About the symphony orchestra. For a music lesson A major piece of music is performed by a symphony orchestra

Diagnostic work on music for 6 classes

Instruction for students.

Period of diagnostic work 1 lesson.

The work consists of 3 parts, including 14 tasks.

Part 1

Tasks 1-10

Each question has three possible answers, of which only one is correct. Write the correct letter in the answer sheet in accordance with the number of the task.

Part 2

Tasks 11-12

Choosing the correct answer to match the term and its definition, the author of the music and his work.

Write the correct letter in the answer sheet in accordance with the number of the task.

Part 3

Tasks 13-14

13. At the end of the task there are words that need to be inserted into the text according to the meaning. Write these words on the answer sheet.

14. A detailed explanation should be given in the answer sheet.

When completing assignments, you can use a draft. Please note that entries in the draft will not be taken into account when evaluating the work.

Points received by you for all completed tasks are summed up. Try to complete as many tasks as possible and score the most points.

We wish you success!

PartI

1. Literary works, which in ancient times it was customary not to tell, but to sing:

a) riddles

b) fairy tales;

c) epics.

2. A piece of music intended for singing without words:

a) vocalization;

c) romance.

3. Solemn state song:

c) cantata.

4. Work for symphony orchestra and solo instrument:

a) a concert

c) a symphony.

5. Choose the correct definition for the word polyphony:

a) in translation from Greek, this word means polyphony - a type of polyphony, which is based on the simultaneous combination of two or more independent melodies.

b) a musical form consisting of multiple repetitions of the main section - a refrain, with which episodes alternate.

c) a musical form consisting of a theme and its modified repetitions.

a) composer M. I. Glinka and poet W. Goethe

b) composer M.I. Glinka and poet A.S. Pushkin;

c) composer P.I. Tchaikovsky and poet A.S. Pushkin.

7. N. A. Rimsky-Korsakov wrote an opera for the 100th anniversary of A. S. Pushkin:

a) "Sadko";

b) "Snow Maiden";

c) "The Tale of Tsar Saltan".

8. The St. Petersburg Conservatory is named after:

a) M.I. Glinka;

b) N. A. Rimsky-Korsakov;

c) P. I. Tchaikovsky.

9. The State Academic Chapel of St. Petersburg is named after:

a) M.I. Glinka;

b) N. A. Rimsky-Korsakov;

c) P. I. Tchaikovsky.

10. From the listed surnames, select only the surnames of Russian composers known to you:

a) K.I. Chukovsky, A.S. Pushkin, N.V. Nekrasov;

b) F. Schubert, E. Grieg, L. Beethoven;

c) V.Kikta, V.Gavrilin, S.Rakhmaninov.

PartII

11. Establish a correspondence between the names of means of expression with their definitions:

12. Match the titles of works and composers:

PartIII

Insert the missing words according to the meaning:

In his diary, the artist V. Boris-Musatov writes about the interpenetration of music and painting:

“I sit at home and ask ____________________ to myself alone.

Instead of ______________, they have all the colors. I _______________________________.

My dreams are always ahead. They create whole _________________________ for me.

My thoughts are colors, my colors are __________________.

Words: improvisation, tunes, sounds, concerts, symphonies.

Justify the choice of words-terms.

I. Stage Music

1. Operas

"Maddalena", opera in one act, op. 13. Plot and libretto M. Lieven. 1913 (1911) "Player", opera in 4 acts, 6 scenes, op. 24. The plot of F. Dostoevsky. Libretto by S. Prokofiev. 1927(1915-16) "Love for Three Oranges", opera in 4 acts, 10 scenes with a prologue, op. 33. Author's libretto after Carlo Gozzi. 1919 "Fire Angel ", opera in 5 acts, 7 scenes, op. 37. The plot of V. Bryusov. Libretto by S. Prokofiev. 1919-27 "Semyon Kotko", opera in 5 acts, 7 scenes based on the story by V. Kataev "I am the son of the working people", op. 81. Libretto by V. Kataev and S. Prokofiev. 1939 "Betrothal in a Monastery", lyric-comic opera in 4 acts, 9 scenes based on Sheridan's play "The Duenna", op. 86. Libretto by S. Prokofiev, verse texts by M. Mendelssohn. 1940 "War and Peace ", opera in 5 acts, 13 scenes with a choral epigraph-prologue based on the novel by L. Tolstoy, op. 91. Libretto by S. Prokofiev and M. Mendelssohn. 1941-52 "A Tale of a Real Man", opera in 4 acts, 10 scenes based on the story of the same name by B. Polevoy, op. 117. Libretto by S. Prokofiev and M. Mendelssohn-Prokofiev. 1947-48 "Distant Seas", lyric-comic opera based on the play by V. Dykhovichny "Honeymoon Journey". Libretto by S. Prokofiev and M. Mendelssohn-Prokofiev. Not finished. 1948

2. Ballets

"The Tale of the Jester (Seven Jesters Who Changed Jokes)", ballet in 6 scenes, op. 21. Story by A. Afanasiev. Libretto by S. Prokofiev. 1920 (1915) "Steel Jump", ballet in 2 scenes, op. 41. Libretto by G. Yakulov and S. Prokofiev. 1924 "Prodigal son", ballet in 3 acts, op. 46. Libretto B. Kokhno. 1928 "On the Dnieper", ballet in 2 scenes, op. 50. Libretto by S. Lifar and S. Prokofiev. 1930 "Romeo and Juliet ", ballet in 4 acts, 10 scenes, op. 64. The plot of W. Shakespeare. Libretto by S. Radlov, A. Piotrovsky, L. Lavrovsky and S. Prokofiev. 1935-36 "Cinderella", ballet in 3 acts, op. 87. Libretto by N. Volkov. 1940-44 "The Tale of the Stone Flower", ballet in 4 acts based on P. Bazhov's tales, op. 118. Libretto by L. Lavrovsky and M. Mendelssohn-Prokofieva. 1948-50

3. Music for theatrical performances

"Egyptian Nights", music for the performance of the Chamber Theater in Moscow after W. Shakespeare, B. Shaw and A. Pushkin, for a small symphony orchestra. 1933 "Boris Godunov", music for an unrealized performance in the theater. V. E. Meyerhold in Moscow for a large symphony orchestra, op. 70 bis. 1936 "Eugene Onegin", music for the unrealized performance of the Chamber Theater in Moscow based on the novel by A. Pushkin, staged by S. D. Krzhizhanovsky, op. 71. 1936 "Hamlet", music for the play staged by S. Radlov at the Leningrad Drama Theatre, for small symphony orchestra, op. 77. 1937-38

