What is the most important property of musical content. Characteristics of musical abilities

“You say that words are needed here.

Oh no! It is precisely here that words are not needed, and where they are powerless,

is fully armed with its "language of music ..."

(P. Tchaikovsky)

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

Let us turn to P. Tchaikovsky's piano cycle "The Seasons". Like Vivaldi, each piece by Tchaikovsky has a title corresponding to the name of the month to which it is dedicated, as well as an obligatory subtitle and an epigraph that deepens and concretizes its content.

"January. At the fireside”, “February. Shrovetide", "March. Song of the Lark”, “April. Snowdrop", "May. White Nights”, “June. Barcarolle", "July. Song of the mower”, “August. Harvest”, “September. Hunting”, “October. Autumn song”, “November. On the troika”, “December. Christmas time.

Such images were associated in Tchaikovsky with the perception of special poetry, the soul of each month of the year.

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

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

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

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

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

Listen to the sound of the opening section of the play "November" and try to imagine what kind of autumn the composer draws in his music, what feelings and moods its sound evokes in us.

P. Tchaikovsky

Note example 2

P. Tchaikovsky. "November. On a trio." From the piano cycle "The Seasons". First section. Fragment T

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

The second section of the play brings us closer to the content expressed in the title of the play - "On the troika". The music of this section is enriched by the introduction of a bright visual moment - the ringing of bells. It hints at the merry running of a trio of horses, which was once an integral part of Russian national life. This ringing of bells gives visibility to the sound of the play and at the same time introduces another cheerful moment - the moment of admiring the picture dear to every Russian heart.

Note example 3

P. Tchaikovsky. "November. On a trio." From the piano cycle "The Seasons". Second section. Fragment

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

Perhaps, in this last fading of sound, the lines from the epigraph to the play are remembered for the first time? Indeed, in the play itself there are no echoes of that promised melancholy and anxiety that are given in the poem. How, then, to understand the programmatic content of the epigraph to the play?

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

Questions and tasks

1. Is the mood of P. Tchaikovsky's play "November" in tune with your ideas about this season?

2. What is the role of N. Nekrasov's poem "Troika" in the context of the play "November"?

3. Which of the program components of the work (the name of the month, the title of the play, the epigraph poem), in your opinion, reflects the nature of the music to a greater extent?

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

Song repertoire:

Showers. Autumn decorates the road with leaves. Spreading out in apologies, sweeping Wind colorful patches of October. The light is flowing. Chorus Autumn blues sounds in silence. Don't be silent, you write. I want it so much, I want it so much Hear your autumn blues Hear your autumn blues. These sounds Remove my hands from the piano Evaporating, driving away the hearts of flour To the tune of autumn rain. The light is flowing. A string of ripe berries turns purple, And swinging on the branches - on thin needles, It falls like it's melting before our eyes. Chorus Lose Chorus (2x)

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

Municipal Autonomous Educational Institution gymnasium No. 26 of the city of Tomsk

Control testing in music for I quarter

(according to the program Naumenko T.I., Aleeva V.V.)

7th grade

Compiled by: Zhukova Lyubov Ivanovna,

music teacher,

G. Tomsk

2016

Final control No. 1 in music (questions)

7th grade

A) true understanding of nature Not a cast, not a soulless face.

2. In order for the artist to have a true work of art, you need:

A) nothing

c) see and understand

3. Which composer was struck by a melody (in the oratorio “Creation of the World”) expressing the birth of light, and he exclaimed: “This is not from me, this is from above!”

A) I. Brahms

B) M. Glinka

C) I. Haydn

4. Nature in III

A) alive, raging

B) calm, peaceful

B) raging and peaceful

A) unity of content

C) unity of form

A) non-software

B) software

A) one B) two C) three

A) from the 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 sadness and joy of the hero

A) the sea and Sinbad's ship

C) Prince Guidon

Final control No. 1 in music (answers)

7th grade

1. What does F. Tyutchev teach us to a greater extent in his poem:

Not what you think, nature,

A) a true understanding of nature Not a cast, not a soulless face.

B) imagination It has a soul, it has freedom,

C) the use of the gifts of nature There is love in it, outside there is a language.

2. In order for the artist to have a genuine work of art, you need:

A) nothing

B) see, understand and embody

c) see and understand

3. The composer who was overshadowed by a melody (in the oratorio "Creation of the World"), expressing the birth of light, and he exclaimed: "This is not from me, this is from above!"

