Work on revealing the artistic image in works. “Working on the artistic image of a musical work
Additional education April-May 2018
Working on the artistic image in piano works
Erokhovets Olga Viktorovna,
teacher additional education
associations of interests "Piano"
State Educational Institution "Slutsk Center for Children's Creativity"
Methodological development classes
SUBJECT: “Working on the artistic image in piano works.”
Target: reveal and express in performance the figurative content of a musical work.
Tasks:
educational
· work on expressiveness musical language, overcoming performance difficulties.
· improve figuratively - artistic and technical performance skills.
developing
· develop analytical-synthetic processes of students’ activities to create the initial image of the play.
· develop the figurative sphere of perception of a musical work;
· develop skills in the practical use of acquired knowledge.
educational s
· cultivate musical taste.
· to form a sense of purpose and desire for self-improvement
Student age: 12-14 years old.
Equipment: piano, illustrations of reproductions, music library, computer.
Progress of the lesson:
1. Organizational moment
Hello guys.
How are things at school?
What mood did you have when you came to class?
The topic of our lesson: “Working on the artistic image in piano works.”
2. Main part
Guys, let's look at reproductions of I. Levitan's paintings “Autumn”, “ Early spring", "Spring", "Lake", V. Vasnetsov "Bogatyrs" (Appendix 1). The painting depicts different seasons of the year. What season of the year did the artist paint? What colors did he use to depict a sunny spring day, and what colors did he use to depict bad autumn weather? How the artist V. Vasnetsov conveyed the mood of the characters. As you can see, using light shades the artist depicted a sunny spring day with colors, and gray shades painted pictures of autumn. But in V. Vasnetsov’s painting “Bogatyrs” the artist depicted the mood of people. We see how concentrated Ilya Muromets is, he frowned, and Alyosha Popovich looks into the distance, even putting his hand to his eyes so that the sun does not interfere with seeing something important in the distance.
Music also conveys mood, paints pictures of nature in our imagination, even some events, you just need to listen to the sounds. Composers “color” their works using means of musical expression. Let's listen to E. Grieg's musical work “Morning” (listening to an audio recording). How can you characterize the picture that musical sounds E. Grieg depicted what picture the artist painted with sounds; What musical means did the composer use to convey the mood of the morning? (slow pace, major scale, melodious melody, dynamic shades). Now listen to R. Korsakov’s work “The Flight of the Bumblebee” (listening to an audio recording). This play is action, why do you think? How the composer conveyed the buzzing of a bumblebee with sounds; Why does it seem at the end of the play that the bumblebee has flown away? What means of musical expression did R. Korsakov use when depicting the flight of a bumblebee? ( fast pace, performance on the violin, its timbre, the staccato touch, the end of the piece on piano ). We can conclude that composers, when creating a piece of music, use means of musical expressiveness. Let's list them. (tempo, strokes, dynamic shades, melody, major and minor modes).
Now, we will work on the exercise. Our exercise for developing chord technique. The difficulty lies in the wide arrangement of chord sounds. We will work through the options:
1) let’s play the extreme sounds of the chord with grasping movements of the fingers, pay attention, the hand must be reset after the chord, the hand “hello” (demonstration).
2) we will teach variations quickly and slowly, but we must try to prepare the chords in advance, achieving accuracy and precision in performance.
Now we will work on the play “NEP” by the Belarusian composer E. Glebov (Appendix 2). This play is a picture. What did the composer depict with his music (a picture of nature, some event?). You can imagine that this is a meeting between two street boys. The introduction of the play conveys the gait of these guys (example 1). The bass must be played clearly, firmly, assertively, and highlighted. The melody that follows the introduction conveys the conversation of the boys, their argument and fight (show). The character of one character is conveyed as a question; it sounds in the middle register with a single-voice melody, and the answer sounds in the upper register, with jumping chords, which gives the answer the character of a dispute (example 2). With the help of what means of musical expressiveness did E. Glebov convey the intonation of a conversation in music? Let us now play the first phrase with question-answer intonation. Playback.
Which dynamic shade conveys the intonation of the question, and which of the answer? (forte – question, piano – answer).
In the third phrase, the intonation of the conversation changed and became pleading (example 3). What means of musical expression will help us portray the request? (Piano touch, legato touch). Playing and practicing legato.
IN last sentence one boy seems to be running away, and the second one is catching up with him, listen (example 4), (show). Let's come up with lyrics for our melody: “Catch up, catch up, catch up with me quickly.” Play this phrase at a crescendo, it will add tension and enhance the overall climax of the piece.
Work on M. Malevich’s musical work “Cinderella is sad” (Appendix 3) .
What image did the composer “draw” with sounds (a gentle, sad image of a girl who was left at home alone while her sisters went to have fun at the ball). What musical means the sad mood of the heroine is displayed (minor mode, melody with intonations of sighs, wave-like dynamics). Students playing a play.
The melody consists of short motives in which sad sighs are heard (example 1). So that the phrase does not sound fragmentary, we will strive for the last note of the motive, and we will combine all the motives, “leading” the sound to a crescendo, to a climax. Let's play with the subtext "and I'm running" on a rising intonation. Play this phrase with a unifying hand movement, the hand “leading” the notes to the top sound (showing, playing).
You see, movement appeared in the melody, and we conveyed the mood of the heroine. Let's reinforce this skill.
In the second part, the ensemble’s parts echo the motives of the voices (example 2). Play only those tunes where roll calls are heard. Let's work through this fragment with the words: “run with me” - Vika; “I’m running with you” - Alesya. It's clear? (Playback).
Now play as written with accompaniment, paying attention to the sound relationship between the theme and the accompaniment. The theme should sound brighter. Where themes are heard in two parts at the same time, the subtext will again help us: “Together we walk.” Let's work on sound synchronization. For you to start playing together, you need to take a breath at the same time. It's clear? (playing, practicing aftertact, synchronization of the sound of parts).
An important role is assigned to the sound dynamic development of the work. The intonation of a question sounds in the introduction. It consists of two short motifs. We'll play the first one on the forte and the second one on the piano, like an echo. The first phrase is played on the piano. This is the beginning of the story. With each new phrase, the sound intensifies towards the climax, and the tension increases. Music conveys excitement main character, her despair. The climax at the end of the 1st part is written in short motifs, the direction of movement is downward (example 4). The dynamics are also descending - from forte to piano, gradually fading towards the end of the phrase. Play the 1st part, try to convey the mood of the music (playing, memorizing the expressive performance of the 1st part).