4. Film scores

"Lieutenant Kizhe", film score for small symphony orchestra. 1933 "The Queen of Spades", music for an unrealized film for a large symphony orchestra, op. 70. 1938 "Alexander Nevskiy", film score for mezzo-soprano, mixed choir and large symphony orchestra. Directed by S. M. Eisenstein. 1938 "Lermontov", film score for large symphony orchestra. Directed by A. Gendelstein. 1941 "Tonya", music for a short film (not released) for large symphony orchestra. Directed by A. Room. 1942 "Kotovsky", film score for large symphony orchestra. Directed by A. Feintsimmer. 1942 "Partisans in the steppes of Ukraine", film score for large symphony orchestra. Directed by I. Savchenko. 1942 "Ivan groznyj", film score for mezzo-soprano and large symphony orchestra, op. 116. Directed by S. M. Eisenstein. 1942-45

II. Vocal and vocal-symphonic music

1. Oratorios and cantatas, choirs, suites

Two poems for women's choir and orchestra to the words of K. Balmont, op. 7. 1909 "Seven of them" to the text by K. Balmont "Calls of Antiquity", cantata for dramatic tenor, mixed choir and large symphony orchestra, op. 30. 1917-18 Cantata for the 20th anniversary of October for symphony orchestra, military orchestra, accordion orchestra, percussion orchestra and two choirs on texts by Marx, Lenin and Stalin, op. 74. 1936-37 "Songs of Our Days", suite for soloists, mixed choir and symphony orchestra, op. 76. 1937 "Alexander Nevskiy", cantata for mezzo-soprano (solo), mixed choir and orchestra, op. 78. Words by V. Lugovsky and S. Prokofiev. 1938-39 "Toast", cantata for mixed choir accompanied by a symphony orchestra, op. 85. Folk text: Russian, Ukrainian, Belarusian, Mordovian, Kumyk, Kurdish, Mari. 1939 "The Ballad of a Boy Remaining Unknown", cantata for soprano, tenor, choir and orchestra, op. 93. Words by P. Antokolsky. 1942-43 Sketches for the Anthem of the Soviet Union and the Anthem of the RSFSR, op. 98. 1943 "Flourish, mighty land", cantata for the 30th anniversary of the Great October Socialist Revolution for mixed choir and orchestra, op. 114. Text by E. Dolmatovsky. 1947 "Winter bonfire", suite for readers, boys' choir and symphony orchestra to words by S. Ya. Marshak, op. 122. 1949 "Guarding the World", oratorio for mezzo-soprano, reciters, mixed choir, boys' choir and symphony orchestra to words by S. Ya. Marshak, op. 124. 1950

2. For voice with piano

Two poems by A. Apukhtin and K. Balmont for voice with piano, op. 9. 1910-11 "Ugly duck"(Andersen's fairy tale) for voice and piano, op. 18. 1914 Five poems for voice with piano., op. 23. Words by V. Goryansky, 3. Gippius, B. Verin, K. Balmont and N. Agnivtsev. 1915 Five poems by A. Akhmatova for voice and piano., op. 27. 1916 Five songs (without words) for voice and piano., op. 35. 1920 Five poems by K. Balmont for voice and piano., op. 36. 1921 Two songs from the film "Lieutenant Kizhe" for voice and piano., op. 60 bis. 1934 Six songs for voice with piano., op. 66. Words by M. Golodny, A. Afinogenov, T. Sikorskaya and folk. 1935 Three children's songs for voice with piano., op. 68. Words by A. Barto, N. Sakonskaya and L. Kvitko (translated by S. Mikhalkov). 1936-39 Three romances to words by A. Pushkin for voice and piano., op. 73. 1936 "Alexander Nevsky", three songs from the film(words by B. Lugovsky), op 78. 1939 Seven songs for voice with piano., op. 79. Words by A. Prokofiev, A. Blagov, M. Svetlov, M. Mendelssohn, P. Panchenko, without author's name and folk. 1939 Seven mass songs for voice with piano., op. 89. Words by V. Mayakovsky, A. Surkov and M. Mendelssohn. 1941-42 Arrangements of Russian folk songs for voice and piano., op. 104. Folk words. Two notebooks, 12 songs. 1944 Two duets, arrangements of Russian folk songs for tenor and bass with piano., op. 106. Folk text, recorded by E. V. Gippius. 1945 Soldier's marching song, op. 121. Words by V. Lugovsky. 1950

III. For symphony orchestra

1. Symphonies and symphoniettas

Symphonietta A-dur op. 5, in 5 parts. 1914 (1909) Classical (First) symphony D-dur, op. 25, in 4 parts. 1916-17 Second symphony d minor, op. 40, in 2 parts. 1924 Third Symphony c minor, op. 44, in 4 parts. 1928 Symphonietta A-dur op. 48, in 5 parts (third edition). 1929 Fourth symphony C-dur, op 47, in 4 movements. 1930 Fifth symphony B-dur, op. 100. in 4 parts. 1944 Sixth symphony es-moll, op. 111. in 3 parts. 1945-47 Fourth symphony C-dur, op. 112, in 4 parts. Second edition. 1947 Seventh Symphony cis minor, op. 131, in 4 parts. 1951-52

2. Other works for symphony orchestra

"Dreams", symphonic picture for large orchestra, op. 6. 1910 "Autumn", symphonic sketch for small symphony orchestra, op. 8. 1934 (1915-1910) "Ala and Lolly", Scythian suite for large symphony orchestra, op. 20, in 4 parts. 1914-15 "Jester", suite from the ballet for large symphony orchestra, op. 21 bis, in 12 parts. 1922 Andante from the Fourth Sonata for piano., transcription by the author for symphony orchestra, op. 29bis. 1934 "The Love for Three Oranges", symphonic suite from the opera, op. 33 bis, in 6 parts. 1934

Overture on Jewish Themes, transcription by the author for symphony orchestra, op. 34. 1934

