Musical performance - development of artistic image in works. “Working on the artistic image of a musical work
Natalia Zamkovaya
Learning to play the metallophone color scheme
Dalnegorsk 2012
Page no.:
1. Explanatory note 2 – 3
2. Long-term plan 4 - 5
3. Demo benefits: 6 - 11
Musical ladder 7
Staff 8
Flannelograph and notes 9
Album "We play by notes" 10
“Where does the note live?” 11
4. Musical and didactic games: 12 - 21
"Rhythmic chains" 1, 2, 3 13 - 15
"Merry notes" 16
"Find out the song and play" 17
"Rolling the Cylinder" 18
"Put on the dress note" 19
"Mute Keyboard" 20
"Musical Lotto" 21
5. Musical fairy tale "Birthday notes" 22 - 24
The system of music education in kindergartens involves not only listening to musical works, teaching them to sing, movement in musical games and dances, but also learning to play on children's musical instruments. Learning to play on children's musical instruments, children discover the world of musical sounds and distinguish the beauty of the sounds of various instruments. The quality of their singing improves (they sing cleaner, have more musically rhythmic movements (reproduce the rhythm more clearly).
I introduce children to many musical instruments during music lessons, taking into account age characteristics preschoolers. These are mainly shock and noise musical tools: tambourines, rattles, sticks, bells, rattles, spoons, etc.
Starting from the younger group, I teach how to play metallophone individual sounds, small chants on one sound. This does not cause difficulty for children, since I carry out the work consistently, systematically. But when children grow up, it becomes more complicated. task: we need to teach them to play metallophone more developed melodies. To move on to learning melodies, children must be able to consciously navigate in the direction of the melody (hear where it goes moves: up, down, through sound, or the same sounds are repeated). They must distinguish between long and short sounds, distinguish by pitch, and feel the completeness of the melody - the tonic. This preparatory period, with a certain system, children learn easily, but when it was necessary to directly play the melody on metallophone, children are experiencing difficulties.
Over many years of work musical director, I, teaching children to play the metallophone, used a lot mov: determined how many times which word should be played on a particular tube metallophone, learned with the children the arrangement of notes on metallophone and taught the song with notes, that is, they solfed the song. A variety of techniques did not give the desired result, and I had to work with each child individually. This work took a lot of time. All this led to thoughts: it is necessary to introduce children to the elements of musical notation so that they can independently read musical notation and play the metallophone.
For this purpose I suggest using color scheme. Each tube (plate) must have a certain color. For example: DO – white, RE – blue, MI – green, FA – purple, SALT – red, LA – yellow, SI – orange. You can use another color scheme. The main condition is that each note must have only its own color. My goal is not to teach children to write notes, it is important that they know their name and location on the staff, and can find them on metallophone. In album "We play by notes" all the songs were written too colored notes.
In remembering colors A certain note and writing it on the staff does not cause any difficulties for children. Practice has shown that children who know color scheme of notes, independently play simple songs from notes. This eliminated the need to work with each child individually. In 2-3 lessons, children fully master playing a given melody individually. It takes more time to learn to play in an ensemble.
For learning to play the glockenspiel According to my system, I organized a circle "Happy notes". I conduct the class once a week, without contradicting the requirements of the san pin, without sacrificing the walk. The club is attended by 9 children who wanted to learn how to play metallophone. To make the lesson effective and for the children to perceive difficult material with interest, I made demonstration benefits:
Music staves for the teacher, and for every child.
Musical ladder with playing records.
Flannelograph with staff and notes in eighth and quarter notes.
Album "We play by notes"
Folding cards “Where does the note live?”.
Helped to assimilate a number of musical and didactic games:
"Merry notes"
"Find out the song"
"Cube"
"Put on the dress note"
"Rhythmic chains" 1, 2, 3.
"Mute Keyboard"
"Musical Lotto"
The process of unlearning for children has become conscious. Color scheme of notes in the album"We play by notes" and on metallophones played an important role, combining visual perception with pitch representation. In progress learning to play metallofo- auditory ideas, senses of rhythm, timbre, dynamics are not well formed, independence in the child’s actions, his attention and organization develop. Level of musical development of those involved in the circle "Merry notes", has increased significantly. The children's attention and creative initiative became more active, their memory improved, their singing became clearer, their rhythmic hearing improved, and everyone learned to play notes.
mug "Merry notes" groups "Gnomes"
(preparatory group 2011 - 2012 academic year)
theory Development of intonation, rhythmic, pitch hearing. Game on metallofo-not
Music playing, children's creativity
1. Writing long and short sounds. D/game "Merry notes"
2. Note "salt" (writing, color) 1. Laying out the rhythm. rice. given by the teacher.
2. Song “We are coming with flags” E. Tilicheeva - lay out the rhythm. rice. notes "salt", singing with words and solfeggio 1. Playing notes "salt" a given rhythmic pattern.
2. Playing a note "salt" songs "We are coming with flags" E. Tilicheeva.
1. Sing and play your name. (top to bottom, bottom to top, one sound)
November 1. Sheet music "F", "mi" (writing, color)
2. Compare notes by pitch "salt", "F" And "mi" 1. Song "Brave Pilot" E. Tilicheeva – lay out the rhythm. rice. notes "F"("mi") singing with words and solfeggio.
2. "Rain" R. n. n. - singing with words and solfeggio notes "salt" And "F" 1. "Brave Pilot" E. Tili-cheeva – playing with singing and solfeggio notes "F" ("mi")
2. "Rain" R. n. p. - a game with singing words and sol-feggio notes "salt" And "F" by album "We play by notes" 1. Compose a march melody on words:
“I have a hat with a star, I am a brave, young soldier” and play a march rhythm.
December 1. Sheet music "re", "before" 1 (writing, color)
1. "Ladder" E. Tilicheeva - from 5 notes - lay out notes on the staff, sing with words, solfeggio.
2. "Little Christmas Tree" M. Kraseva - laying out the melodic line of 1 phrase. 1. Play in an ensemble "Ladder", naming notes and with words.
2. Play the first phrase of the song "Little Christmas Tree" by album "We play by notes". 1."Little Christmas tree"- game on metallophones, etc.. noise instruments.
1. Note "la", "si" -(writing, color)
2. Compare the learned notes in terms of pitch. 1. D/game "Magic hammer dot"
2. D/game "Rhythmic chain" 1. Repetition of all songs learned 1. Compose a lullaby and a dance song with words. Play on metallophone and sing.
1. Note "before" 2 – (writing)
2. Scale – gamma
3. Music. fairy tale "Birthday notes"
1. Lay out the scale with notes and sing solfeggio
2. “Where have you been, Ivanushka?” R. n. p. laying out the melodic line of the 1st phrase 1. Play gamut, naming the notes.
2. Play 1 phrase of the song “Where have you been, Ivanushka?” by album "We play by notes", sing solfeggio and with words. 1. Song « Scales for mom» - ensemble plays metallophones.
2. Song “Where have you been, Ivanushka?” metal backgrounds and spoons, staging.
March 1. D/game “Put on the dress of the note”.
2. D/game "Cube" 1. "Ladder" E. Tilicheeva from 8 notes - sing with words, solfeggio 1. Play your part to the soundtrack
1. Play the album yourself "We play by notes"
1. D/game "Musical Lotto" Repetition
TARGET:
To develop children's pitch hearing, the ability to correlate sounds visually and auditorily.
DESCRIPTION:
The ladder is made of hardboard (size 20 * 27.5 * 8.5 cm.) Steps on a song - records from metallophone. They hang freely on the fishing line and do not touch the walls of the ladder. The sound of the steps corresponds to the scale. Sound is produced by striking the hammer.
APPLICATION:
The child plays two sounds, different in pitch, and sings his name. Talks like him sang: top down, bottom up, in place.
When meeting popevka "Ladder" E. Tilicheeva, the teacher plays it on the musical ladder
Compare notes by pitch.
TARGET:
Familiarize children with the arrangement of notes on a staff.
Sing according to the notes of the song.
DESCRIPTION:
On a rectangular board (size 25 – 100 cm) The stave and treble clef are drawn with paint. A fishing line is stretched across the board along its entire length at an equal distance. two-color buttons - notes. (one side is dark - long sound, and the other side is light - short sound). The buttons move freely along the fishing line, and if necessary, you can turn them with the dark or light side. The same visual aid has been made for each child. (size 20 cm - width, 30 cm - length). Below the drawn staff there is a strip of red colors. It determines the bottom of the board, and the note lives on this strip "before" 1.
APPLICATION:
Post a rhythmic pattern clapping by the teacher
Strengthen children's knowledge of the location of notes on the staff
Lay out the melodic line of the song, sung by the teacher with the name of the notes, that is, solfeggio.
TARGET:
Familiarization with the arrangement of notes on the staff.
Be able to use notes to lay out the rhythmic pattern and melodic line of a song
DESCRIPTION:
Plywood (size 35 cm - width and 100 cm - length) covered with material - flannel. There are two staffs drawn on it. Separately cut from velvet paper long and short sounds (quarter notes and eighth notes).
APPLICATION:
The child places notes on a flannelgraph to obtain a rhythmic pattern for the song.
The teacher calls the note. The called child places the note on the staff in the right place.
TARGET:
Learn to sing simple solfeggio songs and find the blossom the necessary tube on metallophone.
DESCRIPTION:
In the album, the entire spread of the sheet contains colored notes melodic lines of simple songs, chants.
TARGET:
Introduce the name and location of notes on the staff in color scheme.
DESCRIPTION:
For each note there is a card in the form of a book. It is made of two cards (size 12 * 12 cm, which are connected with tape. On one card there is a picture drawn. The first syllable corresponds to the name of the note. On the other card in color scheme a note is depicted on the staff.
APPLICATION:
When you get acquainted with the name, color range and writing notes on a stave.
To secure the name, colors and the location of the note on the staff. The teacher wraps one half of a card with a picture and asks to name the note. To check the answer, the teacher unfolds the card.
Using cards for the teacher to tell fairy tales about notes "Birthday notes".
DESCRIPTION:
Cards with pictures of animals. (size 8 * 24 cm.) Under each animal there are circles of different diameters. a large circle is a long sound, and a small circle is a short sound. Source "This amazing rhythm" I. Kaplunova, I. Novoskoltseva
APPLICATION:
Each child receives a card. Says the name of the animals and claps.
When pronouncing the names of animals, a rhythmic pattern is played on one sound metallophone.
TARGET:
DESCRIPTION:
Cards with different rhythmic patterns were made in two copies. A long stick makes a long sound, and a short stick makes a short sound.
APPLICATION:
Each child receives one card. On command, everyone is looking for their soul mate. Having found the half, the two of them pronounce the rhythmic pattern on the syllables TA and TI.
TARGET:
Fix the name of the notes and where she lives. Sing a chain of notes, play metallophone, observing the rhythmic pattern.
DESCRIPTION:
Each child is given a card (size 6*24cm.). It depicts several notes of different durations. To remember the names of notes, pictures are drawn whose first syllable corresponds to the note. Source "Musical ABC Book" E. Tilichkva
APPLICATION:
Each child receives a card. Sings his chain with notes in a given rhythm.
Plays his chain on metallophone.
TARGET:
Strengthen children's knowledge of writing long and short sounds (quarter note and eighth note). To develop the ability to compose rhythmic patterns of songs.
DESCRIPTION:
Rectangular cardboard cards (size 9 * 5 cm.) Quantity is unlimited. They depict a quarter (long sound) or eighth (short sound) notes. Two demo cards (size 11 * 13 cm.).