In the second part, the minor mode is replaced by a major one, and a joyful mood appears (example 3). The overall climax is at the end of the second part. We'll start playing it pianissimo and build it up to a fortissimo crescendo to heighten the tension. The slowdown at the end of the 2nd movement enhances the feeling of completeness of the piece. But the composer added an ending (example 5). It is similar to the introduction (short motives-sighs). Unlike the introduction, they sound like a canon, layering one theme on top of another. In order for the listener to hear them, the first note of the theme must be played brighter, plunging deeply into the keys. (Playback).
Now our musical work sounds more expressive, we conveyed the mood with sounds, the image that the composer intended when creating this wonderful music.
3. Final part
And now we will consolidate the theoretical concepts covered in the lesson. I bring to your attention the presentation “Means of Musical Expression”. You will see tasks on the screen that you need to answer (slide presentation).
4. Reflection
Guys, our lesson is ending. You can also convey in what mood you are leaving. There are pictures on the table. Take a picture with a cloud drawn - if you didn’t like the lesson; Sunshine, if you have done a good job and go home in a good mood. Summing up, relaxation.
References:
1. For the beginning pianist. Plays by contemporary composers. Issue 7 – M.: Music. 1987.
2. Pieces for piano. Issue 13 – M.: Music. 1984.
3. Internet resources.
Annex 1
Methodological message of a teacher of the highest qualification category MAOU DOD CDOD MEC
Samsonova Tatyana Viktorovna on the topic:
“Working on an artistic image in piano class”
Work on the artistic image is carried out throughout the entire course of training of a young pianist and is the leading direction in the process of developing the artistic and creative potential of the child. The main thing in working with a student is to focus on thinking about the character and mood of the music being performed, searching for images that are adequate to the found mood of the work. And the role of the pianist teacher is to create an artistic, creative, intellectual atmosphere in the lesson, to invite the student to a creative dialogue, to create an atmosphere of understanding the language of music.
Turning to the topic “Working on an artistic image in piano class,” again (following G.G. Neuhaus) let’s talk about convention this concept. The fact is that music is not adequate to the word, image, idea. In some respects, it is more specific and at the same time broader than them. “Image and thought,” according to the fair remark of S.E. Feinberg, “seem to drown in the depths of musical content, unable to fill its entire volume, explain its entire meaning. The concreteness of musical language should not be sought in the fact that it replaces a word. Music can express a lot both before and after words.” It is important. At the same time, it is clear that powerful forces of figurative expressiveness are hidden in music.
In our everyday practice, we mostly deal with instrumental pieces that direct our imagination in a certain direction. And no matter how convincing these images are for each of us, we must always remember that in any case, only one of many possible interpretations arises, that another artistic “idea” of a work can always be proposed - poetic, pictorial, plot. These images have great consistency: they enhance the emotional side of the perception of music, helping to organize the plan of interpretation.
So what is an image? S.E. Feinberg gives the following definition: “Image is the most vivid expression musical perception" According to N.I. Golubovskaya, “Music is the language of images, it awakens in us images of feelings, moods, reveals complex spiritual world person, embodies the multifaceted world around a person.” And S. Savshinsky is deeply right when he notes that “music speaks not about music, but about the life of the human spirit.”
Work on an artistic image should begin immediately, from the first steps of studying music and musical instrument. If a child can reproduce some simple melody, we will try to ensure that the first performance is expressive, so that the nature of the performance exactly matches the mood (“content”) of this melody.
And here it is very important to strive for the student to play a sad melody sadly, a cheerful one - joyfully, a solemn one - solemnly, etc. To do this, we must “ignite” the child’s interest in music, connect music with his life and games. And when starting classes with young children, we will try not to scare off the student with something too serious or boring. For this purpose, you can offer associations with everything that is familiar and understandable to a growing person.
Let's try to immediately “plunge” into the music, giving to the young musician opportunity from the first
At the same time, actively act, creating your own musical image. Everyone, even the most small piece, should be imprinted in the mind of a young pianist as a holistic image that awakens fantasy and imagination.
So, what contributes to the development imaginative thinking child? In our opinion, this is musical material - bright and varied, close to children in musical images and moods; and a pictorial illustration or drawing appropriate to the character of the piece being performed; the text of subtext songs, preferably composed by the children themselves. If you liked the play, and if it is not a song that already has lyrics, the children themselves compose the words, finding their own in them plot stories, images, meanings. The imagery of the perception of the content is greatly facilitated by the program title, which “introduces” the child into the world of the music he performs, as well as poetic lines composed by the student or a story-essay that accompanies the performance of the musical piece.
All this helps create your own musical image and, later, find the right hand movement and the right sound palette.
Getting carried away by this creative work, the teacher “charges” the student with his temperament, interest, and “flight of ideas,” awakening response strings in him. This creates conditions for the development of vivid musical impressions, for successful work over the artistic image.
Pianist teachers usually divide the work on a piece into several stages, and each has its own leading task. In this case, inevitably, something remains in the background. Reflection on Disclosure artistic content the work must be present at all stages - from the first acquaintance with the composition to the completion of work on it. And if we conditionally divide this work into three stages, then we can note that:
The first stage is devoted to the creation general idea about the play, about its main artistic images;
The second stage is a gradual deepening into the essence of the work being studied. Here the selection and mastery of the means of artistic expression necessary for the implementation of the performing concept takes place;
The third stage summarizes all previous work.
A musical work receives a complete performance embodiment, requiring from the student unity of feeling and thought, skill and inspiration.
Let us note that when offering a child this or that piece of music, it is necessary to take into account the level of his performing training, level of spiritual culture, and intellectual outlook.
The first acquaintance with the work is of great importance for all subsequent work. Most musicians say that when they first meet new music It is the emotional impressions that are important, theoretical analysis it is better to postpone it to a later stage. And yet, before sitting down at the piano, the student must have an idea of what he is going to play. A few words about the composer, era, style, the title of the work (why the play is called “Scherzo”, “Barcarolle”, “Lullaby”, “Fairy Tale”, etc.). The task of such a dialogue is to give a certain direction to thinking and feeling, to evoke artistic associations and figurative representations.
