Portrait in music and fine arts
1.Music in works of fine art
Often, artists and sculptors depict musicians and musical instruments, such as a violin, in their works. Portraits of violinists, genre scenes with violinist musicians, and still lifes with a violin are known. The sound of the violin is very expressive. Her voice is often compared to a human one. The violin can sing, cry, speak...
The violin personifies the aesthetics of the sound of the human voice and is capable of conveying all the best that is in it. It is no coincidence that the highest praise for the craft of creakingcha is a comparison of his playing with the human voice:the violin sings, cries, yearns. Every violin that came to life in rukah masters, has its own character.
The violin appeared in Europe at the end of the 15th century. It was the favorite instrument of traveling musicians who entertained people at festivities, fairs, weddings, in taverns and taverns. As a folk instrument, the violin has survived to this day in Bulgaria, Hungary, Poland, and Romania.
The violin also sounded in aristocratic circles - in palaces, castles, in rich houses - as well as in churches. Ensembles of violinists were created at the French court, who played during the king's awakening and meals and, of course, performed dance music at court balls.
The best violins were created by Italian masters Amati, Stradivari, and Guarneri.
Look at still lifes from violin - unique portraits of violins.
Sandro Botticelli (1445-1510 Italy). Angels
Raoul Dufy (1877-1953) France.Violin
Dmitry Zhilinsky (1927 USSR) violist
Agree, everyone's forehead is affected by these paintingscenturies have their own impressions. Looking at these pictures, everyone hears a different sound language Which one? The voice of the violin becomes especially audible when the artist depicts a violin in the hands of a violinist. Unity instrument and performer gives rise to high artisticexperiences and thoughts that can be called inspiration.This feeling permeates all the paintings.
Listen to the sound of musical works composed for violin by composers of different times:
Answer the question:
What did this music tell you? Determine which of the paintings is consonant with this or that work.
Exercise 1.
Listen again:
1.“Chaconne” I.-S. Bach.
2. “Melody I” by P. Tchaikovsky
3. Sopseg t o g th ss o No. 1 for two violins,harpsichord, piano and strings by A. Schnittke. See links above.
Definewhich picture matchesthis or that essay. Now let's analyze it together musical the language of the essays, after listening to them again.
While listening to Bach's Chaconne (finale of Partita No. 2), notice that this composition was written by the composer for solo violins. This bannerthat piece, the power of which reaches the organ and even the orchestratronic sound, one of the musicologists (F. Wolfrum) comparedNeil with a "sonic giant threatening to break the delicate body violins." Determine the character of the play.
Pay attention to how the sound of the violin combines the melodyworks with chords. This polyphonic texture is performed by one instrument - the violin, and the listener gets the impressionsimultaneously sounding melody and accompaniment.
Think about whether the emotional state of the main theme remains until the end of the work? You certainly noticed that in the process of music development, various shades of feelings appear - sorrow, impulse, anxiety. Several melodies, as if growing from the initial intonations, constantly change their appearance. The line of development of the image can be compared to large waves. The main principle of the development of musical thought in this work is variation.
Chaconne is originally a folk dance, known in Spain since the end of the 16th century, of a lively nature, accompanied by singing and playing castanets. Over time, the chaconne spread throughout Europe and became a slow dance of a majestic nature. In France, the chaconne becomes a ballet dance and is included in the finales of stage works. In the XVII-XVIII centuries. included in multi-movement instrumental works (suite, partita). The themes of the chaconne are small, with a clear dance-metric basis. Bach wrote works for the violin in various genres - concertos with orchestra, sonatas, partitas.
“Melody” for violin and piano by P. Tchaikovsky is an example of a lyrical-dramatic image. This essay has the author’s subtitle (“Memories of a Native Place”).
The trepidation and spontaneity of the lyrical statement-revelation is emphasized not only by the repetitions of the main melody (the return of the same thought), its wave-like movement, soaring passages of the violin, but also by the syncopated rhythm of the piano accompaniment.
Obviously, you heard the contrast in the middle part of the “Melody”: the tempo accelerates, the rhythmic movement becomes more frequent, elements of dance appear, the melody resembles the finest lace (high register, melodic patterns), the expressive echoes of the piano seem to finish (finish) the violin melody. At the climax of the piece - the expressive trill of the violin - the piano plays the main theme, entering into dialogue with the violin. Remember the similar dialogue between the soloist and the piano part that arose in S. Rachmaninov’s Vocalise.
The major scale, which remains unchanged throughout the entire play, also has a certain expressive meaning.
Why does the composer, using the three-part form of the play, leave the light major coloring unchanged?
Tchaikovsky’s “Melody” can be compared with D. Zhilinsky’s painting “Violist”.
Are there similarities between music and painting?
What distinguishes these two artistic images?
3. Consegto ggosso No. 1 by Alfred Schnittke
Sopseg t o g th ss o No. 1 for two violins,harpsichord, piano and strings by Alfred Schnittke -music by a modern composer.
Listen to the opening bars of Schnittke's concerto, in which the violins sound, and then compare this sound with the main melody of Bach's Chaconne. Are there any similarities between them? Both themes are similar to each other in their passion, excitement, energy, and drama. The same tragic minor, the same recitative melody.
Surely, you are convinced that the composer contrasts the strong-willed, purposeful initial theme (according to Schnittke, this theme was created by him under the influence of the style of A. Vivaldi) with another world - an evil, hostile one. The “swells” that distort the sound of the pure timbres of the violin are perceived by listeners as an invasion of forces opposing the activity of the main theme.
