What is the difference between musical and literary portraits? Musical portrait – Knowledge Hypermarket

Class Quarter Theme Can we see the music.

Lesson topic: Portrait in music and fine arts. (using health-saving technologies)

1. Entrance and exit to the song “I want to see music” by G. Struve.

2.Musical greeting.

3.. “Songs about paintings” by G. Gladkov (verse 3).

4. “Song of Varlaam” by M. P. Mussorgsky from the opera “Boris Godunov”.

5. Conversation on the painting “Protodeacon” by I. Repin.

6. Physical education minute.

7. “Song about the little trumpeter” by S. Nikitin.

Purpose of the lesson: to deepen students’ understanding of the visual properties of music with the help comparative analysis works - “The Song of Varlaam” by M. P. Mussorgsky and the painting “Protodeacon” by I. Repin

Educational:

Develop inner hearing and inner vision as the basis for development creative imagination;

Give the concept of “musical portrait” using the example of “Song of Varlaam”;

To teach how to compare works of music and fine art (how different types the arts - in their own way and independently of each other, embodied the same life content;

Understand the meaning of colors and shades;

Give an idea of the community " Mighty bunch».

Educational:

Cultivate interest in the history and culture of Russia;

Formation of aesthetic taste of students;

Nurturing moral and patriotic qualities in students through history home country, the musical heritage of the Russian people.

Educational:

Develop vocal-choral skills;

Intensify educational and creative activities;

Equipment: multimedia projector and screen, computer, disks, presentation, exhibition of children's drawings, piano.

Technologies: critical thinking, interactive learning, ic.

During the lesson, students acquire knowledge about the genre of musical portraiture, the ability to analyze works of music and painting, skills in comparing works of musical and fine art, research activities, and working with modern by electronic means training. In order for the work in the lesson to be pedagogically correct and at the same time beneficial to health, the following conditions must be met:

– The room should be well ventilated before the start of the lesson. While singing, students breathe deeply and deeply, so the air must be clean, and then at this time the lungs will actually develop, and there will be no poisoning from dusty air.

– In view of the fact that singing is a useful natural gymnastics, it is necessary to extract the greatest benefit from it for children.

– All students should be in the teacher’s field of vision, so that he can constantly monitor the children’s attention, interest, fatigue, posture while singing and performing creative tasks.

During the classes.

Epigraph of the lesson: “How similar music is to man! She has human face in the moments when you suddenly see her with your own eyes” A. Suuman.

Organization of the beginning of the lesson. Psychological mood of children for the lesson.

Hello guys. Before starting the lesson, look at each other, think about

something good, smile at each other.

Musical greeting.

Teacher: The bell has rung for you, it’s time for us to start the lesson! (mood reflection is carried out)

Teacher: Hello guys! I am glad to see you beautiful and healthy.

Students: Hello!

Teacher: How are you feeling?

Students: The same as always.

Teacher: It's time for us to study.

Students: Yes, yes, yes.

Teacher: Will you try?

Students: Just like always.

PPreparation for the main stage of the lesson.

Before moving on to the new topic of our lesson, let's remember the topic of the 3rd quarter. "Can we see the music?)

Our lessons combine painting and music. In musical language, to paint means to awaken certain memories in our hearts with sounds, and certain images in our minds. (O. Balzac).

What examples have we already used to trace the connection between music and fine art? Music and visual arts are very closely related. No wonder the artist I. Repin said: “I can’t imagine life without music.”

(portrait showing)

What is the basis for creating works of art? (life)

Explanation new topic. Come on, guys, let's listen to an excerpt from the song and you will understand what we are going to talk about today.

Verse 3 of “Songs about Pictures” by G. Gladkov sounds.

A little history.

More than a hundred years ago, in the second half of the 19th century, two remarkable communities of advanced artists and musicians appeared in Russian art.

Five talented young composers who passionately loved Russian music and the Russian people united in creative union to fight together to preserve folk art, for the creation of national Russian music in the tradition laid down by Mikhail Ivanovich Glinka, who in his works talked about the life common people and developed Russian national music based on folklore.