Undoubtedly, it is more useful to combine a verbal explanation with a live demonstration on the instrument of both the work as a whole and its individual parts, details, and performance techniques. The teacher himself, of course, should know as much as possible about the work on which he is going to work with the student. The general concept and execution plan are outlined by the teacher from the very beginning, but in the process of collaboration, new horizons can open up, artistic ideas and meanings.
Professor N. Golubovskaya, addressing her students, emphasized more than once: “You should never come to a lesson without your attitude to the piece, and don’t think like this: first I’ll learn the notes, and then inspiration will come to me or someone will show how need to play. It is easier to switch from an incorrect image to a correct one than to move from nothing to something. We can never allow ourselves to be “empty” in relation to the works we play.”
Talking about music is not easy. Musical thoughts sometimes contain such broad meaning that any verbal explanation will look too narrow. As R. Schumann said, “ The best way to talk about music is to remain silent about it.” Many outstanding musicians express themselves in the same way. P. I. Tchaikovsky said: “My symphony, of course, is programmatic, but the program is such that it is completely impossible to express it in words.”
And, nevertheless, in pedagogical practice it is impossible to do without verbal explanations of music. And if in a conversation with more gifted students you can get by with general categories, then other children often “respond” only to specific images. Let us note that in class it is very important to carefully monitor your speech, striving to ensure that our judgments reflect the meanings and meanings as accurately as possible. In this case, what is said will be clear, specific and to the point. Thus, having determined the character and mood of the play, we will immediately try to find the sound coloring, the pulse of movement, elementary nuances and technical means arising from the character of the play, its figurative structure.
All this is work on the artistic image in the piano class, on mastering playing techniques directly related to performing tasks.
G.A. Brokhina: “Once again I would like to dwell on the technique of subtext. Often it is the text that helps to understand the nature of the music, achieve natural phrasing, and find the character of the sound. Let us note that the subtext always carries an artistic and semantic load.
I will give an example from my practice. When working with a 3rd grade student on R. Schumann’s play “A Little Romance,” we encountered some difficulties. Having learned the part of each hand separately, the student still could not figure out the strokes and separate the theme and accompanying chords. Expressiveness and emotional brightness largely depend on the execution of the melodic line, since melody is the main carrier of meaning in a musical work. It was the title of the play (“Little Romance”) that gave us the idea that it could be sung if we substituted some words. We took a very simple subtext, since this was done right in the lesson, but we still tried to connect the words with the nature of the music. The result was achieved immediately. After the first playback, the student herself, without my help, connected both the theme and the chords with both hands. Moreover, the character of the sound also changed: apparently, the text itself was adjusted to the desired mood - the girl began to play much softer and more sincerely. We later talked little about the nature of the sound in this formation.”
N.A. Peretrukhina: “When working with older students, parallels with other types of art - literature, poetry, painting, architecture, etc. play an important role. Visual images, philosophical reflections, poetic analogies, intellectual excursions into the field of other arts and even science should not be considered an attempt to verbally retell the content of a musical work. The goal here is different - to “turn on” figurative-associative thinking and, thereby, evoke an emotional response. We fantasize and draw, come up with “plots” and titles for musical plays, read poetry and prose, listen to the music of great composers performed by masters, conduct, and try to compose poetry and music ourselves.
I suggest to a 2nd grade student creative task“Gallery of images” (selection of an associative image series). We listen to “Consolation” by F. Liszt (played by a 6th grade student). Aglaya (10 years old) “draws” music with words: “This is night. The lake is magical, deep. Floats beautiful swan. And the stars. Kingdom of the Stars! This is heavenly music."
Sometimes my students create “mood albums” dedicated to their favorite musical compositions.
Thus, the album based on the play “Barcarolle” by B. Shchurovsky, made by 5th grade student Polina Kryukova, presents landscape watercolors, sketches, and sketches that became a reflection of the girl’s artistic quest. Here we see poems by I. Bunin, M. Voloshin. Through drawing and the poetic word, the girl achieves a figurative, artistic comprehension of a musical piece.
However, music itself sometimes becomes a “tempt” for an artistically gifted child. “Nocturne” by P.I. Tchaikovsky became such “music of the soul” for Polina, which prompted the 13-year-old girl to write her own poems.
Quietly silvering, the ringing strives upward.
Starry snow, like laughter, sparkles with brilliance.
Spirits of light intertwined in the pale blue air;
And the length of the sounds is painful
will be limited to the light.
A wondrous old dream came to life in the heights -
A clear world of purity in a sea of dreams...
Rising easily, the ringing of bells
floats away
To worlds of endless joyful memories.
Under the impression of the poetry of Andrei Bely and “Requiem” by W.A. Mozart, the following lines were composed:
And every moment is just a mistake
In the concept of justice.
But the calm smile never goes away,
Trusting in God's mercy.
And it should not be brought to justice recklessly,
Which has been preserved harshly for centuries.
If cruelty is carried into oblivion
incomprehensible
New cruelties will reign.
But through the bitterness of suffering, darkness
bitterness,
I believe that the stellar memory will last.
Oh, Lord, give us only
holy patience!
Everything else will be remembered later.”
So, we note that the disclosure artistic meaning a piece of music as fully as possible (so that it sounds clearly and expressively, adequate to its content) - this is what the teacher and student should strive for in a joint search.
It is important to awaken a child’s interest in creativity, constantly remembering that all children are talented. And in many ways, a child’s path in art and creativity is determined precisely by his meeting with a sensitive, knowledgeable Teacher.
Marysheva Oksana Aleksandrovna
Job title:
Educational institution:
MBU DO "Krasnokholmskaya Children's Art School"
Locality: Krasny Kholm city, Tver region.
Name of material: public lesson
Subject:"Working on the artistic image in program piano works"
Publication date: 05.10.2017
Chapter: additional education
MUNICIPAL BUDGETARY INSTITUTION
ADDITIONAL EDUCATION
"KRASNOKHOLMSKAYA CHILDREN'S SCHOOL OF ARTS"
Open piano lesson
Topic: “Working on an artistic image in software
piano works"
Marysheva O.A.
piano teacher
municipal budgetary institution
additional education
"Krasnokholmsk Children's Art School"
Open piano lesson
Subject
lesson:"Job
artistic
software
piano
works".
Target
lesson: Reveal and express in performance the figurative content of the musical
works.
