What is the most important property of musical content is generalization. Characteristics of the process of musical perception
The limitless world of life, human feelings, dreams and ideals are the content of music, revealed through musical form. Sometimes a person appears in music as the main character, a character, such as the brave pioneer Petya or his grumpy grandfather in symphonic fairy tale S. S. Prokofiev “Peter and the Wolf”. But more often he remains behind the scenes. “I thought my heart had forgotten” - this is how one of A. S. Pushkin’s poems begins. Who is this “I”? Do we strive to visually imagine the appearance of the lyrical hero? No, the way of perception here is different: the hero looks at the world with us. We do not see him, but we clearly feel his presence. And if a poem deeply moves us, then this means that the “artistic self” of the poem has merged with our own self. Music can achieve such complete fusion. “My native country is wide,” the man sings and experiences the same feelings as the hero of the song. The "artistic self", obligatory for all arts, accepts various shapes. We can talk about a hero specific work, for example, a small prelude, but also about heroes of individual, national and historical styles.
What aspects of a person are revealed in music - both the depicted character and the “artistic self”? External signs of his appearance are very important for a character. Music, of course, cannot depict hair color or nose shape. But the features of gestures, gait and manner of speech that she embodies involuntarily force one to speculate and appearance character. It’s hard not to imagine Vashek’s fumbling, fumbling behavior while listening to his aria “Oh, what is this!” from the opera “The Bartered Bride” by B. Smetana, or the fox-like style of the cunning and sticky Bomelius from the opera by N. A. Rimsky-Korsakov “ The Tsar's Bride». Instrumental music is also full of characters - gallant, nimble, hectic, eccentric, stately, noble and vulgar.
We easily distinguish between types of female and male characters. It is enough to recall, for example, the thin, fragile and gentle Snow Maiden and the ardent, passionate Kupava from Rimsky-Korsakov’s opera “The Snow Maiden”.
Music has great potential in reproducing the mental and emotional states of a person. We almost physically feel the heavy and vague flow of strangely confused thoughts in the scene of Prince Andrei’s delirium from Prokofiev’s opera “War and Peace.”
In characters and heroes, as in living people, age, temperament, vitality, emotional states closely intertwined with social, historical, cultural, and national features. Man has rejoiced, despaired, and experienced anger at all times, in all countries. Kings laughed, peasants laughed, artisans laughed. But we won't find two the same expressed feelings. For example, how many types of joy are there in music? As many as there are heroes in it. Sparkling Italian tarantella and daring Russian dance, languidly sweet Argentine tango and proud polonaise, the ingenuous joy of a shepherd's tune and an exquisitely cutesy court dance, the reverent ecstasy of the hero of the works of A. N. Scriabin and the chaste feeling of happiness that fills the melodies of S. V. Rachmaninov, - behind all these manifestations of joy we feel a specific person.
Different life contents also evoke different feelings. The stupid and evil joy of the would-be hero Farlaf from the opera “Ruslan and Lyudmila” by M. I. Glinka, who treacherously killed his rival, and the bright joy of Lyudmila are fundamentally different feelings.
How does music embody the circumstances of life? She widely uses visual techniques. Often we hear in it the murmuring of streams, the sound of the surf, the rumble of thunder, the howls of a storm or the barely audible rustle of leaves, the voices of birds. But even these simplest sound images turn out to be manifestations inner world person. “Dawn on the Moscow River” by M. P. Mussorgsky, “Morning” by E. Grieg are, of course, not only pictures of awakening nature, blooming in sounds and colors, they are also a renewal of the human soul.
Music can also recreate more complex life circumstances. It is impossible to literally depict such a socio-political phenomenon as fascism. But you can create a generalized image of him, as D. D. Shostakovich did with anger and indignation in his 7th symphony. Cheeky dance, almost operetta motifs are superimposed on a mechanical marching rhythm. The result is an image of monstrous lack of spirituality, arrogantly self-satisfied, arrogant admiration of power. This terrible power advances, crushing everything under itself, obscuring the entire horizon, until it stops with spiritual and humane force. Along with static sketches life circumstances we meet in musical works and with different situations, events.
