Music expresses the moods, feelings, character of people: Three girlfriends. Music expresses the moods, feelings, character of people: Three girlfriends Crybaby, playful, angry
Composer D. Kabalevsky has plays “Crybaby”, “Evil” and “Frolic”...
Of course, you know who the crybaby is. Remember also the fairy tale about the Twilight Princess, who shed tears almost for her sake. Such foolish princesses can be found in life. Unfortunately, there are also children who are mean, angry, pugnacious, they offend everyone and will not spare anyone. And a girl is called a playful girl - she is fidgety, jumping, it is so difficult for her to sit in one place. She should all have fun, jump and run!
Carrying out kit music lessons based on materials from O. P. Radynova: presentation with musical arrangement and lesson development.
Included:
1. Presentation - 18 slides, ppsx;
2. Sounds of music:
D. B. Kabalevsky. Crybaby, mp3;
D. B. Kabalevsky. Zlyuka, mp3;
D. B. Kabalevsky. Rezvushka, mp3;
D. B. Kabalevsky. Three girlfriends (vinil-rip), mp3;
3. Accompanying article - lesson notes, docx;
4. Sheet music for independent performance by the teacher, jpg.
At the end of the lesson, the song “Blacksmith” will be played, in which the intonation does not change from beginning to end. When performing it, you can invite the children to stand up and sit down alternately, then boys, then girls. It is necessary to achieve complete absence of noise and rhythmic accuracy of performance: stand up clearly just before the introduction.
sound, and after the last sung sound - immediately sit down **.
"Threegirlfriends"(“Rezvushka”,"Crybaby","Evil")– listening.
"Quail"
“March” by E. Grieg, leaving the classroom to the music of D. Kabalevsky’s song “Who are on duty?”
** The topic “Intonation”, the study of which allows the children to conclude that the difference musical speech from colloquial is to accurately record the pitch of the sound, giving rise to the beginning of learning to sing from notes. Teaching methods may vary. The program implies the possibility of using, for example, both absolute and relative solmization. Musical material maybe those chants and songs that were learned in first grade. However, it is important that the content of the music is organically related to the topic of the lesson.
Melodyfrom3rdpartsFifthsymphonies L. Beethoven – performance.
"Blacksmith"– execution.
Fourthlesson*
Intonations can be very different: some express moods, feelings, thoughts of a person, others - depict any human movements (steps, jumps) or various sounds, noises and phenomena of the world around him.
Here are some examples of intonations: expressing different character- teras, feelings And mood people: frisky intonation (“Rezvushka”), whiny (“Crybaby”), angry, angry (“Zlyuka”), plaintive (“Quail”). Pay attention to connection character intonationV that or other song Withcharacter her execution. By analogy, remind the children that they themselves often give their speech a certain intonation coloring. Even the same word is pronounced interrogatively (Yes?), then affirmatively (Yes!), then with uncertainty (yeah...).
Here are some intonations fine art character: intonation of a step (“March” by Prokofiev), intonation of an alarm bell (“Don-don”), trumpet and drum (“Trumpet and Drum”), the crow of a rooster (introduction to the Russian folk song “Cockerel”) and the call of a cuckoo ( "Cuckoo"), the meowing and scratching of a cat ("Puss in Boots and White cat"). There are different types of combinations of intonations. For example,
“March” by S. Prokofiev – step intonation in the lower register, song intonations – in the upper register.
Learning the melody " Good morning» from the second part of the cantata
“Song of Morning, Spring and Peace” by D. Kabalevsky should be associated with an expressive reading of the text and emphasizing the modal coloring of intonation and its “highlighting” during performance.
When listening to the exposition of the 3rd movement of Beethoven's symphony, let the children themselves determine that the main (heroic) intonation sounds not at the beginning, but at the end of each of the three formations.
ExamplesexpressiveAndfine artintonation- at the choice of the teacher from among those named.
"Kindmorning"– unlearning.