Lesson objectives:
develop Creative skills children;
activate, stimulate, direct the thinking process of students;
work
expressiveness
musical
overcoming
performance difficulties;
consolidation of the skill of competent pedaling;
achieving the level of figurative completeness of the work;
contribute to the formation of positive motivation and interest in students
learning process.
Equipment and materials:
piano instrument;
multimedia lesson support: TV, DVD;
reproductions.
Lesson type: combined.
Lesson Plan:
Introductory part
Main part: work on the work
Final part
Introduction
training
further
teacher
necessary
develop
improve not only the technical skills of using the instrument of your students.
intensively
"immerse"
executable
"infect"
The work should touch his soul and awaken his imagination. Already from execution
At the beginning of training, the first melodies must be obtained from the child so that he plays them
expressively, with understanding of character.
artistic
the emotional and poetic beginning appears more clearly. If the music captures the student,
emotional
state
positively
diligence,
contribute
targeted
persistent
nuances, playing techniques of performing this work, so that as a result it
sounded bright, meaningful, expressive.
Program music - kind instrumental music; musical works,
having a verbal, often poetic program and revealing what is captured in
software
apply
musical
visualization, sound writing, specification through genre.
The simplest form program music- picture program (musical
nature pictures, folk festivals, battles, etc.).
On this lesson work on the artistic image of a piano will be shown
works by Yu. Shchurovsky “Morning” from the pioneer suite “Winter”.
Main part of the lesson
Many artists, poets, and composers have addressed the theme of morning.
reproductions
artists:
pine
“Foggy morning”, A. Adamov “Early morning”), poets: Y. Polonsky “Morning”, A. Pushkin
“Winter Morning”, composers: P. Tchaikovsky “Winter Morning”, S. Prokofiev “Morning”, E. Grieg
"Morning" etc.
So today we will try to reveal and express in performance the musical
picture of a winter morning. In order to plunge into the atmosphere of a winter morning, the teacher
offers to look at pictures of a winter morning to the music of P.I. Tchaikovsky "Winter Morning".
Slide show.
Conducted together with the student detailed analysis works based on proposals.
The student drew a picture for each sentence. Work is being done on each
proposal. The student first tells what image she wants to show in this
sentence, then tries to express his idea by performing it on the piano.
Working on an artistic image is also working on sound production,
a variety of performing techniques necessary to convey character
musical
works.
Appeals
attention
performing
difficulties,
which are processed separately.
The teacher, together with the student, analyzes the dynamic plan, strokes,
In the play "Morning" the role of the pedal as a colorful tool is important. The sound is given
not only new colors and a new timbre, but also greater volume and fullness. Pedal
helps
to uncover
expressive
artistic
possibilities
The pedal connects different sounds into one harmony, helps to combine different
elements of texture. In this piece the pedal is delayed, the game is played with a delayed
pedal usually causes difficulty for children, so special testing must be carried out
work to consolidate the skill so that the foot does not knock on the pedal or rise above it,
and I constantly felt it with a soft touch with constant auditory monitoring of cleanliness
sound.
For independent work, the student was given homework to choose
poem about morning. A student reads S. Smusenko’s poem “Morning”:
The sun rose in the morning
Before the first bird
Braiding in the wind
Rays in braids.
I want to catch the sun
Early this morning
Caress and warm
Everything is in white light.
How happy everyone around is
Animals, birds, fish,
River, field, garden and meadow
Sunny smile!
After the work done in the lesson, the student performs the piece “Morning”,
in which she tried to express the artistic image of a picture of a winter morning.
At the end of the lesson, the teacher invites you to listen and watch the slides on
work by E. Grieg “Morning”.
Conclusion
playing
student
remind
the need to constantly listen to yourself, your performance as if from the outside, to try
Right,
expressively,
emotionally,
notice
shortcomings in order to correct them later.
It is possible to achieve success in working on the embodiment of an artistic image only
continuously
developing
musicality
intelligence,
emotional
responsiveness
improving
sound production.
images
persistently
works,
improves pianistic technique, striving to convey more clearly in his performance
artistic image of the work.
It is important to use various methodological techniques in the lesson to activate
creative thinking of the student, for active involvement in work, so that the lesson is
interesting and not boring.
To work at home, you can give the task to continue the work started in class on
execution
accompaniment
dynamic
shades,
consumption
pedals, work on the artistic image of the play.
One of the main requirements of G. Neuhaus for achieving artistic beauty
performance is the requirement of simplicity and naturalness of expression. All the work
taking place in his class was all possible work on music and its implementation in
piano playing, in other words - on the “artistic image” and piano
technology. That teacher is no good, even if he has a brain, who
is satisfied with stories about the “image”, about the “content”, about the “mood”, about the “idea”, about
"poetry"
achieves
most specific,
material
incarnations
statements
suggestions
nuances,
perfect
piano
technology. Likewise, a teacher who clearly sees only the piano is no good.
playing, piano “technique”, but about music, about its meaning and laws, has only
vague idea.
Leaning on
possibilities
development,
achieve,
executable
"said"
understanding
moods,
character
works
main
artistic
begins
studying
works.
Music used:
P.I. Tchaikovsky "Winter Morning" from "Children's Album"
E. Grieg “Morning” from the suite “Peer Gynt”.
Kuzminykh Nadezhda Valerievna
Job title: piano teacher
Educational institution: MBUDO "Children's Art School No. 5 of Yoshkar-Ola"
Locality: Yoshkar-Ola, Republic of Mari El
Name of material: methodological work
Subject:"Working on an artistic image in program works junior classes in piano class"
Publication date: 23.04.2017
Chapter: additional education
Municipal state-financed organization additional education
"Children's Art School No. 5 in Yoshkar-Ola"
Plan summary open lesson on the topic:
“Work on the artistic image in program works
Prepared by: class teacher
piano Kuzminykh N.V.
Yoshkar-Ola, 2016
Lesson time: 10.00-10.40
Location: Small Hall of the Mari Republican College
Academic subject:“Specialty and sight reading” (piano)
Educational
program:
additional
pre-professional
general education
program
musical
art
"Piano"
Information about the student: Gudina Ksenia
grade: third grade, duration of study - 8 (9) years.
Lesson duration(By curriculum) - 40 min.
Lesson format: individual
Lesson type: combined.