A melody is built from the sequence of intonations. Movements and countermovements of intonation lines permeate the texture - the totality of all voices and elements of polyphony. IN large form musical dramaturgy, plot, and plot appear. These names, taken from theater and literature, are not accidental. They relate to what the music was looking for various ways building your art world, drawing on the experience of other arts. The first parts of the sonatas and symphonies of J. Haydn and W. A. Mozart are constructed as if according to the laws of the theater: in bright topics characters are guessed, we hear their voices, the music is full of dialogues and disputes. In a romantic sonata form comes to the fore lyrical hero: alternation various topics are perceived as his mental conflict. Romantic composers also invented a completely new way of organizing content for their time: in their instrumental ballads, following the example of literary and vocal ballads, they introduced the figure of a “storyteller,” who narrates with interest and passion about unusual, significant and disturbing events.
IN modern music new techniques for constructing content have been found. Literary and cinematic techniques are often used " inner monologue"for example, in the symphonies of G. A. Kancheli, in the works of A. G. Schnittke.
The musical form also fulfills another, extremely important role: she guides perception, helps it. In the melody of popular songs, each new phrase often begins with the same sound on which the previous one ended. This chain connection contributes to the memorability of the tune.
Organization of harmony, rhythm, compositional forms with thousands of threads he sews the sound fabric of a musical work, creating that perfect form that embodies bold and deep imaginative thoughts about peace, happiness and beauty, thoughts that are close and understandable to millions of people around the globe.
Development musical abilities- one of the main tasks musical education children. Fundamental for pedagogy is the question of the nature of musical abilities: are they innate human properties or develop as a result of influence environment, education and training. Other important theoretical aspect The problem on which the practice of music education significantly depends is the definition of the content of concepts musical abilities, musicality, musical talent. The direction of pedagogical influences, the diagnosis of musical abilities, etc., largely depend on what is taken as the basis for the content of these concepts.
On different historical stages development of musical psychology and pedagogy (foreign and domestic), also at present in the development of theoretical, and therefore practical aspects of the problem of developing musical abilities, there are different approaches, there are discrepancies in the definition of the most important concepts.
B.M. Teplov in his works gave a deep, comprehensive analysis of the problem of developing musical abilities. He compared the points of view of psychologists representing the most various directions in psychology, and expressed his view on the problem.
B.M. Teplov clearly defined his position on the issue of innate musical abilities. Based on the work of the outstanding physiologist I.P. Pavlov, he recognized the innate properties of the human nervous system, but did not consider them only as hereditary (after all, they can be formed during the period of intrauterine development of the child and for a number of years after birth). Innate properties nervous system B.M. Teplov separates from the mental properties of a person. He emphasizes that only anatomical and physiological characteristics can be congenital, i.e., inclinations that underlie the development of abilities.
Abilities B.M. Teplov defines it as individual psychological characteristics of a person that are related to the success of performing any one activity or many. They are not limited to the presence of skills, abilities or knowledge, but can explain the ease and speed of their acquisition.
Musical Abilities Required for Successful Performance musical activity, are combined into the concept of “musicality”.
Musicality, as B.M. writes. Teplov, this is a complex of abilities required for practicing musical activity, unlike any other, but at the same time associated with any type of musical activity.
In addition to musicality, which includes a complex of special, namely musical, abilities of B.M. Teplov points out that a person has more general abilities that manifest themselves in musical activity (but not only in it). This creative imagination, attention, inspiration, creative will, sense of nature, etc. The qualitative combination of general and special abilities forms a broader range than musicality concept of musical talent.
B.M. Teplov emphasizes that each person has a unique combination of abilities - general and special. The peculiarities of the human psyche suggest the possibility of broad compensation of some properties by others. Therefore, musicality is not reduced to one ability: “Each ability changes and acquires a qualitatively different character depending on the presence and degree of development of other abilities.”
Each person has an original combination of abilities that determines the success of a particular activity.
“The problem of musicality,” emphasizes B.M. Teplov, “this is a problem that is primarily qualitative, not quantitative.” Everyone normal person there is some musicality. The main thing that should interest a teacher is not the question of how musical this or that student is, but the question of what his musicality is and what, therefore, should be the ways of its development.