The union of these composers was called the “Mighty Handful”. The community included: the talented twenty-year-old musician Mily Alekseevich Balakirev, the young military engineer Caesar Antonovich Cui, the eighteen-year-old guards officer Modest Petrovich Mussorgsky, the chemist Alexander Porfirievich Borodin and the still very young sailor Nikolai Andreevich Rimsky-Korsakov. What united them all passionate love to music. The name “The Mighty Handful” was given by the famous Russian art critic Vladimir Vasilyevich Stasov. “How much poetry, feeling, talent there is in a small but already mighty group of Russian musicians...”

The circle was headed by Mily Alekseevich Balakirev. Mikhail Ivanovich Glinka considered him his successor in Russian music.

Of all the composers of the “Mighty Handful,” Modest Petrovich Mussorgsky had the most original talent, who showed especially big interest To folk life and to the Russian people. He was 18 years old at the time.

He recently graduated from the School of Guards Ensigns in St. Petersburg, and served for some time in the Preobrazhensky Guards Regiment. But he soon realized that the main occupation in his life would be music and left the service. He created many nationally vibrant musical images, which reveal the uniqueness of the Russian character. These images live in his works. The full power of his talent was revealed in the opera “Boris Godunov” based on Pushkin’s tragedy. This is a real masterpiece opera music. In Pushkin's tragedy, the composer was attracted by the opportunity to recreate in opera the awakening of the power of the people. Which results in open discontent, and in the end in a spontaneous uprising.

The story is accompanied by a presentation.

We will talk about such images – musical portraits – today. Do you think music can paint a portrait?

“Songs about paintings” by G. Gladkov sounds (verse 3).

And the music of M. P. Mussorgsky will help us figure it out.

A musical portrait is a description of the hero's character through music. Expressiveness and figurative power of intonation are inextricably interconnected in it. musical language. A musical portrait is special. After all, this is a portrait of a person’s inner world (his feelings, thoughts, moods, character), which is difficult to see with the eyes, but can be felt.

Listening to “Song of Varlaam” from the opera “Boris Godunov” by M. P. Mussorgsky (video).

Purpose: to consider how music can embody a person’s appearance, his disposition and character.

The hero of a musical work will now enter our office. We don't know what he looks like. But music will help us paint his portrait. Listen to musical speech hero in such a way as to represent him appearance, and his character.

Before the hearing, you will receive a task, to which you will then give a reasoned answer.

First group (1st row) . You have been given epithets. Let's read them: brave, powerful, kind, gentle, bright, dashing, violent, bright, calm, powerful. Your task is to listen to the number and try to determine the character of Varlaam and his song using these epithets. You can add your own if you have any other impressions.

Second group (2nd row).

While listening to music, try to compare color scheme With musical character, see color palette, which arose in your imagination from the episode you were listening to. - Before the hearing, you will receive a task, to which you will then give a reasoned answer.

Second group. We know that colors and sounds are friends with each other, helping in work. They, like wizards, can create any mood, any picture. You just need to reveal the secret of this magic.

While listening to music, try to compare the color scheme with the musical character, to see the color palette that arose in your imagination from the episode you were listening to.

What musical colors did the composer use to paint this musical portrait? How does the manner of performance reveal the character of the hero?

(The singer’s low voice, his thick bass, the constantly loud sound of the song, the menacing, bestial intonations in his voice, the wild cry of Varlaam (Hey!) with a joyful intonation in his voice, singing about the death of people.). His soul is the soul of a robber.

(The rollicking, almost dance-like character of the orchestral introduction, the fast tempo, the use of different registers in the orchestra, which constantly rush up and down.)

What words can describe the main intonation of the melody?

Children (choose on the board suitable words(valiant, powerful, mighty, kind, gentle, bright, dashing, violent, thick, bright).

Varlaam is a runaway monk living a free, wild life.

