Ermakova lessons of musical literature 2nd year of study. Textbook for the first year of study (old version)
Series "Teaching aids for children's music schools"
OK. Ermakova
MUSICAL LESSONS
LITERATURES
First year of study
Rostov-on-Don
"Phoenix"
2012
www.phoenixbooks.ru
UDC 78(07)
BBK 85.31я7
KTK 860
E72
Ermakova O.K.
E72 Lessons musical literature: first year of study
/ OK. Ermakova. - Rostov n/d: Phoenix, 2012.- 186, p. :
ill. - (Teaching aids for children's music schools).
ISBN 978–5–222–19760–8
The textbook on music literature contains six main sections of the first year course, which are completely
meet software requirements. Historical and theoretical material includes information about the means of musical expression, orchestral instruments, musical forms and
genres. The analysis of the musical works being studied is carried out in a fairly brief form, including all the necessary information. Each paragraph is supplemented with questions and
tasks. The presentation of the material is accompanied by the necessary musical examples of classical music, as well as illustrations. For students to successfully master the educational material, the text of the textbook is presented clearly, clearly and visually: the main
concepts and names are highlighted in special fonts or
arranged in columns. In addition, the text of the textbook has been supplemented
tables. Some of them are intended for memorization (“Dancing”, “Ensembles in Opera”, “Singing Voices”), others are
reference material(“Various expressions of sentiment in
music", "Tempo", "The most famous ballets, “Analysis of musical works”).
UDC 78(07)
ISBN 978–5–222–19760–8
BBK 85.31я7
© O.K. Ermakova, text, 2012
© Phoenix LLC, design, 2012
www.phoenixbooks.ru
Introduction
This tutorial is intended for
studying the subject "musical literature"
students of 4th grade (1st year of study) children's music schools and art schools.
When creating the manual, the author, taking into account the age characteristics of children, set himself the goal of giving students everything
information necessary to study the subject
and concepts, presenting them in a concise, visual
and in a form accessible to children. The text of the manual is designed in such a way that the student can independently use it when doing homework, without spending time searching for the necessary information.
extra time information.
The benefit fully complies with the Program.
Compared to existing textbooks,
A number of significant changes and additions have been made to this manual. Introduction contains
new chapter“What moods does music express”; to the topic “Means of musical expression” the paragraph “Intonation of melody” has been added,
and also describes various methods of application
harmony in musical works. More
presented fully and in detail educational material
in the chapter “Symphony Orchestra” and the section “Opera”; section “Dance music” has been added
3
www.phoenixbooks.ru
Information about dances that were previously included in textbooks
were not included. The chapter “Ballet” is also offered as additional material
P.I. Tchaikovsky "Swan Lake"
The music material in the manual also corresponds to the Program, but in some chapters it is replaced
and supplemented. The characteristics of musical works contain all the necessary information,
but it is presented quite briefly, taking into account the peculiarities of perception of children of this age.
For clarity, better memorization and comprehension by students of the material, the textbook is also supplemented with tables, including:
“Musical Forms”, “Plan for Analysis of a Musical Work”, “Dances”, “The Most
famous ballets", "Singing voices" and others.
www.phoenixbooks.ru
Dear Guys!
You've been doing the same thing for several years now
One of the most beautiful forms of art is music. Now there is a need to learn
truly understand her, learn a lot about her
new and interesting.
In order to be able to listen to classical
music, you need to learn to understand its basic laws and features of musical
speech, and in order to understand what composers “talk about” in their musical works,
need to know a lot about events in their lives
and creativity. Studying the subject of musical literature will help you with this.
During the lessons you will get acquainted with various
musical instruments, orchestras,
singing voices, you will learn a lot of new things
about Russians folk rituals and songs, dances
different countries and eras, symphonic music,
opera and ballet. You will learn to understand the most important events this amazingly diverse and wonderful musical world.
You just need to remember that getting into this world
only someone who truly loves music can
and truly wants to understand her.
www.phoenixbooks.ru
Where does the word "music" come from?
About music and its amazing power of influence
There are many myths and legends about people.
The very first of them appeared thousands of years ago
V Ancient Greece.
Beautiful people live on high Mount Olympus
muses - nine daughters of the thunder god Zeus
and the goddess of memory Mnemosyne. Each of them patronizes a specific type of art.
and science:
Euterpe is the muse of lyric poetry and songs,
Calliope - muse of epic poetry and the ancients
legends,
Polyhymnia - the muse of sacred hymns,
Erato - the muse of love poetry,
Terpsichore - patroness of dance,
Talia is the muse of comedy,
Melpomene - the muse of tragedy,
Clio is the patroness of history,
Urania is the muse of astronomy.
The magical beauty of the muses and their wonderful singing
captivates everyone around, making them forget about sorrows and strife. Next to the muses is the sun god
and light, patron of the arts Apollo, who accompanies their singing with a wonderful playing of the golden
kithara (lyre).
The word music sounds truly beautiful. No wonder it comes from the ancient Greek word,
meaning the art of music.
6
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Myths about magical power musical art were also dedicated to the ancient Greek singer
Orpheus, whose wonderful singing, accompanied
playing the cithara, everyone listened with admiration
around. With his music he could tame the wild
animals, turn back mountain rivers, move forests and boulders. Since ancient times, images of Orpheus with laurel have been preserved
a wreath on his head and a golden lyre in his hands. Exactly
this one is small stringed instrument with beautiful
curved frame became a symbol of musical
art.
Questions and tasks:
1. Where did the word music come from?
2. What musical instrument has become a symbol of musical art? Which of the heroes of ancient myths
Greece played this instrument?
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What moods
music expresses
Both in human life and in music, there are many different shades of mood. Some are associated with a feeling of joy, while others are associated with a feeling of grief and sadness. In the table you
see some of them:
Various expressions
moods in music
Mood
joy
Mood of grief
sadness
1. Celebration,
glorification
1. Suffering
sorrow
2. General
jubilation
2. Fight against evil,
overcoming
misfortune
3. Joyful
excitement
3. Sad
reflection
4. Enjoyment
peace
4. "Light"
sadness
5. Humor, joke
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In music, the expression of joy can have
different character. Anthem of Russia, composed by composer Alexandrov
based on Mikhalkov's poems, sounds leisurely
and majestic and solemn.
11
Wide. Solemnly
Russia -
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si - I love - bi - ma - I
our country.
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Glory - va - your - e
Glory to you,
Brotherly na - clans
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Glory to you,
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All the time!
Der - zha - va,
Mo-gu-cha-ya
Rod - on - I!
The joyful mood in the overture to Glinka’s opera “Ruslan” is conveyed in a completely different way.
9
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And Lyudmila,” whose music expresses the general
rejoicing of the people.
2
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In the play " New doll"from Tchaikovsky's "Children's Album" conveys the joyful, excited mood of a girl who received an unexpected gift.
3
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œœ
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The feeling of bright joy, pleasure and peace is in Schubert’s prayer “Ave Maria”.
4
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Leisurely
R
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Kabalevsky’s play “Clowns” sounds funny and playful. Written in the same spirit
Bach's "Joke" performed by solo flute and orchestra.
5
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Allegretto (Pretty soon)
Various shades of mood in music,
which is associated with the expression of grief, sadness.
Slow, dark chord sounds
in a low register in the introduction to Beethoven’s “Pathétique Sonata,” he expresses a state of suffering and sorrow.
6
Grave (Slow, hard)
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But the mood changed. At a fast pace
against the backdrop of intense accompaniment,
11
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The melody “rapidly soars upward,” breaking through “from darkness to light.” This is how music expresses
a person's struggle with his despondency and sorrow
experiences.
7
Allegro molto (Very soon)
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In the romance “Lark” by Glinka, a gentle melodious melody conveys a feeling of sadness.
