Cognition. Working on the artistic image in a work
MUNICIPAL BUDGETARY INSTITUTION OF ADDITIONAL EDUCATION "KUZMOLOVSKAYA SCHOOL OF ARTS"
An open lesson conducted with a 4th grade student Arina Malova (age 10 years).
Topic: Working on artistically in works"
Teacher Dobrovolskaya T.I.
village Leskolovo
2017
Lesson topic : “Work on the artistic image in works”
Lesson type: combined.
Objective of the lesson: consolidation and improvement of skills in creating and reproducing an artistic image.
Lesson objectives:
Educational:
consolidate the skills of the ability to play various musical works musically, emotionally, figuratively, with auditory control;
introduce to interesting facts from the biography of composers whose works the student performs;
search for performing techniques to convey a musical image.
help expand your musical horizons.
Educational:
promote development creativity(artistry);
develop ear for music, memory, attention, internal culture;
develop aesthetic and moral feelings;
develop musical erudition, from which a sense of proportion, style and taste is born;
contribute to the development of in-depth perception and conveyance of mood in a performed piece of music;
promote development cognitive activity, creative thinking.
Educational:
to form an emotional and value-based attitude towards the music played in the lesson;
bring up musical taste;
promote the development of emotional responsiveness to music.
Teaching methods:
comparison method;
visual-auditory method;
music observation method.
method of thinking about music
method of emotional dramaturgy;
verbal methods: conversation (hermeneutic, heuristic), dialogue, explanation, clarification;
method of musical generalization;
plastic modeling method.
Repertoire lesson plan:
1. Gamma E major
3. S. Banevich “Soldier and Ballerina”
Lesson plan:
1.Organizational moment
2. Work on the scale.
3. Working with musical material
4. Consolidation of the material covered.
5. Lesson summary
6. Homework
Introduction.
A student’s musical and artistic images are living, spiritual, actively and dynamically developing “phenomena” with which he comes into non-verbal contact, experiencing a feeling of spiritual satisfaction in the process of this communication. Therefore, the most important moment in the development of cognitive (cognitive) abilities can be considered the education in the student of performing independence - the ability to interpret a work in his own way, create and develop his own musical and artistic images, independently find technique to realize your plan.
The concept that music is a special language of communication is undeniable. musical language, like the language German, English, etc. Passionate about his work, a competent teacher tries to convey this point of view to his students, to form an associative connection between musical and artistic works, comparing plays with poems, fairy tales, stories and stories. Of course, one should not understand the language of music in the literal sense as a literary language. Expressive means and the images in music are not as visual and concrete as the images in literature, theater, and painting. Music operates purely by means emotional impact, appeals primarily to the feelings and moods of people. “If everything that happens in a person’s soul could be expressed in words,” wrote A.N. Serov, “there would be no music in the world.”
Since we are talking about the creation and development of an artistic image, it is necessary to determine what is meant by the concept of “content piece of music" The generally accepted concept is that the content in music is artistic reflection musical means human feelings, experiences, ideas, relationships of a person to the reality around him. Any piece of music evokes certain emotions, thoughts, certain moods, experiences, ideas. This is the artistic component musical composition. But, of course, when performing it, one should not lose sight of the technical side of music-making, since careless performance of a piece of music does not contribute to creating the desired image in the listener. This means that the teacher and student are faced with a rather difficult task - to combine these two directions when working on a piece of music, to synthesize them into a single systemic, holistic approach, a method where the disclosure artistic content is inextricably linked with successfully overcoming possible technical difficulties.
Lesson progress:
1. At the beginning of the lesson we play the E major scale. We play the scale again, refining the fingering. Next comes work on the scale in thirds and decimas. Particular attention is paid to dynamic shades in playing the scale.
Next work in progress over chords and arpeggios with your hands. We remember that we play arpeggios “as if drawing loops” with each hand. Working on arpeggios dynamically on short, broken and long ones.
When working on chords, we achieve a smooth, bright sound and finger activity when playing chords from the instrument and then transferring them.
Game D7.
Homework.
Polyphony is the main thing in the education of a student (Neuhaus). Work on polyphonic works is an integral part of piano performance training. This is explained by the enormous importance that developed polyphonic thinking and mastery of polyphonic texture have for every piano player. The student develops and deepens the ability to hear polyphonic fabric and perform polyphonic music throughout the course of training.