A story about M. P. Mussorgsky's visit to the exhibition. On which he saw “Protodeacon” by Repin. “I saw the “Protodeacon” created by our glorious Ilya Repin. Why, this is a whole fire-breathing mountain! And Varlaamishch’s eyes look after the viewer. What a terrible scope of the brush, what a blessed expanse!”

What helped the composer and artist create such similar images?

This is a portrait of the character of the hero; the expressive and pictorial power of the intonations of the musical language are inextricably fused in it. When this picture appeared at the exhibition of the Itinerants, the famous musical critic V. Stasov saw in the character of this picture one of the truest, deeply national Russian types. “Varlaamishche” from Pushkin’s “Boris Godunov” - this is how he defined the colorful figure depicted in the portrait. In the same way, Mussorgsky, seeing the “protodeacon,” exclaimed: “So this is my Varlaamishche! This is a whole fire-breathing mountain!”

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, googly eyes, gaping and roaring...”. The painting depicts a huge monk living wildly, loving to eat and drink. The center of the picture is a giant belly, strong hand, clutching a staff, red nose. The evil look of a person indifferent to other people is striking. His soul is the soul of a robber.

But when Repin painted his picture, he did not have in mind the image of Varlaam and vice versa...

It’s just that different types of art depicted the image of the monk in different ways - the composer created a song, and the artist painted a portrait.

In music, unlike painting, the image of the character and mood of the hero comes to the fore, and appearance can be imagined through imagination and fantasy. In a pictorial portrait, the opposite is true. So, a musical portrait is a portrait of the character of the hero.

Watch a video clip from the opera “Boris Godunov”.

Are music and visual arts really so closely related to each other?

- Does music have imagery?

So we analyzed the “Song of Vaarlam” and even found a portrait very similar to Vaarlam. Let's listen to this piece again. And you will draw your own monk at home.

And now, with your performance, you will draw a portrait of the hero of this song. (I’m playing the melody of Nikitin’s “Song of the Little Trumpeter.”

Objective: formation of correct breathing, promotion of normal voice development, protection of the voice from diseases.

Exercise “Palms” and “Deposit”.

Performance of “Song of the Little Trumpeter” by Krylova and Nikitin.

Be sure to connect it with the 70th anniversary of the Victory and hold a conversation “Children of War”.

Could such a person as Varlaam accomplish the feat that the little trumpeter accomplished?

Each person, due to his imagination and fantasy, can imagine visual images. If the work is programmatic, then the visual images will coincide in the main, but at the same time differ in details. This statement expresses the essence of the musical portrait genre.

Summing up the lesson. Assessment of student performance. Posting grades in the diary.

D\z: draw “your Varlaam.”

I thank everyone for a wonderful lesson.

Exit from class to G. Struve’s song “I want to see music.”

Musical portraits of opera characters

Researchers agree that the literary text and music of the opera “St. Petersburg Gostiny Dvor” are in agreement, surprising for the development of art of that time. The music echoes the statements of the heroes of the comedy, skillfully reproducing the intonations of live speech - the cries of merchants and buyers in the shopping arcades. In this regard, Levasheva’s remark is interesting. She believes that the musical language of the opera “is of interest as one of the first remarkable experiments in creating a recitative, declamatory vocal style.”

The opera has an incredibly large number of characters for that time - 23 1. Many of them receive independent characteristics. Such an abundance of characters makes it difficult to analyze the portraits of the opera's characters. In this regard, for greater convenience of presentation, the characters will be combined into groups according to the principle of significance. First of all, we should highlight the main characters around whom the main conflict of the opera revolves. This is the merchant Skvalygin and the clerk Kryuchkodey. They are joined by Skvaligin's wife Solomonida and daughter Khavronya. Thus, the group of primary characters, to whom the second paragraph of the main part will be devoted, includes representatives of the same family (if we assume that Kryuchkodey is Khavronya’s fiancé).