8
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Contents
Introduction. ........................................................ ........................................................ .............3
What moods does music express?...................................8
Means of musical expression...................................14
Melody................................................. ........................................................ .......14
Melody intonations................................................... ....................15
Harmony................................................. ........................................................ .....18
Rhythm. ........................................................ ........................................................ ............20
Lad................................................... ........................................................ ...................21
Range and register................................................... ...............................22
Pace................................................. ........................................................ ...................23
Most known notations tempo...................23
Dynamic shades........................................................ ...................24
Timbre................................................. ........................................................ ...............25
Strokes........................................................ ........................................................ .......26
Texture. ........................................................ ........................................................ ...26
Symphony Orchestra Instruments...................................28
Bowed string instruments...................................29
Woodwind instruments...................................................31
Brass instruments................................................................... 34
Percussion instruments. ........................................................ ................36
Percussion instruments that have a pitch.......36
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Percussion instruments,.
having no pitch......................................................... .......38
Additional group................................................... .................40
Score................................................. ...................................................41
S. Prokofiev. "Peter and the Wolf"................................................... .........44
Musical forms........................................................ ........................49
Period................................................. .................................................50
Simple two-part form.................................................... ...51
Simple three-part form.................................................... ...51
Complex two-part form.................................................... .51
Complex three-part form.................................................... ..52
Rondo................................................ ........................................................ ...52
Variation form................................................... ...................53
Analysis of musical works...................................53
P.I. Tchaikovsky “Children’s Album”................................................55
Musical genres........................................................ ................................72
March................................................. ........................................................ ...............72
Dance music................................................ ......................
OK. Ermakova Rostov-on-Don “Phoenix” 2012 Series “Teaching aids for children’s music schools” MUSIC lessons to ALNOY L I T E R A T U R Y First year of study UDC 78(07) BBK 85.31ya7 KTK 860 E72 Ermakova O.K. E72 Lessons in musical literature: first year of study / O.K. Ermakova. - Rostov n/d: Phoenix, 2012. - 186, p. : ill. - (Teaching aids for children's music schools). ISBN 978–5–222–19760–8 The textbook on musical literature contains six main sections of the first year course, which fully comply with the program requirements. Historical and theoretical material includes information about the means of musical expression, orchestral instruments, musical forms and genres. The analysis of the musical works being studied is carried out in a fairly brief form, including all the necessary information. Each paragraph is supplemented with questions and tasks. The presentation of the material is accompanied by the necessary musical notation examples of classical music, as well as illustrations. For students to successfully master the educational material, the text of the textbook is presented clearly, clearly and visually: the main concepts and names are highlighted in special fonts or arranged in columns. In addition, the text of the textbook is supplemented with tables. Some of them are intended for memorization (“Dances”, “Ensembles in opera”, “Singing voices”), others are reference material (“Various expressions of moods in music”, “Tempos”, “The most famous ballets”, “Analysis of music”). - musical works"). UDC 78(07) BBK 85.31я7 ISBN 978–5–222–19760–8 O.K. Ermakova, text, 2012 Phoenix LLC, design, 2012 3 Introduction This textbook is intended for studying the subject “musical literature” by students of 4th grade (1st year of study) of children's music schools and art schools. When creating the manual, the author, taking into account the age characteristics of children, set himself the goal of giving students in full all the information and concepts necessary for studying the subject, presenting them in a concise, visual and accessible form for children. The text of the manual is compiled in such a way that the student can use it independently when doing homework, without spending extra time searching for the necessary information. The benefit fully complies with the Program. Compared to existing textbooks, a number of significant changes and additions have been made to this textbook. The introduction contains a new chapter “What moods does music express”; To the topic “Means of musical expression” a paragraph “Intonation of melody” was added, and various ways of using harmony in musical works were described. The educational material is presented more fully and in detail in the chapter “Symphony Orchestra” and the section “Opera”; The “Dance Music” section has been supplemented with 4 information about dances, which were not previously included in the textbooks. The chapter “Ballet by P.I.” is also offered as additional material. Tchaikovsky "Swan Lake" The musical material in the manual also corresponds to the Program, but in some chapters it is replaced and supplemented. The characteristics of musical works contain all the necessary information, but are presented quite briefly, taking into account the peculiarities of perception of children of this age. For clarity, better memorization and comprehension by students of the material, the textbook is also supplemented with tables, including: “Musical forms”, “Plan for the analysis of a musical work”, “Dances”, “The most famous ballets”, “Singing voices” and others. 5 Dear guys! For several years now you have been engaged in one of the most beautiful forms of art - music. Now there is a need to learn to truly understand it, to learn a lot of new and interesting things about it. In order to be able to listen to classical music, you need to learn to understand its basic laws and features of musical speech, and in order to understand what composers “talk about” in their musical works, you need to know a lot about the events in their lives and work. Studying the subject of musical literature will help you with this. During the lessons you will get acquainted with various musical instruments, orchestras, singing voices, learn a lot about Russian folk rituals and songs, dances from different countries and eras, symphonic music, opera and ballet. You will learn to understand the most important phenomena of this amazingly diverse and beautiful musical world. You just need to remember that only those who sincerely love music and truly want to understand it can get into this world. 6 Where did the word “music” come from? There are many myths and legends about music and its amazing power of influence on people. The very first of them appeared thousands of years ago in Ancient Greece. On the high Mount Olympus live beautiful muses - nine daughters of the thunder god Zeus and the goddess of memory Mnemosyne. Each of them patronizes a certain type of art and science: Euterpe - the muse of lyrical poetry and songs, Calliope - the muse of epic poetry and ancient legends, Polyhymnia - the muse of sacred hymns, Erato - the muse of love poetry, Terpsichore - the patroness of dance, Thalia - the muse of comedy , Melpomene is the muse of tragedy, Clio is the patroness of history, Urania is the muse of astronomy. The magical beauty of the muses and their wonderful singing captivates everyone around, making them forget about sorrows and strife. Next to the muses is the god of the sun and light, patron of the arts, Apollo, who accompanies their singing with wonderful playing of the golden lyre. The word music sounds truly beautiful. It is not for nothing that it comes from the ancient Greek word meaning the art of the muses. 7 Myths about the magical power of musical art were also dedicated to the ancient Greek singer Orpheus, whose wonderful singing, accompanied by playing the cithara, was listened to with admiration by everyone around him. With his music he could tame wild animals, turn back mountain rivers, move forests and boulders. Since ancient times, images of Orpheus with a laurel wreath on his head and a golden lyre in his hands have been preserved. It was this small stringed instrument with a beautifully curved frame that became a symbol of musical art. Questions and tasks: 1. Where did the word music come from? 2. What musical instrument has become a symbol of musical art? Which of the heroes of the myths of Ancient Greece played this instrument? 8 What moods does music express? Both in human life and in music, there are many different shades of moods. Some are associated with a feeling of joy, while others are associated with a feeling of grief and sadness. In the table you see some of them: Various expressions of moods in music Mood of joy Mood of grief, sadness 1. Triumph, glorification 1. Suffering, sorrow 2. General rejoicing 2. Fighting evil, overcoming misfortune 3. Joyful excitement 3. Sad reflection 4. Enjoyment, peace 4. “Light” sadness 5. Humor, joke 9 In music, the expression of joy can have a different character. The Russian anthem, composed by the composer Aleksandrov based on Mikhalkov’s poems, sounds leisurely and majestically solemn. 1 & c f j œ œ > . j œ r œ œ > j œ j œ œ > . j œ r œ œ > j œ j œ & 3 œ > . j œ r œ œ > . j œ r œ œ > J œ J œ . œ > j œ œ > . J œ R œ œ > J œ j œ & 6 œ > . J œ r œ œ > j œ j œ œ > . j œ r œ œ j œ j œ œ > . J œ r œ & 9 œ œ œ œ . œ j œ œ œ œ œ . œ j œ œ Œ & 15 œ > . j œ R œ œ > . j œ R œ œ > j œ J œ œ > J œ ‰ ƒ > œ œ œ œ & 19 . œ > J œ > œ œ œ œ . œ > j œ & 23 œ > . J œ r œ œ > . j œ r œ œ > . J œ r œ œ ‰ Wide. Solemnly Ros - si - I - ve - li - ka - I am in - sha der - zha - va, Ros - si - I love - bi - ma - I am in - sha country - on. Mo - gu - cha - I will - lya, ve - li - ka - I am sla - va - your - e to - a hundred - i - nye for all time - me - on! Glory, O - those - honor - in our - freedom - but - e, fraternal - clans - of the - union of - ve - kov - howl, before - ka - mi is given - on - I'm wise - growth on the family - on - I! Glory, country! We are proud of you! 1 cresc. The joyful mood is conveyed in a completely different way in the overture to Glinka’s opera “Ruslan 10 and Lyudmila,” the music of which expresses the general jubilation of the people. 2 & ? # # # # c c ƒ > œ œ œ œ œ œ œ > œ œ œ œ > œ œ œ œ œ œ œ > œ œ œ œ œ œ œ œ œ œ œ . – . œ œ œ œ œ œ œ . – . œ œ & ? # # # # 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > œ œ œ œ œ œ œ œ n > œ œ œ œn n > œ œ œ œ œ œ œ œ n > – – œ œn n œ œ œ œ œ œ Presto 2 The play “New Doll” from Tchaikovsky’s “Children’s Album” conveys the joyful, excited mood of a girl who has received an unexpected gift. & & b b b b 8 3 8 3 p ‰ ‰ j œ œ œ œ œ ‰ œ j œ œ œ œ œ ‰ œ J œ œ œ œ œ ‰ œ J œ œ œ œ œ ‰ & & b b b b 5 œ J œ œ œ b œ œ ‰ F œ œ J œ œ œ œ œ ‰ œ J œ œ œ œ œ ‰ œ œ œ j œ œ œ œ œ ‰ J œ ‰ œ œ œ œ Movable 3 11 Feeling of bright joy, pleasure and peace - in Schubert's Ave Maria prayer. 