Lesson type: a lesson in generalizing and systematizing what has been learned.
Management methods:
Visual (auditory and visual);
Verbal (figurative comparisons, verbal assessment of performance);
Problematic – search;
Explanatory – illustrative;
Methods of demonstration and imitation, comparative analysis.
Technical means: piano, stands, sheet music, workbook
student, visual aids, music Center.
Lesson topic:
artistic
software
works
junior classes in piano class"
The purpose of the lesson:
Development of a set of performance skills that contribute to holistic,
artistic execution of the work.
Lesson objectives:
Educational:
Stylistically correct and meaningful execution;
Awareness of the logic of constructing musical phrases and the structure of form
works;
Work on the expressiveness of musical language, overcoming
performance difficulties;
Stabilization of the sense of rhythm;
Expressive performance of the melodic line;
Development of phrasing thinking;
Formation of the ability for precise line execution;
Educational:
Development of creative imagination
Development of attention, ability to listen and hear music;
Development of expressive performance skills;
Educational:
education of intonation-figurative thinking;
fostering positive motivation in learning software
works in piano class;
fostering respect for the classical musical heritage.
Health saving:
Correct posture, position of the body, hands.
Use of educational technologies:
Technology
problematic
training.
Creation
problematic
situations.
Problematic
are compiled
activities:
piano,
in harmony
music,
intellectual tasks.
Technology
developing
training.
sequences
development educational material is one of the significant trends in
modern
development
Compulsory
condition
effective
training
developing
learning can be divided into 3 groups: logical comprehension of what is received
educational
material,
practical
development
musical
information,
creative operation with educational material.
Technology
formation
motivation
activities.
development
plans, when selecting material for lessons, the teacher should always take into account
character
needs
students.
educational
the material must be accessible, based on their existing knowledge and
rely on them and life experience children, but at the same time material
should be quite complex and difficult.
4.Health-saving technology. Communication style between teacher and students
influences the health status of schoolchildren. If the process of acquiring knowledge
interesting
motivated,
assimilation
material
overload.
Application
technologies
complex
techniques
methods
organizations
strengthens
motivation to study the subject, helps to evoke positive emotions.
Lesson plan:
1. Characteristics of R. Yakhin’s creativity
2. Style features piano pieces by R. Yakhin.
3. The play “On the Christmas tree at Guzel’s”
the character and main idea of the play;
analysis of the form as a whole and characteristics of the main sections; tonal
phrasing; textured, rhythmic, rhythmic
peculiarities; dynamics;
motive-thematic unity between sections;
4. detailed work over the main difficulties:
maintaining a sound line;
rhythmic features;
identification of the general line of development, culmination;
tonal and figurative contrast between sections;
Progress of the lesson.
Time
Stages
Organizational:
Tasks:
Performance
girls present
teachers.
INTRODUCTION
Creation
positive
psychological mood
in class.
Hello. Today on open lesson student 3-
1st class Gudina Ksenia. The topic of our lesson: “Work
artistic
software
PRODUCTIONS
m l a d sh i h
class
class
piano"We
contacted
plays" by Rustem Yakhin "On the Christmas tree at Guzel's" Slide 2.
Getting to know the composer's work.
m Mukhametkhaze
Khin (1921-1993) - Tatar
composer, pianist, National artist USSR (1986).
Worked in all genres of classical music
Yakhin’s diploma work upon completion of the Moscow
conservatory
piano
first concert
instrumental
written
Tatar
composer. He is also known as the first Tatar
solo pianist,
engaged in
concert-
performing activities.
Yakhin R. M. wrote 400 songs and romances, of which 13
marked
diplomas
bonuses
all kinds of
competitions
Works for piano:
Concerto for piano and orchestra, Sonata, Suite (4
parts), plays (more than 20).
A new system of feelings, originality of intonation, deep
the nationality of the composer's music was the reason for it
enormous popularity not only in our republic,
but also far beyond. Slide 3
Brief description of the cycle
In general, the cycle consists of three different plays:
“At Guzel’s Christmas tree”
Santa Claus and a bear dance a Russian dance.
Waltz (Güzel plays a waltz for his guests)
Conversation
contents.
Tasks:
D o n e s t i
tonka
w i v o p i s n a
sketch,
o f painted
with light,
magical
joyful
mood.
d e t m i
holiday New Year- This
happiness..
New Year is the most wonderful, magical holiday. We
make a wish
Necessarily
will be fulfilled.
The name sets us up for the perception of musical
That's right...we
introduce
elegant
decorated
multi-colored
garland,
friends at the New Year's party.
From the available words on the slide in the presentation, select
characterize
Guzel." Slide No. 5
Magic
p o l o t n o,
excitedly, enthusiastically,
reverently,
inspired. Poetry and music can be interconnected
each other, often complement each other. Russian poet
Agnia Lvovna Barto wrote this:
What is New Year?
Snow and delights of weather,
Travels through a Fairy Tale,
Adventure round dance!
This is reality and magic!
Conspiracies, witchcraft!
Just a miracle of transformation
Celebration of the Good Fairy!
Look at the slide. New Year is the most wonderful
holiday.
Main part.
From this cycle by R. Yakhin, your attention will be
presented
performs the work in its existing version.
The character and main idea of the play, analysis of the form in
whole and characteristics of individual parts.
Next
includes
detailed
studying the text. The teacher explains that the important role in
awareness of the artistic image of the work plays
software
program
concluded
the title of the play.
We consider the form of the play. The student answers that
characteristics,
musical
designation
character
(Animatoleggiero - inspired, lively and light).
We conclude together that part I is inspired, in
It combines a certain slowness and movement.
there is a certain contrast with the first part,
present
lightness,
airiness.
Swiftness and lightness - this is the character of Part II. III
part is a return to the mood of part I.
So, let's voice the composer's main idea
of the above: play
Guzel" is written in three-part form and is based on
comparison
is
finished
work,
thanks to
motive-thematic unity between sections.
Let us now stop and work in more detail on I
students.
concerns
clock
Features of Part I:
Look and tell me how many bars are in I
musical proposal? The student answers
Theme of the first part of the dance (which contains 8 bars)
consists of one repeating element first in
one octave, then another. We are working on the element.
The main performance difficulties of the first section
first movement: rhythmic precision; good dubbing
sound
dynamics.