The second group of characters consists of other representatives merchant environment. These are the merchants Pereboev, Protorguev, Razzhivin and Smekalin, who are debtors to Skvaligin. This also includes Skvaligin’s nephew, the merchant Khvalimov, as well as such minor characters as Officer Pryamikov, debtor Shchepetkova, creditor Krepyshkina, a widow with children and other episodic characters.

Musical portraits of the main characters of the opera

The leading character of the opera, around whom the main intrigue revolves, is the merchant Ferapont Pafnutievich Skvalygin. Of the twenty issues depicting the life and everyday life of the merchants, Skvalygin participates in twelve 1 . At the same time, he has three solo statements that give the hero a versatile characterization.

All three arias are similar in musical means expressiveness. They are united by the moving flow of music, 2/4 time signature and G major key. Musical themes intonationally close to each other 2. In the arias, due to the two-beat meter and elastic rhythm, the strong-willed qualities of the merchant, his lively, active character, aimed at enrichment, are revealed. Tonal unity in in this case does not contain any semantic meaning. Most likely, the key of G major was convenient for the first performer of the role of Skvalygin.

The merchant’s first aria, “Cut the slices,” according to Levashev, is an “aria of action.” Skvalygin gives instructions to his wife before guests arrive for the wedding, teaching her to be thrifty. The musical design of this number is typical for comic characters opera buffa. The use of short speech lines, the repetition of an unpretentious melody kept at even durations, and a fast pace create a comedic effect. In this case, there is a correspondence between the word and the music - melodic-rhythmic accents fall on keywords text:

At the moment when the debtor Shchepetkova and the creditor Krepyshkina come to the merchant’s house for the silver left as collateral, Skvalygin sings the aria “This is what the light has become now.” This solo statement of the hero has all the signs of an “aria of exposure.” The chosen leisurely pace of Moderato is suitable for an expressive, indignant monologue. A dotted rhythm appears in Skvaligin’s melody. Bassoons and first violins duplicate the melodic and rhythmic relief of the vocal part. The hero tries to portray sincere surprise and disappointment at the “injustice” reigning in the world:

But only the first two phrases have this sound; then, to the words “He’s messing with us with his speeches,” the buffoon patter, already familiar from the first aria, appears, and all the veneer of seriousness and indignation disappears:

Under number twenty-six, another solo statement by Skvaligin sounds - the aria “Everyone knows how to live like this.” It belongs to the popular opera XVIII literature centuries of the “characteristic aria” type. Here the hero himself talks about himself, outlining his life position. The music of this number is playful and carefree. It is based on dance rhythm Krakowiak with a characteristic shift of emphasis from a strong beat to a weak one. Throughout the entire aria, the last eighth of the bar is emphasized by the bright dynamics and trill of the first violins. Horns almost always enter on the second eighth of the bar and highlight the weak beat with bright sonority (Forte):

Thus, all three of Skvaligin’s arias are similar in musical means of expression. They are united by the moving flow of music, 2/4 time signature and G major key. Musical themes are intonationally close to each other 2. In the arias, due to the two-beat meter and elastic rhythm, the strong-willed qualities of the merchant, his lively, active character, aimed at enrichment, are revealed. Tonal unity in this case does not contain any semantic meaning. Most likely, the key of G major was convenient for the first performer of the role of Skvalygin.

Ensemble scenes add apt touches to Skvaligin’s portrait. In general, ensembles predominate in opera (12), Skvalygin participates in nine of them. Most of them are “quarrel ensembles.” Such are, for example, the scenes of Skvaligin with the ladies (I d. No. 9), with poor merchants (III d. No. 19, 20) and two duets with Khvalimov (I d. No. 3, 4).

The two above-mentioned ensembles of Skvalygin and Khvalimov from the first act are meaningfully and dramatically close to the rich merchant’s aria from the third act “Everyone knows how to live like this.” We can say that they anticipate this solo statement, because in the dispute with Khvalimov they formulated for the first time life positions Skvaligina.