"Cuckoo"(Swiss folk song) – unlearning.
Exposition3rdpartsFifthsymphonies L. Beethoven – listening.
"Blacksmith"– performance in an ensemble with a teacher.
Fifthlesson
Continuation of the topic about expressive and figurative intonations. The teacher should not lose sight of the fact that, as was already discussed in the first grade, expressiveness and figurativeness most often exist together, in an inextricable unity. This can often be seen in individual intonations.
* From this lesson you can begin experiments in improvisation based on a given grain - intonation of 2-4 sounds and text (1-4 lines). Thanks to this, improvisation ceases to be a pointless selection of melody, since it includes an element of intonation awareness.
Great " musical storyteller» N.A. Rimsky-Korsakov drew it very accurately musical portraits the main characters of his opera “The Golden Cockerel”. Thus, two versions of the cockerel theme in the opera simultaneously contain both figurativeness(music depicts a rooster crowing), and expressiveness (in one version the theme begins and ends with moves up, and in the other with moves down; in the first case, the theme is alarming in nature, in the second - calm; in the first version, the cockerel sings to King Dadon “Beware, be on the alert!”, in the second "Reign while lying on your side")
The astrologer is shown in the opera as a wise old man who knows all the secrets of life both on earth and in heaven. Smooth chords slowly alternate in his theme, his voice sounds high, and even higher, like twinkling stars, small bells ring. Listen carefully to him last words: “A fairy tale is a lie, but there is a hint in it - good fellows lesson". Tsar Dadon is the Russian Tsar himself. Even before Dadon utters his first words, we hear him trying to portray an important and powerful person. But in fact, he puffs up and swells up in a very funny and stupid way: his march-like theme is repeated four times in the bass without change, it sounds louder and louder, but cannot budge, and Dadon begins to feel sorry for himself: “... It’s hard for the mighty Dodon to wear the crown.”
Rimsky-Korsakov calls Voivode Polkan “old and uncouth” and adds that he “always speaks like he swears.” He scares the Tsar and the boyars all the time.
Let the children themselves try to hear and determine the main intonations of each of these topics.
Themscockerel, Stargazer, kingIDadona, governorsPolkanAAndhabout- logA opera “The Golden Cockerel” by N. Rimsky-Korsakov – listening.
"Cuckoo"– execution.
"Kindmorning"– execution.
"KittyAndpuppy" T. Popatenko – learning.
Sixthlesson
The song “Kitten and Puppy” is an excellent example of humor in music. It must be sung so that the humor is not only in the verses, but also felt in the performance of the music itself (sharp rhythm, exact fulfillment of the composer’s instructions in the 9th and 11th bars: the first sound is a short eighth, the second is underlined quarter). When listening to the “Aragonese Jota,” draw the children’s attention to the fact that the introduction is built on intonations that sound very significant, not foreshadowing in any way dance music, in very slow motion. Thanks to this main topic sounds especially bright and fresh.
Let the children, determining the main intonation in a particular song (play), try to characterize its expressive or pictorial properties.
"Kindmorning"– execution.
"Cuckoo"– execution.
"Aragonesehota" M. Glinka – listening and performing in an ensemble with a teacher.
"KittyAndpuppy"– execution.
Seventhlesson
Generalization of the theme of the second quarter. Intonation is the basis of music. The brightness of the music depends on the brightness of intonation. Not every combination of sounds produces a melody, just as not every combination of words produces a phrase (give examples of a meaningless collection of several words and several sounds). Melody – intonationally meaningful- new musical construction.
ExecutionAndhearingmusicBydiscretionteachersAndByat willthemselvesGuys.
THIRDQUARTER
MUSIC DEVELOPMENT
Firstlesson *
Music – art, which reveals itself before listener Vmovement, gradually, step for step (sound for sound). That's why Nomusicwithout development, even when she strives to portray complete peace and immobility.