Work is underway to overcome these difficulties.
Then the student performs part 1, the first eight bars.
melody.
Appeals
the student’s attention to the development of the melodic line. IN
it contains a mixed rhythm (sixteenth notes,
eighth notes);
articulation
fingers lead a common line legato.
We are achieving
inspired mood, and the music was imbued
a kind of kindness and grace.
not so much about tenderness, but about the softness of sound.
An accent also appears here to highlight the note.
“D” and “A” (2,4,6 measures). Working on phrase 2, we lead
melodic
pay attention to the dynamic line (Do
crescendo
on mp).Grace
continues
be present
the accent gives the melody a certain brightness. It is important to note
attention and left hand, a chord appears there
texture, arranged chords with emphasis on the first
Achieve
unity
execution
speakers.
We are working
pattern
separately,
we're losing
chords,
intended
articulation
We play the entire left hand separately, doing everything
Accurate
sh t r i h i.
tenderness
smoothness
fragment.
We are achieving
good
sound,
investing
They help
feeling
good
song
beginning. Paying attention to dynamic shades, on
deviations from the tempo, we play 3 parts in their entirety.
Pedal. Try to use silent pressing
pedal, not to make it heavier, but to facilitate the execution of motives,
while clearly losing everything.
Final:
SUBMISSION
and t about g about in
classes.
HOME
exercise.
At the end of the lesson we list the aspects that were
studied during the lesson and helped us reveal
artistic image of the work.
3. The era of creation of the work;
4. Software;
5. Form of the work, determination of the main
climax;
6. Mastery of rhythm;
7. Interpretation – sound realization of the musical text,
where the musical text is the building plan recorded on
paper. Having learned the piece by heart, we put it as
frame, and only after performing the piece at a concert
Conclusion.
In the musical text, it is important to clearly intonate phrases,
motives. Music has its own punctuation marks - beginnings
intonations,
compliance helps organize and streamline our
musical
work,
achieve
maximum
artistic
results
Lesson Analysis:
The result of the lesson showed that the tasks set
teacher, were
fully disclosed:
Clarity and clarity of assigned tasks.9
Musical material that promotes development
child's creative abilities.
Creating a figurative series (figurative comparisons,
associations).
Activation of auditory control.
Development of thinking.
Innings theoretical concepts in the context
musical image.
Self-analysis by students of performed works.
Homework: work on expressiveness
sound and stylistic precision of execution.
Open Lesson Plan
Item: piano
FULL NAME. teacher: Alexandra Anatolyevna Popova
F.I. student: Natasha Moses
Year of study - 5th grade age 11 years
Lesson topic: “Working on a play by a Russian composer of the 19th century”
Convey to the child artistic features image of "Song
lark"
op. 39 P.I. Tchaikovsky, through comparative analysis with the play
"Lark"
M.I. Glinka.
Eliminate technical errors by working on difficult areas
“Song of the Lark” P.I. Tchaikovsky.Open lesson plan
Characteristics of the student.
Ksenia Gudina - 3rd grade piano student, 10 years old. Without music
preparation.
excellent
musical
sustainable,
developed sense of rhythm, developed internal ear for music, sufficient
an extensive store of auditory concepts, excellent musical memory.
Emotionally responsive to music, temperamental. An addicting nature.
Serious, self-critical.
Despite his age, he has inner culture and intelligence.
subjects
musical
succeeds
“good” and “excellent” in a comprehensive school.
friendly
contact
classes
applies
seriously,
works
tool
enthusiastically,
Copes with highly complex repertoire. Likes to perform
stage, good
copes
variety
excitement.
mastered by her in full, her hands are free and well organized for
playing an instrument. There is a slight inconvenience in positioning the hands - low
due to
weakness
palmar
achieved to correct this inconvenience, continues to actively work on
positioning of hands. Very responsible and efficient, knows how to set goals
and ensure their implementation. Can work productively independently.
List of used literature
Alekseev
Methodology
training
piano.
Music, 1978.
Asafiev B.V. Musical form as a process. – M.: EE media,
Barenboim
piano
pedagogy
performance. – L., 1969.
Outstanding pianists-teachers about the art of piano. –M. –
Ginzburg L. About working on a piece of music: Method,
feature article. – 2nd ed. – M., 1960.
Hoffman I. Piano playing Answers to questions about the piano
game. – M.: Classic XXI, 2007.
Kauzova A.G., Nikolaeva A.I. Theory and methodology of teaching playing
piano: Textbook. allowance / Under general. Ed. G.M. Tsypina – M.:
Vlados, 2001.
Kogan G. At the gates of mastery. M.: Classics XXI, 2004
Korto A. About piano art. - M.: Classics XXI, 2005.
10.Mazel L.A. On the nature and means of music: A theoretical essay.
11. McKinnon L. Playing by heart. – M.: Classics XXI, 2006
12.Medushevsky
patterns
with r e d s t v a x
artistic impact of music. – M.: Muzyka, 2010.
Casual
pianist
composer:
Pages from a notebook. – 2nd ed. – M., 1979.
14. Neuhaus G. G. About the art of piano playing. Ed. 7th, rev. And
add. – M.: Deka-VS, 2007. 15. Nikolaev A.A. Essays on history
piano pedagogy and pianism theory. – M., 1980.
15. Razhnikov V.G. Reserves of music pedagogy. – M., 1980.
16.Savshinsky
pianist
musical
work. - M.: Classics XXI, 2004.
17. Tsypin G.M. Learning to play the piano. – M., 1984
18. Schumann R. About music and musicians. - M., 1979. - T. 2-B.
unresolved
Ilyin // Issue. psychology. 1986. - pp. 138-147.