4 . j œ j œ . – w. œ R œ r œ œ œ œ œ . Slowly A - ve Ma - ri - a! Gra - ti - a ple - na 4 Kabalevsky’s play “Clowns” sounds funny and playful. Bach’s “Joke” was written in the same spirit, performed by solo flute and orchestra. & # # 4 2 f œ . œ œ œ . œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ . – . Allegretto (Pretty soon) 5 Various shades of mood in music, which is associated with the expression of grief and sadness. The leisurely, gloomy sound of chords in a low register in the introduction to Beethoven’s “Pathétique Sonata” expresses a state of suffering and sorrow. & ? b b b b b b c c fp œ œ . . . œ œ œ œ œ . . . œ œ œ n œ œ œ œ œ œn œ œ œ œ . . . . œ œ œ œ œ . œ œ œ# j œ œ ‰ J œ . ≈ x A ‰ fp œ œ œn . . . œ œ œ œ œ œ . . . œ œ œ œ œ œ œ œ œ œ . œ œ . œ œ œ j œ œ œ ‰ J œ ≈ . Grave (Slow, hard) 6 But the mood changed. At a fast tempo, against the backdrop of the intense sound of the accompaniment, 12 the melody “rapidly soars upward,” breaking through “from darkness to light.” This is how music expresses a person’s struggle with his despondency and sorrowful experiences. & ? b b b b b b C C p . œ œ n . œ œ œ œ œ œ œ œ œ œ . œ œn . œ œ . œ œ n . œ œ œ œ œ œ œ œ œ œ . n œ œ n . œ œ œ œ œ œ œ œ œ œ . œ œn . œ œ . œ œ n . œ œ œ œ œ œ œ œ & ? b b b b b b 5 . n. œ œ œ œ œ œ œ œ . . œ œ œ œ œ œ œ œ w w # œ œ œ œ œ œ œ œ n n n œ# œ# œ œ œ œ œ œ сresc. Allegro molto (Very soon) 7 In the romance “The Lark” by Glinka, a gentle melodious melody conveys a feeling of sadness. & & ? # # # 4 4 4 4 4 4 p p œ œ œ œ Œ œ œ Œ œ œ ‰ . . . œ œ œ ‰ . . . œ œ œ . œ œ œ . œ ‰ Œ œ œ Œ œ œ ‰ . . . œ œ œ ‰ . . œ œ . œ œ œ . œ J œ Œ œ œ Œ œ œ ‰ . . . œ œ œ ‰ . . . œ œ œ # . œ j œ œ Œ Œ œ œ Œ œ œ ‰ . . œ œ ‰ . . œ œ Between - between heaven and earth - song - once - yes - yes - sya, Moderately 8 184 Contents Introduction...................... ........................................................ ........................................... 3 Which ones. moods. expresses. music................................8 Means of musical expression.................................. ................. 14 Melody................................... ........................................................ ........................14 Intonation. melodies......................................................... ....................15 Harmony................... ........................................................ ...........................18 Rhythm.................... ........................................................ ...........................................20 Lad. ........................................................ ........................................................ ................21 Range and register.................................... ...........................................22 Temp. ........................................................ ........................................................ ................23 Most likely. famous designations. Tempo tempos..............23 Dynamic shades.................... ....................................24 Timbre......... ........................................................ ........................................................ ....25 Strokes......................................... ........................................................ .............26 Texture................................... ........................................................ ...................26 Instruments of a symphony orchestra.................................... ...... 28 Bowed string instruments.................................. 29 Woodwind instruments... ..................................31 Brass instruments............ ....................................34 Percussion instruments.......... ........................................................ .......36 Drums. tools, . having. height. sound. ......36 185 Drums. tools,. Not. having. height. sound. ........................................................ ..38 Additional group................................................... .....................40 Score.................................... ........................................................ ........ .............41 S. Prokofiev. “Peter and the Wolf” .................................................... ..........44 Musical forms..................................... ....................................49 Period.......... ........................................................ ....................................50 Simple. two-hour. form. ...................................................51 Simple. three-part. form. ...................................................51 Complex. two-hour. form. ...........................................51 Difficult. three-part. form. ...................................................52 Rondo ........................................................ ........................................................ ..52 Variational. form. ........................................................ ...............53 Analysis of musical works.................................... .....53 P.I. Tchaikovsky “Children’s Album” ...................................55 Musical genres..... ........................................................ ........................... 72 March...................... ........................................................ ........................................72 Dance music..... ........................................................ ...................78 Folk. dancing................................................ ............................78 Dancing. different. from countries................................................... ...................79 European. dancing. 17–18. centuries. ....................................86 Minuet.......... ........................................................ ....................................87 Gavotte......... ........................................................ ........................................89 Sarabande.... ........................................................ ....................................90 European. dancing. 19 . century. ...................................................92 Folk song................................................ ...................................101 Ritual. songs. ........................................................ ...................102 Epics................................... ........................................................ .............105 Historical. songs. ........................................................ ............106 186 Lengthy. lyrical. songs........................................107 Trudovye. songs. ...................................... ...................................109 Dancers, . gaming, . x oragroceous. songs. ...................110 Program music................................. ........................................112 M. Mussorgsky. “Pictures at an Exhibition” ...................................114 “Gnome”................................. ........................................................ ...........................114 Ballet. unhatched ones. Fri Entsov...................................116 P.I. Chaikovsky. “Seasons” ...................................................117 “February. . Maslenitsa". ........................................................ .......117 “April. . Snowdrop" .................................................... ..........119 N.A. Rimsky-Korsakov. “Flight of the Bumblebee” from the opera “The Tale of Tsar Saltan” ....................................121 Music in the theatre................................................ ........................................... 123 Music in the dramatic theater.. ...................................123 E. Grieg. "Peer Gynt" .................................................... ...............................124 “Morning”................................. ........................................................ ...............................125 “Death. Oze." ........................................................ ...............................127 “Dance. Anitra." ........................................................ ........................128 “V. cave. g orny. king."........................................................ .130 “Song. With lveig"................................................... .......................130 Opera......................... ........................................................ ...................................133 Building. operas. ........................................................ .......................134 Solo. numbers. V. opera. ........................................................ ...134 Ensembles. And. x op. V. opera. ........................................................ .....135 Orchestra. V. opera. ........................................................ .......................136 Singing voices............................ ........................................................ .....138 M. Glinka. Opera “Ruslan and Lyudmila” .............................. 141 Acting. faces. operas. And. their. g voice.........................141 Overture.................................... ........................................................ ...............142 Two. songs. Bayana........................................................ .......................143 Kava tina. Lyudmila. ........................................................ ...............145 Scene. kidnappings. Lyudmila. ........................................147 Second. action................................................ ........................148 Rondo. Farlafa. ........................................................ ........................149 Aria. R sent................................................... ................................150 Third. action................................................ ........................152 Fourth. action................................................ ...............153 Two. x ora. from. hey wow. action...................................................156 Ballet. ........................................................ ........................................................ .......158 Ballets, . received. world fame.........159 P. Tchaikovsky. Ballet “The Nutcracker” ...................................160 First. Act. . First. picture........................................160 Second. Act. ........................................................ ...................................163 Spanish. t anets. (Choco lad) ................................................... 163 Arabic. t anets. (Coffee).............................................. ............164 Chinese. t anets. (Tea). ........................................................ .......165 Russian. t anets. (T repack)................................................... ............166 Dance. sugar herding carcasses......................................................... 166 Waltz. colors................................................ ................................167 Adagio...... ........................................................ ........................................170 Dance. fairies. Dragee. ........................................................ ....................171 P. Tchaikovsky. Ballet “Swan Lake” ...................173 First. Act. . First. picture........................................173 Second. painting................................................ ...........................174 Second. action. . First. picture...................................178 Second. action. . Tue ora. painting. (the final). .............182 Textbooks for children's music schools Olga Kirillovna Ermakova Musical literature lessons First year of study Executive editor Oksana Morozova, Natalya Kalinicheva Technical editor Galina Logvinova Layout: Elena Kalitina Artists: A. Zakharov, M. Zakharova Photographers: N. Koshelev, T. Druz, E. Vasilyeva Signed for publication on May 25, 2012. Format 84x108 1 / 32. Offset paper. School headset. Circulation 2,500. Order No. Phoenix LLC 344082, Rostov-on-Don, per. Khalturinsky, 80 Tel.: (863) 261–89–76; fax: (863) 261–89–50
Orthodox prayer book. Saving Icons - gift set of 2 books in a box for Orthodox Christians.