APPLICATION:
Cards lie on the floor throughout the room. Children move to the music. At the end of the music, the presenter raises the card (says a long sound or a short sound). Children must quickly pick up the corresponding card.
Children are divided into groups. The teacher sings a song, and the children, using cards, lay out a rhythmic pattern. If the group completed the task quickly and correctly, then they won.
TARGET:
Teach children, listening to a song with notes, to find the right card. Play it on metallophone, singing notes and with words.
DESCRIPTION:
The phrase is written in notes on the card. The background of the card suggests the name of the song. Source "Musical ABC Book" E. Tilichkva
APPLICATION:
The teacher shows all the cards, sings with notes (or words) phrase of the song. Children must recognize the song and find the card. Then we all play this song together metallophone.
The teacher claps the rhythmic pattern of the song, and the children recognize and find the card. Everyone claps the rhythmic pattern.
TARGET:
Fix the name and spelling of notes on the stave
DESCRIPTION:
An octagonal cylinder is made from cardboard (size of one side 17 * 4.5 cm.). On each face there is one note in color scheme. A staff and a red line are also drawn. The red line marks the bottom of the cylinder and the note DO1 is written on it.
APPLICATION:
Children sit in a circle and roll the cylinder over each other. A cylinder stops near the child and he names the note located on the top face.
TARGET:
Consolidate children's knowledge color scheme and note writing.
DESCRIPTION:
Two sets of cards according to the number of notes (size 10 * 9 cm.). They are made so that you can insert color insert - dress note (size 12 * 5 cm.).
APPLICATION:
Everyone gets a card with a touch of black colors. We must remember which this note loves the color, take color insert and insert into the card. Thus, the child puts on a note "dress". You can enter an element competitions: Divide into two teams. Whichever team quickly and correctly puts on the note in the dress wins the competition.
TARGET:
Develop intonation and pitch hearing, modal sense.
DESCRIPTION:
A mute keyboard is drawn on a landscape sheet (size 10 * 29 cm) and laminated for rigidity. The names of the notes and the ordinal count of the scale are written on the keys of the keyboard. Each child works individually with their own card.
APPLICATION:
Learn to sing a chain of notes given by the teacher, while touching the silent keyboard with your finger.
TARGET:
Strengthen children's knowledge of writing colorless and colored notes on the staff, and appearance long and short sounds.
DESCRIPTION:
Ten cards (size 30 * 10 cm.). Each card is divided into five squares. The cell depicts a specific note on the staff, a quarter note or an eighth note, in color scheme. And if you turn the card over, the notes are all shown as one color. For each cell there is a separate lid, which is attached to the card with tape. For 16 small cards (size 10 * 6 cm.) given on the stave color image of a note of a certain duration.
APPLICATION:
Each child takes one card. The presenter shows small cards one by one. Children cover the note shown on their cards. The first one to cover all the notes on his card wins.
The presenter does not show the card, but only voices it. Children must find the note on their cards and cover it with a lid. The first one to cover all the notes on his card wins.
... One day a girl was walking and came across a beautiful house. She knocked and the door was opened for her by the note DO. She lived in such a beautiful house. The DO note was saddened. The girl asked her:
Why are you so sad? Maybe I can help you with something?
I have no one to go with to visit my little sister. And I'm afraid to go alone. She lives high in the mountains and the road to her is long and difficult. “It’s my sister’s birthday today and I wanted to bring all the notes to visit so that she could sing all her favorite songs,” answered the sad note.
The girl decided that she needed to help the note DO, so said:
I will go with you to visit and help you invite all the notes to your sister’s birthday.
The DO note was delighted and put on her festive clothes. White dress, and they set off on their way - the path...
As soon as they walked away from the house, they saw a blue river. The river ran and gurgled. The girls listened with a hint of murmur and heard the river sing T:
I re-re-re-re-re-river, I swim wherever I want.
This is where, it turns out, the RE note lived. They invited her to her birthday, and she happily agreed. Nota RE washed herself in the river, put on her favorite blue dress and went on a visit with the girl and Nota Do.
Soon they found themselves in a forest and saw a bear there under a tree. He's all brown, but he's wearing a green vest. He sits under a tree and sings his favorite song%
I'm a mi-mi-mi little darling, I love to sing and play.
The girl was very happy that the MI note was found. And Mishutka happily allowed his favorite note to visit, dressing her in a green dress.
From the forest, a girl with notes came to a clearing. Got thoughtful girl: Where can she find the FA note? But then she noticed that a purple apron-check was hanging on a bush. She put it on and immediately wanted it sing:
I fa-fa-fa-fa apron, beautiful and simple.
The girl realized that a note of FA lived in this apron. Note FA happily agreed to go with everyone to the birthday party and wore her favorite purple dress.
It was quiet in the clearing, grasshoppers were chirping in the grass, tenderly warmed up the sun and from somewhere came a quiet song:
I am salt-salt-salt-salt, I live in the sun.
Then the girl took the red glass and looked through it at the sun. The girl explained why she needed the note SALT. The sun, having dressed her favorite note in a red dress, let her go for a visit.
The girl went further to look for the missing notes, and to make it easier to walk, she sang the notes that came next to her. It turned out to be a ladder that led up: DO, RE, MI, FA, SOL... So they got to the swamp and saw a big yellow flower.
Flower was unusual - he sang. It turns out there was a green frog sitting in it and singing... Senku:
I'm la-la-la frog, I love yellow color.
From this song the girl guessed that she had found the note A. She asked the frog to release her favorite note for her birthday. The frog dressed the note in a yellow dress and happily let go.
A girl with notes of a mountain rose even higher. I was tired and sat down to rest under a bush. The leaves are rustling, the flowers are fragrant, rocking... Good, warm and light. And the dotted foxes don’t just rustle, they sing a song humming:
I am si-si-si-si lilac, beautiful flowers.
The girl raised her head and saw that she was sitting under the lilac, the very one where the SI note lives. Of course, lilac brought out the SI note for her birthday by dressing her up in an orange dress.
The satisfied girl walked on with notes, and on the top of the mountain everyone saw a beautiful house. A girl knocked on the door. Note DO came out of the house in a festive white dress. She hugged her sister, who wholeheartedly congratulated her on her birthday and introduced her to the guests - multi-colored notes.
The notes lined up in a row and it turned out to be a sound. Everyone became happy and the notes sang their cheerful song DO, RE, MI, FA, SOL, LA, SI, DO...
Methodical work
"Artistic image as
the problem of music pedagogy"
piano teacher
MOUDOD "Krasnogorsk Children's Music School"
Rybakova Irina Anatolyevna
Krasnogorsk 2012
INTRODUCTION
Statement of the problem, relevance, purpose, objectives.
Work on artistically in piano lessons at the initial stage.
"...Music cannot accurately
describe its area -
awakening of feelings.
She should help everyone
live your dream under the influence
instant impact, which
may be variable depending on
from the inclinations of the listeners,
as well as the depth of their perception"
Alfred Cortot
INTRODUCTION
The problem of revealing an artistic image, understanding the composer’s intention and the ability to convey the characteristic of a given author, a given genre, a given era is always relevant in music pedagogical work. The process of raising a competent, enthusiastic music listener and music lover is quite complex and lengthy. Natural intuitiveness alone is not enough, just as it is impossible to impart understanding without the student’s desire to perceive.
In a music school, you can often see the following picture (we are talking about children with average musical abilities). A piece of work that a student goes through during a lesson evokes absolutely nothing in the child’s soul other than the desire to finish classes as soon as possible. The student plays the play over and over again with the same result, despite the efforts of the teacher, who constantly says: “there’s an accent here,” “play louder,” etc. Such lessons end with both the student and the teacher being exhausted. -yy with his own opinion: the student still does not understand why all these details and nagging of the teacher; a teacher who is confident in the complete stupidity of the child.
What is the reason for this situation? First of all, it should be noted how great the role of the teacher is in overcoming this problem. The child’s musical future depends on him. It is no secret that ill-conceived music lessons, without a creative attitude towards this important matter, lead to the fact that the child is completely discouraged not only from the desire for musical art, but also from a complete aversion to music. Therefore, it is very important how the teacher makes music lessons, how interesting, exciting and meaningful they will be.
Since we do not have the right to predetermine a child’s musical future, at first we must lead everyone in the same way: teach to listen and perceive music both from the outside and in our own performance (listen to ourselves), develop aesthetic taste, awaken loving relationship to the sound of the piano, to learn to understand the musical text; teach meaningful phrasing, basic control of sound and rhythm; and, finally, as a result of all that has been said, to achieve expressive and imaginative performance of children's plays. With this content of primary education, music brings joy to children, merges with their experiences, and awakens imagination. Hence the passion for activities, and passion, as we know, is the key to success in any business.
It is very important to teach your child to understand music. Often, understanding music means the ability to retell the content. This idea is incomplete. If only the content could be accurately translated into words piece of music, to explain in words the meaning of each sound, then perhaps the need for music as such would disappear.
The specificity of music lies in the fact that its language is the language of musical images that do not convey precise concepts, causes and consequences of the occurrence of any phenomenon. Music conveys and evokes such feelings and experiences that sometimes do not find their full, detailed expression. And the main content of a musical work, its main idea unfolding over time, the nature of this development can be understood and explained. But since this content is revealed by specific musical means (melody, harmony, rhythm, mode, tempo, etc.), then to understand it it is necessary to have an idea of the expressive meaning of all these means. Thus, understanding a musical work presupposes awareness of its main idea, character, mood, conveyed by specific means of musical expressiveness.
the performing musician will be able to become as close as possible to the author’s idea and, if he knows the means of implementation, to convey it with such temperament, persuasiveness and ease, as if he were expressing his ideas, his feelings, his thoughts. A musician needs to “believe” someone else’s fiction and sincerely live with it, put his own subtext into someone else’s text, “pass it through” himself, revive it and supplement it with his imagination. The initial stage of work on a musical work is characterized mainly by the fact that it confronts the performer as an object standing outside him. This is still a “game”, not a “performance”. There is a qualitative difference between “playing” and “executing”. The interpreter must be imbued with the author's thoughts and feelings, and internally agree with the composer. In the process of mastering his concept, the performer creates his own image in his imagination. Having “accepted as truth” everything that he created in his imagination, and feeling the necessity of what he is doing, the player begins to speak on his own behalf and begins to perform. You cannot convince another of what you yourself are not convinced of. The role of the teacher is to teach the student to understand and master art. In other words, to introduce the student into the world of art, awaken his creative abilities and equip him with technology.
This goal can be achieved when the student learns the piece and works on special exercises, developing certain aspects of the “apparatus of experience.” If a teacher is busy only showing how to play a play, he will not lead the student to creativity. Working on a piece of music cannot be a goal in itself. Each assigned task should help the student acquire some new quality. Creativity cannot be taught, but you can teach how to work creatively. The teacher must actively manage this complex process of the performer’s work.
In the process of creative penetration into someone else's image, it becomes possible to expand the intellectual and emotional boundaries of the individual. Thanks to the enrichment and the associated change in personality, the alien image ceases to be an alien image, and the performer becomes able to combine the personal, individually unique with the ideas, thoughts and feelings of the author.
Thus, the problem of understanding the artistic image is closely related to the problem of creative education. An education system that leads to creativity supports teaching methods with the help of which the student feels and understands why and for what it is necessary to “do”. Creative education requires an individual approach. Each personality is characterized by a unique combination of a number of innate and acquired qualities. Using the natural characteristics of the student, the teacher can influence and cultivate artistic individuality. Creative education involves cultivating the desire and ability to acquire knowledge and skills. A student can master the basics of his art only through his own active efforts. A teacher who presents everything to the student in an open form does not teach the student to search, does not cultivate creative inquisitiveness.