In its general mood, the F major invention is close to the “Gloria” section from Bach’s Mass in B minor. The invention is based on a theme that first rises along a broken triad (fa-la-fa-do-fa-fa), and then descends (fa-mi-re-do, re-do-sib-la, sib-la-sol -F). The theme is joyful, light, fast. Here we can talk about a variety of rhetorical and symbolic figures. The contour of the theme itself - the ascent along the triad and the scale-like descent correspond to the stanza of the chorale "Christ lay..." - "Praise the Lord", at the same time the descent is three times four notes - a symbol of Holy Communion. The joyful, light and fast theme contains ascents and declines - associations arise with the flight of angels. From the 4th measure, the ringing of bells appears - praising the Lord (la-do-sib-do, la-do-sib-do, la-do-sib-do) - again three times four notes each - a symbol of Holy Communion. In measure 15 in the lower voice and in measure 19 in the upper voice, the interval of a descending diminished seventh is sharply highlighted - a symbol of the Fall. In measures 5-6, 27-28, 31, a parallel movement of sixths appears - a symbol of contentment and joyful contemplation.
The invention is written in 3 parts - 11+14+9 bars.
The first section, beginning in F major, ends in C major. The second section, beginning in C major, ends in B flat major. The third section, beginning in B-flat major, ends in F major.
The polyphonic feature of this peculiar fugue is canonical imitation. However, this canon, which initially goes strictly into the octave, jumps to the lower note (in measure 8), and is interrupted in measure 11.
Showing and working with the student on fragments of the work. Working on a dynamic plan, working on creating the image of the “flight of angels”.
Working on the inventions of J. S. Bach helps to understand the world of deep, meaningful musical and artistic images of the composer. The study of two-voice inventions gives a lot to students of children's music schools for acquiring skills in performing polyphonic music and for musical and pianistic training in general. Sound versatility is characteristic of all piano literature. The role of working on inventions in auditory education, in achieving timbre diversity of sound, and in the ability to lead a melodic line is especially significant.
3. S. Banevich “Soldier and Ballerina”.
Playing a piece by heart. Dialogue with the student about his opinion about the piece he played.
A story based on a fairy tale by G.Kh. Andersen on history tin soldier. Creating the image of a tin soldier and a ballerina. Their relationship.
Showing and working with the student on fragments in a musical work and creating a musical image for of this fragment. Working on a dynamic plan in a work. Work on pedaling.
4. I. Parfenov “In the spring forest”
Playing a piece by heart. Analysis with the student of successful and unsuccessful moments.
Dialogue with a student about his presentation spring forest, for more detailed work on fragments in the work.
Working on dynamics and pedaling in a piece.
RESULTS OF THE LESSON: reflection (analysis of activities) and self-reflection (self-analysis)
What did you manage to do?
What we didn’t have time to finish
What I understood, what I didn’t understand
What I learned
What was difficult, what was not so difficult. Analysis of your mistakes.
Emotional results: what you liked, how you felt.
Mark 1-5
Grade - general impression
Conclusion: The goal of the lesson was achieved or not achieved.
Conclusion
Self-analysis of the lesson: We believe that the lesson was a success, and the goal of the lesson - work on the artistic image in the works - was achieved. At the end of the lesson, during the control playback, the student tried to convey her inner feelings and emotions as much as possible. Of course, intonation is discussed in every lesson, but usually in ordinary work lessons the teacher sets several tasks at once (textual, technical, intonation, etc.), so it is difficult for the student to concentrate fully, for example, on the task of correct intonation.)
This thematic lesson is valuable precisely because the child is given only one specific task and it is easier for him to concentrate on it. This helps the child to perceive more emotionally this material, remember it and apply it in performance. Undoubtedly, open lesson presupposes a new, unusual environment for both the teacher and the student, therefore, we can say that there is some constriction, constraint and tension in the child and the teacher. All planned stages of the lesson were completed, completed on time, and the objectives of the lesson were determined. The student showed the ability to work on details and in general, on nuances and musical phrases, on correcting inaccuracies and errors in performance. The perception of the teacher’s instructions is quick and conscious. During the lesson, the student showed her ability to express her inner feelings through sound.