A) I. Brahms

B) M. Glinka

C) I. Haydn

4. Nature in III part of the concert "Summer" (from the cycle "The Seasons") A. Vivaldi appears:

A) alive, raging

B) calm, peaceful

B) raging and peaceful

5. What idea unites a poem by F. Tyutchev, a painting by I. Repin and I. Aivazovsky (page 4 of the textbook), music by A. Vivaldi:

A) unity of content

B) unity of content and form

C) unity of form

6. What kind of music is difficult to explain in words:

A) non-software

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 At three o'clok

8. Etude No. 12 by A. Scriabin - proof that the expressiveness of the content of a musical work does not always depend on:

A) from the literary program

B) from the means of musical expression

C) from the personal experience of the composer

9. The basis of creativity in art is (choose the odd one):

A) expressing the feelings and thoughts of strangers

B) expression of feelings and thoughts experienced by the author

C) personal experience of defeats and victories

10. What is the most important property of musical content:

A) details

B) generalization

C) both answers are correct

11. What feelings does the music of L. Beethoven's "Moonlight Sonata" summarize:

A) all the sorrows of the world

b) all the joys of the world

C) the sadness and joy of the hero

12. N. Rimsky-Korsakov in the symphonic suite "Scheherazade" uses the names of individual parts as a program (choose the odd one):

A) the sea and Sinbad's ship

B) the story of Calender - prince

C) Prince Guidon

Content in music- the inner spiritual image of the work; what the music expresses. Every artistic content has three sides - subject(fable) emotional And ideological(“Book on aesthetics for musicians”, M.-Sofia, 1983, p. 137). The central concepts of musical content - idea(sensually embodied musical thought) and musical image(directly opening to the musical sense holistic character, as well as musical capturing feelings and states of mind). The most important and specific side of the musical content is beauty, beautiful, outside kotoporo there is no art (ibid., p. 39). The dominance of high aesthetic, artistic feelings of beauty and harmony(through the prism of which the lower, everyday feelings and emotions are also refracted) allows music to perform the most important social function of elevating the human personality.
Form in music- sound content implementation using a system of elements and their relationships. The germ of this Form musical and mobile dynamic her momentum - intonation complex, which most directly reflects the essence of the ideological and figurative content and represents the realization of the core of muses. thoughts by means of rhythm, mode and texture. musical thought(idea, image) is embodied in metric organization, motive structure of the melody, chord, counterpoint, timbres, etc..; it is fully realized in the integral Form of the musical, in logical development through a system of repetitions, contrasts, reflections, in the aggregate of various semantic functions of the parts of the Form of the musical. The composition technique (musical form) serves to complete the expression of the muses. 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 most subtle, shades of artistic feelings are certainly expressed by some means of the Musical Form, any technical details serve to express the content (even if it is not amenable to verbal formulation). The nonconceptuality of music. artistic image, which does not allow it to be adequately reproduced in the language of verbal speech, can be grasped with a sufficient degree of certainty by the specific artistic and technical apparatus of musical-theoretical analysis, which proves the unity of the content and form of the musical. Leading, creating factor in this unity is always intonation-driven content. Moreover, the function of creativity is not only reflective, passive, but also “demiurgical”, involving the creation of new artistic, aesthetic, spiritual values (not existing in the reflected object as such). The musical form is the expression of the muses. thoughts within the framework of the historical and socially determined intonational structure and the corresponding sound material. Muses. material is organized V musical form on the basis of a fundamental distinction repetition and non-repetition; all specific forms of music - different types of repetition.
Even after the music was isolated from the original "musical" trinity of the word - chant - body movement (Greek chorea), The musical form retains an organic connection with verse, step, dance(“In the beginning there was rhythm,” according to X. Bülow).

The boundless world of life, human feelings, dreams and ideals is the content of music revealed with the help of musical form. Sometimes a person appears in music as the main character, as, for example, the brave pioneer Petya or his grouchy grandfather in S. S. Prokofiev's symphonic fairy tale "Peter and the Wolf". But more often than not, he stays 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 visualize the appearance of a lyrical hero? No, the way of perception here is different: the hero looks at the world together with us. We do not see him, but we clearly feel his presence. And if a poem deeply moved us, then this means that the “artistic self” of the poem has merged with our own “I”. Music can also achieve such a complete fusion. “My native country is wide,” the man sings and experiences the same feelings as the hero of the song. The "artistic self" indispensable to all arts takes many forms. You can talk about the hero of a particular work, for example, a small prelude, but also about the heroes of individual, national and historical styles.

What are the sides of a person in music - both the depicted character and the "artistic self"? For the character, external signs of his appearance are very important. Music, of course, cannot represent the color of the hair or the shape of the nose. But the peculiarities of gestures, gait and manner of speech embodied by her involuntarily make one think about the appearance of the character. It’s hard not to imagine Vashek’s mumbling, rotten, listening to his aria “Ah, what is it!” from the opera “The Bartered Bride” by B. Smetana, or the fox-like cunning and sticky Bomelius from the opera “The Tsar's Bride” by N. A. Rimsky-Korsakov. Instrumental music is also full of characters - gallant, nimble, bustling, eccentric, majestic, noble and vulgar.

We easily distinguish between the types of female and male characters in music. Suffice it to recall, for example, the thin, fragile and tender Snow Maiden and the ardent, passionate Kupava from Rimsky-Korsakov's opera The Snow Maiden.

The possibilities of music in reproducing the mental and emotional states of a person are great. 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 are closely intertwined with social, historical, cultural, and national traits. Man rejoiced, despaired, experienced anger at all times, in all countries. Kings laughed, peasants laughed, artisans laughed. But we will not find two equally expressed feelings. How many types of joy are there in music, for example? As many as there are heroes in it. Sparkling Italian tarantella and daring Russian dance, languid-sweet Argentine tango and proud polonaise, artless joy of shepherd's tune and exquisitely cutesy court dance, quivering ecstasy of the hero of the works of A. N. Scriabin and a 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 unfortunate hero Farlaf from the opera “Ruslan and Lyudmila” by M. I. Glinka, who treacherously killed an opponent, and the bright joy of Lyudmila are fundamentally different feelings.