"Steel Jump", symphonic suite from the ballet, op. 41bis. in 4 parts. 1926 Overture for flute, oboe, 2 clarinets, bassoon, 2 trumpets, trombone, celesta, 2 harps, 2 piano, cello, 2 double basses and percussion B-dur, op. 42. Two versions: for a chamber orchestra of 17 people and for a large orchestra (1928). 1926 Divertimento for orchestra, op. 43, in 4 parts. 1925-29 "The Prodigal Son", symphonic suite from the ballet, op. 46 bis, in 5 parts. 1929 Andante from quartet h-moll, arranged by the author for string orchestra, op. 50 bis. 1930 Four portraits and denouement from the opera The Gambler, symphonic suite for large orchestra, op. 49. 1931 "On the Dnieper", suite from the ballet for large orchestra, op. 51 bis, in 6 parts. 1933 Symphonic song for large orchestra, op. 57. 1933 "Lieutenant Kizhe", symphonic suite from the film score, op. 60, in 5 parts. 1934 "Egyptian Nights", a symphonic suite from the music for the play at the Moscow Chamber Theatre, op. 61, in 7 parts. 1934 Romeo and Juliet, first suite from the ballet for large symphony orchestra, op. 64 bis, in 7 parts. 1936 "Romeo and Juliet", the second suite from the ballet for large symphony orchestra, op. 64 ter, in 7 parts. 1936 "Peter and the Wolf", a symphonic fairy tale for children, for reciter and large symphony orchestra, op. 67. Words by S. Prokofiev. 1936 Russian overture for symphony orchestra, op. 72. Two options: for a quadruple composition and for a triple composition. 1936 "Summer day", children's suite for small orchestra, op. 65 bis, in 7 parts. 1941 "Semyon Kotko", suite for symphony orchestra, op. 81 bis, in 8 parts. 1941 Symphonic March B-dur for large orchestra, op. 88. 1941 "1941 year", symphonic suite for large orchestra, op. 90, in 3 parts. 1941 "Ode to the End of the War" for 8 harps, 4 pianos, an orchestra of wind and percussion instruments and double basses, op. 105. 1945 "Romeo and Juliet", the third suite from the ballet for large symphony orchestra, op. 101, in 6 parts. 1946 "Cinderella", the first suite from the ballet for large symphony orchestra, op. 107, in 8 parts. 1946 "Cinderella", the second suite from the ballet for large symphony orchestra, op. 108, in 7 parts. 1946 "Cinderella", the third suite from the ballet for large symphony orchestra, op. 109, in 8 parts. 1946 Waltzes, suite for symphony orchestra, op. 110. 1946 Holiday Poem ("Thirty Years") for symphony orchestra, op. 113. 1947 Pushkin Waltzes for Symphony Orchestra, op. 120. 1949 "Summer night", symphonic suite from the opera Betrothal in a Monastery, op. 123, in 5 parts. 1950 "The Tale of the Stone Flower", wedding suite from the ballet for symphony orchestra, op. 126, in 5 parts. 1951 "The Tale of the Stone Flower", a gypsy fantasy from a ballet for symphony orchestra, op. 127. 1951 "The Tale of the Stone Flower", Ural Rhapsody from the ballet for symphony orchestra, op. 128. 1951 Festive poem "Meeting of the Volga with the Don" for symphony orchestra, op. 130. 1951

IV. Concerts with orchestra

First concerto for piano. with orchestra Des-dur, op. 10, single piece. 1911-12 Second concerto for piano. with orchestra g-moll, op. 16, in 4 parts. 1923 (1913) First concerto for violin and orchestra D-dur, op. 19, in 3 parts. 1916-17 Third concerto for piano. with orchestra C-dur, op. 26, in 3 parts. 1917-21 Fourth concerto for piano. with orchestra for the left hand B-dur, op. 53, in 4 parts. 1931 Fifth concerto for piano with orchestra G-dur, op. 55, in 5 parts. 1932 Concerto for cello and orchestra e minor, op. 58, in 3 parts. 1933-38 Second concerto for violin and orchestra g-moll. op. 63, in 3 parts. 1935 Symphony-concert for cello and orchestra e-moll. op. 125, in 3 parts. 1950-52 Concertino for cello and orchestra g-moll, op. 132. in 3 parts. Finished after the death of S. Prokofiev by M. Rostropovich. 1952 Concerto for 2 pianos and string orchestra, op. 133, in 3 parts. Not finished. 1952

V. For brass band

Four marches, op. 69. 1935-37 March B-dur op. 99. 1943-44

VI. For instrumental ensembles

Humorous scherzo for 4 bassoons, op. 12bis. 1912 Overture on Jewish Themes for clarinet, 2 violins, viola, cello and piano. c minor, op. 34. 1919 Quintet for oboe, clarinet, violin, viola and double bass g-moll, op. 39, in 6 parts. 1924 Quartet for 2 violins, viola and cello in h-moll, op. 50, in 3 parts. 1930 Sonata for 2 violins C-dur, op. 56, in 4 parts. 1932 First sonata for violin and piano. f-moll, op. 80, in 4 parts. 1938-46 Second quartet (on Kabardian themes) for 2 violins, viola and cello in F-dur, op. 92, in 3 parts. 1941 Sonata for flute and piano. D-dur, op. 94, in 4 parts. 1943 Second sonata for violin and piano.(transcription of the sonata for flute and piano) D-dur, op. 94bis. 1943-44 Sonata for cello and piano. C-dur, op. 119, in 3 parts. 1949

VII. for piano

1. Sonatas, sonatinas

First sonata for piano. f-moll, op. 1, in one piece. 1909 (1907) Second sonata for piano. d minor, op. 14, in 4 parts. 1912 Third sonata for piano. a minor, op. 28, in one part (from old notebooks). 1917 (1907) Fourth sonata for piano. c minor, op. 29, in 3 parts (from old notebooks). 1917 (1908) Fifth sonata for piano. C-dur, op. 38, in 3 parts. 1923 Two sonatinas for fp. e minor, op. 54, in 3 parts, and G major in 3 parts. 1931-32 Sixth sonata for piano. A-dur, op. 82, in 4 parts. 1939-40 Seventh sonata for piano. B-dur, op. 83, in 3 parts. 1939-42 Eighth sonata for piano. B-dur, op. 84, in 3 parts. 1939-44 Ninth sonata for piano. C-dur, op. 103, in 4 parts. 1947 Fifth sonata for piano. C-dur, op. 135, in 3 parts: (new edition). 1952-53 Tenth sonata for piano. e minor, op. 137. Exposition sketch (44 bars). 1953

2. Other works for piano

Four etudes for piano., op. 2. 1909 Four pieces for piano., op. 3. 1911 (1907-08) Four Pieces For piano., op. 4. 1910-12 (1908) Toccata for piano d minor, op. 11. 1912 Ten pieces for piano., op. 12. 1913 Sarcasms, five pieces for piano, op. 17. 1912-14 transience, twenty pieces for piano, op. 22. 1915-17 Tales of an old grandmother, four pieces for piano, op. 31. 1918 Four pieces for piano., op. 32. 1918 Waltzes by Schubert, selected and combined into a suite, transcription for 2 f-p. in 4 hands. 1918 Organ prelude and fugue in d-moll by D. Buxtehude, transcription for piano. 1918 "The Love for Three Oranges", 2 excerpts from the opera, concert transcription for piano. author, op. 33 ter. Year of creation unknown "Things in themselves", two pieces for piano, op. 45. 1928 Six pieces for piano., op. 52. 1930-31 Three pieces for piano., op. 59. 1934 Thoughts, three pieces for piano., op. 62. 1933-34 children's music, twelve easy pieces for piano, op. 65. 1935 "Romeo and Juliet", ten pieces for piano., op. 75. 1937 Divertimento, arranged by the author for piano., op. 43bis. 1938 Gavotte No. 4 from the music for the play "Hamlet" for piano., op. 77bis. 1938 Three pieces from the ballet "Cinderella" for piano., op. 95. 1942 Three pieces for piano., op. 96. 1941-42 Ten pieces from the ballet "Cinderella" for piano., op. 97. 1943 Six pieces from the ballet "Cinderella" for piano., op. 102. 1944

VIII. for violin

Five melodies for violin and piano., op. 35 bis. 1925 Sonata for solo violin D-dur, op. 115, in 3 parts. 1947

IX. For cello

Ballade for cello and piano. c minor, op. 15. 1912 Adagio from the ballet "Cinderella" for cello and piano., op. 97bis. 1944

Notes

Categories:

Lists of musical compositions

I Prokofiev Alexander Andreevich, Russian Soviet poet, Hero of Socialist Labor (1970). Member of the CPSU since 1919. The first collections ... ... Great Soviet Encyclopedia

Genre(fr. genre) is a general concept that surrounds the most essential properties and connections of the phenomena of the world of art, a set of formal and meaningful features of a work. All existing works reflect certain conditions, while participating in the creation of the definition of the concept of genre.