Music of the verse form (song), where it would seem that the repeated repetition of the same unchanging verse itself predetermines the lack of development, we perform differently and depending on the text of the verses. A clear example of this is the song “Why does the bear sleep in winter.” The first verse paints a picture of a calm forest; the bear quietly goes home to his den. The sound of music should be just as calm. But at the very end of the first verse there is an incident: the bear stepped on the fox’s tail. In the life of forest inhabitants there is commotion, noise, din. The music should sound the same way: fast, excited, noisy. And in the third verse, the bear climbed into the den, fell asleep, and the forest became calmer - the music in this verse is performed quieter and calmer than in the first verse. This shining example performingOdevelopment music (the composer composed the same music for three verses, but the performance by the children themselves introduced development, movement, and a change in character into it).
You can also perform the song proposed in this lesson in different ways: first sing about calm guys, then about fidgety guys, then they will sound simultaneously, and the same music will be perceived differently - two groups of guys with different characters as would argue with each other.
Now let's look at the fairy tale in which development available in mostmusic, regardless of its performance, as is usually the case in a verse song.
If we read (without music) the fairy tale “Peter and the Wolf,” we will see that in this fairy tale various events take place, the characters perform different actions, their mood changes, they enter into friendly negotiations with each other, then into disputes, etc., etc. All this is called development. But if such a development is in the text of the fairy tale, then, of course, it is also in the music written to the text.
* Entrance to the lesson to the music of “March” by T. Khrennikov, exit from the class after the lesson to the music of “March” by F. Schubert.
this fairy tale. Music expresses everything that Petya, grandfather, hunters and other characters in the fairy tale feel and think (Prokofiev
“humanizes” the animals in his fairy tale: they talk “humanly” with Petya and with each other, so their music always has expressive intonations, as if they were people, and figurative intonations - a bird chirps, a cat sneaks , the wolf clatters its teeth, the duck quacks, etc.).
Necessary offer guys trace for development music VProkofievskaya fairy tale, based on an understanding of what “grain intonation” is.
Start with Petya - determine the intonation from which his melody is grown, trace how it changes (develops) throughout the entire tale, depending on the events occurring in it; like Petya from carefree boy turns V pioneer hero(development of a topic started in first grade). Listen carefully to the main episodes of Petya’s music: from the beginning of the fairy tale, where the mood is calm, cheerful, cheerful, not foreshadowing any serious events (pay attention to how Petya’s music combines elements of song, dance and march), to the final general procession - a march that grew out of Petya’s melody (Petya is a hero!).
In F. Schubert’s “March” it is also necessary to highlight the main intonation and follow its development.
"Whybearsleeps in winter" L. Knipper - learning.
"DifferentGuys"– execution.
"Petya andwolf" S. Prokofiev (development of Petya’s theme) – listening.
"March" F. Schubert - listening.
Secondlesson*
In the game song “Word Game” the children will discover another technique for developing music. It is necessary to achieve a very bright contrast between the available this class loud sonority (without forcing!) and barely audible sonority. At the end of the last phrase – “the mice rustled” – switch to a speech whisper, stretching out the sound “sh”, and on the last syllable (“shat”) make an arbitrary downward glissando. Of course, all this can be achieved only gradually, over the course of several lessons. In the fairy tale “Peter and the Wolf,” children can trace how the comparison and collision of different timbres associated with actors symphonic tale, promotes development music.
"DifferentGuys"– execution.
"GameVwords"(singing) - learning.
"Petya andwolf"– development of the themes Petya, birds and ducks – listening.
"Whybearsleeps in winter"– execution.