Municipal budget educational institution
additional education for children
"Children's Art School" in Kamyshi
Kursk district, Kursk region
Methodological development
Subject: "
Compiled by: teacher of folk strings
tools
Malyutina Oksana Vyacheslavovna
2015
TABLE OF CONTENTS:
I.EXPLANATORY NOTE
II. CONTENT:
1. INTRODUCTION
2. STAGES OF WORK ON THE WORK:
sound design
preparation for concert performance
3. CONCLUSION
III. BIBLIOGRAPHY
IV. LIST OF ELECTRONIC EDUCATIONAL RESOURCES
Explanatory note to methodological development « Formation of the artistic image of a musical work.” This methodological development is intended for teachers of preschool secondary schools and art schools. This work reveals the methods and methods of work used in creating the artistic image of the performed works. The main task is not only to teach students how to perform technical works well, but also to try, with the help of sounds, to convey all the thoughts and feelings, character, image that the composer put into his specific work. The initial goal of this work is to develop the interest of a researcher among students, and the end result is to develop independence in performance and understanding musical material, methods of its transmission. As one of the features of performing works in training classes, there are several stages of work that will help lead to the desired result. This contributes to the fact that the teacher creates a certain scheme of work, consistent primarily with his teaching experience and, accordingly, specifies the abilities and characteristics of each student. The motto of this work can be the words “from simple to complex.” The whole range of necessary skills of a domrist: from the simplest movements to complex (combined) movements, corresponding modern level performer's skill.
“Music is a revelation higher than wisdom and philosophy.
Music should strike fire from the human soul.
Music is a popular need"
/ Ludwig van Beethoven. /
Just as gymnastics straightens the body, so music straightens the human soul.
/ V. Sukhomlinsky /
Introduction.
An artistic image is an image from art that is created by the author work of art in order to most fully reveal the described phenomenon of reality.
The main task of the teacher is to teach the child to meaningfully and sensually convey the content of the work and the composer’s intention with sounds. Technical perfection and virtuosity of execution are only a means to achieve a highly artistic goal. “Mastery... in performance begins where technical brilliance disappears, where we listen only to music, admire the inspiration of the game and forget about how, with what technical means the musician achieved this or that expressive effect...” wrote D. Shostakovich. - ...All the richest technique of these musicians, a truly limitless complex expressive means", which they own, are always completely subordinated to the task of the most vivid and convincing embodiment of the composer's plan, conveying it to the listener."
Working on a piece of music is one of the components performing process. An artistic interpretation of a musical work plays a particularly important role both in the formation of a future musician and in the subsequent development of his performing skills, musical thinking, taste, and aesthetic outlook. Studying a particular piece of music can give good results only under the condition of a correct understanding of the methods of working on it, which are based on the principle of step-by-step - sequential learning.
Stages of work on a work.
Formation of an image-representation
Work on the work can be divided into four stages. Of course, such a distinction is conditional and is determined by the individual data of the student. The very division of the process of working on a work, and the duration and content of its individual stages are conditional.
First stage
general preliminary familiarization with the play, with its main artistic images, the emotional tone of the work, and technical tasks.
Second phase
a deeper study of the play, selection of means of expression and mastery of them, detailed work on the play in parts and excerpts.
Third stage
this is a holistic and complete performance embodiment of the play's concept, based on a deep and detailed preliminary study of it.
Fourth stage
achieving the readiness of the play, preparing the play for stage execution, that is, its masterful performance at a concert or exam.
As a rule, the work often details the content of the main central stage of the work (undoubtedly the most voluminous), and insufficient attention is paid to the first and last stage, as a result, the musical work loses its core, the unity of thought put into it by the author. Fragmentary performance, distorting musical content, generates fragmented perception, therefore one of the teacher’s tasks isdeveloping the ability to grasp the composition of a work and determine the place and role of each element in it.
First stage - familiarization with the musical material of the work
The initial goal of a teacher’s work with a student is to interest the student and arouse the interest of the researcher in him.
At the first stage, the student covers only general character and the emotional tone of a piece of music. Gradually this impression begins to differentiate, but initially only a few components of the whole are identified. At the stage of familiarization with the worktarget pedagogical activity is to develop artistic thinking students, the formation of an attitude towards creating the image of the play.
The origin and development of the musical performing image in different children occurs differently depending on the degree of their talent. But in any case, it is good when the student can express his opinion in words about the nature of the work - the quality of sound, the nature of the strokes, articulation, and playing movements will largely depend on this.
The student can become familiar with the work by showing the teacher, reading from a sheet (playing a sketch). After playing the piece by the teacher, the student must himself or with the help of the teacher collect information about the composer, his era, the time of creation of the work; study the main features of the author’s style; determine the emotional structure of the work and conducta brief musical theoretical analysis of the work.
First stagework on the play sets itself the following goals:tasks :
Understand the form, style, mood of the work;
To trace the development of the author's thought, to understand the logic of its development;
Understand the integrity of the content of the piece on the basis of musical theoretical analysis (tempo designations, dynamic shades, the nature of the melody, strokes);
Recognize the contours of the sound form (pitch, rhythm,semantic accents, caesuras);
Discover the most noticeable elements of expressiveness.
The deepening of the preliminary analysis of the work will continue throughout the work on the essay. The first introductory stage facilitates the student’s quick orientation in the contours of the shape of the sound canvas.
Second phase - working on subtleties and details
At the second stage, the disclosure of the plan is carried out on the basis of a much more complete analysis, which creates the possibility of a synthetic approach to the piece being performed. At this stage, students, identifying the leading components of the artistic image of a musical work - melody, harmony, rhythm, etc., establish their interaction.
Target The second stage of working on a piece of music involves a detailed study of the author's text.
A scrupulous study of musical notation clarifies the processes of development of a work, clarifies the internal auditory understanding of each facet of the image, and teaches us to understand and appreciate the role of individual means of musical expression within the artistic whole.
Tasks second stage:
Parse the musical text;
Determine the characteristic features in the structure of the melody - finding semantic accents, climaxes, agogic nuances in its contour;
Working on technology and artistic expression performance of the work (sound quality, its timbre coloring and sound coloring, dynamic nuances);
Achieve smoothness and continuity of presentation.
Crushing into links - isolating the simple from the complex;
Counting out loud, tapping a rhythmic pattern, playing an instrument;
Exaggerated, hyperbolic display of the teacher;
Using leading questions;
- “sound-word” or interlinear text.
Analysis of the musical text is one of the main ways to accurately understand the contours of the musical canvas; it must necessarily be combined with reading and understanding the stage directions. It must be remembered that any “random”inaccuracy of the game at the very beginning of work leads to a distortion of the emerging image , and that mistakes made during the first analysis often take root and greatly hinder the learning of the piece.
We often hear the opinion that the initial analysis should be so slow that the child can play an entire part of the piece in a row without making mistakes or stopping. This is hardly correct, because such a slow pace leads to a complete meaninglessness of the game. Therefore, it is advisable to use the method during initial analysiscrushing into certain parts.