Creative education presupposes an understanding of the relationship between design and technology. Busoni’s words: “The more means at the artist’s disposal, the more he will find use for them” are an expression of precisely this thought. Creative education expands the scope and scope of a teacher’s work. Enormous demands are placed on the personality of the teacher, his knowledge and skills. The teacher not only teaches the basics of art, but, by cultivating the “mental apparatus,” becomes the artistic and ethical leader of the student. The teacher is called upon to teach his pupil to listen and hear, look and see, observe and make choices, understand the meaning of observed phenomena, and process perceived feelings within himself.
A teacher who develops a performing pianist faces four inseparable tasks.
First, he must instill in the student general culture, develop observation, cultivate consciousness, ethics. That is, this is the task
formation of a person (“I understand”, “I know”, “I feel”, “I understand” and “I evaluate”).
Secondly, the teacher must introduce the student to the world of music, reveal to him its aesthetic and cognitive value, instill musical culture, and train his ear. This is the task of forming a musician (“hear”, “feel”, “understand”).
Thirdly, the teacher must lead the development of pianistic skills, teach the ability to express themselves using the means of their instrument. In other words - to shape a pianist (“I can”, “I can implement”).
Fourthly, the teacher must develop specific performing skills: the ability to “ignite”, imbued with music, the will to embody music, to learn with listeners and to influence the listener. We can call all this the formation of a performer (“I light up”, “I want to embody”, “I want to convey to others and influence others”).
In aesthetics, an artistic image is understood as an allegorical, metaphorical thought that reveals one phenomenon through another. The artist, as it were, collides phenomena with each other and strikes sparks that illuminate life with new light. In ancient Indian art, according to Anandavardhana (IX century), figurative thought had three main elements: poetic figure, meaning, mood. These elements of figurative thought are built according to the laws of artistic conjugation and comparison of different phenomena. For example, the ancient Indian poet, without directly naming the feeling that possessed the young man, conveys to the reader the mood of love, skillfully comparing a lover dreaming of a kiss with a bee flying around a girl.
In the oldest works, the metaphorical nature of artistic thinking appears especially clearly. Artistic thought connects real phenomena, creating an unprecedented creature that bizarrely combines elements of its ancestors. The ancient Egyptian sphinx is neither a lion nor a cap, but a man represented through a lion, and a lion understood through a man. Through the bizarre combination of man and the king of beasts, man learns both nature and himself. Logical thinking establishes a hierarchy and subordination of phenomena. The image reveals valuable objects one through the other. Artistic thought is not imposed from the outside on the objects of the world, but flows organically from their comparison, from their interaction.
The structure of an artistic image is not always as clear as in the Sphinx. However, even in more complex cases in art, phenomena shine and are revealed one through the other. For example, in the novel "War and Peace" the character of Andrei Bolkonsky is revealed through his love for Natasha, and through his relationship with his father, and through the sky of Austerlitz, and through thousands of things. The artist thinks associatively. For him, as for Chekhov’s Trigorin, the cloud is like a piano,” he reveals the fate of the girl through the fate of the bird. In a certain sense, the image is built according to a paradoxical and seemingly absurd formula: “There is an elderberry in the garden, and a guy in Kiev ". In the image, through the “conjugation” of phenomena far removed from each other, unknown aspects and relationships of reality are revealed. An artistic image has its own logic, it is revealed in its own way internal laws, possessing self-propulsion. The artist sets all the initial parameters for the self-movement of the image, but having set them, he cannot change anything without committing violence against artistic truth. The vital material that underlies the work leads one along, and the artist sometimes comes to a conclusion that is completely different from the one he was striving for.
Figurative thought is multi-valued, as rich and deep in its meaning and significance as life itself. One of the aspects of the ambiguity of the image is understatement. E. Hemingway compared a work of art to an iceberg: not most of it is visible, but the main thing is hidden under water. This makes the reader active, the process of perceiving the work turns out to be co-creation, thinking out, finishing the image. The perceiver receives an initial impulse for reflection, he is given an emotional state and a program for processing the information received, but he retains both free will and space for creative imagination. The incompleteness of the image, stimulating the thought of the perceiver, is manifested with particular force in the principle of non fenita (lack of ending, incompleteness).
The image is multifaceted, it contains an abyss of meaning that unfolds over the centuries. Each era finds new sides and facets in the classical image and gives it its own interpretation. In the 19th century. Hamlet was viewed as a reflective intellectual (“Hamletism”), and in the 20th century. - like a fighter. Goethe believed that he could not express the idea of "Faust" in a formula. To reveal it, one would have to write this work again. An image is a whole system of thoughts. The image corresponds to the complexity, aesthetic richness and versatility of life itself. If an artistic image were completely translatable into the language of logic, science could replace art. If it were completely untranslatable into the language of logic, then neither literary criticism, nor art criticism, nor art criticism would not exist. We do not translate the image into the language of logic because during analysis a “super-mental residue” remains, and we translate it because deeper and deeper, penetrating into the essence of the work, we can more and more fully and comprehensively reveal its meaning critical analysis there is a process of endless deepening into the infinite meaning of the image.
An artistic image is an individualized generalization that reveals in a concrete sensory form what is essential for a number of phenomena. The dialectic of the universal and the individual in thinking corresponds to their dialectical interpenetration in reality. In art, this unity is expressed not in its universality, but in its individuality: the general manifests itself in the individual and through the individual. “The great poet,” wrote Belinsky, “speaking about himself, about his “I,” speaks about the general - about humanity, for in his nature lies everything that humanity lives by, and therefore in his sadness everyone recognizes his own and vi - there is in him not only a poet, but also a man, his brother in humanity"
The artist thinks in images, the nature of which is concrete - sensual. This connects the images of art with the forms of life itself, although this relationship cannot be taken literally. Such forms as an artistic word, musical sound or architectural ensemble do not and cannot exist in life itself.
The art of classicism is characterized by generalization - artistic generalization through isolation and absolutization characteristic feature hero. Romanticism is characterized by idealization - generalization by embodying ideals and imposing them on real material. Realistic art is characterized by typification - artistic generalization through individualization by selecting essential personality traits. Art is capable, without breaking away from the concrete sensory nature of phenomena, to make broad generalizations and create a concept of the world.
An artistic image is the unity of thought and feeling, rational and emotional. Emotionality is the historically early and aesthetically most important fundamental principle of the artistic image. Ancient Indians believe that art was born when a person could not contain his overwhelming feelings.
To create an enduring work, not only a wide scope of reality is important, but also an ideological and emotional temperature sufficient to melt the impressions of existence. The French sculptor O. Rodin distinguished the importance of both thoughts and feelings for artistic creativity: “Art is the work of thought, seeking an understanding of the world and making this world understandable... It is a reflection of the artist’s heart on all objects that he touches.”
An artistic image is a unity of objective and subjective. It reflects great life content. The image includes not only the material of reality, processed by the artist’s creative fantasy about and his attitude towards what is being invented, but also the entire wealth of the creator’s personality, or, as Picasso’s friend Juan Gris notes in this regard, “the quality of the artist depends on the quantity past experience that he carries."
The role of the artist’s individuality is especially clear in the performing arts (music, theater). Each actor, for example, interprets the character in his own way, and different sides of the play are revealed to the audience. For example, Salvini, Ostuzhev, Olivier Dali various interpretations the image of Othello in accordance with his worldview, his creative individuality, his historical, national and personal experience. The personality of the creator is reflected in the artistic image, and the brighter and more significant this personality is, the more significant the creation itself. Great art can satisfy both the most refined taste of an intellectually prepared person and the taste of a mass audience. In a realistic image, the measure of the relationship between the subjective and objective is always preserved; reality is illuminated by the thought and ideal of the artist.
The image is unique and fundamentally original. Even when mastering the same vital material, revealing the same topic on the basis of Ob ideological positions, different creators create different works. the creative individuality of the artist leaves its mark on them. The author of a masterpiece can be recognized by his handwriting and the peculiarities of his creative manner. “Let copying pass through our hearts before our hands begin to work on it, and then, regardless of ourselves, we will be original,” noted Rodin.
Scientific laws are often discovered by different scientists independently of each other. For example, Leibniz and Newton simultaneously discovered differential and integral calculus. Repetition of scientific discoveries is possible, but in the entire centuries-old history of art there has not been a single case of coincidence between the works of different artists. The law “is realized through its non-realization” (Hegel). General pattern: the artistic image is unique, fundamentally original, because its integral component- the unique individuality of the creator.
Musicology also deals with problems of the artistic image, the content of music, and the means of its expression. There has long been a widespread opinion about the “inexpressibility” of the content of music, about the impossibility of “retelling” it, conveying it in any way, including verbally. “Music begins where words end” (Gay-ne). There is an excessive categoricalness in the statement about the inexpressibility of music in words. After all, many people have tried and are trying to convey the content of certain musical works literary images(or with gestures, dance movements, images), and it cannot be said that all these attempts were unsuccessful. It is especially difficult to talk specifically about music (especially if it appears in a “pure” form - without words and stage action). And the reason for this is in the “composition” of its content, which does not necessarily include visual and conceptual moments that are easier to retell, but instead cover the most subtle shades of emotions that are inaccessible to adequate verbal expression. It is always more difficult to describe what is heard than what is seen - this is due to the adaptation of our language to the predominant role of visual information.
It is even more difficult to describe the experience. And it is completely impossible to tell what constitutes the “soul” of any art - the unique vision and sensation of the world through artistic talent, and even if he thinks and expresses himself in a language so different from everyday speech, like music.
Therefore, when talking about the content of music, we must always remember that it cannot be embodied by means other than musical ones, and fully comprehended otherwise than by comprehending and experiencing the music itself.
This does not mean, however, that music has only its own musical content, expressing itself. She "tells" us about what is beyond her, in specific form reflects action, being its image.
In modern musicology, a musical theme is also considered an image.
(by analogy with the first characteristic of the hero of the drama), and the theme, along with its development and all metamorphoses (by analogy with the entire fate of the hero in the drama) and the unity of several themes - the work as a whole.
If we proceed from the epistemological understanding of the image, then it is obvious that both the entire work and any significant part of it, regardless of its size, can be called a musical image. The image is where there is content. The boundaries of a musical image can be established only if what is meant is not a reflection of reality in general, but of a specific phenomenon, be it an object, a person, a situation or a separate mental state. Then, as an independent image, we will perceive a musical “structure” united by one mood, one character. Where there is no content, no image, there is no art.
Music is a product of human spiritual activity. Consequently, in the most general terms, the content of a musical work can be defined as the results of the reflection of reality captured in sounds by the consciousness of the author - composer (who, in turn, acts in creativity not only as an individual, but also as a representative of a certain social group , an exponent of her interests, psychology, ideology).
It is obvious that if music reflects the phenomena of reality, expresses feelings, emotions, models them, then its means are intended to be precisely means of expression, and in this sense they are meaningful. But the very nature of the connection between content and means, far from being the same in different conditions, has not yet been revealed with the necessary completeness and represents one of the central problems in the totality of them, which has long been felt and designated as the “mystery of the influence” of music.
Individual musical means associated with the elements of music, that is, certain melodic patterns, rhythms, modal turns, harmonies do not have once and for all given, fixed expressive and semantic meanings: the same means can be used in works of different nature and promote different - even opposite - expressive effects. For example, syncopations in some cases contribute to the effect of sharpness, dynamization, explosiveness, in others - lyrical emotion, in others - special lightness, airiness, achieved by veiling metrically significant moments.