The gift set is created not only to decorate bookshelf, but also fully help in the difficult task of saving the soul. The “Orthodox Prayer Book” contains prayers that will help a righteous Christian strengthen his spirit and not stray from the right path, while the book “Saving Icons” contains not only descriptions of miraculous icons, but also cites the lives of saints as an example of Christian virtue. We hope these books will help strengthen faith in moments of doubt.
Compiled by: A.A. Evstigneev.
The game is addressed to speech therapists, teachers, responsible and attentive parents who want to help their children activate sounds that have just appeared or have been introduced by a speech therapist. The problem with children who have learned to speak a complex sound is that they can only pronounce it in some words. Many parents complain to the speech therapist: Here he speaks correctly, but at home he speaks incorrectly. The manual is intended specifically to help the child, in a playful way, unobtrusively and with interest, master correct pronunciation sounds. As in regular walkers, players roll the dice and move their piece forward by the number of pictures rolled. The move is counted if the player phonetically names the dropped word correctly. To enhance the play situation and attract the attention of children and develop their phonetic hearing, an adult can use a provoking technique and pronounce the word incorrectly (not spoons, but ozhki or horns). You will see the child's eyes widen in surprise. Ref
The Crimean peninsula, the legendary Tauris, the center of world cultures and religions, has been the scene of countless wars throughout its many-thousand-year history. This blooming land, about which A.S. Pushkin wrote: “The land of the midday magical lands", attracted endless hordes of conquerors. Whoever wanted to control this God-chosen corner - Greeks and Romans, Goths and Huns, Khazars and warriors of the Golden Horde, Crimean khans and Turks. And even after it was signed in 1783 by Empress Catherine II Manifesto on the annexation of Crimea to Russian Empire, it took two more s more than a century so that the fate of the peninsula is finally determined.
IN military history Crimea is forever inscribed in Russia as a symbol of the unfading military glory, heroic and tragic military past. Every meter of Crimean land is watered with the blood of our soldiers who died during the Russian-Turkish, Crimean, Civil and Great Patriotic Wars.
In this book, written by a highly professional team of Russian historians - candidates and doctors historical sciences, traces the entire history of the Crimean peninsula from ancient times to the present day, the first in new Russia truly scientific and objective "History of Crimea".
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Teaching a child to sight read correctly is one of the most important tasks of a pianist teacher. The ability to easily parse a musical text greatly helps a child during his studies: it significantly expands his repertoire, accustoms him to independent work, and most importantly, makes the learning process easier, more enjoyable and interesting. But the skill of reading musical notation correctly does not come from nowhere and does not appear on its own. It needs to be developed painstakingly and patiently, starting from the very first steps of the little pianist. Despite the fact that many outstanding music teachers have dealt with the problem of reading notes from sight and there is numerous literature on this topic, in this issue A unified and clear methodology has not yet been developed. This textbook is another attempt to systematize the process of learning to sight read, based on a theoretical understanding of the musical text. Each piece in the collection is a unique musical illustration of a certain theoretical position or rule, which simultaneously takes into account the peculiarities of piano fingering, performing techniques and technical tasks.
2nd edition.
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Weaving from newspapers - relatively young, but already extraordinary popular look handicrafts. The products created by craftsmen are not much inferior to crafts in the quilling or pop-up styles. We are sure that once you start working on this book, you will not be able to stop!
The publication can also be used by teachers of technology lessons at school, specialists working with children in Homes children's creativity, since more environmentally friendly materials can be used when weaving: consumer paper, notebook sheets, natural and food dyes. This book pays special attention to this.
2nd edition.
In our parking lot, professionals - taxi drivers and firefighters, police officers and military personnel - are waiting for their urgent call. Don't ask why they got together. Perhaps they belong to the same department, for example, for extremely fast service to the toy population... And we have no doubt that in childhood our professionals strengthened their will and character. They also developed their ingenuity and trained their reaction speed. Otherwise, you will not reach heights in your profession. These qualities will be useful to everyone in life - housewives, teachers, and programmers. Our game will help today's specialists stay in shape and teach future ones how to use good skills. visual memory, be observant, strive to win.
Many people wonder: how not to repeat the mistakes of our parents? Often we remember very well what was wrong in our upbringing, and we hope that we will do better. However, there comes a time when we are surprised to realize that it doesn’t work out better.
When the time comes to raise your own children, along with confusion and fear, the “repeat program” turns on. And we begin to reproduce the parenting style of our parents, only complementing it with more modern social stereotypes. We repeat the model we are familiar with simply because we do not have another, because we do not know how to act differently.
This book, written by a practicing psychologist, will help you free yourself from the power of stereotypes and understand what is right for you and your child. It is based on practice psychological assistance parents of small children.
5th edition.
The title of the collection fully reflects its content, since it contains the most famous and beloved classical works. These include original works for piano and transcriptions of fragments from operas, ballets, symphonies and other instrumental works. Among them are “Adagio” by T. Albinoni, “The Joke” by J. S. Bach, “Turkish Rondo” by W. A. Mozart, “The Seasons” by A. Vivaldi, “Flight of the Bumblebee” by N. Rimsky-Korsakov, polka “Trick- track" by J. Strauss and many other "pearls" of European music of the 17th-19th centuries.
The variety of genres, images, and moods will allow each performer to choose a piece “to their liking.” The collection presents works that can decorate not only the home musical evening, but also a concert program.
The publication is intended primarily for music lovers, but can also be used in middle and high school children's music schools, helping to expand the pedagogical repertoire.
Compiled by: N. Sazonova.
5th edition.
The publication from the "Schoolchildren's Workshop" series is an educational kit for labor training lessons (technology) and consists of two parts:
- step by step instructions with illustrations, tasks for teaching techniques for working with various materials, etc.;
- sheets of paper and cardboard with templates and drawings, which are cut out during the work process and used for creative work.
The educational kit will significantly facilitate the preparation of the student for classes, and will allow the teacher to organize interesting and active cognitive activities in the lesson, as well as creative work for interests outside of school hours.
Compiled by: Sheremetyeva Tatyana Leonidovna.
This book is about how a fashionable adult hobby becomes accessible to little creators. Young soap makers perform 28 master classes. You will learn how to make soap, bombs, shower gel, and also have fun experiments.
The book will be of interest to beginning soap makers - both children and adults. It was written by the owner of the Mama Soap store, who has been teaching soap making for more than five years and is the author of several books on this topic.