The artistic image of musical works is a widely known and generally accepted concept. There is no single and universal definition of the artistic image of music, there are different interpretations. From the position practical work in class special piano I formulate a conditional definition of an artistic musical image.
For ease of perception of the proposed material, we will highlight three components of the musical image:
1) the composer’s intention in the notes
2) the personality of the student interpreting this text. It is necessary to take into account his musical abilities, age, professional skills, etc.
3) the personality of the teacher organizing the student’s work. His experience, skill, pedagogical technique, etc. are important.
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Municipal budgetary institution
Additional education
Korolev urban district, Moscow region
"Children's choir school"Podlipki" named after. B.A. Tolochkova"
METHODOLOGICAL DEVELOPMENT on the topic:
“Working on the artistic image of a piece of music during piano lessons”
Vikolskaya O.V.
teacher of
special class
piano
Korolev, 2015-2016
1. Construction of an artistic image in a musical work, taking into account the composer’s intentions and personal qualities teacher and student 3
2. Types of activities for the most efficient work over the musical image 6
3. Conclusion 10
4. List of references 11
1. Construction of an artistic image in a musical work, taking into account the composer’s intention and the personal qualities of the teacher and student
The artistic image of musical works is a widely known and generally accepted concept. There is no single and universal definition of the artistic image of music; there are different interpretations. From the perspective of practical work in a special piano class, I formulate a conditional definition of an artistic musical image.
For ease of perception of the proposed material, we will highlight three components of the musical image:
1) the composer’s intention in the notes
2) the personality of the student interpreting this text. It is necessary to take into account his musical abilities, age, professional skills, etc.
3) the personality of the teacher organizing the student’s work. His experience, skill, pedagogical technique, etc. are important.
Appeal to this issue necessary from the moment the child enters music school. So, during the entrance exams, you can ask him to sing “Lullaby”, explain the purpose of the song, and outline its character. You can perform a dance melody and offer to talk about what it can represent, graphically draw individual moments of its performance, or artistically depict an imaginary scene.
Next, we need to define the emotional characteristics of the perception of major (light, joyful, optimistic) and minor (muted, sad, sad), which further contributes to a more accurate perception of the nature of the musical work. The child can display his associations associated with a given piece of music in drawings. From simple shapes moving on to more complex ones: songs - plays - scales and etudes, polyphony, large form. It is necessary to develop the child’s creative initiative, imagination and emotionality in order to fully work on the work.
The composer's intention is an accurate and correct rendering artistic meaning works, which is only possible with a competent and careful reading of the musical text, with a qualified analysis of all its components. The student should show maximum independence in this work. It is important to teach your child how to correctly parse a musical text, paying attention to its the smallest details, propose and explain the basic principles of work, teach how to summarize and analyze what has been learned. The most unfavorable factor in the development of a student’s creative individuality is coaching. But excessive freedom in working on an essay, when much remains undone and unfinished, should not be allowed.
The student’s personality - with certain generally accepted musical and motor data (hearing, rhythm, memory, coordination, “apparatus”) requires education, first of all, attention, i.e. observation, concentration. It is also necessary to cultivate emotionality (the ability to listen to oneself) and cultivate intelligence.
Particular attention should be paid to the development of the student’s individuality. After the first reading of the text, detailed work on the work immediately begins. In this case, it is necessary to perform sequential auditory tasks; for this, the student must first concentrate the student’s attention on one thing and then gradually multiply the elements of the musical fabric listened to simultaneously.
The personality of a teacher must combine high ethical, moral qualities and high professionalism. And if human qualities are formed long before the moment of teaching (from childhood), then professionalism and belonging to a particular school dictates a different approach to the organization of classroom work. It is worth noting the importance of mastering pedagogical techniques when working with a student on an artistic image. There are many ways, techniques and forms of influence on the student (showing, explaining, gesture, facial expressions, emotional tone, comparison, etc.). You need to be able to use them as effectively as possible in each individual case. Setting precise and interesting performance tasks is possible only with detailed knowledge and hearing of the work being studied in class by the teacher himself. It is necessary to professionally know each work taught to students. The teacher’s integrity and authority help the student to better monitor his performance, effectively test himself, and correlate his performance with the teacher’s performance.