What similarities (or differences) will you find when comparing Schnittke’s concerto with Pugni’s painting “The Violin”?
You probably noticed that the figurative structure of two modern works of art - a concert and a painting - is different. The loneliness of the violin on a light background, the contrast of blue, light beige and green (with a pattern) tones. The static, stillness of the picture differs from the dynamic, energy-filled intonations and rhythms of modern music.
4. Portrait of Niccola Paganini in music, painting, sculpture
Look at the portrait of Niccola Paganini (1782 - 1840) - an Italian, embodied in sculpture by S. Konenkov (1874-1971 USSR)
and in painting by E. Delacroix (1798-1863) France
The unusualness of his appearance is associated with the transmission of the main quality of his nature - his passion for playing his favorite musical instrument.
Niccolo Paganini (1782-1840) is the name of this Italian composer and virtuoso violinist XIX V. known all over the world. His skill on the violin was so perfect and inimitable that there were rumors that evil spirits helped him perform the most difficult passages of his works. It is no coincidence that one of the playsPaganini received the name “Devil's Trills”.
One of Paganini's most famous works was Caprice No. 24. Caprice translated from French -whim, whim.His melody was repeatedly repeated in their compositions as a tribute to the memory of the violin virtuoso by various composers. As well as
and Bach's Chaconne, Caprice No. 24 written by Paganini for solo violin. The expressive capabilities of the instrument in solo sound are revealed especially clearly.
Repeating a short initial intonation with an active rhythmic pattern allows you to quickly remember it.
You were introduced to this work in elementary school. Listen again
Artists and sculptors reflected Paganini’s bright, unusual personality in their works. A musical portrait of Paganini was created by S. Rachmaninov, writing “Variations on a Theme of Paganini.” A ballet was staged to this music at the Bolshoi Theater in Moscow.
In “Variations on a Theme of Paganini” or “Rhapsody on a Theme of Paganini” by S. Rachmaninov (the work was written in 1934), you will hear the features of such a genre as a concert for piano and orchestra. Listen Firstly, two images clearly stand out here. The first is based on variations of Paganini's theme, which sounds each time in a new form - sometimes lightly and gracefully, sometimes assertively and menacingly. Secondly, the performance of this theme moves from the orchestra, its individual groups (violins) to the piano. The second image is a lyrical one, built on a truly Russian, song, Rachmaninoff theme. This theme - an image of inspired light lyrics - begins calmly and serenely. You will be able to hear its development yourself. Gradually it gains strength, sounds passionately and solemnly, like a bright hymn to Beauty and Man. At the endthe sound of the theme seems to fade, freezing to formtripartite construction. It was the contrast of images, their symphonic development that served as the reason for creating a ballet to this music.
Fragment of the ballet to the music of S.V. Rachmaninov "Rhapsody on a Theme of Paganini"
Answer the question:
1. In what form is the interpretation of the caprice written?
(b. 1913)
Pay attention to the similarities and differences with the main theme of Paganini's Caprice No. 24. The beginning of the “Variations” sounds menacing and decisive, then the composer uses a variety of development techniques, in which the main theme either sounds the same as Paganini’s or acquires new features. A characteristic feature of the development of the theme of Caprice No. 24 is
this work is its constant recognition. The sound of the orchestra and solo piano gives us reason to assume that this is a genre of concerto for piano and orchestra (like Rachmaninoff).
In "Variations" we hear great dramatization
imagery, the invasion of active rhythms into the sound, giving the music anxiety and severity, the emergence of new orchestral colors, harsh sonorities (harmonies).
Lyrical implementation of the theme of Caprice No. 24 is practically absent. Thus, the composer Lutosławski “read” the famous theme of Paganini’s Caprice No. 24 in a new way, creating, under the influence of his time, the intense rhythms of life of the 20th century, another version
interpretations of a timeless classical melody.
Answer the questions:
2. What features of Paganini’s theme does he emphasize?
the composer in his variations?
3. What brings something new to its sound?
How did V. Zinchuk hear and perform a masterpiece of world musical classics? Pay attention to the exact repetition of the Caprice melody No. 24 by the solo guitar. At the same time, the rock treatment emphasizes non-stop movement, which gives the music an assertive and often aggressive character.The emotional intensity of the sound is facilitated by the fast tempo, which accelerates even more at the end of the piece. The excited nature of the piece is supported by a hard, elastic rhythm of the accompaniment, highlighting the function of the drums tools.
What remains unchanged compared to
Caprice Paganini? Form of variations. Pay attention to the final section of the play - the coda. It has several handlers
once again emphatically repeats the sound of the tonic, dot. This conclusion may have a certain meaning: classical music is understandable to modern listeners!
It is no coincidence that Zinchuk released several CDs under the name
"Neoclassic". Neo means “new”, classic means “exemplary”.
Eventuallywe came to the concept -interpretation.
After all, it is the creative development of works of art associated with its special, selective reading: in adaptations and transcriptions, in artistic reading, director’s script, acting role, musical performance.
You yourself, when you try to penetrate the intention of the composer, the artist, also interpret the work.
Interpretations like the ones you encountered in this lesson are transcriptions of a piece of music (Paganini's Caprice) for other instruments:
piano and orchestra, rock bands - and combine the trinity “composer-performer-listener”. In fact, they are an image-portrait of the outstanding violinist N. Paganini, whose music was heard and recreated in their own way by composers from different countries, in this case who are also performers.