Arioso- a small aria with a melodious declamatory or song character.

Aria- a completed episode in an opera, operetta, oratorio or cantata, performed by a soloist accompanied by an orchestra.

Ballad- solo vocal compositions using the texts of poetic works and preserving their main features; instrumental compositions.

Ballet- a type of stage art, the content of which is revealed in dance and musical images.

Blues- a jazz song of sad, lyrical content.

Bylina- Russian folk epic song-tale.

Vaudeville- a cheerful theatrical play with musical numbers. 1) a type of sitcom with couplet songs, romances, dances; 2) the final couplet song in the vaudeville play.

Hymn- solemn song

Jazz- a kind of improvisational, dance music.

Disco- a musical style with a simplified melody and a hard rhythm.

Invention- a small piece of music, in which any original find in the field of melodic development, shaping is essential.

Sideshow- a piece of music played between parts of a piece.

Intermezzo- a small free-form play, as well as an independent episode in an opera or other piece of music.

Cantata- a large vocal and instrumental work of a solemn nature, usually for soloists, choir and orchestra.

Cantilena— melodious, smooth melody.

chamber music - (literally "room music"). chamber works are either pieces for solo instruments: songs without words, variations, sonatas, suites, preludes, impromptu, musical moments, nocturnes, or various instrumental ensembles: trio, quartet, quintet, etc., where three, four, respectively, participate five instruments and all parts are equally important, require careful finishing from the performers and the composer.

capriccio- a virtuoso instrumental piece of an improvisational warehouse with an unexpected change of images, moods.

Concert- a work for one or (rarely) several solo instruments and an orchestra, as well as a public performance of musical works.

Madrigal- a small musical and poetic work of love and lyrical content in the 14th-16th centuries.

March- a piece of music with a measured tempo, a clear rhythm, usually accompanying a collective procession.

Musical- a piece of music that combines elements of opera, operetta; ballet, pop music.

Nocturne- in the XVIII - early XIX century. a multi-part instrumental piece, mostly for wind instruments, usually performed outdoors in the evening or at night, from the 19th century. a small lyrical instrumental piece.

Oh yeah- a solemn piece of music dedicated to some significant event or person.

Opera- a musical and dramatic work based on the synthesis of words, stage action and music.

Operetta- a musical stage comedy work, including vocal and dance scenes, orchestral accompaniment and conversational episodes.

Oratorio- a work for soloists, choir and orchestra, intended for concert performance.

house is a style and movement in electronic music. house is a descendant of the dance styles of the early post-disco era (electro, high energy, soul, funk, etc.) the main difference between house music is a repeated rhythm beat, usually in 4/4 time, and sampling - work with sound inserts, which are repeated from time to time in music, partially coinciding with its rhythm. One of the most important contemporary sub-styles of house is progressive house.

choir - a work for a large singing group. choral compositions are divided into two large groups - with or without instrumental (or orchestral) accompaniment (a cappella).

Song- a piece of poetry meant to be sung. its musical form is usually couplet or strophic.

potpourri- a play composed of excerpts from several popular melodies.

Play- a finished musical work of small size.

Rhapsody- a musical (instrumental) work on the themes of folk songs and epic tales, as if reproducing the performance of a rhapsod.

Requiem- mourning choral work (funeral mass).

Romance- a lyrical work for voice with musical accompaniment.

R&B (Rhythm-N-Blues, English Rhythm & Blues)- This is a musical style of song and dance genre. originally, a generalized name for mass music based on the blues and jazz trends of the 1930s and 1940s. currently, the abbreviated abbreviation of rhythm and blues (English r&b) is used to refer to modern rhythm and blues.

Rondo- a piece of music in which the main part is repeated several times.

Serenade- a lyrical song to the accompaniment of a lute, mandolin or guitar, performed in honor of the beloved.

Symphony- a piece of music for the orchestra, written in sonata cyclic form, the highest form of instrumental music.

Symphonic Music- unlike the chamber one, it is performed in large rooms and is intended for a symphony orchestra. symphonic works are characterized by depth and versatility of content, often grandiosity of scale and, at the same time, accessibility of the musical language.

Consonance- a combination in the simultaneous sounding of several sounds of different heights.

Sonata- a musical work of three or four parts of different tempo and character.

Sonatina- little sonata

Suite- a work for one or two instruments from several heterogeneous pieces connected by a common idea.

Symphonic Poem- a genre of symphonic music expressing the romantic idea of the synthesis of arts. a symphonic poem is a one-part orchestral work that allows for various program sources (literature and painting, less often philosophy or history; pictures of nature).

Toccata- a virtuoso piece of music for a keyboard instrument in fast movement and a clear tempo.

Tone- a sound of a certain pitch.

tush- a short musical greeting.

Overture is an orchestral piece designed to serve as an introduction to opera, ballet, drama. in their imagery and form, many classical overtures are close to the first movements of symphonies.

Fantasy is a free-form piece of music.

Elegy- a piece of music of a sad nature.

Etude- a piece of music based on virtuoso passages.

What are the names of the musical instruments below?

What instruments play solo in these pieces of music?

1. K. Saint-Saens. "Swan" from the suite "Carnival of the Animals"

2. I. Bach. "Joke" from Orchestral Suite in B minor

3. N. Rimsky-Korsakov. "Flight of the Bumblebee" from the opera "The Tale of Tsar Saltan"

4. A. Lyadov. "Comic" from "Eight Russian Songs for Orchestra"

5. P. Tchaikovsky. "Waltz of the Flowers" (main theme) from the ballet "The Nutcracker"

6. N. Rimsky-Korsakov. Theme of Scheherazade from the symphonic suite "Scheherazade"

7. K. Saint-Saens. "Elephant" from the suite "Carnival of the Animals"

8. P. Tchaikovsky. "Dance of the Dragee Fairy" from the ballet "The Nutcracker"

9. S. Prokofiev. Grandfather's theme from the symphonic fairy tale "Peter and the Wolf"

Instruments: horns, cello, clarinet, double bass, violin, bassoon, flute, piccolo, celesta.

Crossword

Horizontally. 3. The speed of performance of a piece of music. 4. Copper wind instrument with a retractable tube-swing. 5. Low male voice. 6. The ratio of sounds in length, the alternation of durations. 8. Coloring of sound inherent in a voice or instrument. 10. Copper wind instrument, the name of which is translated as "forest horn". 12. High male voice.

Vertically. 1. The sequence of chords, their combination with each other.