Thus, B.M. Teplov recognizes certain human characteristics, predispositions, and inclinations as innate. The abilities themselves are always the result of development. Ability by its very essence is a dynamic concept. It exists only in movement, only in development. Abilities depend on innate inclinations, but develop in the process of education and training.
An important conclusion made by B.M. Thermal is the recognition of dynamism, developed abilities. "That's not the point,- the scientist writes, - that abilities are manifested in activity, but that they are created in this activity.
Therefore, when diagnosing abilities, any tests or tests that do not depend on practice, training, and development are meaningless.
So, B.M. Teplov defines musicality as a complex of abilities developed on the basis of innate inclinations in musical activity, necessary for its successful implementation.
In order to highlight the complex of abilities that make up musicality , It is important to determine the specifics of the content of music (and, therefore, the qualities necessary for its perception), as well as the features that distinguish musical sounds from other sounds encountered in life (and, therefore, the qualities necessary for their discrimination and reproduction).
Answering the first question (about the specifics of the music content), B.M. Warm argues with the representative of German aesthetics E. Hanslick, who defends the view of musical art as art that cannot express any content. Musical sounds, according to Hanslick, can only meet the aesthetic needs of a person.
B.M. Teplov contrasts this with the point of view of music as an art that has various possibilities of reflection life content, transmission of life phenomena, the inner world of man.
Highlighting two functions of music - visual and expressive, B.M. Teplov notes that programmatic visual music, which has specific, “visible” prototypes (onomatopoeia, natural phenomena, spatial representations - approaching, moving away, etc.), a specific name or literary text, the plot, conveying specific life phenomena, always expresses a certain emotional content, emotional state.
It is emphasized that both visual, programmatic music (the share of which in musical art is negligible) and non-visual, non-programmatic music, always carry emotional content - feelings, emotions, moods. The specificity of musical content is determined not by the visual capabilities of music, but by the presence of emotional coloring of musical images (both program-visual and non-program). Thus, main function expressive music. The wide possibilities of musical art to convey the subtlest nuances of human feelings, their changes, mutual transitions determine the specificity of musical content. B.M. Teplov emphasizes that in music we understand the world through emotion. Music is emotional cognition. Therefore, the main sign of B.M.’s musicality is Teplov calls the experience of music in which its content is comprehended. Since musical experience by its very essence is an emotional experience and the content of music cannot be understood otherwise than through an emotional way, the center of musicality is a person’s ability to respond emotionally to music.
What capabilities does musical art have to convey certain emotional content?
Music is the movement of sounds, different in height, timbre, dynamics, duration, organized in a certain way in musical modes(major, minor), having a certain emotional connotation, expressive possibilities. In each mode, sounds relate to each other, interacting with each other (some are perceived as more stable, others - less). In order to deeply perceive musical content, a person must have the ability to differentiate moving sounds by ear, distinguish and perceive the expressiveness of rhythm. Therefore, the concept of “musicality” includes an ear for music, as well as a sense of rhythm, which are inextricably linked with emotions.
Musical sounds have different properties: they have pitch, timbre, dynamics and duration. Their discrimination in individual sounds forms the basis of the simplest sensory musical abilities. The last of the listed properties of sounds (duration) underlies musical rhythm. The feeling of the emotional expressiveness of a musical rhythm and its reproduction form one of the musical abilities of a person - the musical-rhythmic feeling. The first three named properties of musical sounds (pitch, timbre and dynamics) form the basis of pitch, timbre and dynamic hearing, respectively.
In a broad sense, musical ear includes pitch, timbre and dynamic hearing.
All of the listed properties (pitch, timbre, dynamics and duration) are inherent not only to musical sounds, but also to others: speech sounds, noises, the voices of animals and birds. What makes up the uniqueness of musical sounds? Unlike all other sounds and noises musical sounds have a certain, fixed height and length. Therefore, the main carriers of meaning in the music of B.M. Teplov calls pitch and rhythmic movement.
Musical ear in narrow understanding this word B.M. Teplov defines it as pitch hearing. Giving theoretical and experimental justifications, he proves that pitch plays a leading role in the sensation of musical sound. Comparing the perception of height in noise sounds, speech sounds and music, B.M. Teplov comes to the conclusion that in noise and speech sounds, pitch is perceived in totality, undifferentiated. Timbre components are not separated from the pitch components themselves.
