment. Epic literary works include stories, legends, epics, novels. Most often for writing epic works composers use poems, they tell about heroic deeds. From the epic you can learn about the life of ancient people, their history and exploits. The main dramatic musical images and the skill of the composer represent specific characters, events, stories, nature.

The epic is based on real events, but there is also a share of fiction in it. The author idealizes and mythologises his characters. They are endowed with heroism, perform feats. There are also negative characters. The epic in music shows not only specific persons, but also events, nature, symbolizing native land in one or another historical era. So, many teachers present a lesson in musical image in the 6th grade with the help of excerpts from Rimsky-Korsakov's opera "Sadko". The students try to understand by what means of music the composer was able to draw a portrait of the hero after listening to Sadko's song "Oh, you dark oak tree." Children hear a melodious, smooth melody, an even rhythm. Gradually, the major is replaced by a minor, the tempo slows down. The opera is rather sad, dreary and thoughtful.

The composer worked in epic style " mighty handful" A. P. Borodin. The list of his epic works can be included " Bogatyr Symphony"No. 2, the opera" Prince Igor. "In Symphony No. 2, Borodin captured the mighty heroic Motherland. At first, there is a melodious and smooth melody, then it turns into a jerky one. The even rhythm is replaced by a dotted one. slow pace combined with minor.

The well-known poem "The Tale of Igor's Campaign" is considered a monument of medieval culture. The work tells about the campaign of Prince Igor against the Polovtsians. Bright epic portraits of princes, boyars, Yaroslavna, Polovtsian khans were created here. The opera begins with an overture, then there is a prologue about how Igor prepares his army for a campaign, watches solar eclipse. Four acts of the opera follow. Very bright moment Yaroslavna's lament appears in the work. At the end, the people sing glory to Prince Igor and his wife, even though the campaign ended in defeat and the death of the army. To display the historical hero of that era, the musical image of the performer is very important.

It is also worth including in the list of epic creations the work of Mussorgsky's "Bogatyr Gates", Glinka's "Ivan Susanin", Prokofiev's "Alexander Nevsky". The composers conveyed the heroic deeds of their heroes by various musical means.

Fabulous musical image

In the very word "fabulous" lies story line such works. The most striking creator of fairy-tale creations can be called Rimsky-Korsakov. Even from the school curriculum, children will learn his famous fairy tale-opera "The Snow Maiden", "The Golden Cockerel", "The Tale of Tsar Saltan". It is also impossible not to remember symphonic suite"Scheherazade" based on the book "1001 nights". Fairy-tale and fantastic images in Rimsky-Korsakov's music are in close unity with nature. It is fairy tales that are laid in a person moral foundation, children begin to distinguish good from evil, they learn mercy, justice, condemn cruelty and deceit. As a teacher, Rimsky-Korsakov spoke in the language of a fairy tale about high human feelings. In addition to the above operas, one can name "Kashchei the Immortal", "The Night Before Christmas", "May Night", " royal bride". The composer's melodies have a complex melodic-rhythmic structure, they are virtuoso and mobile.

fantastic music

It is worth mentioning the fantastic musical images in music. Fantastic works a lot is created every year. Since ancient times, various folklore ballads and songs praising different heroes. musical culture began to be filled with fantasy in the era of romanticism. Elements of fantasy are found in the works of Gluck, Beethoven, Mozart. The most prominent writers of fantastic motifs were German composers: Weber, Wagner, Hoffmann, Mendelssohn. Gothic intonations sound in their compositions. The fabulous-fantastic element of these melodies is intertwined with the theme of man's opposition to the world around him. folk epic with elements of fantasy is the basis for the works of composer Edvard Grieg from Norway.

Is fantastic imagery inherent in Russian musical art? Composer Mussorgsky filled his creations Pictures at an Exhibition and Night on Bald Mountain with fantastic motifs. Spectators can watch the witches' sabbath at night on the feast of Ivan Kupala. Mussorgsky also wrote an interpretation of Gogol's work " Sorochinskaya Fair". Elements of fantasy are visible in the works of Tchaikovsky's "Mermaid" and Dargomyzhsky " stone guest". Such masters as Glinka ("Ruslan and Lyudmila"), Rubinstein ("The Demon"), Rimsky-Korsakov ("The Golden Cockerel") did not stay away from fantasy.

A real revolutionary breakthrough in synthetic art was made by the experimenter Scriabin, who used elements of light music. In his works, he specially entered lines for light. His writings are filled with fantasy divine poem"," Prometheus "," Poem of Ecstasy. "Some tricks of fantasy were present even among the realists Kabalevsky and Shostakovich.

The advent of computer technology has made fantastic music a favorite of many. Films with fantastic compositions began to appear on TV screens and cinemas. After the advent of musical synthesizers, great prospects for fantastic motives opened up. The era has come when composers can sculpt music like sculptors.

Comic displays in musical works

It is difficult to talk about comic images in music. Few art critics characterize this direction. The task of comic music is to correct with laughter. It is smiles that are the real companions of comic music. The comic genre is lighter, it does not need conditions that bring suffering to the heroes.

To create a comic moment in music, composers use the effect of surprise. So, J. Haydn in one of his London symphonies created a melody with a timpani part, which instantly shakes the listeners. A pistol shot breaks the smooth melody in a waltz with a surprise (“Bullseye!”) by Strauss. This immediately cheers up the room.

Any jokes, even musical ones, carry with them funny absurdities, funny inconsistencies. Many are familiar with the genre of comic marches, joke marches. Prokofiev's march from the collection "Children's Music" is endowed with comedy from beginning to end. Comic characters can be seen in Mozart's "The Marriage of Figaro", where laughter and humor are already heard in the introduction. Cheerful and clever Figaro deftly cunning in front of the count.

Elements of satire in music

Another type of comic is satire. Rigidity is inherent in the satirical genre, it is formidable, sizzling. With the help of satirical moments, composers exaggerate, exaggerate some phenomena in order to expose vulgarity, evil and immorality. So, satirical images one can name Dodon from Rimsky-Korsakov's The Golden Cockerel, Farlaf from Glinka's Ruslan and Lyudmila.

Image of nature

The theme of nature is very relevant not only in literature, but also in music. Showing nature, composers depict its real sound. The composer M. Messiaen simply imitates the voices of nature. Such English and French masters as Vivaldi, Beethoven, Berlioz, Haydn were able to convey the pictures of nature and the feelings they evoke with a melody. Rimsky-Korsakov and Mahler have a special pantheistic image of nature. Romantic perception of the surrounding world can be observed in Tchaikovsky's play "The Seasons". A gentle, dreamy, affable character is Sviridov's composition "Spring".

Folklore motifs in the art of music

Many composers used the melodies of folk songs to create their masterpieces. Simple song melodies became the decoration of orchestral compositions. Images from folk tales, epics, legends formed the basis of many works. They were used by Glinka, Tchaikovsky, Borodin. Composer Rimsky-Korsakov in the opera "The Tale of Tsar Saltan" used the Russian folk song"Whether in the garden, in the garden" to create the image of a squirrel. Folk melodies heard in Mussorgsky's opera "Khovanshchina". Composer Balakirev based on Kabardian folk dance created the famous fantasy "Islamey". Fashion on folklore motifs did not disappear in the classics. Many people are familiar with the modern symphony-action of V. Gavrilin "Chimes".