2. Types of classes for the most effective work on musical image
1. Monothematic lessons. They are concentrated around a single artistic and semantic core and are dedicated to solving a single problem. Let's give examples.
a) Analysis of musical text. By giving examples, the teacher teaches the method of analysis, comprehension of the author's instructions, coverage of musical complexes (melodic structures, chords, etc.), and the ability to notice all the details of the musical text. This applies to both one and several lessons.
b) The importance of melody as the basis for creating an artistic image. Here the melodic essence is revealed various works, the semantic relationship between the main and accompanying lines is determined. This lesson focuses on the technique of performing moving passages, as well as decorations
c) Freedom and ease in handling the instrument is an essential element of performing technique when creating an artistic image. We draw the student's attention to the varied use of hand weight, the tactile sensation of the fingertips when diving into the keyboard, the search for a loose fit and working muscle tone.
d) There may also be different types pedal, harmonic, polyphonic, textual, fingering lessons.
2. Polythematic lessons combine various, often contrasting tasks. They are aimed at a more voluminous range of cognizable material. This often helps to increase the student’s interest. This form of lesson organization is often used as highlighting the “core” in each of several works studied by the student. They seem to be grouped around a central task important details, the number of which should be limited.
3. Lessons in free form are conducted with students at a higher level high level development, capable of assimilating complex instructions from a teacher, able to work proactively and independently. You can work on a particularly difficult piece in detail and for a long time until a noticeable result appears. If a student is already on the path to achieving a goal, he is given the opportunity to strive for improvement right there in the lesson. At the same time, the teacher only occasionally gives guiding instructions. This form of work under the unobtrusive control of a teacher is extremely effective, as it allows you to check and guide independent work student.
During any of the above types of classes, it is necessary to switch the student more often from the actual work to the performance. In the lesson plan, it is necessary to distinguish between learning and execution. This will help develop the young pianist’s pop self-esteem. One more point: while working, it is necessary to give the student some relaxation, for example, play him a piece, talk about his latest musical impressions, play four hands with him. As a result, the child’s attention is refreshed and he is again ready for persistent work that requires the mobilization of all his strength.
Among the endless variety of lessons there must be lessons of admiration. We need to teach our pupils to admire what is, of course, worthy of it. However, the teacher cannot blindly adapt to each student, aesthetic principles teachers are specific and focused.
Working on a musical image at Children's Music School has its own distinctive features depending on the age of the child. In classes with younger schoolchildren(6-9 years old), be sure to include game elements into your work: competitions, “fiction”. The initiative of the children themselves is especially valued. The student’s relaxed behavior in the classroom will help the teacher find the key to his soul, find play titles, plots, images, and associations that touch his imagination. You can help with a bright word, intelligible display, expressive gesture.
The teacher's observation will help him to promptly notice signs of the child's fatigue and promptly give the student some relaxation or finish the lesson. Children need frequent encouragement and appreciation for their work. At the same time, the wording of homework should be clear and precise. It is necessary to feel in what mood the student leaves the lesson, because this can determine the quality of his independent work.
Much of the above remains valid when applied to classes with older schoolchildren and adolescents (10-14 years old). But for a teacher who has been raising a student for a number of years, it is especially important to notice the changes taking place in him and promptly “move” to a more serious, “adult” tone of classes, which teenagers love very much.
Should be given less often ready-made solutions and more often confront them with problems that require thinking through, comparisons, and conclusions. It is natural to demand from students not only a competent analysis of the text, but also an explanation of the artistic image of the composition presented to them, as well as an independently prepared sketch of the performance, on the basis of which further joint work will take place. The teacher can recommend that they read this or that book, listen to records, CDs, look into musical dictionary or a music encyclopedia.
In this way, the teenager awakens interest in new phenomena in the life of art. The teacher unobtrusively helps him to protect himself from fruitless wanderings and introduces him to the circle of modern searches for artistic images in performing arts.