5.Task 2
You listened to the interpretation of Caprice No. 24 by N. Paganini.
Compare three interpretations of Caprice No. 24 by N. Paganini.
Answer the questions:
1. What features of N. Paganini’s masterpiece are emphasized by composers and performers?
2. Which of the three interpretations did you like best and why?
6.Task 3
Readexcerpt from K. Paustovsky's story "String".
A shell fragment broke the strings on the violin. There is only one left, the last one. The musician Egorov did not have spare strings, and there was nowhere to get them, because it happened in the fall of 1941 on a besieged island in the Baltic Sea, where soldiers fought off continuous attacks by the Germans.
The war found several actors in Ezel - men and women. During the day, men and soldiers dug trenches and repelled German attacks, while women bandaged the wounded and washed the soldiers’ clothes. At night, if there was no battle, the actors staged concerts and performances in small clearings in the forest.
Well, you say, of course, in the dark you can
listen to music, but it’s unclear how the actors managed to perform performances in the forest at night. What could the audience see in this darkness? ...As soon as the performance began, the audience pointed narrow beams of pocket electric flashlights at the actors. These rays flew all the time, like little fiery birds, from one face to another...
Spectators never pointed their flashlights at Egorov. He always played in the dark, and the only point of light that he often saw in front of him was a large star. She lay on the edge of the sea, like a forgotten lighthouse.
The strings on the violin were broken, and Egorov could no longer play. At the first night concert, he told the invisible audience about this. Suddenly, from the darkness of the forest, someone’s young voice answered uncertainly:
And Paganini played on one string...
Paganini! How could Egorov compare with him, with the great musician!
Still, he slowly raised the violin to his shoulder. The star burned calmly on the edge of the bay. Its light flickered, and did not shimmer, as always. Egorov began to play. And suddenly one string began to sing with the same strength and tenderness as all the strings could sing.
The electric torches immediately flashed. For the first time their rays hit Egorov’s face, and he closed his eyes. It was easy to play, as if Paganini’s dry, light fingers were moving the bow over a mutilated violin.
During the short intermission of the war, in the deep forest, where there was a smell of heather and burning, Tchaikovsky’s melody rang and grew, and from its languid melody it seemed that the heart would burst and could not stand it. And the last string really couldn’t withstand the force of the sounds and broke. Immediately the light of the flashlights flew from Egorov’s face to the violin. The violin fell silent for a long time. And the light of the lanterns went out. The crowd of listeners just sighed.
Egorov had nothing to play on. He became an ordinary fighter in an ordinary squad. And during one night battle he gave his life for his homeland. He was buried in rough sandy soil. The fighters handed Egorov’s violin to the pilot who was flying to Leningrad. ...The pilot took the violin to the famous conductor. He took it with two fingers, weighed it in the air and smiled: it was an Italian violin that had lost weight from old age and many years of singing.
“I will give it to the best violinist of our orchestra,” the conductor told the pilot.
Where is this violin now - I don’t know. But wherever she is, she plays beautiful melodies, familiar to us and loved by us, like every word of Pushkin, Shakespeare and Heine. She plays Tchaikovsky's melodies, making the hearts of listeners tremble with pride for the genius of her country, for the genius of man.
Answer the questions:
1. Which melody from P. Tchaikovsky’s works familiar to you could be heard at a night concert?
2. What do you know about the Italian violinist Paganini?
3. Which of his famous works have you listened to?
4. Remember literary works in which music is one of the main characters.
Lesson summary
TeacherArkhipovaNS
Item Music
Class 5
Topic: Musical portrait. Can music express a person's character?
Lesson objectives: Be able to compare works of painting and music; respond emotionally to a piece of music and be able to access a person’s inner world through musical and visual images.
Lesson objectives:
Foster interest and love for musical and visual arts.
Introduce the genre of musical portraiture.
Compare works of music and painting.
Show how different types of art - literature, music and painting - in their own way and independently of each other embodied the same life content.
Planned results (URD)
subject
Development of inner hearing and inner vision as the basis for the development of creative imagination;
Deepening students' understanding of the visual properties of music through a comparative analysis of a work of music - "Song of Varlaam" by M. Mussorgsky and fine art - Repin's painting "Prototyakon";
Metasubject
Regulatory
. own the ability to set goals in setting educational tasks in the process of perceiving, performing and evaluating musical compositions.
.to plan own actions in the process of perception and performance of music.
Cognitive
. identify expressive possibilities of music.
. find
. assimilate dictionary of musical terms and concepts in the process of musical
activities
communicative
transmit own impressions of music, other art teachings in oral and written speech
.perform songs with a group of classmates
Personal
. to express your emotional attitude to musical images in singing, when listening to musical works.
. be able to comprehend the interactions of the arts as a means of expanding ideas about the content of musical images, their influence on the spiritual and moral development of the individual;
understand life content of a musical work.
Subject
Developing the ability to reveal the properties of “pictorial music” through the masterful use by composers and performers of the colors of musical speech(register, timbre, dynamic, tempo-rhythmic, modal)
Metasubject
. find community of music and other arts
Personal
.be able to comprehend interaction of arts as a means of expanding ideas about the content of musical images, their influence on the spiritual and moral development of the individual
Lesson type: combined - studying a new topic using ICT.
Lesson form: dialogue.