Perhaps, your baby has never been exposed to so many dangers as in the first months of life, when his health is just developing and adapting to the world around him.
This book will tell you how to prevent and overcome the most common diseases of babies. The authors of the book - experienced pediatricians - consider all the main groups of ailments of children from birth to the first year of life: ENT diseases, cardiovascular, urinary systems, etc. You will learn about the symptoms of major childhood infections, methods of treating them, as well as about which issues parents should rely on the doctor, and what measures they can take themselves.
The book is intended for music school students, for parents of students who want to help their children master the basics of music theory, as well as for music school teachers who show interest in various areas of modern music pedagogy.
The main feature of the proposed methodology is that the comprehension of the theoretical foundations of music occurs through teaching children in solfeggio lessons to compose melodies, improvise, and select accompaniment.
All the necessary theoretical information is contained in the proposed rule songs. This saves a lot of time in class by eliminating tedious notes. To avoid copyright infringement, the book does not contain all the musical material used in the lessons. The exception is a few rule songs, whose authorship could not be determined, but they have long been heard in the lessons of many teachers.
Offered in the book music games They allow not only to consolidate the material being studied, but also to make the solfeggio subject attractive and even loved.
7th edition, stereotypical.
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“It’s not good to lie,” we have been told since childhood. However, what exactly is bad is not immediately clear to the child. Is it bad to fantasize? Is it bad to keep quiet? Is it bad when you tell lies for your own benefit? What if it’s for the benefit of a friend you want to help? What if there is no benefit at all? And why can’t I lie, but mom and dad can? In short, this lie is full of misunderstandings. Both from the point of view of adults and from the point of view of children.
And therefore, you and I will try to understand what a child’s lie is, whether it is for evil or for good, how, when and why people lie, whether it is possible to bring the little deceiver to clean water - and how we, as parents, should respond to all this. Here is an honest book about children's lies.
Do you feel like you know everything about your child, or at least everything you need to know? However, every time you encounter unexpected problems.
How to raise a child happy and help overcome obstacles that arise life path? How to notice and correct developmental deviations in time: be it speech defects or various difficulties psychological nature? How to prepare food tasty and beautiful for the delight of your baby, without deviating from the principles of healthy eating? How to unleash a child's innate abilities?
Do you want to have comprehensive information without spending a lot of time searching for it? If so, this book is for you. Not a word of fiction, invention or guesswork. Only reliable, verified information. Opinions of specialists: doctors, psychologists, teachers. The experience of parents who have tested the suitability of certain tips on their children. In matters of education, every detail is important!
You have in your hands a book on speech development, created according to the original method of A.S. Matveeva. Unique system test tasks will allow parents to evaluate lexicon baby, connected speech skills, ability to communicate with peers and adults, features of the child’s speech and mental development.
For preschool age.
The book is intended for students of music schools studying musical literature (first year of study), and their teachers who show interest in various areas in modern music pedagogy. The material in the book can also be used in the “Listening to Music” course.
The method of study is play, improvisation, composition, dance, staging a small children's opera, etc. - that is, the basic principles on which the author's previously published course “Irregular solfeggio, in which instead of rules there are songs, pictures and various stories” is based. .
The book contains approximate development each lesson, as well as the necessary sheet music.
What instruments did ancient people play?
The most ancient people did not have musical instruments. Music began with singing, and the first instrument was the human voice. Then self-sounding instruments appeared - various beaters, rattles and other percussion and noise instruments.
Another group of ancient instruments included wind instruments: buzzers, whistles, reed flutes. Even hollow animal bones became musical instruments. Thus, in excavations of a settlement of people of the ancient Stone Age, they found a whistle made from a deer joint, a bone pipe, and a flute made from swan bone. Then people learned to make pipes with side holes and multi-barreled flutes to produce sounds of different heights. Pipes were made from wood, horn or shell.
Content.
From the author.
First quarter.
Lesson 1. Long live the music! And, in fact, what is it needed for?
Lesson 2. What instruments did ancient people play?
Lesson 3. How and what they sang about in Ancient Greece.
Lessons 4-5. Russian folk music.
Lesson 6. Travel to the countries of the East. Near East. East is a delicate matter!.
Lesson 7. Far East. China, Japan, Korea.
Second quarter.
Lesson 1. Travel to the African continent.
Lesson 2. Invitation to a knight's tournament.
Lesson 3. A century of remarkable discoveries. The discovery of America and the birth of opera.
Lesson 4. How composers compose operas.
Lesson 5. Ball. Ancient suite.
Lesson 6. From ball to ballet.
Lesson 7. Ballet P.I. Tchaikovsky "The Nutcracker".
Third quarter.
Lesson 1: People want to have fun. We need new tools. Violin.
Lesson 2. Organ.
Lesson 3. Clavier, harpsichord, piano.
Lesson 4. Wind instruments.
Lesson 6. The symphony has parents.
Lesson 7. The emergence of jazz.
Fourth quarter.
Lesson 1. How a composer composes music. Subject. The nature of the music. Musical image and content of musical works.
Lesson 2. One-part form. Period. Offer. Cadence.
Lesson 3. Two-part simple form.
Lesson 4. Simple three-part form.
Lesson 5. Complex three-part form.
Lesson 6. Variations.
Lesson 7. Rondo.
Applications.
Appendix 1. Contents of the program.
Appendix 2. Little Red Riding Hood.
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Municipal institution of additional education
"Children's Music School" Kondinskoye named after A.V. Krasov
on this topic:
« Modern look on the methodology
teaching musical literature
first year of study at Children's Music School"
Teacher Shafikova Olga Petrovna
Kondinskoye village
2016
Explanatory note
Methodology for conducting lessons in musical literature using pieces from “Children’s Album” by P.I. Tchaikovsky.
1). Thematic plan
2). Lesson plans
Conclusion.
Applications.
Among musical theoretical disciplines, the most controversial and often modified course is the course of musical literature. The abundance of new textbooks, new authors and methods sometimes not only does not help in the work, but, on the contrary, creates chaos in the system of teaching the subject.
The democratization of our society, surprisingly, has broken the thematic plan of the courseIyears of study. Let me remind you that it consisted of the following topics:
1. Songs Soviet composers
Songs about the Motherland, about Lenin, about the party
Songs of the pre-war and war years
Songs in the struggle for peace and friendship of peoples
Songs about modern life Soviet people
2. Revolutionary songs
Revolutionary songsXIX century
Proletarian fighting songs
and
Songs - marches
Dances of the peoples of the USSR
In total, 8 hours marked in red needed to be replaced with something, and very quickly. And this is where new techniques and “textbooks” began to appear in large numbers.
Lisyanskaya E.B.’s method, based on the genre method of studying musical literature, undoubtedly seemed the best in those years, in any case, very interesting, especially to teachers tired of the “political” load of the subject. Many teachers are happy and very successful in working on this program even now. It was very difficult at first. First of all, there were no textbooks for children or teaching aids for teachers. For each lesson I had to work through a large number of sources, write notes for yourself and for children.
The greatest difficulty was the colossal shortage of musical illustrations. Eternal searches, recordings, re-recordings, orders, etc. Now, with the help of the Internet, the possibilities of illustration have greatly expanded.
But this program also ceased to satisfy me. As a teacher with 30 years of experience, I want to say that this course quite complicated and overloaded for students, and also inconvenient due to the lack of textbooks for all 4 years. In any case, I have never come across them for sale. In addition, the composer as a person, a person, was “lost” in Lisyanskaya’s program. The composer’s biography is studied independently, his work is “scattered” across genres and years of study, and by the end of the entire course it still does not fit into a coherent form.
In connection with the above, I came to the conclusion that the monographic type of presentation of a course in musical literature would still be more convenient and acceptable, and textbooks are still published in the same form.
However, it is no longer possible to return to the “old”, and the presentation of the material must be in a different context.