The duet “Be ashamed, part” is rapidly unfolding. The vocal parts of the ensemble members are intonationally close. Khvalimov’s initial phrase is repeated by Skvalygin at a different height, then the expressive recitative intonations of a furious argument penetrate into their parts. Such melodic unity suggests that the characters experience the same feeling of amazement and disagreement with each other’s opinions.

Skvalygin receives a slightly different musical description in the trio “We will just watch and have fun,” since his like-minded people - his wife Solomonida and his future son-in-law Kryuchkodey - participate in the ensemble. The heroes are inspired by the general idea of enrichment, but even in this situation Skvalygin is somewhat opposed to the rest of the ensemble members. This disunity is outlined in the second sentence of the initial period, where Skvalygin enters later than the others and sings the general text, but belatedly:

A clear manifestation of this technique is found in the middle section, in which Skvalygin solo performs a text that clearly characterizes him as a greedy person, carried away by the thought of profit and wealth 1:

I'll keep watch myself

I won't sleep at night.

In that fun I find fun,

Millions to save.

The above lines paint a portrait of a person for whom the meaning of life lies in wealth. But the rest of the ensemble members consider money only a means to achieve another goal, which will be discussed later, and therefore do not echo Skvalyagin’s vocal part. However, the literary opposition of Skvalygin to Solomonida and Kryuchkodey in the middle part of the number does not find a vivid embodiment in music - the parts of all ensemble members are the same

The first act of the opera ends with the trio “I announce to you ahead,” in which Skvalygin and two ladies who came for their goods participate. The stage situation prepares the listener for a conflict conversation - an “ensemble-quarrel”. The espressivo stage direction and movement in small fractional durations in the accompaniment at the fast tempo of Allegro set the tone for the intense tone of the sound. Skvalygin zealously defends his wealth; his vocal part is based on the sounds of triads, which shows the merchant’s firmness and confidence in his words. In the second section of the ensemble, where Skvalygin addresses each of the ladies in turn, a dotted rhythm appears in the vocal part. This ensemble reveals new facet the image of the merchant as a selfless, even to the point of comic effect, defender of his wealth.

The second act removes the conflict, transferring the listener’s attention to the ritual and everyday sphere. But already at the very beginning of the third act, the emotional sphere of the first act returns. The plot takes place in a shopping mall Gostiny Dvor, where Skvalygin comes to demand the return of debts from small merchants. The two ensemble scenes that follow one after the other, “Well, my friend” and “Give me a raise for the shop,” like the previous number, belong to the “quarrel ensemble” type. But if in the trio “I announce to you ahead” Skvalygin defended himself from the attacks of the ladies, then here, feeling himself the master of the situation, the merchant himself is the instigator of the conflict.

The ensemble “Well, my friend” is not preceded by a conversational episode; the act immediately begins with musical number. Skvalygin leaves his shop and, alternately approaching Razzhivin and Protorguev, starts a conversation about debts. Under the influence of the stage situation, which develops at the moment of ensemble singing, a very free and organic form takes shape (alternating a pair of periodicities with subsequent “closure” - ab ab c).

By means of music, the composer aggravates the conflicting nature of the dialogues, due to tonal opposition. Skvalygin’s part is set out in his “leittonality” - G major. The hero feels very comfortable because the current situation is beneficial to him. The poor merchants seem to adapt to the height taken by Skvalygin, but the joyless mood changes the modal coloring of their statements - they respond to the “oppressor” in the G minor of the same name.

The melodic pattern of Skvaligin’s part is built from short cues that are “finished” by the orchestra. The melody is based on a major tonic triad, which gives a confident tone to the statements of a large merchant:

The trio of Skvaligin, Pereboev and Smekalin “Give me an increase for the shop” is built on the same principle as the previous one, therefore the means of characterizing the rich merchant remain the same.

Skvalygin participates in three large ensemble scenes: the sextet “We beat our heads for a treat”, which ends the second act, the sextet from the third act “Honest Gentlemen” and the final octet with the choir “Reign, Holy Truth”. The named ensembles are “ensembles of agreement”, they relieve the open tension of “ensembles-quarrels”, slow down the development of action, and two of them serve as the finale. These numbers complement the characterization of the hero, revealing new facets of his image.