Musical lesson material:
M. Mussorgsky. Song of Varlaam. From the opera “Boris Godunov” (listening).
M. Mussorgsky. Dwarf. From the piano cycle “Pictures at an Exhibition” (listening).
G. Gladkov, poetry Yu. Entina. Song about paintings (singing).
Additional material: portraits of composers, reproductions of paintings, textbook 5th grade “Art.Music” T.I. Naumenko, V.V. Aleev
During the classes:
Organizing time.
The goal to be achieved by the student:
Prepare for productive work in class.
The goal that the teacher wants to achieve:
Help prepare students for productive work.
Tasks
Create a positive emotional mood;
Help you take the correct working posture;
Sit correctly. Well done! Let's start the lesson!
Entering into the topic of the lesson and creating conditions for conscious perception of new material
Communicative UUD:
Ability to listen and reflect.
Personal UUD:
Formation of interest in music lessons.
- Read the epigraph to the lesson. How do you understand it?
Write on the board:
“Let moods remain the main essence of musical impressions, but they are also full of thoughts and images.”
(N.A. Rimsky-Korsakov)
Determining the topic of the lesson and setting the learning task.
Goal: readiness and awareness of the need to build a new way of action
What do you think will be discussed in class today?
- What do you guys think, can music express a person’s character, is it capable of doing this? We will try to answer this question with you today.
– Today you will get acquainted with the genre of musical portrait (Slide).
Primary consolidation stage
Cognitive UUD:
Introducing a new piece of music:
Regular UUD:
Ability to listen and analyze the nature of a musical work;
The ability to compare, see commonalities and differences;
The ability to see a problem and the desire to find answers to the questions posed.
Communicative UUD:
The ability to listen to the opinions of comrades and express your own judgments.
Personal UUD:
Recognize and respond emotionally to the expressive features of music;
When looking at a picture, we include all our senses, not just vision. And we hear, but not only see, what is happening on the canvas.
Portrait in literature is one of the means of artistic characterization, which consists in the fact that the writer reveals the typical character of his heroes and expresses his ideological attitude towards them through the image of the appearance of the heroes: their figure, face, clothes, movements, gestures and manners.
In fine art, a portrait is a genre in which someone’s appearance is recreated. Along with the external resemblance, the portrait captures the spiritual world of the person depicted.
Do you think music can paint a portrait and express a person’s character, his spiritual world, his experiences? (Composers, when creating a musical portrait, convey the thoughts and feelings of their characters with the help of musical intonation, melody, and the nature of the music.).
Musical portrait - This is a portrait of the character of the hero. It inextricably merges the expressiveness and visual power of the intonations of the musical language. (Slide).
Pushkin’s work was also liked by the 19th century Russian composer Modest Petrovich Mussorgsky
Composer biography
Modest Mussorgsky was born on March 21, 1839 in the village of Karevo, Toropetsk district, on the estate of his father, the poor landowner Pyotr Alekseevich. His mother, Yulia Ivanovna, was the first to teach him to play the piano. At the age of ten, he and his older brother came to St. Petersburg to enroll in the School of Guards Ensigns. After graduating from the School, Mussorgsky was assigned to the Preobrazhensky Guards Regiment. Modest was seventeen years old. One of the Preobrazhensky comrades, who knew Dargomyzhsky, brought Mussorgsky to him. The young man immediately captivated the musician not only with his piano playing, but also with his free improvisations, and there he met Balakirev and Cui. Thus began a new life for the young musician, in which Balakirev and the “Mighty Handful” circle took the main place. Soon the period of accumulation of knowledge gave way to a period of active creative activity. The composer decided to write an opera in which his passion for large folk scenes and for depicting a strong-willed personality would be embodied.
While visiting Lyudmila Ivanovna Shestakova, Glinka’s sister, Mussorgsky met Vladimir Vasilyevich Nikolsky. He was a philologist, literary critic, and specialist in the history of Russian literature. He drew Mussorgsky's attention to the tragedy "Boris Godunov". Nikolsky expressed the idea that this tragedy could become wonderful material for an opera libretto. These words made Mussorgsky think deeply. He immersed himself in reading Boris Godunov. The composer felt: an opera based on “Boris Godunov” could become a surprisingly multifaceted work.
By the end of 1869 the opera was completed. Mussorgsky dedicated his brainchild to his circle comrades. In the dedication, he unusually clearly expressed the main idea of the opera: “I understand the people as a great personality, animated by a single idea. This is my task. I tried to solve it in the opera.”
Then there were many more works that are worthy of attention... On March 28, 1881, Mussorgsky passed away. He was barely 42 years old. World fame came to him posthumously.
The opera "Boris Godunov" turned out to be the first work in the history of world opera in which the fate of the people was shown with such depth, insight and truthfulness.
The opera tells about the reign of Boris Godunov, a boyar who was accused of murdering the legitimate heir to the throne, the little Tsarevich Dmitry.
Our attention in today's lesson will be focused on the most interesting character in the opera - Varlaam.
Varlaam sings a song about the siege of Kazan by the troops of Ivan the Terrible.
Now let's see how the composer described this man in music. Listen to the musical speech of the hero so as to imagine his appearance and his character.
- Let's listen to Varlaam sing his famous song “As it was in the city in Kazan.”
Listening to Varlaam's song from the opera Boris Godunov by M. P. Mussorgsky. (Slide).