The first year course, or rather the first part of it, dissatisfied me most of all. Such basic material as “Children’s Album” by P.I. Tchaikovsky has practically disappeared from Lisyanskaya’s course of musical literature, and even from the repertoire in the specialty. This is largely due to the emergence of a huge amount of instrumental literature by new authors, which is certainly very interesting, as well as the penetration of jazz style and modern arrangements into children's performance. In pursuit of “fresh, new, interesting and unusual,” teachers have pushed the repertoire of classics so far that children are no longer able, and do not want, to “tinker” with the numerous strokes of serious works. This is the big picture. Of course, they play the classics, but so little that it is almost impossible to get an idea of Tchaikovsky’s “Children’s Album” or, say, Schumann’s “Album for Youth” from the “piece” performances.
It seems that the subject of musical literature could fill this niche, thereby solving the following problems:
1.Introduce children to P.I. Tchaikovsky’s “Children’s Album” cycle
2. Based on the available material from the plays of the cycle, reveal the themes
Elements of musical speech
Simple musical forms
Main genres of music (song, dance, march)
Software visual music
The textbook for children's music school "Musical Literature" for the first year of study by the authors Osovitskaya Z.E. can provide significant assistance in preparing this section. and Kazarinova A.S.
In the first year you need to give basic terms. We draw up a thematic plan. In more detailed form it will look like this.
LESSON 1. Elements of musical speech. Melody. Lad. Musical form. Period. Simple two-part form.
Sweet dream
Morning prayer
In the church
LESSON 2. Harmony. Pace. Texture. Rhythm. Simple three-part form. March. " Puppet story" “Oh, these boys.”
Doll disease
Doll funeral
New doll
Horse game
Mother
March of the Wooden Soldiers
LESSON 3. Song genre. Homophonic and polyphonic texture. Complex two-part form. Variations. “Travel to European countries” and “Russian page”.
Neapolitan song
Italian song
The organ grinder sings
An old French song
German song
Russian song
A man plays the harmonica
Kamarinskaya
LESSON 4. Dance forms. Complex three-part form. Programmatically – fine music. Register. "Bedtime Story" and "Russian Landscapes".
Waltz
Mazurka
Polka
Nanny's fairy tale
Baba Yaga
Winter morning
The lark's song
LESSON 5. Quiz and test.
In more detailed form, the content of the lessons will look like this.
Introduction. Music in human life.
Music in our lives... It greets a person from the first minutes of life with a mother’s affectionate lullaby and guides him through life ringing melodies children's songs, tender love stories of youth, Mendelssohn's wedding march, further by interests:
chanson
pop music
classic
jazz, etc.,
and as a result of his whole life - the funeral march of F. Chopin. The scheme is simple and clear. However, inside it everything is not so simple and even completely different.
P.I. Tchaikovsky created his own idea of musical life other half's childXIXcentury in the piano cycle “Children's Album”. The composer dedicated this composition to his beloved nephew Volodya Davydov. The world of children's games, fun, and quarrels was well known to Tchaikovsky, since he often and for a long time lived in his sister's house in the Ukraine, in the village of Kamenka, and enjoyed communicating with his nephews. The repertoire for children's home music playing was extremely scarce and Pyotr Ilyich decided to “make whole line small passages of unconditional ease and with titles tempting for children.” This is how a cycle arose, consisting of 24 plays, as if “24 hours in the life of a little man.”
The day begins with morning prayer, then playing snowballs outside and playing horses in the spacious rooms of the house. Mom's affectionate voice, and again playing soldiers. The girls have their own worries, their dolls get sick and die “for real.” Games are replaced by dancing, because the ability to dance was considered a sign good upbringing. And outside the window you can hear Russian folk song and dance, and the incomprehensible playing of an accordion player. The geography lesson is dedicated to traveling through European countries: Italy, France, Germany. And in the evening, the children are treated to Nanny's tales of miracles and Baba Yaga.
Before going to bed, I dream pleasantly, my thoughts glide smoothly, and I dream of spring, the warm sun and the ringing trills of a lark; for some reason I remembered Italy, along the streets of which organ grinders walk and sing.
The day ends. In the last piece of the cycle, the chorale sounds again, which contributes to the compositional harmony and completeness of the “Children's Album”.
This can be told in words, but music tells stories in its own language, stronger and more expressive. How to understand musical language? How is it different from speech?
The musical language is rich and varied, because its vocabulary contains not just sounds, but melody, mode, rhythm, harmony, timbre, dynamics, tempo, strokes, phrasing... All these elements musical language Composers use them in all possible combinations when creating music.
LESSON 1. Elements of musical speech. Melody. Musical form. Period. Simple two-part form. Cantilena.
Every person retains many pieces of music in their memory. If you try to remember them, you will probably hum the melody or tune.
Motive is an expressive piece of melody. A motive can evoke ideas about the entire melody and its character.
Melody - a developed and complete musical thought, expressed monophonically.
The life of a melody is like the life of a flower. A flower is born from a bud, blooms and finally fades. In a short time, the melody manages to emerge from the motive, “bloom” and end. Every melody has a "blooming point" highest point its development, the highest intensity of feelings. It is calledclimax. The melody endscadence – stable turnover.
The structure of a melody is similar to the structure of speech. Just as phrases are formed from words, and sentences are formed from phrases, so in melody small expressive particles - motives - are combined into phrases. A musical phrase, as a rule, is formed from two to three motives. Several related phrases common line development, formoffers , and sentences - a complete melody.
Let's look at the structure of the melody using the example of “Sweet Dream” (example 1).
A beautiful, melodious melody of a dreamy nature develops in small phrases - “waves” and gradually “blooms”. The melodious melody of wide breathing and long unfolding is calledcantilena, which means "singing" in Italian. Each phrase of the melody contains two expressive motives. Overall, the melody has the form of a classical period, consisting of two sentences.
Thus, period – this is a small structure in which a complete musical thought is expressed.
motive motive
1 phrase 2 phrase 3 phrase 4 phrase
1st OFFER period
phrase phrase phrase phrase
2nd SENTENCE
A period is part of the construction of a piece of music called a musical form.
Tchaikovsky's piano cycle begins and ends with pieces of spiritual content.
№1 “Morning Prayer” - the play seems to set the child up for good thoughts and actions. “Lord, make sure that mother and father, sister and brothers, and also aunts, nanny and everyone else are alive, healthy and happy” - a prayer that the kind governess Fanny Durbach taught Pyotr Ilyich as a child.
The melody sounds light and calm in the key of G major. Here one musical idea is developed, so the composer chooses the simplest musical form - a period, which consists of two sentences. In the first sentence, the musical idea remains unsaid, ending with an unstable cadence on the dominant. In the second sentence, the musical thought, developing, comes to a climax and ends with a cadence on the tonic and therefore sounds stable (example No. 2).
The sentences are the same in size: each contains 8 bars. They form classical period re-building. But the play did not end. The period is supplemented by a large coda.
Code - this is a construction that completes a musical work and gives it completeness and completeness.
In the coda, complete calm comes, this is achieved by the long and measured sound of the tonic in the bass, the repetition of the “farewell” cadence. And only when the last transparent-light sounds of the coda fade into silence, one gets the feeling that the work is finished - the form is complete.
№24 “In the church” - the sound is reminiscent of the singing of a church choir.
An important element expressiveness here is the mode. From music theory lessons we already know thatokay means the consistency of sounds of different pitches, which unite around the main sound - the tonic. The most common modes in European music are major and minor.
In the final piece, E minor creates a feeling of evening and sounds like a response to the “morning” G major of the first piece (example 3).
The form of the play is a period of a single structure:
a period consisting of 12 measures is divided only into phrases that continue one another
repeat period
addition
a large coda, sounding on an ostinato bass and completing not only the piece, but the entire collection.
This is the “farewell word” of the “Children’s Album”.
Period like component more complex forms - two-part and three-part - are used in most of the pieces of the "Children's Album".
LESSON 2. Harmony. Rhythm. Texture. March genre. Simple three-part form. Recitative.
One of the most important expressive means of music isharmony . It is based on the combination of sounds into consonances and the relationship of these consonances with each other in a sequential movement. Harmony often refers to the chord accompaniment of a melody. Harmony from Greek means harmony and proportionality.
The plays of the “Children's Album” can be conditionally grouped into groups according to thematic content.
"A Puppet Story" is presented in three plays, reflecting the complex and serious attitude to the life of a little person.
"Doll's Disease" The play does not have a continuous melodic line. It is as if “broken” by pauses, each sound of the melody resembles a sigh: “Oh... ah...” (example 4).