Guided by methodical method isolatingfrom complex to simple , it is possible to facilitate the perception of music by temporarily fixing the student’s attention on some tasks while allowing only an approximate completion of others. For example, with an accurate reading of pitch and fingering, you can temporarily control the metric only by ear, or, while maintaining the accuracy and meaningfulness of the performance of all three named components, you can gradually connect new ones (feeling of phrases, dynamics, strokes, etc.).
The role of the method common in practice is greatperforming show as a means , suggesting ways to master specific performance tasks and difficulties. Mentioned above was a demonstration - a performance necessary for the student before starting work on a piece of music. However, such a holistic display moves further into the stage of a dissected display of individual artistic and technical details. One of these characteristic moments is an exaggerated demonstration, emphatically demonstrating to the student the sound and technical details of the performance that are not entirely successful for him.
Useful for enhancing the independence of executive decisionsmethod of leading questions, for example, “What did you miss about this piece?”, “Did it sound nice?” etc.
To cultivate the student’s independence, this method can also be used in tasks such as designating fingerings in individual passages of a work or caesuras between melodic structures. The task of the teacher is to achieve independence for the student at a certain stage of work on the work.
The essence of the “sound-word” or interlinear text method is that a verbal text is selected for a musical phrase or intonation pattern, which allows the child to more accurately feel the expressiveness of the music: intonation accents, endings of phrases.
Third stage – sound design
Target the third stage - combining the learned details into a whole organism, achieving the unity of all components of the work, proper expressiveness and meaningfulness of performance.
“I see – I hear – I play – I control.”
Tasks this stage of work on the work:
Develop auditory thinking skills and the ability to imagine the results of your action even before it is carried out;
Achieve smooth and easy performance (both from notes and from memory);
Overcome motor difficulties;
Connect game images;
Deepen the expressiveness of the game;
Achieve bright dynamic sound;
Clarify the rhythmically correct performance, achieve unity of tempo.
Integralthe stage of a musician’s work on the design of a sound image isconstantanalysis and auditory control in the process of execution. Thanks to auditory thinking, the student begins to grasp the logical connections of the essay, its semantic relationships. He gradually begins to anticipate and predict the onset of this or that fragment of the work.
To solve the tasks of the third stage of image-representation formation, the following are used:methods works:
Test plays of the entire piece;
Classes “in presentation” (without an instrument);
Conducting;
Comparison of small sections of music from each other different parts;
Multiple repetitions;
Gradual lengthening of musical thought.
Test plays will allow the performer to determine the proportions of the details of the composition in the whole canvas and adjust them among themselves. Thanks to trial performances, the domrist will be able to identify the degree of logic of transitions between constructions, eliminate inaccuracies in the rhythmic development of music, and the dynamic development of the performing image. Trial executions will allow you to discover technical shortcomings of the game.
It is necessary to combine trial plays in its entirety with ongoing in-depth work on the details and parts of the work.
In addition to trial performances, one of the links in mastering the form of a composition should beMusician's lessons without an instrument , work “in the mind”, “in imagination” - detachment from real, game problems, turning off finger (muscle) automatisms will lead to the activation of the musician’s imagination.
The methodology for developing the skill of performing a piece without relying on real sound should be built on the basis of the level of individual preparation of students, and be of a gradually increasing complexity.
"Conductor" The method of work is a unique form of training, as it allows you to embrace the entire work “in one circular movement, a continuous arc thread.” Such coverage will help the musician convey the non-stop flow of the sound stream, which will undoubtedly contribute to the harmony of the form of the work. Conducting is of particular importance whenorganization of temporary structure plays, in strengthening the musician’s sense of rhythm.
The methods of multiple repetitions and gradual lengthening are useful in working on motor-difficult sections of a piece.
Fourth stage – preparation for concert performance.
Capturing the holistic form of a work is possible only if the musician can rise above reality and turn from a direct participant in events into a director of a musical performance.
Target The final stage of a musician’s work on a work is to achieve the level of “aesthetic completeness” of interpretation.
One of the maintasks , which is staged at the final stage of work on the play - preparation for stage execution - this is"performing brilliance" which includes the indispensable ability to perceive and convey with no less internal fullness the entire variety of states, colors, and images of a work. It is important to achieve, upon completion of work on the play, internal liberation, creative freedom, and the ability toplay a piece with complete confidence, conviction, conviction in any setting, on any instrument, in front of any audience.
Before going on an important performance, the play must be “performed” in an unusual environment, in front of listeners. The success or failure of such execution will be an indicator of the degree of completion of the work. Currently, there are a large number of techniques to overcome stage anxiety. These include physical exercises and breathing exercises. But the key to success largely depends on good memorization of the text and memorization of the work, on detailed technically complex passages. I would like to quote the words famous pianist AND I. Paderewski:“If I don’t exercise for one day, only I notice. If I don't work out for two days, critics notice. If I don’t work out for three days, the public notices.” I would like to quote the words of A.P. Shchapov, thanks to which you can set up your students to concert performance: “Before a performance, all sorts of conversations about possible “excitement”, about the necessary “calmness” are completely inappropriate; no verbal convincing of the student that “everything is working out” is necessary.
Anxiety during a performance is completely inevitable, but it should lead... not to a deterioration, but to an improvement in the quality of the game. There should be not “calmness” on the stage, but “ creative confidence”, which only to a small extent depends not only on suggestion and self-hypnosis, but is also based primarily on a very generalized, but at the same time very real feeling of completion of the work, clarity of all artistic intentions, complete mastery of game concepts and technical apparatus, on the absence doubts, nebulae in memory images, lack of tension in motor skills.”
Conclusion.
Music can magically help in development, awaken feelings, ensure intellectual growth. As experience shows, under the influence music lessons Even children with mental retardation and mental retardation are beginning to make progress.
The role of the teacher in instilling in students the correct ideas about the artistic and figurative structure of the work being studied is very responsible. Clear, deeply conscious artistic purpose is the key to successful work on a piece of music.
The given methods of work should be considered as an approximate example, starting from which each teacher should make his own personal scheme, consistent with his teaching experience and specify it according to the characteristics of each student. In general, the proposed methods of work are designed to develop and enrich the child’s musical thinking. At the same time, they form creative connections that arise in the communication between the teacher and the student at certain stages of training.