Thirdlesson
Draw the children’s attention to the fact that “Peter and the Wolf” has three parts: the first is the calm, serene life of Petya with his grandfather and Petya’s animal friends; the second, starting from the appearance of the wolf up to his
* During this lesson and throughout the entire quarter, entrance to the classroom is under
“March” by F. Schubert, leaving the classroom to “March” by T. Khrennikov.
capture, filled with main events - dangerous, alarming, exciting, leading to the victory of friends over the evil wolf; the third is the final triumph (don’t forget that the duck will probably somehow get out of the wolf’s belly - this is a fairy tale, after all). But grandfather always remains the same: he is kind, but he always grumbles a little. At first he is afraid that some misfortune will happen to Petya, and in the end he is worried about what would have happened to Petya if the wolf had not been caught...
"GameVwords"– execution.
"Whybearsleeps in winter"– execution.
"Petya andwolf"– development of the themes of duck, cat and wolf – listening.
Fourthlesson
In S. Bugoslavsky’s song, draw the children’s attention to the text: let them themselves feel and understand that the third verse, developing the idea of the first and second, is distinguished by excitement and solemnity (the first and second verses are a song, and the third is a march song) - we praise the border guards who protect our Motherland.
In the scene “Bathing in Cauldrons” from the ballet “The Little Humpbacked Horse” by R. Shchedrin, the action develops as follows: in order to get rid of King Pea, he was persuaded to boil himself in several cauldrons, as if this would make him young and handsome. And so the boilers heat up, the water begins to boil, the king climbs into the boiler and... evaporates, disappears... everyone is in bewilderment...
Listening brightly visual music In this scene, the guys can pay attention to the development of the already familiar theme of King Pea, which takes on the character of a sad funeral procession. With this music, the composer seems to be making fun of the king. In contrast to it is Ivan’s broad dissolute theme, written in the spirit of Russian folk songs.
"Infieldbirchstood"(Russian folk song) - performed in an ensemble with a teacher.
"SongOborder guard" S. Bugoslavsky - learning.
"KupanieVboilers» – scene from the ballet “The Little Humpbacked Horse” by R. Shchedrin – listening.
Fifthlesson
Having familiarized themselves with the text of the new chant “Quiet - Loud,” let the children themselves (without the teacher’s conducting gesture - he is only an accompanist here!) perform it, changing the character from verse to verse.
In the song “There was a birch tree in the field,” note the final (of two sounds) intonation that completes each of the four phrases of the song. Before listening to a fragment from the finale of P. Tchaikovsky’s Fourth Symphony, play the theme in its several versions offered in the anthology. The children discover similarities between the development of the theme (in the piano sound) and own performance the song will be interesting and useful for them for the further perception of music in an orchestral sound.
"Quiet– loud" I. Arseeva - learning.
"Infieldbirchstood"– execution.
FinalFourthsymphonies P. Tchaikovsky (fragment) – hearing.
"SongOborder guard"– execution.
Sixthlesson
The teacher can listen to V. Bely’s song “Eaglet” in the form piano piece without singing, and then as it was composed (song with piano accompaniment). At the same time, it must be said in a nutshell that this is music about a brave Komsomol member who died in the fight against the enemies of the revolution. The guys, of course, will feel how the very soulful music becomes more and more emotional and dramatic from verse to verse.
"Quiet– loud"– execution.
"SongOborder guard"– execution.
"Eaglet" V. Bely - hearing.
Seventhlesson
In this lesson, the children will once again listen to F. Chopin's Preludes
No. 7 and No. 20. In development, both preludes are very different: in the first there is a clear movement of the melody towards the peak (climax). They must try to hear this peak themselves. The second prelude is almost unchanged in its sad concentration (there is only a contrast between the loud sonority of the first part and the quiet sonority of the second, twice repeated part).
The guys will also get acquainted with the new Russian folk song“I walk with the vine.” Having learned it, they will subsequently sing each verse differently, changing the tempo and dynamics, performing in one voice, in a canon and, finally, with an echo (in the fourth quarter).
The song “Amateur Fisherman” by M. Starokadomsky is another example of “performing development” in accordance with the text of this cheerful, a humorous song.
Preludes№ 7 And№ 20 F. Chopin - listening.
"SoloachII'm walking"(Russian folk song) – learning.