However, each remedy has its own range expressive possibilities. They are determined by objective properties and are based on more or less elementary prerequisites (acoustic, biological, psychological), but also formed in the course of musical history
ric process, the ability of this medium to evoke certain ideas and associations. In other words, expressive capabilities arise on the basis of certain objective properties of means and are consolidated by the tradition of using these means.
The question of the relationship between the content and means of music was addressed by musicians and scientists of different times. For example, ancient Greek theorists attributed a certain character to individual modes, and this, apparently, was in accordance with the tradition of using modes in the syncretic poetic-musical art of antiquity.
In the 17th - 18th centuries, the so-called theory of affects became widespread, on the basis of which emotional experiences expressed in music are associated with certain means. In XYii&v, punctuated rhythm was considered, according to this theory, as evoking a feeling of something majestic and significant.
Attempts to directly correlate individual elements of music, down to intervals, with a certain character of expressiveness were encountered later. In those cases where attempts of this kind tacitly implied other conditions and, thus, actually concerned complex means, they were often fruitful, especially in studies devoted to the musical language of a composer.
Consequently, the meaningful and expressive capabilities of the means must be considered in a certain system of musical language and the implementation of these capabilities in works various styles and genres.
In music pedagogy, the problem of interpreting the artistic image is very relevant. A number of tasks arise to solve this problem. This is the nurturing of creativity in children, the development of the intellect and horizons of students. The goal of the teacher in this direction is to cultivate the ability to perceive a musical image in its specific sound embodiment, trace its development, and listen to corresponding changes in the means of expression.
There are ways to enhance the perception of music.
1. Method of listening. This method underlies the entire musical and auditory culture and is prerequisite development of simple auditory skills, perception of musical images and formation of musical ear. Children gradually master voluntary auditory attention, selectively directing it to certain musical phenomena in connection with new situations and tasks.
Works for children by Mendelssohn, Schumann, Grieg, Tchaikovsky and related composers teach them emotional imagery, everything that students will encounter in the future when studying the “great”... literature of the romantics.
Studying works of different styles undoubtedly broadens the musical horizons of students. The teacher, in turn, must explain the stylistic features of each work, immersing the student in the unique world in which the composer lived and worked.
As already noted, work on creating an artistic image should proceed with tireless monitoring of hearing.
If you ask students whether they should always listen to their performance when playing an instrument, they will, of course, answer in the affirmative. However, in practice, unfortunately, a different picture is observed. Often students hardly pay attention to the sound at the first stage of studying a piece. This is explained by the fact that their attention is completely absorbed by the “notes”, rhythm and “fingers”. Inattention to sound is often observed at the middle stage of studying a piece, when students, especially those who are zealous in technical work, strive to improve
“hollow out” difficult places and play them for a long time. rough formed sound.
As a result, during classes, only a small part of them is actually devoted to working on sound. The rest of the time the student plays with an inexpressive, “faceless” sound and, without noticing it, harms his hearing. The design features of the piano - the absence of direct contact between the performer and the sound source - can easily lead to mechanical sound production.
Such ways of “working” inhibit the development of the ability to listen to oneself and play expressively, with a beautiful sound.
For the development of hearing, it is important to accustom oneself to listening to the fabric of a work in a differentiated manner - to catch different voices, melodic and harmonic turns, etc.
It is also useful to monitor the performance of music by notes. This kind of practice should begin as early as possible. This is also a good sight reading exercise. In this regard, melodic ear, which is very important for a performer, can be added that its successful development is facilitated by systematic work on melodies of various types and varying lengths. It is also no less important to listen to the “life” of one piano sound, to its extent from origin to cessation. A singer, violinist, clarinetist and all performers, except organists, harpsichordists and pianists, can shape the sound taken, strengthen or weaken it, change its color, in a word, “say” or “sing” it in different ways. Pianists can only take a sound of a certain strength and color and follow its natural gradual decay and its end. But even within these seemingly narrow limits there are an innumerable number of gradations. Either the sound stretches, then it fades away quickly, then it smoothly and plastically passes into another (sphere legato), then it quickly ends (sphere staccato). What a number of subtle articulatory shades! And all these features of the “life” of one sound must be able to be heard with the inner ear, heard and “experienced”.
You can pronounce even such short words as “I”, “you”, “yes”, “no” in hundreds of different ways. And you need to hear them in different ways, as good actors know how to do in these words - now surprise, now mockery, now affirmation, now authority, now anger, now tenderness.
So you can, for example, ask the student to pronounce the third gently to himself, and then play it also on the piano; then - imperiously or in some other way. Only such listening to the intervals of the melody will allow the student to perform it expressively. But at the next stage of performing the melody, it is important not to “shrink” the melodic line, to sing it “with a wide breath.” Integrity in the intonation of a melody is achieved by a combination of different expressive means: a large dynamic stroke, “absorbing” all the small dynamic or articulatory nuances, tempo rhythm, and relief patterns.
Harmonic hearing is no less important. It can be developed in these ways. For example, play excerpts from a piece being learned in a different harmonic texture, say, “close” the harmonic figuration into chords (such a presentation usually gives a clear idea of the harmonic plan) or, conversely, play chord sequences in the form of a harmonic figuration; change the arrangement chords on the keyboard; transfer the melody, say, from the right hand to the left, and the harmonization from the left to the right, etc.
To develop timbre hearing, it is useful to listen to an orchestra and play in an ensemble. It is also important that the teacher makes more use of colorful comparisons and teaches the piano student to listen to a lot of things as if in an orchestral sound. It goes without saying that an imaginary orchestration or an imaginary choral arrangement is needed not in order to imitate the sonority of certain instruments or voices, but only in order to stir up the imagination, activate the student’s inner ear and thereby help realize the character on the piano -ternary feature or manner of performance on one or another instrument or choir. In search of a given orchestral or choral sonority
This student can find a variety of piano colors.
The development of textured hearing requires no less attention. It is very important to listen to all the constituent elements of the musical fabric. Harmony in its different textural presentation, polyphony and individual sub-voices, piano “instrumentation” and registration - all these interconnected elements of music highlight the expressiveness of the main melody, increase or weaken its impressive power, give it one or another emotional and semantic flavor, contribute to its development. tia and contribute to the creation of an artistic image in all its completeness and versatility. This is especially important when learning polyphonic works. In order to clearly convey the voice in polyphonic pieces, you must first of all pay attention to the intonation of each voice. It is necessary to preserve the intonation and semantic individual characteristics of each voice in a polyphonic fabric; This can be achieved with the help of articulation, caesuras, dynamics, accentuation, agogics.
Inner hearing develops naturally in the process of proper work on works, their performance and listening to music. Its improvement is facilitated by transposing familiar works from memory, selecting and playing by ear, as well as composing music (preferably not only at the piano, but also without it) and improvisation. It is advisable for the teacher to teach the use of working techniques during the study of musical works that require the indispensable and intensive participation of the inner ear, namely: internal “playing” before performing the initial bars of the composition; performing the accompaniment simultaneously with the presentation of the melody by the inner ear. And vice versa; learning a piece from notes without a piano, as well as without notes and without a piano (as recommended by I. Hoffman).
Of course, most of these working methods can only be recommended with an advanced student, but some of them, such as the first one, should be introduced already in the lower grades of school.
It is important to accustom, as mentioned above “in connection with the development of melodic ear,” to imagine the desired sound while working on a composition. It is useful to ask the student what type of sound, in his opinion, corresponds to a particular phrase. First, you need to choose music that is already known to the student. At first, the answers are often vague and not specific enough. Gradually, as the student grows artistically and develops his inner ear, they become more meaningful. This kind of work, accompanied by the reproduction of sounds of corresponding sounds, is very useful to carry out at school.
Summarizing all that has been said, it is appropriate to recall the words of B. Asafiev, characterizing the “intonational auditory attention” of a musician: “The activity of hearing consists in “intonating every moment of perceived music with the inner ear”... connecting it with the previous and subsequent sound and at the same time establish its relationship with “arches” at distances until its stability or “lack of clarity” is felt.
Of great importance is how emotionally the artistic image is perceived and conveyed. Preparing the “mental apparatus” for performing creativity ultimately means cultivating the ability to “ignite”, “want”, “get carried away” and “desire”, in other words - an emotional response to art and a passionate need to excite and convey performing ideas to others .
Warm emotional responsiveness to a piece of music gains ground thanks to smart logical analysis, which is able to “lure out” the desired range of feelings. Far-fetchedness, creativity from the mind extinguishes the creative flame; thoughtfulness, creativity with the mind excites emotional creative forces. The creative excitement that arises at the first contact of a gifted performer with a musical masterpiece arouses his desire to embody it.
In order for a spark of sympathy to turn into a flame of genuine creative passion, it is necessary not only to have a deeper emotional “immersion” in the work, but also to think about it comprehensively. Without the ability to ignite under the influence of an exciting image, there is no performing creativity.
The ability to “get carried away - to want” is educated. If there is a smoldering flame of responsiveness to music in a student’s soul, this flame can be fanned out. Pedagogical influence can enhance the student’s emotional response to music, enrich the palette of his feelings, and raise the temperature of his “creative heating.”
But the education of “creative passion,” as well as the education of emotions in general, can only be achieved in a roundabout way. A person has no direct power over feelings. “Passion - desire” cannot be caused arbitrarily, but this emotional complex can be “lured out” by developing and nurturing a number of abilities. These first of all include creative imagination.
Upbringing creative imagination aims to develop his initiative, flexibility, clarity and relief. The visual images of the inexperienced performer (his “vision”) are indistinct, and the auditory images are vague. It’s a different matter for our real musician: the imaginary image (as a result of the work carried out on the work) becomes clearer, becomes more prominent, “tangible”; “visions” acquire clear contours, “hearings” - the clarity of every detail. The accuracy and conciseness of the representations are largely
largely determine the quality of artistic creativity. The ability to vividly imagine an artistic image is characteristic not only
not only for performers (actors and musicians), but also for writers, composers, painters, sculptors.
Dostoevsky writes about one of his heroes: “This face is alive, the whole person seems to be standing in front of me.”
For a student whose imagination is little developed, the musical text says very little; he still doesn't know how to read between the lines.
One way to develop imagination is to work on a piece of music without an instrument. This method is not new; Liszt, Rubinstein, Bülow and others also used it. Hoffman indicated four ways to learn a piece of music: 1) at the piano with notes; 2) without piano with notes; 3) at the piano, but without notes," 4) without the piano and without notes. The benefit of working on a piece without an instrument lies, firstly, in the fact that "the apparatus
embodiment" does not lead along the beaten path and thanks to this, the musical imagination can manifest itself with greater flexibility and freedom; secondly, in the fact that the performer - with a serious and honest attitude to the work - has to think through and listen to the details which may go unnoticed when working with the tool.
Comparisons and comparisons can play a big role in the development of the performer’s creative imagination. New ideas, concepts, and images introduced in this way become stimulants of fantasy.
For example, explaining to a student the essence of Chopin's tempo rubato, Liszt takes him to the window and says: “Do you see the branches, how they sway? The leaves, how they sway? The root and trunk hold strong, this is tempo rubato.”
Regarding the very beginning of Bach's two-voice invention in B-flat major, Bülow remarks to his student: “Imagine a completely flat, motionless and calm surface of a lake, along which circles radiate from a thrown pebble - B-flat in the bass.” Finally, the teacher can spark the imagination of the player by comparing one music with another, one episode of a musical work with another. Working, for example, with a student on the finale of Beethoven's sonata op.2, F minor, you can lead him to think that
The A major trio in this movement is a “memory” of the main part of the first movement of the sonata.