The sound of the Song of Varlaam as recorded by F.I. Chaliapin (at the same time we complete the task: listen to the musical speech of the hero so as to imagine both his appearance and his character, pay attention to the actor’s voice).
– How do you imagine Varlaam singing such a song?
How do the nature of the performance and the nature of the musical language reveal the character and even the appearance of this person? (violent, loud music...)
Now open the textbook, paragraph 23, p. 133 and look at Ilya Repin’s painting “Protodeacon”
Guys, take a close look at Ilya Repin’s painting “Protodeacon,” describe who you see in front of you. ( Before us is a portrait of a protodeacon - this is a spiritual rank in the Orthodox Church. We see an elderly man, with a long gray beard, overweight, he has an angry expression on his face / which is given to him by curved eyebrows. He has a large nose, large hands - in general, a gloomy portrait. He probably has a low voice, maybe even a bass.)
You saw everything correctly and even heard his low voice. So, guys, when this picture appeared at the exhibition of Peredvizhniki artists, the famous music critic V. Stasov saw in it a character from Pushkin’s poem “Boris Godunov” - Varlaam. Modest Petrovich Mussorgsky reacted in exactly the same way, when he saw the “Protodeacon” he exclaimed: “So this is my Varlaamishche!”
What do Varlaam and Protodeacon have in common? (These are images of powerful, tough people, monks and priests, typical of Ancient Rus').
Comparative table of expressive means.
I. Repin painting “Protodeacon”
M. P. Mussorgsky “Song of Varlaam”
A huge figure, holding his hand on his stomach, gray beard, knitted eyebrows, red face. Gloomy colors. The character is arrogant and domineering.
Dynamics: loud music, melody – jumps up, timbre – brass. Singing voice – bass. The nature of the performance is shouting at the end, a rough manner of performance.
U-One important feature is inherent in painting and opera: it is the ability to show a person’s character in words, music, and images.
What do the picture and the song have in common?
D - What the picture and the song have in common is that they show unbridled character, rudeness, a tendency to gluttony and revelry.
You are right, because this is a collective image. This type of people was encountered in Rus' at that time. What is common is not only external similarity, but also certain character traits. The main thing between them is the unbridled nature, the rudeness of nature, the tendency to gluttony and revelry.
What helped the composer and the artist, independently of each other, create such similar images? (There were such people in Rus'.)
In the portrait of “Protodeacon” I. E. Repin immortalized the image of deacon Ivan Ulanov, from his native village of Chuguevo, about whom he wrote: “... nothing spiritual - he is all flesh and blood, pop-eyed, gaping and roaring...”.
What colors did the artist use to paint this portrait? (The artist uses rich colors, where darker colors predominate.)
Despite the different means of expression, in fine art it is paint, in literature it is the word, in music it is sounds. They all told and showed about one person. But still, the music emphasized and suggested those aspects that would not have been immediately noticed.
Vocal choral work
Cognitive UUD
Getting to know the melody and lyrics of a new song
Communicative UUD
Interaction with the teacher in the process of musical and creative activity;
Participation in a choral performance of a piece of music.
Personal UUD:
Formation of performing skills;
The embodiment of the character of the song in your performance through singing, words, intonation.
Chanting.
Learning phrases
Singing difficult melodic turns.
Working on the text.
A song that will help us remember the names of fine arts genres is called "Song about paintings""composer Gennady Gladkov.
Listening to a song.
What genres of painting are sung about in the song?
In music, what are the genres?
Singing in chorus.
Think and tell me, could each of you become the hero of a portrait?
Many of you acted as artists and painted portraits of your friends
In what form is the song written?
What's the mood?
What's the pace?
Give the name of this song. (children's answers)
Why does the song have this name?
3. Musical images
- We got acquainted with two completely different vocal portraits, and the next musical image will sound without words. This is the work “Gnome” from the piano cycle by M.P. Mussorgsky's "Pictures at an Exhibition" is a musical portrait of a small fairy-tale creature, executed with extraordinary artistic power. It was written under the impression of a painting by W. Hartmann, a close friend of the composer.
Mussorgsky remembered a sketch of a Christmas tree decoration - a gnome, a small, clumsy freak with crooked legs. This is how the artist depicted nutcrackers. ---Listen to this piece and think about what mood the gnome is in, what his character is, what do you imagine with this music?
The sound is “The Dwarf” by M.P. Mussorgsky. (Children's answers)
- Guys, how did you imagine the gnome? ( In the music you can hear a limping gait and some sharp, angular jumps. One feels that this dwarf is lonely, he is suffering.)
· The play by M.P. Mussorgsky is very picturesque. Listening to it, we clearly imagine how the little man waddled, ran a little and stopped - it’s difficult to run on such short and thin legs. Then he got tired, walked slower and still diligently and clumsily. It looks like he's even angry at himself for it. The music stopped. Probably fell.
Guys, if you were artists, after listening to this music, what colors would you use to paint this gnome?
That's right, he moves really angularly, in jumps. The funny gnome is turned by the composer into a deeply suffering person. You could hear him moaning, complaining about his fate. He is pulled out of his native fairy-tale element and given to people for amusement. The dwarf tries to protest, to fight, but a desperate cry is heard... Guys, how does the music end? ( It doesn't end as usual, it kind of breaks off.)
You see, guys, “Gnome” is not just an illustration of a picture, it is a deeper image created by the composer.
Independent work
Cognitive UUD
Developing the ability to comprehend the information received.