Harmony dominates here and determines the character and mood of the play. The form of the play is one-part, consisting of two periods with a coda. The doll's "suffering" reaches its climax in the second period, which contains a tense climax. The coda is long and soporific.
Rhythm – a Greek word meaning proportionality. This is a natural alternation of sounds of different durations in music. Without rhythm, a piece of music cannot exist. Rhythm has great expressive power, and the character of the work depends on it.
"Doll's funeral"The mood of sadness in this play is created using the funeral march genre. Here its features clearly emerged - the tempo of a slow step, dotted rhythm, chord texture, recitative melody, minor mode. (example 5)
Recitative –this is the genus vocal music, approaching natural human speech.
Pace – speed of movement.
Texture – way of presentation musical material: melody, chords, figurations, echoes, etc.Form plays simple tripartite , consists of equal periods of 16 clock cycles (ABA). The extreme parts are the same; these are periods of repeated construction. middle part sounds with a dynamic increase, which is associated with the expression of increasing grief. At the moment of climax, a sharp intonation of despair - a tritone - invades the melody. This is the most unchildish miniature in the Children's Album.
Genre (French) - means a type, type of any art. Music intended for singing, walking, games, rituals, military campaigns, and ceremonies belongs to such simple genres as song, dance, and march.
"New doll."The play sounds like a fast dance, conveying different shades of joyful feeling: amazement, delight. The melody consists of small motifs merging into one wave. The form of the play is simple three-part.
“Oh, these boys.” Two plays in the cycle are dedicated to boys.
"Horse Game" - lively, figurative, sunny scherzo (Italian “joke”), cheerfully boyish, with a stubborn ostinato rhythm (ostinato- a repeatedly repeated melodic or rhythmic turn). This is the tempo of a small toccata, which is characterized by a fast tempo and ease of execution.
"March of the Wooden Soldiers" . The main means of expression in this play is, of course, rhythm. The dotted rhythm and eighth pauses that constantly interrupt the melody give the music a light, toy-like quality. The rhythm of eighth notes and two sixteenth notes imitates the sound of a trumpet. The form of the play is simple three-part. The middle of the piece sounds secretive and even a little threatening.
It can be assumed that between the game of horses and the performance of the wooden soldiers, some troubles occurred among the players, and Tchaikovsky evokes a tender, reconciling image of his mother.
"Mother". There is a note from the author about the play: “with great feeling and tenderness: The melody is melodious, affectionate, bright; subvocal texture with melodic lower voice.
LESSON 3. Song genre. Complex two-part form. Variations. Homophonic and polyphonic texture.
The next suite can be called “Travel through Countries.” It is formed by songs No. 15 – 18 and No. 23. You can feel the rhythmic liveliness of Italian melodies, the wise sadness of an old French tune, and the sedate regularity of German dance. And yet Tchaikovsky gives preference to Italian “songs”. There are three of them in the “Children's Album”. This is no coincidence. The plays reflected the composer's fresh musical impressions received in Italy.
"Neapolitan Song"- one of the most striking plays in the “Children's Album”. This is an authentic Italian melody. Living in one of the hotels in Naples, Pyotr Ilyich often listened to the playing of traveling artists playing music under his balcony. The composer liked the theme so much that he used it twice - first in “Swan Lake” in 1876, and two years later in “Children’s Album”. The composer calls it a dance in the ballet and a song in the “Children's Album” - and there is no contradiction in this. It combined both song and dance.
“The Neapolitan Song” has two parts – the chorus and the chorus. The chorus has a simple two-part form. The chorus sounds like a song (example 6a), and the chorus is dominated by the elements of rapid dance (example 6b). A picture of a cheerful Italian carnival. Form of the whole piececomplex two-part. The elastic and clear rhythm of the accompaniment gives the work special expressiveness.
"Italian song"has the same structure - chorus and chorus. It is also based on an authentic street song. The melody, mobile and graceful in the first part, is sung more cantilian (drawn out) in the second. The texture of the presentation is homophonic (homophonic-harmonic structure), where the solo voice (melody) and accompaniment (accompaniment) are combined.
The melody sung by an Italian girl became a play« The organ grinder sings" . Light melody flows calmly, leisurely, accompanied by waltz accompaniment. The form of the play is simple two-part.
“Italian”, “German”, “The Organ Grinder Sings” and partly “An Old French Song” are reminiscent of the sound of an organ grinder. Tchaikovsky associated vivid childhood impressions with the mechanical sound of this instrument (tell).
Music "Old French Song" imbued with sincerity and sadness, like a heart’s memory of the distant past. The composer used an authentic tune hereXVIcentury - “Where have you gone, the hobbies of my youth”... A simple and leisurely tune is akin to an ancient ballad. The spare harmonies and restrained minor tone of the narrative are reminiscent of paintings by the old masters.
The play is written in a simple two-part reprise form. At the beginning and at the end of the play, a three-voice presentation of a polyphonic structure (polyphonic texture) is maintained: the melody sounds against the background of a sustained tonic bass, the middle voice echoes the melody, forming consonances with it. (example 7)
At the beginning of the second part, the melody is enlivened, the texture changes: instead of polyphonic it becomes homophonic. In the reprise, the same narrative melody is heard again. Discreet and noble simplicity, the aroma of antiquity made this play a masterpiece of the “Children's Album”.
"German Song"- cheerful, with a bouncing melody. It is based on the intonations of a Tyrolean song, and the rhythm is reminiscent of the ancient Ländler peasant dance, popular in Germany and Austria. In the harmony, the monotony of which resembles the sound of a barrel organ, only the tonic triad and dominant seventh chord are used. The form of the play is simple three-part, the rhythm is dotted, the texture is homophonic.Song - a genre of vocal music. Here the song is presented as an instrumental piece, which is based on the song's theme.
The “Russian Page” of the album is represented by three plays: “Russian Song”, “A Man Plays a Harmonica”, “Kamarinskaya”. They make up another small suite (suite - sequence (French)).
In Russia in the 60s and 70sXIXcentury, during the period of the rise of national culture, attention to folk music increased. New treatments have appeared folk songs, made by Balakirev, Prokunin, Rimsky-Korsakov. In those same years, Tchaikovsky created piano arrangements for four hands of 50 Russian folk songs. Tchaikovsky identified the most important features of Russian folk songs:
variability of the mode of Russian songs (“indefinite key”)
clarity of the rhythm of dance songs.
In the “Russian Suite” from the “Children's Album” the bright national coloring attracts attention. The plays use the same development technique - variation, characteristic of folk performance. This technique, however, manifests itself differently in all three plays.
Variations – musical form, consisting of a theme and its modified repetitions (variations).
A A 1 A 2 A 3
subject variations
In each variation the theme appears in a new light, its new sides are revealed; this allows you to reveal the moods inherent in the topic in a multifaceted way.
"Russian song" - master processing folk song“Are you a head, my little head?” She recreates the powerful four-voice sound of a male choir, full of youthful strength and luck. The melody is laconic (6 bars). Phrases end either in major or in minor. That's what it ismodal variability , which Tchaikovsky noted as a characteristic feature of Russian folk song (example 8).
The author gives three options for processing the topic. At the same time, the bass line develops independently and becomes as expressive as the melody of the upper voice. In other voices, small independent motives and phrases sometimes appear - they are called sub-voices. The number of votes changes freely: there are four, then three, then two, then four again. Similar free use voices is typical of Russian choral song. This style of presentation of musical material is calledsubvocal polyphony. In the “Russian Song,” the treatment of the theme can be likened to a tree, where the constant theme is the trunk, and the variations are the branches of this tree. The melody consists of short motifs; they flow so smoothly into one another, flowing so continuously, like a girl’s round dance moving in a circle.
"A man plays a harmonica" - a funny sketch from life, a kind of small scene. The sound of the piano is reminiscent of playing the harmonica: the piece plays on a dominant seventh chord - it is repeated 30 times! The single chanted phrase never became a “real”, developed melody. Multiple varied repetitions of this phrase create a comical impression: the hero seems puzzled by the unusual sound of his harmonica and is clearly unable to play anything else. The phrase, not completed, fades away in mid-sentence.