Features of working with senior students school age should be attributed to the changed form of lesson organization. IN in this case some restrictions are removed. A teenager must be able to work intensively for a long time on a difficult essay. Homework may require independent and lengthy effort from him. One good lesson can give a very noticeable “impetus” to work, and this in turn helps to warm up the young pianist’s performing and artistic intuition. In terms of the topic we are considering special attention teacher requires emotional world teenager The turning point age is sometimes characterized by isolation, shyness, and increased vulnerability. These experiences need to be handled tactfully. Ultimately, work on the musical image of a composition consists of many components, and state of mind child very important factor, which can influence this process.
Conclusion
The main task in working on the figurative structure of musical works is to create conditions for the student’s artistic performance of the works he has learned, to give the child the opportunity to feel like a musician-artist.
Ideally, inspiration should appear whenever a child turns to music. Pedagogical success will be the success of the student on the stage.
Thus, work on the artistic image of a musical work should be multifaceted. The student and teacher are full of enthusiasm and love for their work, this, in turn, is complemented by the individuality of the student and the enormous charm of the teacher’s personality (culture). This union gives birth to a great variety of forms and methods of working on artistic images of musical works.
List of used literature
1) Kogan G. The work of a pianist. – M.: Classics-XXI, 2004.
Martinsen K. Methodology for individual piano teaching. – M.:
2)Classics-XXI, 2002.
3) Neuhaus G. On the art of piano playing. – M.: Muzyka, 1982.
4) Perelman N. In the piano class. – L.: Music, 1970.
5) Perelman N. Teach to think at the piano. – L.: Music, 1983.
6) Savshinsky S. Pianist and his work. – M.: Classics-XXI, 1986.
7) Timakin E. Education of a pianist. – M.: Soviet composer, 1989.
Tarasova Dina Vyacheslavovna
Job title: teacher
Educational institution: MBU DO "Children's Art School No. 19"
Locality: Astrakhan region, village. Sasykoli
Name of material: Methodological development
Subject:"Working on the artistic image in program piano works"
Publication date: 12.05.2016
Chapter: additional education
Open lesson in piano class
Topic: “Working on an artistic image in software piano
works"
Teacher of the music department Tarasova D.V.
uch. Kunasheva Amina - 4th grade
Lesson topic:
“Working on the artistic image in piano works.”
Target
lesson:
Reveal and express in performance the figurative content of a musical work.
Lesson objectives:
To develop pianistic skills through the integration of figurative impressions; Work on the expressiveness of musical language, overcoming performance difficulties. To develop the ability to perform analysis and synthesis of a musical work. Work to achieve a level of figurative completeness of interpretation.
Lesson type:
traditional.
Lesson type:
a lesson in generalizing and systematizing what has been learned.
Used literature:
1. Collection of Jazz pieces for piano. N. Mordasov. Second edition. Rostov n/d: Phoenix, 2001 2. Tongue twisters for piano. 50 exercises to develop finger fluency. T.Simonova. St. Petersburg: “Composer”, 2004. 3. Internet resources. 1
Lesson progress:
This lesson will show you how to work on the artistic image in program piano works. The lesson framework allows you to demonstrate all the material in a concise, generalized, but systematized manner. Amina, today in class we will talk about the artistic image of a work. What is this concept of “artistic image”? - This is the composer's intention. This is what is shown in music... these are the thoughts, feelings of the author, attitude towards his composition. The artistic image in music is revealed through the means of musical expressiveness. Working on creating an artistic image is a complex process. The birth of an artistic image of a work is its revelation characteristic features, his “faces”. And the image is revealed, as we have already said, with the help of expressive means. Okay, today in class we will use the example of your works to trace the formation and expression of a musical image.
Let's start with the bright one, figurative play"Dance of the Savages"
Before starting work, Amina will play preparatory exercises to warm up her hands and get ready for the lesson. Exercise 6 from the collection “Tongue Twisters for Piano” For alternating hands, practicing staccato and wide intervals. Exercise 10 is useful for developing coordination of movements, for quickly rhythmically alternating hands. We practice dynamic shades, gradual rise and fall (crescendo and diminuendo) of sonority. The same shades will be found in the play “Dance of the Savages.” Exercise 49 is aimed at practicing double notes and chords. It is necessary to monitor the simultaneous taking of two and three sounds. The work “Dance of the Savages” was written by famous composer modern Japan Yoshinao Nakada, about whom few people know in our country. The basis of his compositional creativity is vocal music, his favorite musical instrument- piano. Nakada devoted a lot of effort and energy to piano pedagogy. A number of collections piano pieces for children - 1955, 1977 - he specifically composes for pedagogical purposes. Currently, these works are successfully used in the pedagogical repertoire of music schools. 2
The composer's creative heritage is great. He wrote piano, chamber instrumental works, music for radio and television, and children's songs. A significant section of Y. Nakada's work is choral and vocal works. The Japanese genre DOYO (doyo) had a special meaning and significance in this activity of the composer. These were songs that anyone could sing. Many of these songs have become an integral part of Japanese culture today. Let's play this piece right away, and then we'll talk. Please tell me what artistic image the author showed in his essay?