2. High bowed string instrument. 5. Average male voice. 7. The lowest of the group of bowed string instruments. 9. Noise percussion instrument. 11. Woodwind instrument.

Means of musical expression

Music genres:

Genre(in translation from French - gender, type, manner) - an art form with certain, historically

established features.

vocal-choral genre- includes works created for the performance

cantata, oratorio, mass, etc.

instrumental genre- it includes works created for performance on various musical instruments: a play, an instrumental cycle - suite, sonata, concerto, instrumental ensemble (trio, quartet, quintet), etc.
musical theater genre- it includes works created for performance in the theater: opera, operetta, ballet, music for dramatic performances.
symphonic genre- it includes works written for a symphony orchestra: symphonic piece, suite, overture, symphony, etc.

Elements of musical speech:

Melody(in translation from Greek - song) - a musical thought expressed in one voice.

Melody types:

Cantilena (singing chant) - a leisurely melody

A vocal melody is a melody created to be performed by the voice.

An instrumental melody is a melody created to be played on a musical instrument.

2. Lad(translated from Slavic - harmony, harmony, order, peace) - relationship

musical sounds, their coherence and coherence. Of the many ways

Major and minor are the most widely used.

Harmony(in translation from Greek - proportionality, connection) - combining sounds into consonances and their

relationship. (Another meaning of the word harmony is the science of chords).

Meter(in translation from Greek - measure) - a continuous and uniform alternation of strong and weak shares. Size - digital designation of the meter.

Basic meters: two-part (polka, gallop, ecossaise),

triple (polonaise, minuet, mazurka, waltz), quadruple (march, gavotte).

Rhythm(in translation from Greek - proportionality) - the alternation of durations, sounds and pauses.

Types of rhythm:

Even - an infrequent change in durations with a predominance of the same.

Dotted (in translation from Latin - dot) - a group of two sounds, one of which is three times shorter than the other (an eighth with a dot and a sixteenth).

Syncopation (in translation from Greek - omission, reduction) - a mismatch of rhythmic and dynamic accents with metric. (shift of a strong beat to a weak one).

Ostinato (in translation from Italian - stubborn, stubborn) - repeatedly repeated

rhythmic or melodic turn.

6. Range(in translation from Greek - through everything) - the distance from the lowest to the highest

the sound that an instrument or voice can make.

Register- part of the sound range of a musical instrument or voice, containing

sounds similar in color (distinguish between upper, middle and lower registers).

Dynamics- the strength of the sound, its loudness. dynamic shades - special terms

determining the degree of loudness of a piece of music.

Pace(in translation from Latin - time) - the speed of the music. In musical works

tempo is indicated by special terms.

Hatch(in translation from Italian - direction, line) - a way to extract sound when singing, playing musical instruments.

Basic strokes:

Legato - coherently, smoothly

Staccato - jerky, sharp

Non legato - separating every sound

Texture(in translation from Latin - processing, device) - the musical fabric of the work,

way of expressing music. Invoice elements: melody, chords, bass, middle voices,

Main types of invoice:

Monody (translated from Greek - a song of one singer) - monophony or one melodic

Polyphonic texture (in translation from Greek - many sounds) - it has a musical fabric

consists of a combination of several melodic voices. Every voice is

standalone melody.

Homophonic-harmonic texture or homophony (in translation from Greek - the main leader

sound) - it clearly distinguishes the leading voice - a melody, and the rest of the voices

accompany.

accompaniment types:

chordal, bass-chord, harmonic figurations.

Chord texture is a sequence of chords in which the upper voice

is a melody.

Timbre(translated from French - a label, a distinctive sign) - a special coloring of the sound of a musical

octaves. Performers: Tamara Milashkina, Galina Vishnevskaya, Montserrat Caballe and others.

Soprano variety - Coloratura soprano.

Coloratura(in translation from Italian - decoration) - fast virtuoso passages and melismas,

serving to decorate the solo vocal part.

Mezzo-soprano - an average female singing voice with a range of "la" of a small octave - "la"

("si flat") of the second octave. Performers: Nadezhda Obukhova, Irina Arkhipova,

Elena Obraztsova and others.

Contralto - the lowest female singing voice with a range of "fa" of a small octave - "fa"

second octave. Performers: Tamara Sinyavskaya and others.

Performers: Leonid Sobinov, Sergey Lemeshev, Ivan Kozlovsky, Vadim Kozin, Enrico

Caruso, Placido Domingo, Luciano Pavarotti, Jose Careras and others.

octaves. Performers: Yuri Gulyaev, Dmitry Hvorostovsky, Tita Ruffo and others.

Performers: Fedor Chaliapin, Boris Shtokolov, Evgeny Nesterenko and others.

vocal music

Vocal works can be performed with accompaniment on musical instruments and without accompaniment - a cappella.

Vocal music can be performed:

Solo - by one singer

Vocal ensemble - duet (2), trio (3), quartet (4), etc.

Choir - a large group of performers from 15 people or more.

Choirs

choirs can be different in composition of performers:

Men's

Women's

Baby

mixed

choirs can be different in the manner of performance:

Academic - performing classical music and contemporary works, singing

"covered" "round" sound.

Folk - singing in a special manner with an "open" sound.

Genres of vocal music

Song - the most widespread genre of vocal music.

Folk songs were born and lived among the people. No one recorded orally passed down from generation to generation. The performer was at the same time a creator: he brought something new, something new to each song. The most famous types of folk song creativity are lullabies, children's play songs, jokes, dance, comic, round dance, game, labor, ritual, historical, epics, lyrical songs.

Mass song as a genre began to develop from the 20s of the 20th century. Mass songs are close to folk songs because everyone loves and knows them, they often sing in their own way, slightly changing the melody and not knowing the name of the poet and composer. Stages in the development of a mass song: songs of the civil war, songs of the 30s, songs of the Great Patriotic War, etc.

Pop songs became widespread in the second half of the 20th century. They are performed with

stage performers are professionals.

Author's (bard) songs gained the greatest popularity in the 60s of the 20th century. In the author's song, the poet, composer and performer are presented in one person. Its most prominent representatives are Vladimir Vysotsky, Bulat Okudzhava, Alexander Rosembaum, Segey Nikitin and others.

Romance - vocal work for voice with accompaniment.

Romances appeared in Spain, from where they spread throughout Europe. They came to Russia in the 19th century from France and were first performed only in French. Vocal works in Russian text were called "Russian songs".

Over time, the meaning of the word "romance" has expanded. Romance began to be called a work for voice with accompaniment, written in a more complex form than a song. In the songs, the melodies of the verse and chorus are repeated, reflecting the general content of the text. In the romance, the melody, changing, flexibly follows the word. A huge role is given to the accompaniment (most often - the piano part)

Cantata and oratorio.

The oratorio genre originated in the church. In Rome, at the end of the 16th century, when Catholic believers began to gather in special rooms at the church - oratories - to read and interpret the Bible. Their sermons were accompanied by music. Thus, special works on biblical subjects for soloists, choir and instrumental ensemble - oratorios - arose. In the 18th century, secular oratorios appeared, i.e. intended for concert performance. Their first creator is G.F. Handel. It is important to remember that, unlike opera, there is no theatrical action in the oratorio.