The sensation of height is initially fused with timbre. Their division is formed in the process of musical activity, since only in music does pitch movement become essential for perception. Thus, a feeling is created musical height as the pitches of sounds that form a certain musical movement, standing friend to a friend in one or another altitude relation. As a result, the conclusion is drawn that musical ear by its very essence must be pitch hearing, otherwise it will not be musical. There can be no musicality without hearing the musical pitch.
Understanding musical ear(in a narrow sense) as a sound pitch does not reduce the role of timbre and dynamic hearing. Timbre and dynamics allow you to perceive and reproduce music in all the richness of its colors and shades. These properties of hearing are especially important for the performing musician. Since the pitch of sounds is fixed in notes, and there are only general instructions from the author regarding timbre and dynamics, it is the choice of different colors of sounds (timbre and dynamic) that largely determines the possibilities creative freedom performer, originality of interpretation. However, B.M. Teplov advises cultivating timbre hearing only when the basics of pitch hearing are available: “Before taking care of the development of performing hearing, it is necessary to ensure the presence of simple musical, i.e. pitch, hearing."
Thus, musical ear is a multi-component concept. Pitch hearing has two varieties: melodic and harmonic. Melodic hearing is pitch hearing as it manifests itself to a single-voice melody; harmonic hearing - pitch hearing in its manifestation in relation to consonances, and therefore to polyphonic music. Harmonic hearing can lag significantly behind melodic hearing in development. In preschoolers, harmonic hearing is usually underdeveloped. There is observational data indicating that in preschool age Many children are indifferent to the harmonic accompaniment of a melody: they cannot distinguish an out-of-tune accompaniment from a non-out-of-tune one. Harmonic hearing presupposes the ability to sense and distinguish consonance (euphony), which, apparently, is developed in a person as a result of some musical experience. In addition, in order to demonstrate harmonic hearing, it is necessary to simultaneously hear several sounds of different pitches, and to distinguish by hearing the simultaneous sound of several melodic lines. It is acquired as a result of activities that cannot be carried out without it, when working with polyphonic music.
In addition to melodic and harmonic hearing, there is also concept of absolute pitch. This is a person’s ability to distinguish and name sounds without having a real standard for comparison, that is, without resorting to comparison with the sound of a tuning fork or musical instrument. Absolute pitch is a very useful quality, but even without it it is possible to successfully practice music, so it is not one of the basic musical abilities that make up the structure of musicality.
As already noted, musical ear is closely related to emotions. This connection is especially clearly manifested when perceiving music, distinguishing emotional, modal coloring, moods, feelings expressed in it. When playing melodies, a different quality of hearing operates - it becomes necessary to have ideas about the location of sounds in height, i.e., to have musical-auditory ideas of pitch movement.
These two components of pitch hearing - emotional and actual auditory - are distinguished by B.M. Thermal as two musical abilities, which he called the modal sense and musical-auditory perceptions. Ladovoe feeling, musical and auditory perceptions And sense of rhythm constitute three basic musical abilities that form the core of musicality.
Let's look at the structure of musicality in more detail.
Fret feeling. Musical sounds are organized in a certain mode. Major and minor modes differ in emotional coloring. Sometimes major is associated with an emotionally positive range of moods - a cheerful, joyful mood, and minor - with a sad one. In some cases this is exactly the case, but not always.
How is the mode coloring of music distinguished?
Modal feeling is an emotional experience, an emotional ability. In addition, the modal feeling reveals the unity of the emotional and auditory sides of musicality. Not only the mode as a whole has its own color, but also the individual sounds of the mode (which have a certain height). Of the seven degrees of the scale, some sound stable, others - unstable. The main steps of the mode (first, third, fifth), and especially the tonic, sound steadily ( first stage). These sounds form the basis of the mode, its support. The remaining sounds are unstable; in melody they tend to be stable. Modal feeling is the distinction not only of the general nature of music, the moods expressed in it, but also of certain relationships between sounds - stable, complete (when the melody ends on them) and requiring completion.