Answer:
- The music accurately depicts the images of savages, or rather their dance. Let us take a closer look at what means of musical expressiveness are used to achieve the artistic image in our play. First, let's pay attention to the form of the work. It has 3 parts, and parts 1 and 3 are almost identical. What's happening in
1 part
? What means of expression does the author use? (abrupt melody, minor scale, but thanks to a large number of random sharps, it sounds major, sharp rhythm, presence of many accents, varied dynamics.
2
Part
– climax, dynamics increase (FF), presence of syncopation, fourths, giving sharpness and sharpness to the sound. Rapid pace, rapid alternation and transfer of hands, elastic, active staccato, clear rhythmic pulsation. This kind of music is performed with very active, elastic fingers. Our stroke is staccato, elastic, bouncing. The sound is strong and bright.
Part 3
– character repeats
Part 1
, ending: having danced their dance, the savages gradually move away. So we looked at the means of expression that help reveal the artistic image. And now you, Amina, play the play and try to convey to us, the listeners, the images that we just talked about. This turned out to be an interesting play. Amina, you're great. It's obvious that you like the play. You play it confidently, brightly, colorfully. At home, be sure to play at different tempos, alternating fast and slow, watch for evenness (play “ta-ta”)
The next piece is called “Old Motif”
3
Amina, the play is still a little unfinished, so look at the notes. Try to remember and do everything we talked about in class. Nikolai Mordasov - Russian teacher, composer of the 20th century; author of many children's jazz plays, a theorist by training, author of jazz stylization arrangements and a huge number of compositions, the authorship of which is irretrievably lost: suffering from pathological shyness, the teacher considered his plays a “production necessity” and did not sign. Music educational institutions still use the methodological recommendations of N.V. Mordasov on rhythm, development of creative music-making skills and functional hearing. And in 1999, Nikolai Vasilyevich Mordasov finally published two collections of children's jazz pieces for piano and four-hand ensemble. Jazz began to write “a lot” only because his teaching work required it. N. Mordasov not only jazz musician, but above all, he is a teacher, and all his creative achievements are updated in pedagogical practice. Amina plays a play
"Old
motive
"from the collection "Jazz Pieces for Piano" by N. Mordasov. . This collection also includes interesting plays“Once upon a time”, “The Blue Distance”, “The Road Home”, “See You Tomorrow”, etc. That is, all the plays have names in which the artistic image lies.
"Old
motive"
- a bright, interesting play. Let's look at our work, figure out the means of expression to reveal the image. How many parts and who does the author portray in them? (single-part) Let's dream up. (Summer evening, city park. Somewhere in the distance a familiar old tune sounds. An elderly couple sitting on a bench near a pond, looking at the youth, remembers their youth). The melody tempo is moderate. The major mode imparts clarity and lightness. The chord accompaniment in the left hand is elastic, the accents and syncopations in the melody give a similarity to tango (
Ta
ngo
(Spanish)
tango
) - Argentine folk dance; pair dance of free composition, characterized by an energetic and clear rhythm). The dynamics of Mf, maintained throughout the entire piece, give the sound a certain evenness. 4
The melody consists of short motives, each of which has different types of accents (performed differently). Many ligated notes form syncopations. This requires increased rhythmic attention. In this regard, we will play very expressively, but at the same time tenderly. In the right hand is the melody, in the left is the accompaniment. We will play the melodic line in short phrases. The touch on the keys is deep, we cling to every sound. Work on the expressiveness of motives and short phrases: Ask to sing to yourself (interval, move), and then, the same thing, “sing” on the instrument. Practice the play at home as if it were a lesson. Do exercises to work on your sound. Finish the play. The highest goal of a performing musician is a reliable, convincing embodiment of the composer’s concept, i.e. creating an artistic image of a work. Today we are convinced that the character of a musical work, its image, is most directly influenced by the means musical expressiveness. At the end of the lesson, I would like to thank Amina for her work, for her attention and responsiveness. I think you imagine, live, musical images and play these works with joy. 5
Working on the artistic image in a work
Yu.N. Kalashnikova,
Teacher of MBU DODSHI No. 6.....