Regular UUD:
Awareness of what has already been learned and what needs to be further learned
Assessing the quality of learning.
Communication Uud:
Interaction in the process of checking work results.
Personal UUD
Formation of a positive attitude and interest in musical activities
Now you have to take the test and then evaluate your work yourself
Who rates their work as “5” and “4”?
Homework
CognitiveUUD
Music search
Regulatory UUD
Goal setting.
What musical genres are most capable of conveying the portrait features of a hero?
Listen to homework.
“Diary of musical observations” - pp. 26-27.
LIST OF REFERENCES 1. Abyzova E.N. "Pictures from an Exhibition." Mussorgsky - M.: Music, 1987. 47s. 2. Abyzova E.N. “Modest Petrovich Mussorgsky” - 2nd edition M.: Music, 1986. 157 p. 3. Vershinina G.B. “...Free to speak about music” - M.: “New School” 1996 p. 192 4. Fried E.L. “Modest Petrovich Mussorgsky”: Popular monograph - 4th ed. - Leningrad: Music, 1987. p.110 5. Feinberg S.E. “Pianism as an art” - M.: Music, 1965 p. 185 6. Shlifshtein S.I. “Mussorgsky. Artist. Time. Fate". M.: Music. 1975
MUSIC AND OTHER ARTS
Lesson 25
Topic: Musical portrait. Can music express a person's character?
Lesson objectives: analyze the variety of connections between music and fine arts; find associative connections between artistic images of music and other forms of art; distinguish the characteristic features of types of art (taking into account the criteria presented in the textbook); perceive and compare musical intonations of various meanings while listening to music.
Materials for the lesson: portraits of composers, reproductions of paintings, musical material.
During the classes:
Organizing time:
Listening: K. Debussy. "Sail".
Read the epigraph to the lesson. How do you understand it?
Write on the board:
“Let moods remain the main essence of musical impressions,
but they are also full of thoughts and images"
(N. Rimsky-Korsakov)
Lesson topic message:
What do you guys think, can music express a person’s character, is it capable of doing this? We will try to answer this question with you today.
Work on the topic of the lesson:
When looking at a picture, we include all our senses, not just vision. And we hear, and not just see, what is happening on the canvas. Our gaze, according to the figurative definition of Alexander Ivanovich Herzen, becomes “listening.”
Guys, take a close look at Ilya Repin’s painting “Protodeacon”, who do you see in front of you, describe . (Before us is a portrait of an archdeacon - this is a spiritual rank in the Orthodox Church. We see an elderly man, with a long gray beard, overweight, he has an angry expression on his face, which is given to him by curved eyebrows. He has a large nose, large hands - in general, a gloomy portrait. He probably has a low voice, maybe even a bass voice.)
You saw everything correctly and even heard his low voice. So, guys, when this picture appeared at the exhibition of Peredvizhniki artists, the famous music critic V. Stasov saw in it a character from Pushkin’s poem “Boris Godunov” - Varlaam. Modest Petrovich Mussorgsky reacted in exactly the same way, when he saw the “Protodeacon” he exclaimed: “So this is my Varlaamishche!”
What do you think allowed these two deep and accurate observers to see in the portrait the resemblance to the character from the opera “Boris Godunov”?
It is probably that each of the works - Pushkin’s “Boris Godunov”, and Mussorgsky’s opera of the same name, and Repin’s “Protodeacon” - has one important feature - vividly and authentically - in word, music, image, showing the character of a person.
Between Varlaam and Protodeacon there is, of course, something in common, connected not only with character. Protodeacon is a spiritual rank. Varlaam is a monk who escaped from the monastery and went on a spree in a tavern on the Lithuanian border. He is similar to Repin’s character - huge, pot-bellied, “has a bald forehead, a gray beard, a thick belly.” However, this is not the most important thing that unites and brings together these generally independent images that arose independently of each other. The main thing between them is the unbridled nature, the rudeness of nature, prone to gluttony and revelry.
Listen to how Varlaam sings his famous song “As it was in the city in Kazan” in Mussorgsky’s opera. Pay attention to the timbre of his voice, to the features of the music - violent, unbridled, deliberately loud. Note also the manner of performance: after all, the artist always tries to emphasize the most important things in the character of the hero.
Listening: M. Mussorgsky. Song of Varlaam from the opera "Boris Godunov".
How did Varlaam appear to you? (Noisy, violent, with an unbridled temper.)
Remember what role details play in works of fine art, how they complement the appearance of the hero, merge with him, and communicate something that cannot be conveyed by other means.
For example, the famous painting “Girl with Peaches” - isn’t this a single image? Tenderness, youth, and the gentle sun literally permeate the picture, where every detail, every stroke is filled with the charm of the main character.
But here is a completely different musical portrait.
It was “painted” by the great master of vocal lyricism F. Schubert.
In the center of the image is Margarita, sitting at a spinning wheel and singing about her love.
If Varlaam’s portrait features were conveyed through the nature of the music and the manner of its performance, then in the song “Margarita at the Spinning Wheel” everything is important: the meaning of the words, the nature of the melody, and the bright imagery of the musical performance.
The portrait of Margarita in this song is drawn against the background of an important everyday detail - a buzzing spindle.
Listening: F. Schubert. "Margarita at the Spinning Wheel" Words by J. W. Goethe.