The sextet “We beat our heads for a treat” refers to a type of “ensemble of agreement” - “ensemble of farewell”. All characters divided into guests who thank you for the reception, and hosts who invite you to continue wedding ceremony. Trying to pretend to be a hospitable host, Skvalygin, who is accustomed to subjugating everyone to his will, communicates with the guests in an orderly tone, and the invitation from his lips sounds threatening.

The sextet “Honest Gentlemen” is interesting from the point of view of plot development. Skvalygin and Kryuchkodey turn to the merchants with an invitation to attend the wedding feast. The merchants, confused - the politeness of the two villains frightens them - decide whether to succumb to persuasion dangerous people. As a result, the scene becomes two-dimensional: on the one hand, the invitation of Skvaligin and Kryuchkodey, on the other, heated disputes between the merchants.

Summing up the analysis of Skvalygin’s musical portrait, we can say that he receives a complete and comprehensive description. At the same time, the merchant is not presented one-sidedly in the opera; the qualities of the character are revealed during the action of the opera. Skvalygin is depicted in various living conditions, and each time he receives new musical touches to his portrait. Thrifty home owner zealous defender his property, a ruthless moneylender - all these facets of Skvalygin’s image have a musical embodiment. But one feature of the depiction can be highlighted this character- Skvalygin is alone and opposed to all the other characters - imaginary allies betray him at the right opportunity. Perhaps in this way the authors of the opera wanted to convey to the listener a simple truth about one of the greatest riches in the world - about friends. As popular wisdom says: “don’t have a hundred rubles, but have a hundred friends.”

According to the plot of the opera, the personality of Skvalygin is closely connected with such a character as the retired registrar Kryuchkodey, who also receives a bright, versatile characterization in the opera. He has two solo statements: the aria “Oh, what a time these days” and the aria from the third act “I deliberately made this sample in front of you.”

According to the plot, in his second aria, “I made this sample on purpose in front of you,” Kryuchkodey boasts to Skvalygin how cleverly he knows how to deceive people. In terms of content, this statement is a “characteristic aria.” It is indicative with what words Kryuchkodey characterizes himself: “I am a hook. I'm a bitch. Boorish. Amka. I'm a top. I'm nitpicking. I'm hanging on." These words are accompanied by a characteristic winding melody, as if drawing “hooks”:

Kryuchkodey’s first aria, “Oh, what a time it is now,” is close in type to the “complaint aria.” The mournful, minor coloring of the music parodies the style of lyrical expression, which creates comic effect. The melody repeats the same turn, acquiring an obsessive character. The solo statement of Kryuchkodey is accompanied by flutes, which with their coldish timbre emphasize the callousness and heartlessness of the character. The text contains a hint of another vice not alien to the scribes - drunkenness:

My dear, zucchini:

The burner is burning, burning,

That scribes have little income,

It’s too small and she’s running out of money.

Confirmation of this idea can be found in the trio “We will just watch and have fun.” Kryukdey in the central section of the ensemble, together with Solomonida, glorifies wealth as a symbol of idleness and continuous drunkenness.

In the sextets “We hit with our heads for a treat” and “Honest Gentlemen”, Kryuchkodey’s part approaches in style the statements of Skvaligin, which shows the flexibility and duplicity of Kryuchkodey’s character, capable of adapting, when it is advantageous, to a stronger and more powerful person.

Kryuchkodey's solo and ensemble statements are very expressive and at the same time are not similar to each other in terms of musical expressiveness. The only thing that is constantly present in the clerk's parts is the deliberately exaggerated mechanicalness of the movement of the music at a fast tempo and three-beat meter. The melody with its emphatically sharp musical intonation clearly paints a portrait of a picky, harmful official.