In the process of becoming familiar with a work of art, in the process of studying it great importance has an explanation of the content of this work by the teacher. Here the word, language comes to the aid of music, to help students understand and feel it.
If we understand programmaticity as a creative principle, then every realistic musical work is, in a certain sense, programmatic, because it is meaningful and ideological.
P.I. Tchaikovsky wrote: “Since you and I do not recognize music that consists of aimless playing with sounds, then from our broad point of view all music is programmatic.”
But if the program of the work is not announced by the composer, then the listener (and performer) is given a certain freedom to conjecture such a program, which, while not coinciding with the composer’s plan in particulars, details and specific ideas, would necessarily correspond to the general, basic idea of the work and, in any case, would not contradict her.
Here the responsibility of the teacher is very important. His explanation of the content of the play can play big role in forming in the student correct ideas about the main artistic images of the work being studied. And although not everything in a musical work can be expressed in words (this is due to the very specificity of art as a form of cognition in images).
"Property instrumental music that's exactly what it gives in detailed analysis» P.I. Tchaikovsky.
The teacher should under no circumstances give up this powerful tool, which, when used skillfully, provides significant assistance in the learning process. work of art, in the process of forming a living and truthful, meaningful and felt, and therefore expressive interpretation. Using the example of P.I. Tchaikovsky’s play “Sad Song,” essay 40 No. 2, we will try to show some points in the process of studying it (in the appendix for domra).
When offering this play to a student, the teacher should at least general outline introduce him to the great reading of Russian classical music P.I. Tchaikovsky. In an easy to understand form to this student, the teacher talks about the truthfulness, sincerity, sincerity and Russian melodiousness of his work, he names some other works of P.I. Tchaikovsky, finds out what of them is familiar to the student, plays some of the works of the great composer or some of their themes (reminds of the contiles the student probably heard variations from the well-known “Variations on a Rococo Theme”), the teacher can tell the student that “Sad Song” was written in 1878 - the year the opera “Eugene Onegin” was created, “ Children's album for piano".
After playing the play, the teacher draws the student’s attention to general mood play, reflected in its program title - “Sad Song”.
The play emphasizes the mood not of “hopeless melancholy,” but rather of “light sadness.” The mood of this piece, written by the composer during his trip abroad (Italy), is apparently associated with thoughts about his beloved homeland. At this time, P.I. Tchaikovsky wrote: “I think about Russia with the greatest pleasure... I will be glad to find myself in my native country... I really want to see hometown(Moscow)."
In the play one can hear the warm, soulful intonations of a Russian song. Around the same period, P.I. Tchaikovsky spoke about the Russian character of his music, about its kinship with folk songs... “I often happened to start composing directly, having in mind the development of one or another folk song that I liked... As for Russian in general element in my music, that is, related to folk song techniques in melody and harmony, this is due to the fact that I grew up in the wilderness...imbued with the innumerable beauty of the characteristic features of Russian folk music“that I love the Russian element in all its manifestations until old age, that, in a word, I am Russian in the fullest sense of the word.”
The composition in question is a lyrical song-story, telling in warm, soft tones about a sad, but by no means tragic, memory. Also, the understanding of the play is especially confirmed by its middle episode (bars 21-40), which is given on the basis of the light major scale and gently controls with the minor scale of the opening and closing episodes.
Along the way, the three-part structure of the piece is explained to the student, and the perfection of its form, which corresponds to the content of the music, is revealed. The third part (reprise) is a repetition of the first, and the middle, as already mentioned, is distinguished by a light, joyful mood, a more lively character and brighter dynamic colors. There is no trace of sadness left here. Joyful, life-affirming singing is heard.