Margarita is also among the charming female images. But she, having already known love and suffering, is characterized by great depth and emotionality. Her song is an image, a picture, including several plans: external (pictorial), lyrical, psychological.
Figurativeness, as is often the case in vocal music, lies in the accompaniment music: from the very first bars we seem to see and hear a spinning wheel with its measured buzz. Against this background, the lyrical confession of a lonely girl, yearning for her lover, sounds.
All the richness of her love, all shades of mood from hidden sadness to powerful upsurges of feeling are conveyed in the vocal part. But with all the dynamism of this lyrical statement, with all the ups and climaxes of the melodic line, we return again and again to the buzzing of the spinning wheel - the original motive that frames this spiritual musical portrait.
If the musical images of Varlaam and Margarita were mediated by verbal text, then in the next work the musical portrait is carried out without the help of words.
“Gnome” from M. Mussorgsky’s piano cycle “Pictures at an Exhibition” is a musical portrait of a small fairy-tale creature, performed with enormous artistic power. It was written under the impression of a painting by W. Hartmann. These are not only “pictures written by a musician, but these are small dramas in which the very essence of the phenomena of life is revealed - the soul of events, the soul of things, seems to shine through the sounds,” wrote B. Asafiev.
We have already said that not only in music, but also in the visual arts, it is important not just the image, the transfer of the external appearance, but penetration into the deep, spiritual essence of the character. The play “Gnome” is one example of such a work.
Listening: M. Mussorgsky. “Gnome” from the “Pictures at an Exhibition” series.
Through the limping gait and angular jumps of the fantastic freak, deep suffering suddenly appears - no longer at all fabulous, but living, human. The music dramatically changes its character: broken, bizarre rhythms and leaps, which have a brightly graphic character, give way to the downward movement of chords, the sound of which is imbued with the intonation of aching melancholy, pain, and loneliness.
Mussorgsky’s “Gnome” is no longer a simple illustration of W. Hartmann’s painting, it is a significant development and deepening of the image, about which the composer managed to say so much in his short play.
Questions and tasks:
- Why do some musical works have a vivid portraiture?
- What musical genres are most capable of conveying the portrait features of a hero?
- What do the portraits of “Protodeacon” by I. Repin and Varlaam M. Mussorgsky have in common?
- How does music convey the portrait of the Dwarf in M. Mussorgsky's play? What do you think the music says more about - the external appearance of the Dwarf or his inner world?
- Name the works studied earlier in which portraits of heroes (characters) are embodied through music.
- Complete the task in the “Diary of Musical Works” - pp. 26-27.
Presentation
Included:
1. Presentation - 11 slides, ppsx;
2. Sounds of music:
Debussy. Prelude "Sails", mp3;
Mussorgsky. Pictures from the exhibition. Two Jews, rich and poor (2 versions: symphony orchestra and piano), mp3;
Mussorgsky. Opera "Boris Godunov". Varlaam’s song “As it was in the city in Kazan”, mp3;
Schubert. Margarita at the spinning wheel, mp3;
3. Accompanying article - lesson notes, docx.
Municipal educational institution
Bolshevo Secondary School No. 6
with in-depth study of subjects
artistic and aesthetic cycle
__________________________________________________________
Moscow region, Korolev, Komitetsky Les street, 14, tel. 515-02-55"Musical Portrait"
Open lesson in 6th grade
During the seminar
“Creative development of personality in the lessons of HEC”
Music teacher
Shpineva V.I.,
Korolev
2007
Lesson TOPIC: Musical portrait (6th grade).
The purpose of the lesson : formation in students of the concept of a musical portrait and artistic means of creating a portrait in various types of art.
Tasks:
expanding the general cultural horizons of students;
formation of a culture of singing;
the formation of a deep, conscious perception of works of art;
development of artistic taste;
nurturing creative activity.
Lesson form : integrated lesson.
Equipment : piano, stereo system, reproductions of paintings, projector, screen.
DURING THE CLASSES.
Organizing time. Musical greeting.
Teacher. Guys! You and I have already seen more than once how diverse the world of art is. Today we will talk about one of the genres of art - portraiture.
What are the features of this genre?
In what types of art can you create a portrait?
Give examples.
Students answer questions and give their own examples.
Teacher. The outstanding Italian painter, sculptor, architect, scientist, engineer Leonardo da Vinci said that “painting and music are like sisters, they are desired and understood by everyone.” After all, you may not know the language that Beethoven or Raphael spoke, you just need to watch, listen and think...
Continuing this thought, I would now like to invite you to consider a reproduction of the painting “The Swan Princess” by the Russian artist M.A. Vrubel.On the screen is a slide “The Swan Princess” by M. A. Vrubel.
Questions about the painting :
Describe the Swan Princess by Mikhail Vrubel.
What artistic media does the artist use?
What impression does this picture make on you?
Students answer questions emphasize the mystery, proud beauty of the fairy-tale bird girl, and celebrate the extraordinary gift of the painter who created the portrait of the fantastic creature. This is a fabulous bird girl, whose majestic beauty is characteristic of folk tales. Her eyes are wide open, as if she sees everything today and tomorrow. Her lips are closed: it seems that she wants to say something, but is silent. The kokoshnik crown is strewn with emerald semi-precious stones. A white airy veil frames the delicate features of the face. Huge snow-white wings, with the sea rippling behind them. A fabulous atmosphere, everything seems to be enchanted, but we hear the beat of a living Russian fairy tale.
Teacher. In what literary work do we meet the Swan Princess? How does the author describe it?