The musical portrait of Skvaligin's wife Solomonida is expressive. Almost all of the vocal numbers in which she participates depict her vicious addiction to alcohol. One may recall the remark of the everyday life writer Pylyaev about merchants’ wives: “The merchants’ wives did not drink beer or play checkers, but the mistress of the house quietly took her guest to the bedroom, as if for a conversation, and secretly brought her a glass there until she got drunk.” .

Solomonida has one solo statement. The opera opens with a conversational dialogue with Skvalygin about the upcoming wedding, which develops into Solomonida’s aria “My Dear Hubby.”

Aria gives an ambiguous portrait of a merchant's wife. On the one hand, in communication with her husband she manifests herself as an obedient wife. Soft, affectionately pleading, seemingly apologetic intonations of the melody combined with at a moderate pace and in muted sonority they characterize a person who knows his “sins”:

Allegro moderato

But unexpectedly, the last words of each stanza end with a sharp dynamic increase, sounding affirmative, assertive and persistent.

In the second part of the aria, due to the fragmentation of durations (eighths and quarters are replaced by sixteenths and eighths), the effect of accelerating movement occurs, and a dynamic development is outlined towards the end of number 1. The orchestra, slowly following the melody throughout the entire number and intertwining it with echoes, sounds brightly in forte at the end.

The comments to the score indicate that the melody of the aria is based on the theme of the folk girl’s song “I Walk in the Svetlitsa” and was borrowed by the authors either from Trutovsky’s collection, where it is placed under No. 27, or from the Lvov-Pracha collection (No. 54). ABOUT folk origin This theme is indicated by its non-square structure (6 bars), and the melody itself, harmonized within classical harmony, is losing its folk flavor.

Thus, we can conclude that, despite the canons of classicist drama about the one-dimensionality of character characteristics, the main characters of the opera are presented in many ways. For the most part they are characterized through solo vocal statements. The combination of all the musical characteristics of the characters in a number of solo and ensemble statements contributes to the creation of a bright, convex portrait.

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 music and other forms of art; distinguish characteristic features 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 Orthodox Church. We see an elderly man with a long gray beard, overweight, and he has an angry expression on his face, which his arched eyebrows give him. 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 you think allowed these two deep and accurate observers to see in the portrait the resemblance to the character from the opera “Boris Godunov”?

Probably the fact that each of the works - and Pushkin’s “Boris Godunov”, and opera of the same name Mussorgsky, and Repin’s “Protodeacon” have one important feature- vividly and authentically - in words, music, images, show a person’s character.

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.” 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 thing 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, famous picture"Girl with Peaches" - isn't it 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.

"drew" him Great master vocal lyrics by 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 often happens in vocal music, is contained in the music of the accompaniment: already from the 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 next work a 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, made 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 a painting by W. Hartmann, it is a significant development and deepening of the image, which was discussed in his short play the composer managed to say so much.

Questions and tasks:

Why do some musical works have a vivid portraiture?
Which musical genres most capable of conveying the portrait features of the 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 music says more about? appearance The gnome or about his inner world?
Name the works studied earlier in which portraits of heroes (characters) are embodied through music.
Complete the task in the Diary 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.

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 address inner world person 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 goal-setting skills in setting educational tasks in the process of perception, performance and evaluation of 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 material lesson:

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

Communication 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.

Communication 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. This is how it began for the young musician new life, in which Balakirev and the “Mighty Handful” circle took the main place. Soon the period of knowledge accumulation 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 most interesting character operas - 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.)

What do Varlaam and Protodeacon have in common? (These are images of powerful, tough people, monks and priests, typical of Ancient Rus').

comparison table 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 shouts 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 resemblance, 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'.)

What colors did the artist use to paint this portrait? (The artist uses rich colors, where darker colors predominate.)

Despite various means expressiveness, in fine arts - these are colors, in literature - words, in music - 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.

Vocally choral work

Cognitive UUD

Getting to know the melody and lyrics of a new song

Communicative UUD

Interaction with the teacher in the process musical and creative activities;

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 the sketch Christmas decorations- 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 little man waddled, ran a little and stopped - it’s hard 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