"Kamarinskaya". This famous tune of Russian dance was used by Glinka in his brilliant orchestral fantasy back in 1848. Here, in the “Children’s Album,” the dance song appeared as a modest piano miniature. Developing the traditions of Glinka, Tchaikovsky gives in it a vivid example of instrumental variations. The art of variation—patterned coloring of a theme—comes to the fore.
The composer varies the texture and changes the melody itself. The playful, scherziose theme is followed by three variations. The first and third variations, light, mobile, retaining the touchstaccato. In the second variation, a dashing, brave dance sounds. The theme is presented in dense chords, but even at the same time a familiar dance tune can be heard in the upper voice (example 9).
LESSON 4. Dance forms. Programmatic visual music. Complex three-part form. Register.
Just like song and march, dance belongs to simple genres. IN in the narrow sense The words dance refer to the light music that accompanies everyday and ballroom dancing. Of all the genres and spheres of musical art, dance music is most closely connected with everyday life, and therefore it is most sensitive to the trends of time and fashion.
In the second halfXIXcenturies in Russia the most fashionable and popular dances were considered: waltz, mazurka, polka, polonaise, krakowiak and others. Tchaikovsky included three of them in his album.
"Waltz".The name supposedly comes from the German word - roll out. The waltz is danced by smoothly twirling couples: its tempo varies from slow to very fast. The meter is three-beat, the accompaniment is characterized by a supporting accent in the bass on the strong beat and two light chords.
Among ballroom dances, the waltz stands out for its lyrical mood and romantic flight.
“Waltz” from the “Children's Album” recreates the atmosphere of a home holiday, therefore it is written in the traditions of home music-making - with a simple melodious melody and a characteristic waltz accompaniment. The melodic phrases are small, smooth, they are sung as if by chance, interrupted by pauses. Starting in a bright E - flat major, the melody gradually goes into the “shadow”, modulating into G minor, forming a form with a modulating period. This is followed by the second period, where the key of E - flat major returns. Mischievous, sweeping leaps appear in the melody, the music sounds cheerful, “with various madness and schoolboyism” (example 10).
Thus, a simple two-part form was formed from the two periods.
In the middle part of the waltz, the character of the music changes, the melody moves to C minor, insistent fifths sound in the accompaniment, and the melodic line takes on a broken two-beat pattern.
But the episode flashed by and the waltz began again. The waltz form is a complex three-part one.
A B A
simple period simple
two-part with two-part
form complement form
Mazurka – Polish folk dance, has a three-beat size, a sharp and clear rhythm, a characteristic rhythmic figure of an eighth with a dot and a sixteenth, the tempo ranges from moderate to very fast. The mazurka combines light grace, brilliant prowess, and dreaminess. Spectacular tapping of heels in dotted rhythmic figures is also characteristic.
"Mazurka" Tchaikovsky is written in the classical tradition of this dance. The character of the melody is somewhat melancholic at the beginning, but in the middle part it becomes active and persistent. This is expressed, first of all, in the variety of rhythmic figures: a dotted rhythm, dissected by a pause, sounds even more sharp and even a little flirtatious, triplets, accents on the last beat. The dance form is simple three-part. (example 11)
"Polka" - Czech folk dance, from the middleXIXcentury has acquired the significance of popular ballroom dance. The size of the dance is bipartite. The polka is danced in pairs in a circle, cheerfully and at ease.
In Tchaikovsky's cycle "Polka" is a witty, elegant piece written in the key of B - flat major. In the lower voice there is the usual accompaniment for dance: bass - chord. Theme is being performedstaccato, she is very perky and sharp. During the second conduction, the voices change places: the theme is heard in the lower voice, and the accompaniment in the upper voice. The form is three-part, after a crescendo in the middle part, the reprise is played on the piano.
The remaining four plays from the "Children's Album" can be declared as: "Bedtime Story" and "Russian Landscape". Of course, they also belong to the typeprogrammatic - fine music, which has a name (like all the pieces on the album), and also “depicts” by imitation:
movements of people, animals, birds
reveals their character
depicts space
Among other means of musical expressiveness in programmatic visual music, register is important.
Register- part of the musical scale, distinguished between upper, middle and lower registers.
"Nanny's Tale" . Cautiously prickly sonority (strokestaccato), with sharp harmony the composer creates a fabulous image. In quiet tunes one can hear the mysterious “knock-knock-knock...knock-knock-knock” (example 12). Music filled with sensitive pauses and unexpected accents sounds wary.
The development technique used here—the sequence—intensifies the mood of anxiety, leading to screams” (jump to a diminished seventh). In the middle of the simple three-part form, the music is truly scary. The upper voice “freezes in fear” at one sound, and from the gloomy low register a chromatic sequence “crawls out” like a ghost. The motives from which this “terrible” sequence is woven are the same as in the extreme parts (“knock-knock-knock”). The reprise exactly repeats the music of the first movement. And only the light key of C major seems to remind us that this fairy tale is a musical joke.
"Baba Yaga". The play also carries figurative character. It is written at a very fast pace (presto) and seems to imitate the flight of Baba Yaga. Staccato eighth notes, coupled with erratic chords, permeate the entire piece. Fast and smooth, they melodically fly up and then fall down.
This play, like “Nanny's Tale,” is written in three-part form, but the contrast of the middle is almost unnoticeable here due to the continuous movement. The culmination of the piece is the beginning of the reprise, sounding an octave higher than the first part. The “screams” of Baba Yaga sound sharper, as if flying overhead and rapidly moving away. The impression of “removal” is created due to the gradual transition to the low register and attenuation of the dynamics. Flew away...
"Winter morning" - like a picture from the window of a provincial house onto the street - life will awaken. Short intermittent motives and restless intonations create the image of prickly drifting snow, the morning seems gloomy and inhospitable (example 13). The play is written in a simple three-part form. The dotted rhythm, frequent accents, and chord texture give the music an excited, assertive character.
The extreme parts are contrasted by the middle, where pleading, plaintive intonations appear.
Similar in plot to this play"The Lark's Song" of a completely different nature. Light, clear music, as if ringing in the azure, conveys the feeling of awakening spring nature. Calm, even chords sound in the lower voice, and a whimsical melody in the upper voice, imitating real birdsong. It is rhythmically that this theme is very refined. There are a lot of triplets and grace notes in it. The sound of the melody in the upper register creates a feeling of transparent bottomless height and spiritual serenity. The form of the play is also simple three-part.
In conclusion, I would like to note that “Children’s Album” is not just an alternation short plays– sketches from life or simple dances. These are beauty lessons in the eternal school of beauty, of which anyone can become a student. "Children's Album" opens the gates to the world great art, becoming the first step on the path to Swan Lake and Eugene Onegin, to the Queen of Spades and the Pathetique Symphony. In a word, to Tchaikovsky.
As a test of students' knowledge, it is recommended to use a frontal survey of students on the topic and terms covered at each lesson.
It is advisable to make the fifth lesson a test using various shapes testing students' knowledge:
individual survey
frontal survey
small tests
music quiz
essay (for advanced groups) on the topic “My favorite piece from the “Children’s Album” by P.I. Tchaikovsky.”
Thus, having distributed the topicsI quarters:
elements of musical speech
musical forms
main genres: song, dance, march
programmatic - visual music (first acquaintance)
you can completely fit into 4 - 5 lessons, freeing up hours to expand the topic “Musical timbres,” which also requires a new interpretation.
Bibliography.
Buluchevsky Yu., Fomin V. A short musical dictionary for students. - L. “Music”, 1988.
Gorskaya E. “Children’s Album” by P.I. Tchaikovsky “Almanac for schoolchildren “Music and You” issue 7 - M., 1988.
"Children's Album" by P.I. Tchaikovsky in pedagogical repertoire music schools. - M., 1972.
Lisyanskaya E.B. Musical literature. Toolkit. – M. “Rosman”, 2001.
Kalinina N. “P.I. Tchaikovsky.” – M. “Children’s Literature”, 1988.
Osovitskaya Z.E., Kazarinova A.S. Musical literature. First year of study. – M. “Music”, 2000.
Tchaikovsky P.I. "Children's Album" for piano. - S-P. "Composer", 1992.