Students answer questions by saying “The Tale of Tsar Saltan” by A.S. Pushkin. The teacher recalls lines from this work in which a portrait of the Swan Princess is given.
Teacher. We looked at a pictorial portrait, read a description of the character’s appearance in a literary work. But many composers have turned to this plot. I’ll now play you a fragment of a work by a Russian composer of the 19th century. What kind of work is this?
The teacher plays a fragment from N.A. Rimsky-Korsakov’s opera “The Tale of Tsar Saltan” on the piano.
Students recognize this work and say that it also contains a portrait of the Swan Princess.
Teacher. The French composer C. Saint-Saëns wrote “The Great Zoological Fantasy “Carnival of Animals”, which also features the Swan theme.
Listen to "The Swan" by Saint-Saëns and describe the nature of the music.
The teacher plays the piano.
Student answers : Calm tempo, the accompaniment depicts a slight swaying of the waves, against which an unusually beautiful melody sounds. It is very expressive and therefore easy to remember. At first it sounds quiet, and then gradually the dynamics intensify, and the melody sounds like a hymn to beauty. It sounds broad, like a splash of a wave, and then it seems to gradually calm down and everything freezes.
Teacher. Pay attention to this point: in music, as in the visual arts, it is important not only to simply depict, convey the external appearance, but also to penetrate into the deep, spiritual essence of the character. This play is a prime example of this.
Students are shown a slide with two portraits: V.L. Borovikovsky “Portrait of M. Lopukhina” and A.P. Ryabushkin “Portrait of a Moscow girl XVII century."
Teacher. Now, guys, look at these two portraits, listen to the piece of music and think about which portrait this music is more suitable for and why.
F. Chopin's waltz in B minor sounds.Questions :
What is the nature of the music, its tempo, means of expression, what is the mood?
What are the characters of the girls depicted by artists?
Which portrait does this music best suit and why?
Answers: The music is romantic, “lacey”, conveys a feeling of calm and thoughtfulness. The portrait of Lopukhina evokes the same feelings.
Teacher. We looked at a picturesque portrait and listened to a musical portrait that was in tune with it. And now let’s sing in chorus the song that you and I learned: “Teacher’s Waltz” by A. Zaruba.
Students get up from their tables, form a choir and sing the song they learned in previous lessons.
Teacher. Think about what portrait this music paints for us?
Answers: Before us is a portrait of a teacher. The character of the music is smooth, measured, calm, like the character of a teacher.
Students take their seats.
Teacher. Listen to one piece now and try to answer the question: is it possible to see a portrait in this music? If so, whose?
The phonogram “Song of a Soldier” by A. Petrov sounds .
Answers: The playful nature of the music paints an expressive portrait of a brave soldier who went through battles and remained alive.
Homework : draw a portrait of this soldier.
Teacher. In conclusion, you and I will use musical means to create the image of our homeland, performing the Russian Anthem.
The guys get up.
Teacher. The anthem is a solemn song, majestic and proud. She is free, like the vast expanses of our Motherland; leisurely, like the flow of our deep rivers; sublime, like our hills and mountains; deep, like our protected forests. We sing the Russian Anthem and see Red Square, St. Basil's Cathedral, the Kremlin, our hometown, our street, our home...
Students sing the Russian Anthem.
The teacher offers to summarize the lesson.
What did you learn in this lesson?
What piece of music did you like best?
Which painting made the strongest impression on you?
In what form of art would you like to create a portrait and who and how would you portray?
At the end of the lesson, students are asked to mark the most interesting answers of their friends, grades are given taking into account the opinions of the students.
>>Musical portrait
Musical portrait
It is interesting to compare the features of recreating a person’s appearance in literature, fine arts, and music.
In music there cannot be a resemblance to a specific person, but at the same time it is no coincidence that it is said that “a person is hidden in intonation.” Since music is a temporary art (it unfolds and develops over time), it, like lyrical poetry, is subject to the embodiment of emotional states and human experiences with all their changes.
The word “portrait” in relation to the art of music, especially instrumental non-program music, is a metaphor. At the same time, sound recording, as well as the synthesis of music with words, stage action and extra-musical associations expand its capabilities. Expressing the feelings and moods of a person, embodying his various states, the nature of movement, music can evoke visual analogies that allow us to imagine what kind of person is in front of us.
Character, lyrical hero, storyteller, narrator - these concepts are important not only in a literary work, but also in a musical one. They are necessary for understanding the content of program music, music for the theater - opera, ballet, as well as instrumental and symphonic music.
The character’s intonation more clearly reproduces the external signs and manifestations of a person in life: age, gender, temperament, character, unique manner of speaking, moving, national characteristics. All this is embodied in music, and we seem to see a person.
Music can help you meet people from a different era. Instrumental works create images of various characters. F. Haydn admitted that he always composed music keeping in mind the characteristic types of people. “Mozart’s themes are like an expressive face... You could write a whole book about female images in Mozart’s instrumental music” (V. Medushevsky).
Listen to excerpts from works by different composers: V.-A. Mozart and S. Prokofiev, A. Borodin and B. Tishchenko, J. Bizet and R. Shchedrin, A. Schnittke and V. Kikty. What portraits of people did you “see” in music? What means of expression give you the opportunity to present the characteristics of the characters and characters?
Artistic and creative task
Make sketches of portraits of characters from your favorite musical compositions and give them a verbal description.