It would, of course, be wrong to consider comparisons as “programs” that the player must portray when performing a piece of music. The meaning of comparisons is completely different - they force the student’s musical imagination to work. The introduced comparisons excite his emotional sphere and, thanks to this, help him creatively comprehend the musical image.
The teacher must be able to use comparisons. A bright and prominent detail often gives the comparison an effective character; the specific explains the general.
Let's go beyond the boundaries of music pedagogy and turn to several examples. “I drove away a bumblebee that flew into a flower,” this phrase is not capable of causing a vivid impression in the reader. Therefore, Tolstoy remakes it: “I drove away the shaggy bumblebee, which had dug into the middle of the flower and sweetly and sluggishly slept there.” Details indicating a characteristic action ("drunk", "fallen asleep") or the sensually perceived side of the image ("sweetly and sluggishly asleep", "shaggy") give it impressive power.
The same is true in music and performance pedagogy. Students are often advised to imagine the elements of a piano presentation performed by orchestral instruments. These comparisons can awaken the performer’s imagination and lead to a search for a unique piano sonority, reminiscent of the manner of playing an orchestral instrument. But the student is not always able to imagine the sonority of a particular string, wind or percussion instrument. And here a reminder of one or another typical and original detail often helps: either the characteristic non staccato blow of a stream of air on woodwinds, or the strokes string instruments etc.
But the teacher cannot limit himself to all this. The comparisons he makes, although they will help in one case or another, do not yet develop the creative initiative that is so necessary for the artist. Meanwhile, for a performer with an initiative imagination, life itself provides the material that he needs: a randomly thrown exclamation, a read story, a watched theatrical performance.
A great performance, a listened to concert - all this can make his imagination work. Therefore, it is so important to teach the student not only to use what the teacher suggests, but also to look for the necessary comparisons needed by the image.
CHAPTER II. WORKING ON ARTISTIC IMAGE IN PIANO LESSONS.
Working in a children's music school, we often have to work with elementary school students. Observing the musical and figurative thinking of children of this age is of great interest. Training at this stage assumes great responsibility of the teacher for the further “musical destiny” of the student.
The experience of major performing pianists shows that even the first acquaintance with a work gives an important creative impulse that influences its further assimilation, since at the same time the future interpretation of images and themes is born. Melodic-harmonic and polyphonic cut of fabric, tempo. For elementary school students, the first contact with music looks different. In pieces close to his auditory experience (for example, song and dance, from the natural world or children's life), the student “guesses” the nature of the music, especially the individual, most memorable episodes. However, not every child manages to grasp the figurative content of the work with such a “rough” playback. Therefore, it is necessary to push him towards a more independent emotional attitude towards music. You can invite the student to re-play the piece or passage he liked so that he can demonstrate his understanding more fully.
After a short stage of active familiarization with the work, the young pianist is faced with the task of detailed analysis of the text and its further assimilation. First, you need to delve into the musical language of the play, its figurative and expressive means. The more timely the student understands the features of musical speech, the more intelligently he will begin to master individual parts of the work and its interpretation as a whole. Practice shows that a piece that is familiar to a child’s ear is quickly understood and learned. This confirms the need to constantly expand the listening horizons of students, not limited by their individual repertoire plans. - Often, for example, a child learns with pleasure a piece that he has repeatedly heard performed by his classmates. Some children quickly grasp the essential features of the work being analyzed, but then solve artistic and performing tasks less persistently and purposefully, while others seem to slowly enter the text, but subsequently firmly assimilate it and use what they have acquired more intelligently. Academician B. Asafiev, summarizing his observations of children, noted that some of them have a more pronounced musical memory, while others have a more responsive response to music; Availability absolute pitch accompanied by “dullness” of perception. more complex musical relationships, and vice versa, weak hearing is combined with a deep and serious attitude towards music.
Depending on the degree of accessibility of the work for a particular student, the method of dismembered, a kind of analytical analysis, is used in different ways. Such division can be carried out horizontally and vertically. First of all, it is necessary to direct the student’s consciousness to the perception of the emotional, semantic and structural features of the melody: its genre coloring, intonation-rhythmic imagery, syntactic division, line of development, its pattern during repeated presentation. Escorts deal with this independently in the same way. Moreover, if a child recognizes a melody easily, it is much more difficult for him to understand the harmony. That is why additional means are often used to help the auditory perception of the latter. For example, to emphasize the beauty of the sound of harmonic transitions, it is useful, when playing, to mark them with a small tenuto and a change of pedal. In this case, there is a great opportunity to strengthen the vertical. At first, you can use a method such as making one element of the fabric by the student, and another by the teacher. Clarification of the artistic relationship between melody and harmony is also facilitated by playing the harmonic figurative background with chord complexes.
In analyzing polyphonic fabric, especially imitative storage, the student’s attention is directed to expressive and structural characteristics every voice.
It is extremely dangerous for a student to formally read copyright
performance instructions regarding dynamics and articulation. It is necessary to instill in him an understanding of the figurative subtext of each of them, depending on the genre or texture of the work. For example, the prominence of dynamic contrasts and articulatory strokes is more consistent with marching than waltz music; the middle parts of the work can be dynamically highlighted differently than the extreme parts that contrast with them.
For children who do not perceive music emotionally enough, it is advisable to enliven the program with bright genre works.
Thus, the emotional and analytical principles in the methods of raising a child are interconnected. Thus, a first-grade student, in terms of his general and musical development, can grasp the entire content and imagine the artistic image of small plays. These will be songs and dance plays, predominantly homophonic presentation. Even in that
In such plays, most students will at first be able to clearly imagine only the main melodic voice. It must be taken into account that a child’s ideas are always closely connected with action. Therefore, it is better to tell him: “Sing (or play) a melody to yourself (out loud), “clap (or tap) the rhythm,” than “imagine how the melody sounds.”
For example, Philip's "Lullaby". The Mother's voice humming over the cradle does not leave the young performer indifferent. He will try to portray the tenderness of the intonations of the singing voice. For the first year of teaching a child to play the piano, we recommend A. Artobolevskaya's collection “The First Encounter with Music” as the best teaching aid. Music material This manual is aimed at the first year of classes. It is addressed directly to children and is colorfully illustrated. Pieces and exercises that are easily accessible to children are given in a certain sequence - taking into account the positioning of hands, the acquisition of initial pianistic skills and the mastery of musical notation. The teacher’s task is to make music classes interesting and enjoyable. This should be facilitated by everything that awakens the child’s imagination: musical material and drawings, song lyrics and subtext. story accompanying the game. All this helps to concretize the musical image. It is necessary to start with the auditory education of the student, carrying it out on artistic material that is accessible and interesting for the child.
For example, two plays “Winter” by Krutitsky and “Hedgehog” by Kabalevsky are different in character. “Winter” is a play that is the first meeting of children with something new and unusual for them, namely, slow and slow music. sad. It is very useful to invite the child to select subtexts for this play, which arise from feelings of something harsh, even scary.
In the play "Hedgehog" an image of a new character is created - the image of an animal with sharp prickly needles. This is achieved by new-sounding, “sharp” harmonies. The piece promotes the development of easy staccato and prepares the student to perceive the tart sonorities of modern music.
In the following classes, the genre and stylistic boundaries of the program repertoire are noticeably expanded. In polyphonic literature, a large role is given to two-voice works of an imitative nature. The figurative structure of large-form works is expanding. In small-form pieces; especially of a cantilena character, the three-plane texture is used more fully, combining melody and harmony. Polyphonic works. Musical development a child involves developing the ability to hear and perceive both individual elements of the piano fabric, i.e., the horizontal, and a single whole, the vertical. In this sense, great educational importance is attached polyphonic music. A special role belongs to the study of cantilena polyphony. The school curriculum includes polyphonic arrangements for piano of folk lyrical songs, simple cantilena works by Bach and Soviet composers (N. Myaskovsky, S. Maykapar, Yu. Shchurovsky). They contribute to the student’s better listening to voice performance and evoke a strong emotional reaction to the music.
The student comes into contact with contrasting voice leading mainly when studying polyphonic works. First of all, these are pieces from the Notebook of Anna Magdalene Bach. Thus, in the two-voice “Minuet” in C minor and “Aria” in G minor, a child can easily hear the voice leading due to the fact that the leading upper voice is intonationally plastic and melodious, while the lower one is significantly distant from it in register terms and is more independent in melodic-rhythmic drawing. Clarity of syntactic division short phrases helps to feel the melodic breath in each of the voices.
A new step in mastering polyphony is familiarity with the structures of continuous, metrically similar movement of voices characteristic of Bach. An example would be "Little Prelude" in C minor from the second notebook. The expressive performance of continuous movement with eighth notes in the upper voice is facilitated by the revelation of the intonational character of the melody and the feeling of melodic breathing within long constructions. The very structure of the melody, presented primarily in harmonic figurations and broken intervals, creates natural preconditions for its expressive intonation. It should sound very melodious with a bright shade of rising intonation turns. In the continuous “fluidity” of the upper voice, the student should feel internal breathing, as if hidden caesuras, which are revealed by carefully listening to the phrasing division into different bar groups.
The next stage is the study of imitative polyphony, familiarity with inventions, fuguettes, and small fugues. In contrast to contrasting two-voices, here each of the two polyphonic lines often has a stable melodic-intonation imagery. Even when working on the lightest examples of such music, auditory analysis is aimed at revealing both the structural and expressive aspects of the thematic material. After the teacher has performed the work, it is necessary to move on to a painstaking analysis of the polyphonic material. Having divided the play into large sections, one should begin to explain the musical, semantic and syntactic essence of the theme and the opposition in each section, as well as interludes.
First, the student must determine the location of the topic and
feel her character. Undertaking, his task is its expressive intonation using means of articulation and dynamic coloring at the found basic tempo. The same applies to opposition if it is restrained.
As is known, already in small fuguettas the theme first appears in an independent monophonic presentation. It is important to develop in the student an internal auditory attunement to the main tempo, which he should feel from the very first sounds. In this case, one should proceed from a sense of the character and genre structure of the entire work. For example, in S. Pavlyuchenko’s fuguetta in A minor, the author’s “andante” should be associated not only with a slow tempo, but with the fluidity of rhythm at the beginning of the theme; in “Invention” in C major by V. Shchurovsky, “allegro” does not mean speed as much as the liveliness of the rhythm of the dance image with its characteristic pulsating accent.
In the performance disclosure of the intonational imagery of the theme and counterposition a vital role belongs to articulation. It is known how finely found articulatory strokes floMol-aloT reveal the expressive richness of voice performance in Bach's works.
In the articulation of the vertical of a two-voice fabric, usually each voice is shaded with different strokes. in his edition of Bach’s two-voice invention, he advises performing all sixteenth notes in one voice coherently (legato), while contrasting eighth notes in another voice should be performed separately (legato, staccato).
The use of different strokes to “color” the theme and counter-position can be found in Busoni’s edition of Bach’s two-part inventions.
In the performing interpretation of imitations, especially in the works of Bach, a significant role is given to dynamics. The most characteristic feature of the composer’s polyphony is architectural dynamics, in which changes in large structures are accompanied by new “dynamic” lighting. For example, in the small prelude in E minor from the first notebook, the beginning of the two-voice episode in the middle of the piece after the preceding large forte in three voices is shaded by a transparent piano. At the same time, small dynamic fluctuations, a kind of microdynamic nuance, can also appear in the horizontal development of voices.
diy, the student’s auditory control should be directed to episodes of two-
voice in the part of a separate hand, set out in drawn-out notes. Due to the rapid decay of the piano sound, there is a need for greater sounding of long notes, as well as listening to intervallic connections between long and shorter sounds passing through its background. So, the study of polyphonic works is an excellent school for the student’s auditory and sound preparation for performing piano works of any genre.