"Amateur Angler" M. Starokadomsky - learning.
Eighthlesson
In this lesson, you can draw the children’s attention (by this time sufficient prerequisites have already accumulated in their auditory experience to realize this) to two concepts: major And minor, which denote two types (characters) of sound: lighter and darker, like light and shadow, brightness and darkness, shine and dullness. In no case should one, as is often done, reduce major and minor to cheerful and sad. Although these concepts often coincide, they are far from equivalent (sometimes cheerful music in minor and sad in major. You can also recall songs with alternating major and minor: “Ringing bell”,
Music" Program
Also recommended approximate program By music. Thus, the author's program « Music" for grades 1-4: ... approximate recommendations programs By music. 2. Goals and objectives of the educational programs « Music" Viability programs « Music" due...
MUSIC EXPRESSES THE MOODS, CHARACTER, FEELINGS OF PEOPLE
Three girlfriends
Dmitry Borisovich Kabalevsky. Three girlfriends (Crybaby, Angry, Frisky), Stubborn brother
1st lesson
Program content. Tell children that music can convey not only mood, but also character traits of a person.
Progress of the lesson:
Educator: You know that music can express a person’s different moods, his experiences, feelings: tenderness, fun, sadness, anxiety. Have you listened to plays in which the composer already in the title defines the mood expressed in the music: “Fun - Sad” by L. Beethoven, “A Tender Request” by G. Sviridov.
Music can convey a person's character traits in a very similar way.
Composer D. Kabalevsky has plays “Crybaby,” “Crybaby,” and “Frolic.” Of course, you know what a crybaby is. Remember also the fairy tale about the Princess Nesmeyana, who shed tears almost for her sake. Such foolish princesses can be found in life. There are so many whiny, capricious girls, and boys, especially if they are still small, sometimes get their way with tears. They are also called crybabies.
Listen to how the music portrayed the crybaby. (Performs a play.) What bitter tears the crybaby sheds, sometimes even squeals! ( Performs bars 9-12.) Which child do we call mean?
Children. The one who gets angry and fights.
Pedagogue Yes, unfortunately, there are such children who are mean, angry, pugnacious, they offend everyone and will not spare anyone. (Performs a play.)
What prickly and ugly music. That's because she's talking about being mean. The third piece that I will play for you is called “Frolic”.
A girl who is fidgety, jumpy, and has such a hard time sitting in one place is called a frisky girl. The word rezvushka comes from the word frisky - that is, fast, lively, playful. Here is the play “Fun” - moving, lively, cheerful, playful. The music tells about a girl with a fidgety, mischievous character. She should all have fun, jump and run! (Performs a play.) This is how, it seems, music can convey character traits, a portrait of a person: crybaby, angry or playful. (Performs the pieces again.)
2nd lesson
Program content. Teach children to distinguish between means musical expressiveness: tempo, dynamics, register, harmonization; convey the character of the music in movements.
Progress of the lesson:
Educator: In the last lesson, you listened to music that vividly conveys a person’s character traits, as if painting his portrait. Now I'll tell you a wish musical riddle, and you try to guess it. Who is in front of us now: a crybaby, a feisty one or a playful one? (Performs three plays, children recognize them. You can use a gaming technique: three cards with the image of a crybaby, an angry one and a playful one. Children will pick up one of them one by one after hearing music that matches the character’s character.)
You guessed my riddles correctly. Why didn't you confuse a crybaby with a mean one? After all, the melodies of these plays are so similar! (Performs fragments.)
Children. The crybaby is sad, and the angry one is angry.
P a g o r. Correct. Although both melodies are very similar, probably because both the crybaby and the angry one are similar to each other - both are capricious, naughty girls, it is difficult to confuse them.