In the 17th century, a genre similar to oratorio appeared - the cantata - a concert-vocal piece of a lyrical, congratulatory or welcoming nature, consisting of arias and recitatives. Performed by soloists or choir accompanied by an orchestra. (difference from oratorio - lack of plot)

J.S. Bach wrote many wonderful cantatas.

At present, the distinction between oratorio and cantata is blurred:

Now these are large multi-part vocal and symphonic works, the main themes of which are: the glorification of the Motherland, images of heroes, the heroic past of the people, the struggle for peace, etc.

Aria - the brightest solo number in the opera.

This is a vocal monologue in which the hero is most fully and comprehensively characterized and his musical portrait is drawn. In classical opera, the aria is more complex in form than the song.

The varieties of aria include: arioso, arietta, cavatina.

Opera arias are usually preceded by a recitative.

Recitative - a kind of vocal music based on speech intonations.

It is built freely, approaching speech.

Mass - a multi-part work of church music for choir, soloists with instrumental

escort

Mass is a remembrance of suffering, death on the cross and the resurrection of Christ. There is a Christian sacrament - thanksgiving, and bread and wine turn into the body and blood of Christ.

The mass consists of obligatory chants:

Kirie eleison - Lord, have mercy

Gloria - glory to God in the highest

Credo - I believe

Sanctus - holy

Benedictus - blessed

Agnus Dei - the Lamb of God (a reminder of the tradition of sacrificing a lamb, because Christ also sacrificed himself)

Combined together, these hymns simultaneously show the image of God and tell about the feelings that a person experiences before God.

Instrumental music

Ensemble instrumental

(Ensemble - jointly, according to)

Fork - an instrument in the form of a two-pronged fork that makes one sound "la".

Invented in 1711 by John Shore.

With the help of a tuning fork, all musicians tune their instruments for playing together.

Chamber Ensembles (from the Latin words camera - i.e. room) - small stable types of ensembles, where the instruments balance each other well in sonority.

The most common chamber ensembles are:

String quartet - it consists of 2 violins, viola and cello

String trio - violin, viola and cello

Piano trio - violin, cello and piano

There are ensembles consisting only of violinists or only of harps, and so on.

Types of orchestras

Orchestra - a group of musicians who perform instrumental music together.

Conductor - leader of the orchestra

Over the years, the methods of conducting have changed many times:

conductors were behind the stage, in front of the orchestra, behind the orchestra, in the middle of the orchestra. During the game, they either sat or walked. Conducted silently, sang, shouted at the top of their voices, played one of the instruments.

They conducted with a huge rod; a roll of paper rolled into a tube; kicks of the foot, shod in sandals, the soles of which were upholstered in iron; bow; conductor's baton - battuta.

Previously, conductors stood with their backs to the orchestra. German composer Richard Wagner in the 19th century. broke this tradition and turned to face the orchestra.

Score - a musical notation of a polyphonic musical work, in which the parts of individual instruments are combined

Symphony Orchestra:

The birth of the first orchestras is associated with the appearance of opera in the 16th - 17th centuries. A group of musicians was placed separately on a special small platform in front of the stage, which was called the "orchestra". The set of instruments in the first orchestras was inconsistent: viols (the forerunners of the violin and cello), 2-3 violins, several lutes, trumpets, flutes, harpsichord. At the same time, all these instruments sounded only in the opening piece, which in those days was called "symphony". Until the 18th century, composers were looking for the best combination of instruments in the orchestra.

Viennese classics - J. Haydn and W. A. Mozart - determined the composition of the classical symphony orchestra.

A modern symphony orchestra has up to 100 musicians.

The four main groups of the symphony orchestra

Sometimes the orchestra includes: harp, organ, piano, celesta

Brass band

It mainly sounds on open-air stages, accompanies processions, marches. Its sonority is especially powerful, bright. The main instruments of the brass band are brass: clarinets, trumpets, horns. There are also woodwinds: flutes, clarinets, and in large orchestras there are also oboes and bassoons, as well as percussion - drums, timpani, cymbals. There are works written specifically for brass bands, but symphonic works orchestrated for brass bands are often performed.

Variety Orchestra

It is the most diverse in composition of instruments and sizes - from a large one, similar to a symphony, to a very small one, more like an ensemble. Variety bands often feature ukuleles, saxophones, and many percussion instruments. The pop orchestra performs: dance music, various types of songs, musical works of an entertaining nature, popular classical works of a simple content.

Famous pop orchestras led by O. Lundstrem, P. Moriah, B. Goodman, and others.

Orchestra of Folk Instruments

Their compositions are different, because. every nation has its own national instruments. In Russia, the orchestra of folk instruments includes

Stringed plucked instruments: domra, balalaika, gusli,

Wind instruments - pipes, zhaleyka, horns, nozzles, flutes

Bayans, harmonicas

Large group of percussion instruments

The first professional orchestra of folk instruments was created in 1888 under the direction of the famous musician V.V. Andreev.

Jazz - orchestras

Unlike a symphony orchestra, a jazz orchestra does not have a fixed composition of instruments. Jazz is always an ensemble of soloists. Jazz orchestras include piano, saxophones, banjos, and guitars. Strings - bowed strings, trombones, trumpets and clarinets can be included. The group of percussion instruments is very large and diverse.

The main features of jazz are improvisation (the ability of soloists to compose music right during the performance); rhythmic freedom.

The first jazz bands appeared in America - the most famous master of jazz: Louis Armstrong.

In Russia, the first jazz orchestra was created by Leonid Utyosov.

The structure of musical works. musical form. Music theme.

Subject (in translation from Greek - what is the basis) - the main musical idea of \u200b\u200bthe work. In one work there can be one or several (usually contrasting) themes.

keynote (in translation from German - guiding motive) - a phrase or a whole topic, repeatedly

repeated in the work.

repetition - such a carrying out of the topic in which it goes through several times without changes or with minor changes.

Sequence - repeated repetition of the theme without changes at different heights.

variance - repeated repetition of the theme with significant changes.

Motive development (development) - isolation from the theme of bright elements (motives) and their

sequential, register, timbre, tonal development.

musical form

Form (in translation from Latin - image, outline) - the construction of a musical work, the ratio of its parts.

Elements of musical form: motive, phrase, sentence.

Motive (in translation from Italian - base) is the smallest element of a musical form. As a rule, the motif contains one accent and is equal to one bar.

A phrase (in translation from Greek - an expression) is an element of a musical form that contains two or

several motives. The length of the phrase is from two to four measures. Sometimes phrases are not divided into motives.

A sentence is a relatively complete element of a musical form, consisting of several phrases. The volume of the offer is from four to eight cycles. There are sentences that are not divisible into phrases.