When working on works of large form the schoolchild gradually develops the ability to holistically embrace music along more extended lines of its development, i.e., the “long, horizontal” is brought up musical thinking, to which the perception of individual episodes of the work is subordinated.
Difficulties in mastering sonata allegro due to a change in figurative
the construction of parts, themes (their melodies, rhythms, harmonies, textures) are, as it were, compensated by the genre specificity of the musical language characteristic of popular sonatinas from the program of a given period of study. Such genre specificity characterizes the entire sonata allegro or its individual parts and themes. A striking example would be a work such as Kabalevsky’s sonatina in A minor, in the rhythmic intonations of which one can sense a marching beginning with its typical dotted rhythm, concrete texture and dynamics. The minuet in Melartin's Sonatina sounds completely different with its grace, lightness and transparency. These works are perceived by children as small plays with a three-part structure.
In relatively developed sonata allegros with a greater contrast of parts, we find a characteristic tendency towards melodization of texture, which is an active means influencing the student’s auditory perceptions when introducing him to complex musical form. Let's name the first parts of "Sonatina" by A. Zhilinsky, "Ukrainian Sonatina" by Yu. Shchurovsky, "Sonata" in G major by G. Grazioli, "Children's Sonata" in G major by R. Schumann. Along with them, the majority of the student’s repertoire belongs to that part of the music of foreign composers, which prepares the student for the future mastery of the sonata form from Haydn, Mozart, and Beethoven. These are the sonatinas of Clementi, Koolau, Dussek, Dibelli. The figurative and emotional structure of the above-mentioned works is enhanced by great motor aspiration, clarity of rhythm, a strict pattern of alternation of strokes and textural techniques, and the performer's convenience of small technique techniques. The student must identify in them such qualities of thematic material as unity and specificity, and show its development. The most accessible for children's perception is the contrasting comparison of musical material across large, completed segments of form. Since the main, secondary and final parts differ noticeably in character, genre coloring, and mode-harmonic lighting, the student is more easily given the means of performing them. Already in the exhibitions of the first parts of the Kulau sonatinas, Op. 55, C major and Clementi, Op. 36, No. 3, the young pianist clearly distinguishes between the musical - semantic and structural-syntactic aspects of the main three parts. In Ku-lau's work, the emotional essence of each part is expressed mainly through melodic-rhythmic imagery. The joyful, “dancing” main part through the ascending G major scale turns into a soft, smooth side part, directly flowing into the final part with its rushing scale-like flows, clearly anchored in the dominant key.
The phenomena of contrast within parties are more difficult for the student to perceive. Here, at close distances, there is a change in the rhythmic-intonation sphere, articulatory strokes, voice guidance, texture, etc. This contrast most clearly appears in short segments in the main part of the first movement of Mozart’s sonatina in C major No. 1. The contrast of strokes, due to the intensity of emotions within small structures, is one of the difficulties in performing the thematic material of the first part of M. Clementi's sonatina Op. 36, No. 2 and N. Silvansky's sonatina No. 2.
The more deeply and clearly the student understands the expressive and structural nature of the exposition, the more prepared he will be for reading the development and recapitulation. The musical material of the exhibition is unequally developed in the development parts. Thus, comparing two Clementi sonatinas - Op.36 No. 2 and
No. 3, we find the maximum conciseness of the development in the first pro-work, built on the tonal renewal of the rhythmic intonations of the main part. The development in Sonatina No. 3 is succinct on musical means and their performance implementation. The student’s auditory attention should be directed here to detect the similarity of the melodic pattern of the beginning of the development and the beginning of the main part, presented as if in reverse. This transformation of the material determines different performance colors; fanfare elation (forte) is replaced by affectionately playful intonations (piano).
Reprises in sonatinas usually reproduce the thematic foundations of the exposition. As a rule, the student easily recognizes it. Sometimes the main part is missing in it. For example, in Mozart’s sonatina in C major No. 1, the development immediately goes into a secondary part, bypassing the main one.
The most important condition for a student to master the sonata form is to develop in him a sense of a single through line of musical development. Often the development of this feeling is facilitated by the common intonation-rhythmic connections of the main and secondary parts. Beethoven's sonata allegro in Op. 49 No. 1 and No. 2 are endowed with such qualities.
As an example of working on a sonata allegro, let's take a closer look at the first movement of Mozart's sonatina in C major.
The language of the sonatina reflects the characteristic stylistic features of Mozart's music. True, its texture lacks the melodic movement of sixteenth notes in figures of fine technique, so characteristic of the composer. Orchestral thinking is felt in the dynamic, articulatory and timbral characteristics of the musical fabric. The main difficulty in performing the sonatina is the frequent contrasts in its thematic material between episodes of different imagery and structure. Already in the main part, densely sounding “fanfare” octave unisons are replaced by a lyrical melody, emerging against the Background of the two accompanying voices. The short connecting episode is close in mood to the beginning of the main game. In the interpretation of the full grace of the side party, the changes in mood within small structures should be clearly shown. However, the fragmentation of the melody into short motivic leagues should not obscure the line of its holistic development towards the nearest culminating points. At the end of the side part, the introductory beginnings of two-voiced chord sections sound emphatically bright (syncopated), flowing into the short final part.
From the very first measure of development, the inverted melodic pattern of the beginning of the main part appears in the new modal “illumination”. This episode ends with the “bold” intonations of the connecting part.
The reprise begins with a side part in C major. However, having interrupted the transition to the final game, the modified beginning of the main game suddenly reappears. In the stretted two-voice, performed pop legato, fanfare intonations are heard, turning into a cheerful full cadence with a short final part.
Works of large form also include variation cycles. Unlike sonatas and sonatinas, their study is carried out primarily on domestic literature. The themes of many of these variations are folk songs. In the compositional techniques of varied presentation of themes, we find two trends: the preservation of the intonation framework of the theme in individual variations or their groups and the introduction of genre-specific variations that have only a distant relationship with the theme. Having identified the structural and expressive features of the theme, it is necessary in each of the variations to find features of intonation-rhythm, harmonic, textural similarity or genre differences with it. This will be helped by playing or “internally” singing the theme, reflected in different types of variations.
So, for example, in the above-mentioned variations by Kabalevsky, the intonation-rhythmic similarity with the theme is almost completely revealed in the first variation, interpreted in the spirit of the theme itself. The second is rhythmically close to it, but somewhat changed in structural and harmonic respects, which determines other features of its performance. The third, more developed, variation is distinguished by its genre novelty (replacing the “perky” F major with a “soft” D minor with occasional melodic turns of the theme). The fourth variation is far from the structure of the theme and resembles a march; it is decorated with dense chord fabric. The final fifth variation combines the features of new imagery with a modified presentation of the intonation turns of the theme.
In working with a student on “Theme with Variations” by K. Sorokin, other figurative and sound concepts are brought up. The variations here are distinguished by their genre contrast; only in the code does the author restore the appearance of the theme. Despite the figurative and textural differences in the theme and variations, their clear embodiment is facilitated by their clearly expressed square structure. The variations are designed according to eight-stroke constructions. Four melodious phrases of the theme are performed in one melodic breath. In the first variation, built on continuous rhythmic movement, all the intonations of the theme, passing through the initial sounds of triplets, are clearly audible. As in the theme, here it is necessary to internally feel the syntactically veiled four melodic structures. The second variation bears the imprint of marching (Risoluto) in the third - the author, skillfully transferring the theme to the lower register, contrasts it with a new melody of the upper voice in the lower register, contrasts it with a new melody of the upper voice, set out in a different sound-pitch direction. The fourth variation is a type of small toccata in which half-bar scale passages rhythmically alternate with stops on quarter notes at the end of the bars. In the code, reproducing the material of the theme, the author polyphonizes the fabric with a canonical presentation of its initial two phrases.
Thus, working with a student on variation cycles develops his musical thinking in two directions: on the one hand, an auditory sensation of the unity of the theme and variations, and on the other, flexible switching to a different figurative structure.
Pieces of a cantilena character. The melody of these works reveals a wide variety of genre shades, a rich intonation-figurative sphere, bright expressiveness of culminating “nodes”, and a three-dimensional line of melodic development. When performing melodies, their rhythmic flexibility, softness, and lyricism should be more fully revealed. Their interpretation requires a feeling of wide breathing. The harmonic “surroundings,” highlighting the intonation prominence of the melody, in itself carries a variety of expressive functions, often being one of the main means of revealing the musical structure.
times. Polyphonic elements are often woven into the cantilena fabric in the form of imitations ("Song" by M. Kolomiets) or in a contrasting combination of bass and melodic voices ("Lyrical Song" by N. Dremlyuga), sometimes in the form of hidden voice leading within harmonic complexes ("In the Fields" R. Gliere). In the works studied at this stage, the more developed lines of melodic movement correspond to a significant expansion of its register frames ("Fairy Tale" by S. Prokofiev, "Fairy Tale" by V. Kosenko). The diverse genre shades of cantilena fabric are revealed when performed by means of dynamic, agogic nuances in their unity with various pedaling techniques.
Thus, the development of the student’s extended, horizontal thinking is facilitated by the study of the cantilena fabric of Kosenko’s “Fairy Tales”. The play, written in the spirit of Russian epics, has many valuable artistic and pedagogical qualities. Starting in a low, “gloomy” register, the melody, presented in unison through two octaves, is gradually enriched with echoes and a dense chord texture (at the main culmination of the middle). The reprisal part closes with a coda with its distant-sounding “bell-like” sound. The performance of Kosenko’s play presupposes mastery of melodious playing skills, a wide palette of dynamics,
mic shades, which is combined with flexible tempo-rhythmic nuances. Pedalization serves to highlight individual bright intonations of unison melodic structures, melodious harmonies, and smooth vocal performance.
The student faces very special tasks when studying S. Prokofiev’s “Fairy Tale”. Unlike cantilena works of a homophonic type, where the harmonic background determines the use of elementary pedaling techniques, when performing this piece one should proceed almost entirely from the texture of intertwining melodic lines. In fact, we have before us a polyphonic fabric in which two contrasting melodic images are revealed. The brightly intoned lyric-epic melody of the upper voice from the very first sound, taken during the “inhalation” in the pauses preceding it, is performed in a single continuous four-beat movement. It is accompanied by an ostinato background of short “plaintive” rhythmic intonations of the lower voice. When the melody is transferred to the lower voice, it is shaded by an even more prominent-sounding legato. In the middle part, the smooth narrative three-part pattern is replaced by a more restrained two-quarter time signature (sostenuto). The alternation of rises and falls of movement by chord links is associated with the image of chime. Compared to episodic pedaling in a two-voice presentation, used only for brightly intoned sounds of the melody, the middle of the piece is characterized by a more complete pedal, uniting the overlying sounds on a common bass.
Already this small analysis of cantilena works testifies to their active influence on the development of various aspects of a child’s musical thinking.
Plays of a moving nature. The world of images of program miniatures of a moving nature is close to the nature of the artistic perception of younger schoolchildren. The reaction of children to the rhythm-motor sphere of this music is especially pronounced. The accessibility of technical means is combined in these works with the simplicity and clarity of homophonic harmonic presentation. Their genre richness determines the use of various techniques of performance implementation. In contrast to cantilena plays, which are characterized by smoothness and plasticity, here there is a clear syntactic structure of presentation, sharp rhythmic pulsation, frequent changes of articulatory strokes, and vivid dynamic comparisons.