The melody of “Crybaby” sounds quiet, plaintive, sad, slow. (Performs fragment.) She is mournful, conveying the sobs and squeals of a whim. In the play “The Evil One” a similar melody sounds louder, faster and accompanied by chords - hard, angry, angry, prickly. The bastard has such a prickly character! (Performs fragment.) A mean woman cannot be beautiful, which is why the music sounds so harsh and ugly. Even if a mean girl has a pretty face, but she is angry, unkind, no one will like her, no one will want to be friends with her. (Performs fragment.) What an ugly bastard!
Let's try to convey the character of the music with hand movements: while quiet, plaintive music (“Crybaby”) is playing, the movements will be smooth, sad (performs fragment), and when the music conveys an angry character (“Angry”), it will sound harsh and loud, more mobile, then the movements will be sharp, clear, faster. (Performs a fragment, shows the movements. Then performs both pieces. In the middle and older groups You can use pantomime dance moves, stimulating children's creativity.)
How can you convey the character of a playful girl with your movements? (Performs fragment.) The music is so fast, frisky, light, flying, playful, mischievous. The melody either goes down, then suddenly flies up, then quickly jumps and flutters. (Performs fragments.)
Children. The movements will be fast.
P a g o g Yes, the movements will be light, sweeping, impetuous, fast, graceful, playful. (Performs a play, children complete the task.)
Maybe someone would like to dance to this music? Who will be our playmaker?
3rd lesson
Program content. Teach children to distinguish expressive intonations of music, similar to speech ones.
Progress of the lesson:
P e d a g o g (performs three pieces in a different order than in the previous lesson, children guess the names of the pieces). You define the girl’s character so well, which the music conveys! You are not mistaken because music has its own words, just like speech. This musical intonations, similar to a conversation - cheerful, sad, angry, tender. For example, when a person cries, complains, sighs, he makes sounds similar to these (makes the sounds of a sigh, then plays the beginning of the play “Crybaby”). When a person is angry, screams, his voice sounds ugly, harsh (performs a fragment of the play “Evil”).
Now I will play you another piece by composer D. Kabalevsky, in which the character of a person is very similar. It's called "Stubborn Brother." What is stubbornness, do you know? Which child do we call stubborn?
Children. Naughty.
Educator: Yes, a stubborn child does everything his own way and does not agree to any persuasion from an adult. So it is in this play - the stubborn little brother keeps repeating his point. (Performs a play.) This music is very similar to conversation. When a mother persuades a child, she first tries to explain to him what she wants, calmly, patiently, speaking kindly and quietly. It’s the same in music. (Performs bars 1-3.) If the child does not obey, the mother begins to speak more insistently, louder, and tries to convince him. So it is in this play. (Performs bars 5-7.) A stubborn child responds as if in one sound, muttering his own monotonously. (Performs the 4th measure.) How similar this music is to speech!
Mom again tries to convince the stubborn man, but the child interrupts her and does not listen. (Performs bars 9-13.) And at the end of the play, do you think the mother persuaded her stubborn son to do what she asked?
Children. No.
Pedagogist. The stubborn boy never agreed with his mother, did not listen to her. He finally shouted something capriciously. (Performs the last bar of the piece.) And when his mother persuaded him, he seemed to repeat all the time: “No, no, no!” or “I don’t want to!” ( Performs fragment.) This is how musical intonations are similar to words! ( The play is performed again.) (In subsequent lessons, children can dramatize this play using pantomime: the “stubborn brother” turns away, stomps, shakes his head from side to side when “mom” tries to persuade him.)
Presentation
Included:
1. Presentation - 12 slides, ppsx;
2. Sounds of music:
Beethoven. Fun-sad, mp3;
Sviridov. A Kind Request, mp3;
Kabalevsky. Three girlfriends:
Crybaby, mp3;
Zlyuka, mp3;
Rezvushka, mp3;
Kabalevsky. Three girlfriends (completely) , mp3;
Kabalevsky. Stubborn brother, mp3;
3. Accompanying article - lesson notes, docx;
4. Sheet music for independent performance by the teacher, jpg.