Period- the simplest musical form that contains a complete or relatively

finished thought. A period consists of two (rarely three) sentences. Period volume

eight to sixteen bars. Periods are:

Repetitive construction (when the second sentence repeats the first literally or with

small changes. Diagram: a + a or a + a 1)

Non-repetitive structure (when the second sentence does not repeat the first. Scheme: a + b)

There are simple and complex forms:

Simple - call a form in which each part is not more than a period.

complex - call the form in which at least one part is greater than the period.

Any of the forms can be given an introduction and a conclusion (coda).

Simple two-part form

Musical form consisting of two parts, each no longer than a period

Varieties:

Reprise - where the second sentence of the second part repeats one of the sentences of the first part

For example:

Tchaikovsky "Old French song". Scheme: A B

a + a 1 b + a 2

Non-reprise - consisting of two different periods. For example:

Tchaikovsky "The Organ Grinder Sings" Scheme: A B

a + b c + c 1

Simple three-part form

A musical form consisting of three movements, each no longer than a period.

Varieties:

Reprise - where the third part is a repetition of the first part literally or with small

changes. For example:

Tchaikovsky "March of the Wooden Soldiers" Scheme: A B A

a + a 1 b + b 1 a 2 + a 3

Non-reprise - in which the third part is not a reprise of the first part. For example:

Tchaikovsky "Neapolitan song". Diagram: A B C

a + a 1 b + b c + c 1

Complex three-part form

A three-part reprise form in which the extreme parts are a simple two-part or three-part form, and the middle part contrasts with the extreme and is any simple form.

For example: Tchaikovsky "Waltz". Scheme:

a + a 1 b + b 1 c + c 1 a + a 1 b + b 1

(simple two-part) (period) (simple two-part)

Rondo shape

Rondo (in translation from French - circle, round dance) - musical form in which the main theme is repeated

at least three times, alternating with other topics - episodes.

The main theme is called refrain (in translation from French - chorus).

The refrain and episodes can be presented in any simple form.

Scheme: A B A C A

Variation Form

Variation Form - a musical form in which the theme is repeated with changes.

A modified repetition of a theme is called variation (translated from Latin - change,

diversity).

In variations, any elements of musical speech can change.

The number of variations is from two to several dozen.

The subject can be written in any simple form. But most often - in a simple two-part.

Scheme: A A 1 A 2 A 3 A 4, etc.

Theme 1 var. 2 var. 3 var. 4 var.

sonata form

Sonata form - a musical form based on the juxtaposition of the development of two themes, usually

contrasting.

Sonata form consists of three sections.

Section 1 - exposition (in translation from Latin. - show) - the plot of the action.

The exhibition focuses on two main themes - home And side .

home the theme sounds in the main, main key of the work, and side The theme is in a different tone.

home And side themes connect Binder topic.

Completes the exposition Final subject.

Section 2 - development - the dramatic center of the sonata form;

comparison, clash and development of the topics presented in the exposition. The development is characterized by a frequent change of keys. The main technique for developing topics is motivated development.

Section 3 - reprise - decoupling action.

Carrying out the exposition material in the main key.

Exposition Development Reprise

Gl.t. Communication Pob.t. Bookmark Gl.t. Communication Pob.t. Bookmark

T------------D, VI, III T T

Cyclic forms

Cycle - in lane. from Greek - circle.

Cyclic forms - musical forms, consisting of several independent

contrasting parts, united by one idea.

The most important cyclical forms are the suite, the sonata cycle.

Suite.

Ancient suite (16 - 18 centuries) - a cycle of diverse ancient dances, written in one

tonality.

Main dances of the old suite:

Moderate alemande (German quadruple)

lively chimes (French tripartite)

slow sarabande (Spanish tripartite)

Fast jig (English tripartite)

sometimes the minuet, gavotte, bure and other dances were included in the old suite, as well as non-dance pieces - prelude, fugue, aria, rondo.

Examples of ancient suites in the works of G. Handel, J.S. Bach, F. Couperin, J. Lully, J. Rameau.

New Suite (19th - 20th centuries) - a cycle of brightly contrasting plays written in different keys.

The new suite is dominated by non-dance pieces.

Examples of the New Suite:

P.I. Tchaikovsky "The Seasons";

MP Mussorgsky "Pictures at an Exhibition";

E. Grieg "Peer Gynt";

N.A. Rimsky - Korsakov "Scheherazade";

K. Sen-Sans "Carnival of the Animals".

Sonata cycle A musical form in which at least one movement is written in sonata form.

A sonata cycle for one or two solo performers is called - sonata;

for three performers trio;

for four performers quartet;

for five performers - quintet.

A sonata cycle written for a symphony orchestra is called - symphony;

for solo instrument and orchestra - concert.

Three-part cycles - sonata, concerto.

Four-part cycles - symphony, quartet, quintet.

Polyphonic forms

Polyphony(Greek poly - many, phone - voice, sound) - a type of polyphony that appeared much earlier than homophony and became widespread in the 16th and 17th centuries. Here all voices lead their independent and equally important, equally expressive melodies.
In polyphonic art, its own special genres arose: these are passacaglia, chaconne, invention and canon . All of these plays use the technique of imitation.

Imitation means "imitation", that is, the repetition of a melody in another voice.

For example, Canon is based on a strict, continuous imitation of the same melody in all voices. The voices repeat the melody of the leading voice, entering before this melody ends in the previous one.
The pinnacle of polyphonic art is the fugue . This form of polyphony reached its highest peak in the work of Johann Sebastian Bach.
Word "Fugue" comes from the Latin "run". The fugue is composed according to special, very strict laws. The fugue is usually based on one musical subject - bright, well-remembered. This theme is heard consistently in different voices. Depending on the number of voices, a fugue can be two-part, three-part, four-part, etc.
According to the structure, the fugue is divided into three parts:

The first is the exposition, where the theme is carried out by all voices. Each time the theme is carried out, it is accompanied by a melody in a different voice, called counterposition . There are sections in the fugue where the theme is missing, these are - interludes, they are located between the topic.
The second part of the fugue is called development, the theme is developed there, passing alternately through different voices.
The third section is a reprise, here the themes are held in the main key. In reprise, to speed up musical development, a technique is often used stretta. This is such an imitation, where each subsequent passage of the theme enters before it ends in another voice.
The reprise is adjoined by a coda summing up the development of the fugue.
There are fugues in the musical literature written not on one, but on two or even three themes. Then they are called, respectively, double and triple. Very often a fugue is preceded by a small piece - a fantasy, a variation or a chorale. But the cycles "prelude and fugue" were especially popular. I.S. Bach wrote 48 preludes and fugues and combined them into two volumes under the title The Well-Tempered Clavier.

Inventions

The word invention in Latin means "invention". In fact, the theme of the invention is an invention - a short expressive melody. Further, the structure of the invention almost does not differ from the structure of the fugue, only everything is much simpler and more accessible for the performance of novice musicians.

Subject - a short expressive musical phrase, passing in turn in all voices.

Counterposition - a melody in a different voice, accompanying the theme.

Sideshows - are located between the topics.