The modal sense manifests itself when perception music as an emotional experience, “felt perception.” B.M. Teplov calls him perceptual, emotional component of musical hearing. It can be detected when recognizing a melody, determining whether the melody has ended or not, in sensitivity to the accuracy of intonation, the modal coloring of sounds. In preschool age, love and interest in music are indicators of the development of the modal sense. Since music is essentially an expression of emotional content, then musical ear should obviously be an emotional ear. Modal feeling is one of the foundations of emotional responsiveness to music (the center of musicality). Since the modal feeling manifests itself in the perception of pitch movement, it traces the relationship between emotional responsiveness to music and the feeling of musical pitch.
Musical and auditory performances. To reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory representations of how the sounds of the melody move - up, down, smoothly, abruptly, whether they are repeated, i.e., to have musical-auditory representations of pitch (and rhythmic) movement. To reproduce a melody by ear, you need to remember it. Therefore, musical-auditory representations include memory and imagination. Just as memorization can be involuntary and voluntary, musical-auditory representations differ in the degree of their voluntariness. Voluntary musical-auditory representations are associated with the development of internal hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but to voluntarily operate with musical auditory ideas.
Experimental observations prove that to arbitrarily imagine a melody, many people resort to internal singing, and students learning to play the piano accompany the presentation of the melody with finger movements (real or barely recorded), imitating its playback on the keyboard. This proves the connection between musical and auditory perceptions and motor skills. This connection is especially close when a person needs to voluntarily remember a melody and keep it in memory. “Active memorization of auditory ideas,” notes B.M. Teplov, - makes the participation of motor moments especially significant.” 1.
The pedagogical conclusion that follows from these observations is the ability to engage vocal motor skills (singing) or playing musical instruments to develop the ability of musical and auditory perceptions.
Thus, musical-auditory perception is an ability that manifests itself in playback by hearing melodies. It's called auditory, or reproductive, component of musical hearing.
Sense of rhythm- this is the perception and reproduction of temporary relationships in music. Big role Accents play a role in the division of musical movement and the perception of the expressiveness of rhythm.
As evidenced by observations and numerous experiments, during the perception of music a person makes noticeable or imperceptible movements that correspond to its rhythm and accents. These are movements of the head, arms, legs, as well as invisible movements of the speech and respiratory apparatus. Often they arise unconsciously, involuntarily. Attempts by a person to stop these movements lead to the fact that either they arise in a different capacity, or the experience of rhythm stops altogether. The ego speaks about the presence of a deep connection between motor reactions and the perception of rhythm, about the motor nature musical rhythm.
The experience of rhythm, and therefore the perception of music, is an active process. “The listener only experiences rhythm when he co-produces, makes... Any full perception of music is an active process that involves not just listening, but also doing. and doing includes a very diverse range of movements. As a result, the perception of music is never just an auditory process; it is always an auditory-motor process.”
The sense of musical rhythm has not only a motor, but also an emotional nature. The content of the music is emotional.
Rhythm is one of the expressive means of music through which content is conveyed. Therefore, the sense of rhythm, like the sense of modality, forms the basis of emotional responsiveness to music. The active, effective nature of musical rhythm allows one to convey in movements (which, like music itself, have a temporary nature) the smallest changes in the mood of the music and thereby comprehend expressiveness musical language. Features musical speech(accents, pauses, smooth or jerky movements, etc.) can be conveyed by movements corresponding in emotional coloring (claps, stamps, smooth or jerky movements of the arms, legs, etc.). This allows them to be used to develop emotional responsiveness to music.
Thus, the sense of rhythm is the ability to actively (motorly) experience music, feel the emotional expressiveness of the musical rhythm and accurately reproduce it. Musical memory BM does not turn on Thermal among the basic musical abilities, since "immediate memorization, recognition and reproduction of pitch and rhythmic movements are direct manifestations of musical ear and sense of rhythm.”
So, B.M. Teplov identifies three main musical abilities that form the core of musicality: modal sense, musical-auditory perception and sense of rhythm.
N.A. Vetlugina names two main musical abilities: pitch hearing and a sense of rhythm. This approach emphasizes the inextricable connection between the emotional (modal feeling) and auditory (musical-auditory perceptions) components of musical hearing. The combination of two abilities (two components of musical ear) into one (pitch hearing) indicates the need to develop musical ear in the interrelation of its emotional and auditory bases.