Let us consider as an example the play by V. Ziering “In the Forest”. The content of the play is close to the perception of children and develops their creative imagination. The vivid imagery of the picture of nature is naturally combined here with the pianistic expediency of the presentation. The short melodic structures with their “rising” and descending sixteenth-note intonations that predominate in the musical fabric of the play are associated by the student with bird flight and whirling. All the “events” occurring in the play can be conventionally considered according to the three-part scheme so typical of children's piano miniatures. Compared to the extreme parts, which are characterized by the similarity of figurative-expressive and pianistic means, the middle is distinguished by more individualized genre features.
The piece begins with a slow increase in rhythmic and motor energy. After two calm one-bar constructions, a two-bar appears, built on a wave-like alternation of intonation rises and falls and ending with a melodic figure directed upward. In the musical fabric of the next part of the exhibition, beginning with the climactic four-voice, one can feel a gradual release on the descending melodic movement. The middle of the work is distinguished by its vivid emotionality. Through intense crescendo molto on tremulous-sounding tremolo-shaped figures, development comes to the central climax - a colorful episode on the fort. In wide intervals, high-flying and then falling melodic figures are intoned here. Then everything calms down, ending with a trill before moving on to the reprise, in which the figurative structure of the expositional part is restored.
In conclusion, it is necessary to note once again that the work on creating an artistic image is a complex, multifaceted process. The birth of an artistic image is the revelation of a complex of characteristic features of a work, its “face”. To achieve this, appropriate knowledge, skills and abilities are required, which we tried to reveal in this work.
LIST OF REFERENCES USED
1. A. Alekseev Methods of teaching piano.
2. Barenboim Piano pedagogical principles
3.Barenboim Music pedagogy and performance.
4.Yu. Borev Aesthetics.
5. Musical development of the child.
7.A. Cortot On the art of piano.
8.E. Lieberman Creative work pianist with author's
9. Questions of music analysis.
10. V. Milich Education of a student pianist.
12.A. Sokhor Questions of theory and aesthetics of music.
13. Stanislavsky The actor’s work on himself.
14. Encyclopedic Dictionary of a Young Musician
Summary of an open lesson on accordion for students in grades 1-2 of children's music school
Topic: “Work on the artistic image of a work using the example of B.N.P. “Quail”, “Polyushko-field” by L. Knipper.”
Description of work: Developing a student’s artistic image when playing a musical instrument is one of the most important tasks for a music teacher. When working on the artistic image of a musical work, the main task of the teacher is to develop a number of abilities in the student that contribute to his “passion” when playing. These include creative imagination and creative attention. Nurturing creative imagination is aimed at developing its clarity, flexibility, and initiative. The ability to clearly and vividly imagine an artistic image is characteristic not only of performers, but also of writers, composers, and artists. This summary presents the forms and methods of work in specialty lessons with primary school students of children's music schools to reveal the artistic image of a work using the example of various plays.
Lesson type: open
Form of work: individual
Lesson topic: Work on the artistic image of a work using the example of B.N.P. “Quail”, “Polyushko-field” by L. Knipper
The purpose of the lesson: Learn to reveal the artistic image of works.
Tasks:
Educational
– define the concept of “artistic image of a work”; teach to reveal the intention of the work.
Educational
– to cultivate a culture of performing the work.
Developmental– Develop the ability to listen and understand the piece being performed, develop imagination, thinking, memory, sense of rhythm.
During the classes
The structure of the lesson consists of five parts:
Part 1 – organizational;
Part 2 – work on new material;
Part 3 – consolidation of the material studied in the lesson;
Part 4 – summary of the lesson;
Part 5 - wording of homework.
Part 1 – Organizational
Preparing the gaming machine:
playing scales C, G Major with the right hand in different strokes: legato, staccato; arpeggios, right hand chords at a slow tempo;
playing the C major scale with the left hand;
playing the C major scale with two hands.
analysis of homework - an oral report on the homework done: what tasks were set for the student, what was accomplished and what did not quite work out, why? What difficulties did you encounter during implementation? homework check - complete playing of pieces with both hands “Polyushko-Field” by L. Knipper and B.N.P. “Quail” with the completion of previously assigned tasks:
1. change the fur in specified places music text;
2.accurately fulfill the fingering requirements - observe the fingers placed above the musical notes;
3. accurately maintain all durations;
4.keep a uniform tempo of performance;
5. achieve non-stop playing with both hands, while accurately following the musical text.
Part 2 - work on revealing the work of art
Setting a lesson goal
– In order to learn to reveal the intent of the work, i.e. artistic image, you need to understand what it is and by what means the intention of the work is revealed. Therefore, the goal of our lesson is to derive the concept of “artistic image” and learn to reveal it using the means of musical expressiveness.
Methods of working on L. Knipper’s play “Polyushko-Field”
complete playback of the play by the teacher;
analysis of performance: student’s answers to teacher’s questions:
1.what do you think this work is about? During dialogue, it is possible to use paintings and drawings to help understand the meaning of the work.
2. do you know the words of the song?
3.what helped you understand what this work is about? What means of musical expression did the composer use?
4.What is the tempo in this piece? Dynamics, strokes, character of the accompaniment?
5. How many parts can the play be divided into? What did we present in the first part and what in the second? How is this change noticeable in the music?
6.Try to explain what an “artistic image” is?
After the student answers the questions, you should begin to work on the artistic image of the play “Polyushko-Field”.
Working methods
1.detailed demonstration of the teacher on the instrument - playing each part separately;
2. playing in an ensemble with a teacher;
3.work on phrasing: determining the climax in each phrase, graphically depicting the dynamics in the notes, singing the melody, showing the teacher on the instrument; comparison game method (the game of the teacher and the student is compared, analysis)
4.work on rhythm: playing with counting out loud, clapping the rhythm of each part, working on difficult rhythmic places;
5.work on the strokes - to achieve coherent, smooth playing in the right hand part, and in the left hand part - to achieve clear accompaniment (playing with separate hands);
6. connection of two parts: in the first part there is an artistic image - “a column of foot is marching”, and in the second part - “cavalry” (the creation of such an image is facilitated by a change in the accompaniment);
7.work on a uniform tempo of performance - playing to a metronome;
8. If difficulties arise when connecting, you should return to working with separate hands to clarify the musical text, fingering, and changing the bellows.
Methods of working on B.N.P. “Quail” is similar to the methods of working on L. Knipper’s play “Polyushko-Field”
Part 3 – Consolidating the skills learned in the lesson
Complete playing of plays by students with both hands with precise fulfillment of the assigned task - when playing, to reveal the artistic image of the work. Analysis of your own performance, indicating the positive and negative aspects when playing pieces.
Part 4 - Lesson summary
The student coped with the tasks assigned to him: he tried to convey the artistic image of the works when playing, learned to independently analyze his own performance, find errors, difficulties in performance and look for ways to overcome them. The student realized that in order for a piece to sound, it is not enough to learn the musical text accurately; you need to pay a lot of attention to working on dynamics, phrasing, rhythm, strokes, i.e. over the means of musical expression. In the future, it is planned that the student will work independently to reveal the artistic image of the work.
Part 5 – formulation of homework
Consolidation of the skills acquired in the lesson - complete playback of plays by heart, taking into account all comments.
These methods used when working on revealing the artistic image using the example of the works “Polyushko-Field” and “Quail” can be used when working in other works. Such methods of working on a work help students in the future to independently work on revealing the artistic image in the works.
MUNICIPAL BUDGETARY INSTITUTION OF ADDITIONAL EDUCATION "KUZMOLOVSKAYA SCHOOL OF ARTS"
An open lesson conducted with a 4th grade student Arina Malova (age 10 years).
Topic: Working on the artistic image in works"
Teacher Dobrovolskaya T.I.
village Leskolovo
2017
Lesson topic : “Work on the artistic image in works”
Lesson type: combined.
The purpose of the lesson: consolidation and improvement of skills in creating and reproducing an artistic image.
Lesson objectives:
Educational:
consolidate the skills of the ability to play various musical works musically, emotionally, figuratively, with auditory control;
introduce interesting facts from the biography of composers whose works the student performs;
search for performing techniques to convey a musical image.
help expand your musical horizons.
Educational:
promote development creativity(artistry);
develop an ear for music, memory, attention, internal culture;
develop aesthetic and moral feelings;
develop musical erudition, from which a sense of proportion, style and taste is born;
promote the development of in-depth perception and conveyance of mood in a performed piece of music;
promote the development of cognitive activity and creative thinking.
Educational:
to form an emotional and value-based attitude towards the music played in the lesson;
cultivate musical taste;
promote the development of emotional responsiveness to music.
Teaching methods:
comparison method;
visual-auditory method;
music observation method.
method of thinking about music
method of emotional dramaturgy;
verbal methods: conversation (hermeneutic, heuristic), dialogue, explanation, clarification;
method of musical generalization;
plastic modeling method.
Repertoire lesson plan:
1. Gamma E major
3. S. Banevich “Soldier and Ballerina”
Lesson plan:
1.Organizational moment
2. Work on the scale.
3. Working with musical material
4. Consolidation of the material covered.
5. Lesson summary
6. Homework
Introduction.
A student’s musical and artistic images are living, spiritual, actively and dynamically developing “phenomena” with which he comes into non-verbal contact, experiencing a feeling of spiritual satisfaction in the process of this communication. Therefore, the most important point in the development of cognitive (cognitive) abilities can be considered the education in the student of performing independence - the ability to interpret a work in his own way, create and develop his own musical and artistic images, and independently find technical techniques to realize his plan.
The concept is undeniable that music is a special language of communication, a musical language, like the language of German, English, etc. Passionate about his work, a competent teacher tries to convey this point of view to his students, to form an associative connection between musical and artistic works, comparing plays with poems, fairy tales, stories and stories. Of course, one should not understand the language of music in literally as a literary language. Expressive means and images in music are not as visual and concrete as the images of literature, theater, and painting. Music operates by means of purely emotional influence, appealing primarily to the feelings and moods of people. “If everything that happens in a person’s soul could be expressed in words,” wrote A.N. Serov, “there would be no music in the world.”
Since we are talking about the creation and development of an artistic image, it is necessary to determine what is meant by the concept of “content of a musical work.” The generally accepted concept is that the content in music is an artistic reflection by musical means of human feelings, experiences, ideas, and a person’s relationship to the reality around him. Any piece of music evokes certain emotions, thoughts, certain moods, experiences, ideas. This is the artistic component of a musical composition. But, of course, when performing it, one should not lose sight of the technical side of music-making, since careless performance of a piece of music does not contribute to creating the desired image in the listener. This means that the teacher and student are faced with a rather difficult task - to combine these two directions when working on a piece of music, to synthesize them into a single systemic, holistic approach, a method where the disclosure of artistic content is inextricably linked with the successful overcoming of possible technical difficulties.
During the classes:
1. At the beginning of the lesson we play the E major scale. We play the scale again, refining the fingering. Next comes work on the scale in thirds and decimas. Particular attention is paid to dynamic shades in playing the scale.
Next comes work on chords and arpeggios with your hands. We remember that we play arpeggios “as if drawing loops” with each hand. Working on arpeggios dynamically on short, broken and long ones.
When working on chords, we achieve a smooth, bright sound and finger activity when playing chords from the instrument and then transferring them.
Game D7.
Homework.