How does music embody the circumstances of life? She makes extensive use of visual arts. Often we hear in it the murmur of streams, the sound of the surf, the peals of thunder, the howling 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 of the inner world of a 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, it is also a renewal of the human soul.

Music can also recreate more complex life circumstances. It is impossible in the literal sense of the word to portray 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 motives are superimposed on a mechanical marching rhythm. As a result, an image of monstrous lack of spirituality, impudently self-satisfied, arrogant admiration of power is formed. This terrible force is advancing, crushing everything under it, obscuring the entire horizon, until it is stopped by spiritual and humane power. Along with static sketches of life circumstances, we meet in musical works with various situations and events.

A melody is built from the succession of intonations. Movements and countermovements of intonational lines permeate the texture - the totality of all voices and elements of polyphony. Musical dramaturgy, plot, plot appear in a large form. These names, taken from theater and literature, are not accidental. They are connected with the fact that music was looking for different ways to build its artistic world, based on the experience of other arts. The first parts of the sonatas and symphonies of J. Haydn and W. A. Mozart are built, as it were, according to the laws of the theater: characters are guessed in bright themes, we hear their voices, the music is full of dialogues and disputes. In the romantic sonata form, the lyrical hero comes to the fore: the alternations of various themes are perceived as his spiritual conflict. Romantic composers also invented a completely new way of organizing content for their time: in their instrumental ballads, following the model of literary and vocal ballads, they introduced the figure of a “narrator”, who narrates with interest and passion about unusual, significant and disturbing events.

In modern music, new methods of constructing content have been found. Literary and cinematographic techniques of "internal monologue" are often used, for example, in the symphonies of G. A. Kancheli, in the works of A. G. Schnittke.

The musical form also plays another extremely important role: it guides perception and helps it. In the melody of mass songs, each new phrase often begins with the same sound on which the previous one ended. Such a chain connection contributes to the memorability of the tune.

The organization of harmony, rhythm, compositional forms sews together the sound fabric of a musical work with thousands of threads, creating that perfect form that embodies bold and deep figurative thoughts about the world, happiness and beauty, thoughts that are close and understandable to millions of people around the globe.

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

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

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

Classification of musical phenomena by types of musical creativity:

1. Folklore or folk art.

Characteristics of creativity:

1) Oral. Passed from mouth to mouth.

2) Unprofessional.

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

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

Characteristics of creativity:

1) Oral.

2) Professional.

3) Canonical.

4) Theoretically meaningless.

3. Canonical improvisation(religious music).

Characteristics of creativity:

1) Oral.

2) Professional.

3) Canonical.

4) Theoretically meaningful.

4. Opus - music(opus is the original composition recorded in the musical text). Opus - music is also called - composer, autonomous, serious, classical, academic.

Characteristics of creativity:

1) Written.

2) Professional.

3) Original (requirements - originality, individuality).

4) Theoretically meaningful.

Classification characteristics of music as an art:

1. Non-pictorial.

2. Temporal (not spatial).

3. Performing.

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

In the musical language, separate musical sounds meaningful and organized so that they form complex of expressive means of music. The expressive means of music serve to embody artistic images that can evoke a certain range of associations in the listener, through which the content of a musical work is perceived.

Music sound properties:

1. Height.

2. Duration.

3. Volume.

Expressive means of music:

1. Melody.

2. Harmony.

3. Invoice.

5. Dynamics.

Melody. Organizes sounds by pitch in their sequence.

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

The expressiveness of the melody is based on the fact that its analogue outside of musical phenomena is speech. Melody in music plays the same role as speech in our daily life. Common between melody and speech - intonation. In speech, intonation carries mainly emotional coloring, in music - both semantic and emotional.

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

Harmony organizes sounds into consonance.

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

Consonances can sound stable and unstable. These qualities are a colossal means of expression. They convey the growth of tension, the decline in tension, create a sense of development.

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

Invoice types:

1. Monody (melody without accompaniment).

A) polyphony is the simultaneous sounding of equal melodies.

3. Melody with accompaniment (homophonic texture).

4. Chord and Chord figuration.

Rhythm is the organization of sounds in time. Sounds have different duration. Sounds have an accent (accent and non-accent). Rhythm Functions:

a) rhythm arranges musical time, divides it into proportionate sections from accent to accent. The section from accent to accent is a measure. This is the metric function of rhythm (called "meter");

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

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

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

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

Men's: tenor, baritone, bass

Women's: soprano, mezzo-soprano, contralto

Composition of the symphony orchestra:

4 main groups

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

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

Woodwinds (flute, oboe, clarinet, bassoon).

Brass wind instruments (trumpet, horn, trombone, tuba).

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

The composition of the string quartet:

2 violins, viola, cello

Kholopova VN Music as a form of art. SPb., 2000