The piece closes with an 8-bar conclusion. The song moves away, its intonations seem to melt and freeze in the distance.
Songfulness permeates all works, it characterizes its content and determines the tasks of the performer. Expressive and soulful “singing on an instrument” should be the basis for revealing the artistic images of a given work.
The overall tempo of the piece is Allegro non troppo , i.e. not too soon. The student should be warned against hasty movement, which would distort the content of the piece, affect the smoothness of the performance and introduce an element of vanity that is alien to this music. Here the artistic image of the song dictates the corresponding tempo of performance.
Literature:
1. Logvinenko G.M. “Decorative composition” - M.: Humanitarian, publishing center VLADOS, 2012
2. Rostovtsev N.N. "Teaching Methodology" fine arts at school" - M.: Education, 1980
Work on the artistic image in a choral work.
Choral singing training important stage in the formation of not only musical and singing literacy of students, but also in the process of aesthetic, ideological and moral education. The student’s perception of the entire choral art as a whole depends on the teacher’s ability not only to teach correct performance, but also to reveal the vital, emotional content of the musical image. It is very important that the guys understand the connection performed work with the author’s intention, with the era, with specific events.
The skill of the teacher, causing each choir member to think about the connection of a musical work with life, is of great importance for the depth of understanding of the musical image and, consequently, for achieving maximum expressiveness of performance. To solve these important and sufficient complex tasks, to ensure unity and continuity of student mastery musical culture, the teacher needs knowledge of certain methods and techniques that have been formed in advanced pedagogical practice.
Working on a piece of music in a choir includes several stages of work.
First stage– study of the work by the teacher himself, deep penetration into the author’s intention, determination of the means of musical expression.
Second stage– identifying performance and technical difficulties, determining ways to overcome them, drawing up a plan for working with students.
Third stage - includes students directly learning the song. This process depends on the characteristics of the choral work, but certain stages of work with students can be distinguished:
1) a story about the author, about the time the song was created;
2) perception (listening) of a choral work by students;
3) direct work with children to learn the work;
4) improvement of performing technique for the most complete disclosure of the musical image.
For each of these stages of work in choral practice, certain methodological techniques are used.
At the first stage The teacher talks about the composer’s biography and the history of the song’s creation. It is very advisable to give students the task of independently collecting information about the author, about the time, and about specific events to which the work is dedicated. This develops conscious interest in the work and sharpens the auditory perception of the song.
Second stage of work– direct perception (listening) of a piece of music. For this purpose, the teacher can use the following techniques:
1) listening to a work performed by stage masters (using audio and video recordings);
2) demonstration by the teacher himself.
Children's first perception of a choral work is extremely important point in the process of working on choral work. The teacher’s task is to conduct this lesson correctly so that the children have positive motivation for studying this particular choral work.
At the third stage When working on a song, it is necessary to analyze the means of artistic and musical expression that the author used to create a musical image. In the process of this work, the teacher must constantly refer to the knowledge and skills of students accumulated in music lessons, deepen, develop and consolidate them.
At the fourth stage There is an improvement in performing skills, careful and painstaking work with the choir to achieve maximum expressiveness of the sound of a musical work. It is very important to remind children that choral art influences listeners with both music and words. That is why it is so important to work not only on the technique of performing musical elements, which are sometimes quite complex, but also on the text, on speech intonation, on the dramatic expressiveness of a choral work.
A meaningful relationship between music and words will help to fully reveal both for performers and listeners musical image, its connection with life, with history, with the manifestation of human feelings. Educational standards of the second generation require the teacher to have a more complete, broader approach to the learning process, to achieve unity and continuity in students’ acquisition of knowledge.
These methods and techniques considered, as well as the stages of work on a choral work, will help the teacher not only overcome technical difficulties in working with sound, but also in careful preparation musical performance, but also to show the unity of music with other forms of art, for example, with literature.
Thus, the learning process becomes more complete, more creative: the musical, singing and performing skills of students are improved, artistic and musical taste is cultivated, their horizons expand, which is necessary for the formation of the personal qualities of students, their correct attitude To life values.
Teacher additional education Palace of Creativity for Children and Youth in Tomsk Pugacheva A.V.