The concept of “musicality” is not limited to the three (two) basic musical abilities mentioned above. In addition to them, the structure of musicality can include performing, creativity etc,
The individual uniqueness of the natural inclinations of each child, the qualitative originality of the development of musical abilities must be taken into account in the pedagogical process.
Content in music- internal spiritual appearance works; what the music expresses. All sorts of things artistic content has three sides - subject(plot), emotional And ideological(“Book on aesthetics for musicians”, M.-Sofia, 1983, p. 137). Central concepts of musical content - idea(sensually embodied musical thought) and musical image
(directly opening musical feeling holistically pronounced character
, as well as musical capturing feelings and states of mind
). The most important and specific aspect of musical content is beauty, beautiful, outside of which there is no art (ibid., p. 39). Dominance of high aesthetic, artistic feelings of beauty and harmony(through the prism of which lower, everyday feelings and emotions are refracted) allows music to fulfill the most important social function elevation of the human personality.
Form in music- sound implementation of content using a system of elements and their relationships. The embryo of this Form musical and mobile dynamic her impulse - intonation complex, most directly reflecting the essence of the ideological and figurative content and representing the implementation of the core of the music. thoughts through the means of rhythm, mode and texture. Musical thought(idea, image) is embodied in metric organization, motivic structure melody, chords, counterpoint, timbres, etc..; it is fully realized in a holistic musical Form, in logical development through a system of repetitions, contrasts, reflections, in the totality of various semantic functions of the parts of a musical Form. The technique of composition (musical form) serves the fullness of expression of the music. thoughts, the creation of an aesthetically complete artistic whole, the achievement of beauty (for example, in harmony, technical rules determine “harmonic beauty,” according to P. I. Tchaikovsky).
Musical form and content are the same. Any, including the subtlest, shades of artistic feelings are certainly expressed by some means of musical form, any technical details serve to express the content (even if it cannot be expressed verbally). The non-conceptuality of music. artistic image, which does not allow it to be adequately reproduced in language verbal speech, can be grasped with a sufficient degree of reliability by the specific artistic and technical apparatus of music-theoretical analysis, which proves the unity of the content and Form of the musical. Leading, creative factor in this unity is always content poured into intonation. Moreover, the function of creativity is not only reflective, passive, but also “demiurgic”, suggesting the creation of new artistic, aesthetic, spiritual values (not existing in the reflected object as such). Musical form is an expression of the muses. thoughts within the framework of a historical and socially determined intonation structure and corresponding sound material. Music material is organized V Musical form based on fundamental distinction repetition and non-repetition; all specific musical forms - various types repetitions.
Even after music was isolated from the original “musical” trinity of word - melody - body movement (Greek chorea), The musical form retains an organic connection with poetry, step, and dance.(“In the beginning there was rhythm,” according to H. Bülow).
Municipal Autonomous Educational Institution Gymnasium No. 26 of Tomsk
Control testing on music for I quarter
(according to the program of Naumenko T.I., Aleeva V.V.)
7th grade
Compiled by: Zhukova Lyubov Ivanovna,
G. Tomsk
2016
Final test No. 1 in music (questions)
7th grade
A) a true understanding of nature. Not a cast, not a soulless face.
2. So that the artist has true work art, you need:
A) nothing
B) see and understand
3. Which composer was struck by a melody (in the oratorio “The Creation of the World”), expressing the birth of light, and he exclaimed: “This is not from me, it is from above!”
A) J. Brahms
B) M. Glinka
B) I. Haydn
4. Nature in III
A) alive, raging
B) calm, peaceful
B) raging and peaceful
A) unity of content
B) unity of form
A) non-program
B) software
A) one B) two C) three
A) from literary program
A) details
B) generalization
C) both answers are correct
A) all the sorrows of the world
B) all the joys of the world
C) the hero’s sadness and joy
A) the sea and Sinbad's ship
B) Prince Guidon
Final test No. 1 in music (answers)
7th grade
1.What does it teach us in to a greater extent F. Tyutchev in his poem:
Not what you think, nature,
A) a true understanding of nature Not a cast, not a soulless face.
B) imagination She has a soul, she has freedom,
C) the use of the gifts of nature. There is love in it, outside there is language.