Download:

Preview:

https://accounts.google.com

Slides captions:

The game "Guess the musical instrument" Task: Name the instruments that perform the themes of the heroes of S.S. Prokofiev's fairy tale "Peter and the Wolf."

Oboe Which instrument plays the Bird theme? Flute

Which instrument plays the Grandfather theme? Bassoon Oboe

Flute What instrument plays the theme of the Cat? Clarinet

Flute What instrument plays the Duck theme? Oboe

Bowed strings What instruments play Petit's theme? Woodwinds

I invite you to the fairy tale "Peter and the Wolf"

Preview:

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Slides captions:

"A fairy tale is walking through the forest" Muz. V. Pshenichnikova

A fairy tale walks through the forest, Leads a fairy tale by the hand, A fairy tale comes out of the river, From a tram, from a gate.

What is this round dance? This is a fairy tale round dance! Fairy tale - clever and charming, Lives next to us.

So that, so that the Good Evil wins again. To, Good to Zlova Become good convinced.

And for me and for you Fairy tales run in a crowd. Favorite fairy tales Sweeter than any berry.

In a fairy tale the sun burns, Justice reigns in it. The fairy tale is clever and charming, The path is open to her everywhere!

So that, so that the Good Evil wins again. To, Good to Zlova Become good convinced.

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Slides captions:

"The instruments of the symphony orchestra in S. Prokofiev's fairy tale "Peter and the Wolf" Answers to the tests:

Bowed Strings Woodwinds Percussion No. 1: Which instruments play Petya's theme? Task number 2:

Think more! Think more!

Right! String strings

Task 3: Flute Oboe Clarinet Which instrument plays the theme of the Cat? No. 2:

Do not hurry!

Right! CLARINET

Task 4: Flute Clarinet Oboe Which instrument plays the theme of the bird? No. 3:

Think more!

FLUTE Right!

Activity #5: Clarinet Bassoon What instrument plays the Grandfather theme? No. 4: Flute

Think more!

Right! BASSOON

Which instrument plays the Duck theme? Clarinet Oboe No. 5: Flute

Oh no no no! Do not hurry!

OBOE That's right!

Preview:

Technological map of the lesson model according to the program"Art. Music” (T.I. Naumenko, V.V. Aleev)

Music teacher MBU "Gymnasium No. 39" Malova Daria Anatolyevna

Subject: "The Image of the Great Patriotic War in D. Shostakovich's Seventh Symphony".

Lesson type: a lesson in discovering new knowledge

Class 7

The purpose of the lesson: Education of a part of the general spiritual culture of students through the art of music, as well as the development of patriotism in the minds of schoolchildren

Lesson objectives:

1) Educational: to form the concept of Shostakovich's music as music corresponding to the spirit of the time;give an idea of the genre of the symphony on the example of D. Shostakovich's 7th symphony

2) Developing: develop the skills of emotionally conscious perception of symphonic music, the ability to analyze a piece of music, to realize the inextricable link between composer activity and historical events,control your learning activities.

3) Educational: to cultivate respect, pride and a sense of gratitude towards the Russian people, especially towards the generation that survived the Leningrad blockade.

Basic concepts:symphony, culmination, expressive means (dynamic shades, tempo, instruments, timbre…)

Forms of organization of cognitive activity:frontal, steam room, independent

Equipment: Methodological guide, historical references, excerpts from the biography of D. Shostakovich, compiled by the teacher, cards with assignments for groups. screen, projector, video fragments from the life of besieged Leningrad, music center, recordings of fragments of the 7th symphony by D. Shostakovich, audio cutting of songs of the war years, photograph of the Broken Ring monument (A3), presentation, bay leaves for a wreath.

During the classes:

Lesson stage	Teacher activity	Student activities	Planned results of UUD
I. Org. moment Determining the topic of the lesson Setting goals for the lesson	Introductory speech of the teacher, emotional mood for active creative work. The teacher poses a problematic question, which the students will be able to answer at the end of the lesson.	Listen, prepare to receive They make up the phrase “The Muses are silent when the cannons rumble” from separate words and discuss which sign (., ?, ... or!) Should be put at the end of it. Determine the topic of the lesson, goals.	Organizational, psychological readiness for the lesson. The ability to reason, listen to other people's opinions, set goals. Atthe ability to formulate their thoughts orally;the ability to listen and understand the speech of others.
II. Updating knowledge, introducing it into the context of new knowledge	Conducts a frontal conversation in order to find out what the children learned about life in Leningrad during the blockade, biographical and musicological information necessary to study the topic. Turning in turn to art historians, historians and biographers, the teacher, together with the students, discovers a new concept of "symphony", the circumstances of D. Shostakovich's writing of the 7th symphony and its features.	They study the proposed text, divided into 3 groups: historians, biographers and musicologists. Participate in a general conversation, answering the questions posed by the teacher. Participate in the conversation, relying on their knowledge and the proposed text.	The ability to navigate in the text, to search for the necessary information,formulating answers to questions; skill navigate your knowledge system:find answers to questions using your life experience and information,received in class. plan your action in accordance with the task and the conditions for its implementation.
Opening new.	Adjusts to the perception of musical fragments, quoting I. Sachkov's poems about the conditions under which the 7th symphony was performed in besieged Leningrad. Offers to work with a list of musical images. Organizes a frontal conversation, during which the analysis of musical fragments is carried out (the musical image and the means of expression with which the author creates this image) Helps students to draw a conclusion about the importance of D. Shostakovich's 7th symphony not only for the inhabitants of besieged Leningrad, but also for their descendants. Organizes the laying of a laurel wreath at the “Broken Ring” monument (photo A3) Organizes the performance of the 1st verse of the song “Let's bow to those great years”	Listen to fragments of the symphony. Compose, discussing in pairs, a list of words that characterize the first and second fragments. Participating in a conversation, together they determine the features of the musical image of the first and second fragments, analyze them from the point of view of musical expressiveness, determine which part of the symphony the fragments belong to. They conclude that the 7th symphony is necessary to strengthen the spirit of the inhabitants of besieged Leningrad, Consider your relationship with these people. They write on sheets of laurel and read out a small message to the people of Leningrad. They lay a wreath of these laurel leaves in front of the Broken Ring monument. They perform 1 verse of the song “Let's bow to those great years” in front of the “Broken Ring” monument	The ability to perceive music and Communicative:allow the possibility of people having different points of view, including those that do not coincide with his own, and focus on the position of a partner in communication and interaction; take into account different opinions and interests and justify their own position.
Summarizing. Reflection.	Offers to draw up and write down in a notebook the definition of the concept of "symphony" Returns students to the problem that arose at the beginning of the lesson and offers to solve it. What helped us solve our problem?	Compose and write down in a notebook the concept of "symphony" They determine what the phrase should be so that we can agree with it (“When the guns rumble, the muses are not silent!”, “When the muses rumble, the guns are silent!”, etc.)
Homework.	I suggest you find out at home what other works were written during the war years: stories, poems, songs. And talk about them in class.	Write down homework in a diary.