2. So that the artist has genuine work art, you need:
A) nothing
B) see, understand and embody
B) see and understand
3. The composer, who was struck by a melody (in the oratorio “The Creation of the World”), expressing the birth of light, and he exclaimed: “This is not from me, this is from above!”
A) J. Brahms
B) M. Glinka
B) I. Haydn
4. Nature in III part of the concert “Summer” (from the cycle “Seasons”) A. Vivaldi appears:
A) alive, raging
B) calm, peaceful
B) raging and peaceful
5. What idea unites the poem by F. Tyutchev, the painting by I. Repin and I. Aivazovsky (page 4 of the textbook), the music of A. Vivaldi:
A) unity of content
B) unity of content and form
B) unity of form
6. What kind of music is difficult to explain in words:
A) non-program
B) software
C) having a name (“Forest”, “Scheherazade”, “Night in Madrid” and others)
7. How many moods are there in P. Tchaikovsky’s play “November. On the three":
A) oneB) two B) three
8. Etude No. 12 by A. Scriabin is proof that the expressiveness of the content of a musical work does not always depend on:
A) from the literary program
B) from funds musical expressiveness
C) from the composer’s personal experience
9. The basis of creativity in art is (choose the odd one out):
A) expression of feelings and thoughts strangers
B) expression of feelings and thoughts experienced by the author
IN) personal experience defeats and victories
10. What is the most important property musical content:
A) details
B) generalization
C) both answers are correct
11. What feelings does music summarize? Moonlight Sonata» L. Beethoven:
A) all the sorrows of the world
B) all the joys of the world
C) the hero’s sadness and joy
12. N. Rimsky-Korsakov in symphonic suite"Scheherazade" uses the names of individual parts as a program (choose the odd one out):
A) the sea and Sinbad's ship
B) the story of Kalender - the prince
B) Prince Guidon
Music, as the end result of mixing sounds and silence in time, conveys the emotional atmosphere, the subtle feelings of the person who wrote it.
According to the works of some scientists, music has the ability to influence both psychological and physical condition person. Naturally, such a musical work has its own character, laid down by the creator either purposefully or unconsciously.
Determining the nature of music by tempo and sound.
From the works of V.I. Petrushin, Russian musician and educational psychologist, the following basic principles can be distinguished: musical character in the work:
- The sound and slow tempo convey the emotions of sadness. Such a piece of music can be described as sad, conveying sorrow and despondency, carrying within itself regret about the irrevocable bright past.
- The sound and slow tempo convey a state of peace and contentment. The nature of a piece of music in this case embodies peace, contemplation and balance.
- Minor sound and fast pace offer the emotion of anger. The character of the music can be described as passionate, excited, intensely dramatic.
- The major coloring and fast tempo undoubtedly convey emotions of joy, indicated by an optimistic and life-affirming, cheerful and jubilant character.
It should be emphasized that such elements of expressiveness in music as dynamics, timbre and means of harmony are very important for reflecting any of the emotions; the brightness of the transmission of musical character in the work greatly depends on them. If you conduct an experiment and play the same melody in a major or minor sound, fast or slow tempo, then the melody will convey a completely different emotion and, accordingly, general character piece of music will change.
The relationship between the nature of a piece of music and the temperament of the listener.
If we compare the opuses classical composers with works modern masters, then we can trace a certain trend in the development of musical coloring. It becomes more and more complex and multifaceted, but the emotional background and character do not change significantly. Consequently, the nature of a musical work is a constant that does not change over time. Works written 2-3 centuries ago have the same impact on the listener as during the period of popularity among their contemporaries.
It has been revealed that a person chooses music to listen to not only based on his mood, but unconsciously taking into account his temperament.
- Melancholic – slow minor music, emotion – sadness.
- Choleric – minor, fast music – emotion – anger.
- Phlegmatic – slow major music – emotion – calm.
- Sanguine – major key, fast music – emotion – joy.
Absolutely everything musical works have their own character and temperament. They were originally laid down by the author, guided by feelings and emotions at the time of creation. However, the listener cannot always decipher exactly what the author wanted to convey, since perception is subjective and passes through the prism of the listener’s sensations and emotions, based on his personal temperament.