Polyphony is the main thing in the education of a student (Neuhaus). Working on polyphonic works is an integral part of learning piano performance. This is explained by the enormous importance that developed polyphonic thinking and mastery of polyphonic texture have for every piano player. The student develops and deepens the ability to hear polyphonic fabric and perform polyphonic music throughout the course of training.
In its general mood, the F major invention is close to the “Gloria” section from Bach’s Mass in B minor. The invention is based on a theme that first rises along a broken triad (fa-la-fa-do-fa-fa), and then descends (fa-mi-re-do, re-do-sib-la, sib-la-sol -F). The theme is joyful, light, fast. Here we can talk about a variety of rhetorical and symbolic figures. The contour of the theme itself - the ascent along the triad and the scale-like descent correspond to the stanza of the chorale "Christ lay..." - "Praise the Lord", at the same time the descent is three times four notes - a symbol of Holy Communion. The joyful, light and fast theme contains ascents and declines - associations arise with the flight of angels. From the 4th measure, the ringing of bells appears - praising the Lord (la-do-sib-do, la-do-sib-do, la-do-sib-do) - again three times four notes each - a symbol of Holy Communion. In measure 15 in the lower voice and in measure 19 in the upper voice, the interval of a descending diminished seventh is sharply highlighted - a symbol of the Fall. In measures 5-6, 27-28, 31, a parallel movement of sixths appears - a symbol of contentment and joyful contemplation.
The invention is written in 3 parts - 11+14+9 bars.
The first section, beginning in F major, ends in C major. The second section, beginning in C major, ends in B flat major. The third section, beginning in B-flat major, ends in F major.
The polyphonic feature of this peculiar fugue is canonical imitation. However, this canon, which initially goes strictly into the octave, jumps to the lower note (in measure 8), and is interrupted in measure 11.
Showing and working with the student on fragments of the work. Work on dynamic plan, work on creating the image of the “flight of angels”.
Working on the inventions of J. S. Bach helps to understand the world of deep, meaningful musical and artistic images of the composer. The study of two-voice inventions gives a lot to students of children's music schools for acquiring skills in performing polyphonic music and for musical and pianistic training in general. Sound versatility is characteristic of all piano literature. The role of working on inventions in auditory education, in achieving timbre diversity of sound, and in the ability to lead a melodic line is especially significant.
3. S. Banevich “Soldier and Ballerina”.
Playing a piece by heart. Dialogue with the student about his opinion about the piece he played.
A story based on a fairy tale by G.Kh. Andersen about the history of the tin soldier. Creating the image of a tin soldier and a ballerina. Their relationship.
Showing and working with the student on fragments in a piece of music and creating a musical image for this fragment. Working on a dynamic plan in a work. Work on pedaling.
4. I. Parfenov “In the spring forest”
Playing a piece by heart. Analysis with the student of successful and unsuccessful moments.
Dialogue with a student about his idea of a spring forest, for more detailed work on fragments in the work.
Working on dynamics and pedaling in a piece.
RESULTS OF THE LESSON: reflection (analysis of activities) and self-reflection (self-analysis)
What have you done so far?
What we didn’t have time to complete, what to finish
What I understood, what I didn’t understand
What I learned
What was difficult, what was not so difficult. Analysis of your mistakes.
Emotional results: what you liked, how you felt.
Mark 1-5
Rating - overall impression
Conclusion: The goal of the lesson was achieved or not achieved.
Conclusion
Self-analysis of the lesson: We believe that the lesson was a success, and the goal of the lesson - work on the artistic image in the works - was achieved. At the end of the lesson, during the control playback, the student tried to convey her inner feelings and emotions as much as possible. Of course, intonation is discussed in every lesson, but usually in ordinary work lessons the teacher sets several tasks at once (textual, technical, intonation, etc.), so it is difficult for the student to concentrate fully, for example, on the task of correct intonation.)
This thematic lesson is valuable precisely because the child is given only one specific task and it is easier for him to concentrate on it. This helps the child to more emotionally perceive this material, remember it and apply it in performance. Of course, an open lesson presupposes a new, unusual environment for both the teacher and the student, therefore, we can say that there is some constriction, constraint and tension in the child and the teacher. All planned stages of the lesson were completed, completed on time, and the objectives of the lesson were determined. The student demonstrated the ability to work on details and in general, on nuances and musical phrases, on correcting inaccuracies and errors in execution. The perception of the teacher’s instructions is quick and conscious. During the lesson, the student showed her ability to express her inner feelings through sound.
Perm region
Municipal Educational Institution
Additional education for children
"Dobryansk Children's Art School"
TOPIC: “Some aspects of working on a piece of music that help reveal the artistic image. »
Methodological development
Mikova Z.M.
Teacher II
qualification category
Dobryanka, 2010
Goal: to reveal some aspects of working on a piece of music.
Tasks:
Definition of style - methods of presentation.
Programming and its role in understanding the artistic image of a musical work.
The form coincides with the concept of genre - the musical embodiment of the content.
Find the right tempo, i.e. speed of development of musical material.
Mastery of rhythm is the ability of a performer to manage sound in time.
A game rubato , the correct sense of tempo and rhythm are essential points in the interpretation of a piece of music.
Interpretation (use, explanation) is the process of sound realization of a musical text.
Musical text is a plan of a building (work), recorded on paper.
Formation and education creative personality student - a continuous process of work by the teacher, the result of which is a public performance by the musician.
The highest goal of a performing musician is a reliable, convincing embodiment of the composer’s concept, i.e. creating an artistic image of a musical work.
The initial period of work on a musical work should be associated, first of all, with defining artistic goals and identifying the main difficulties on the way to achieving the final artistic result, which ends with a concert performance. In our work, we analyze the content, form, and other features of the work, and we interpret this knowledge with the help of technology, emotions and will, i.e. we create an artistic image. The artistic image is a universal category of artistic creativity, a method and result of mastering life in art. The meaning and internal structure of a musical image are largely determined by the natural matter of music - the acoustic qualities of musical sound (pitch, dynamics, timbre, sound volume, etc.). Intonation, as a carrier of musical and artistic specificity, distinguishes music from other arts. It involves relying on the principle of associative conjugation of meanings and has the emotional nature of concretization in a musical artistic image.
I will dwell only on some aspects that help to reveal the artistic image.
First of all, the teacher and student face the problem of style. Musical style (from lat. stilus –
writing stick, method of presentation, style of speech) is a concept of aesthetics and art history that captures the systematicity of expressive means. When identifying the stylistic features of a musical work, it is necessary to determine the era of its creation. It seems that there is no need to prove that the student’s awareness of the difference, for example, between the music of foreign Austrian classics and the music of today will give him an important key to understanding the work being studied. An important help should be familiarity with the national origin of the author. Give an example of how different the style of two great contemporaries is - S. Prokofiev and A. Khachaturian (with the peculiarities of their creative path and characteristic images and means of expression). Having determined the stylistic features of a musical work, we continue to delve into its ideological and figurative structure, into its informative connections. Important role programmaticity plays a role in the awareness of an artistic image. Sometimes the program is contained in the title of the play. For example, Az. Ivanov “Polka”, V. Bukhvostov “Little Waltz”, L. Knipper “Polyushko-Field”, (in some editions “Steppe Cavalry”), W. Mozart “Minuet”, etc.
Expressive, emotional transmission of figurative content should be instilled in students in their very first lessons at a music school. It’s no secret that often working with beginners comes down to pressing the right keys at the right time, sometimes even with illiterate fingering: “we’ll work on the music later”! Fundamentally incorrect installation.
For an accordion teacher in a music school, G. Neuhaus’s statement about introducing a student to expressive playing from the very first steps of learning is extremely valuable: “If a child can reproduce some simple melody, it is necessary to ensure that this initial “performance” is expressive, then there is so that the nature of the performance corresponds to the “content” of the given melody; For this purpose, it is especially recommended to use folk melodies, in which the emotional and poetic principle appears much brighter than even in the best instructional compositions for children. As early as possible, you need to get the child to play a sad melody sadly, a cheerful one - cheerfully, a solemn one - solemnly, etc. and would bring his artistic and musical intention to complete clarity” (Neigauz G.G. On the art of piano playing. - M., 1982, p. 20).
Experience shows that children easily perceive vivid and simple figurative comparisons. An interesting task for a young accordion player could be to depict the sound pattern “approaching and moving away” in L. Knipper’s famous song “Polyushko-Field”.
It is important to ensure smooth execution here. crescendo And diminuendo . Or another example. In the Polish folk song “Cuckoo”, students always actively respond to the teacher’s wishes to depict the effect of an echo - “close” - “far”. A specific conversation about the content of the work and its execution should be conducted at all stages of the work. The following often happens: played without mistakes - good, well done. If you were wrong, you need to study more, then you won’t make mistakes. This is a formal approach to your business. Of course, the technical perfection of execution always captivates and sometimes conquers. But why is it that sometimes, because of two or three false notes, an overall interesting and meaningful playing is not noticed? We need to actively shape our taste, our criteria in assessing the artistic merits and shortcomings of performance.
Content is often perceived by us earlier than form, because the emotional side of a work is more accessible than its design. Probably, every teacher has had cases when a student has almost learned a piece and intuitively plays everything basically correctly and logically, but does not know the form. On the other hand, even after thoroughly analyzing the form of an essay, in practice one is not always able to capture its architectonics convincingly enough.
Content and form are especially difficult to perceive in modern music. The form requires close study; only after repeated listening do we get an idea of the figurative structure. The sense of form is manifested, first of all, by the convincing comparison of large sections and the logic of the development of musical thought. The main culmination must be determined - the semantic center of the work. Pauses and fermatas must be maintained based on the logic of the flow of music, from what happened before the pause or fermata and what follows after.
Students must learn to understand the logic of internal connections in a work, the logic of the relationship between large and small constructions. It happens that the last chords in works are often held out until the bellows closes. This doesn't always follow logic. A sense of proportion should suggest the duration of the final chord; it should be “pulled with the ear”, and not with the available stock of bellows. In general, one should never forget thatmusic what kind of art issound process that the form of a musical work developsin time . Hence the conclusion: the performer should always feel the prospect of further development in his playing. Without seeing (hearing) perspective, the music becomes shallow, stands still, and the form collapses.
To convincingly convey an artistic image, it is important to find the right pace. Sometimes haste or, conversely, procrastination can negate all the preparatory work of the performer. The problem of the correct tempo remains relevant even for concert performers. There are often cases when, due to excessive excitement, a musician “snaps” an excessively fast tempo and the performance is crumpled. How can you learn to pick up the right tempo right away? During classes, the student is recommended to specifically work on this: before starting to play, concentrate, imagine the tempo of the first bars, and only then play. And in concert performance, at first it is advisable to use the same method.
Young, beginning musicians should understand that there is no single correct tempo for a particular piece. Each musician has the right to choose his own tempo; moreover, the same performer, depending on his creative state, can play the same piece at relatively different tempos. It is important that the tempo is convincing, that the speed of development of the musical material contributes to the most complete implementation of the assigned tasks, and, ultimately, to the identification of the artistic image of the work.
Probably, every teacher can recall a case from practice when students with enviable motor abilities failed to develop artistic musical guidelines. Their plays of a cantilena nature and polyphony, as a rule, sounded uninteresting and inexpressive. There is only one explanation for this: in this case, the student is artistically poor, he simply has nothing to fill the sound space of the texture.
A powerful and very important factor is the possessionrhythm – the performer’s ability to manage sound in time. It is to dispose, i.e. express your creative will. It is unlikely that we will be interested in a metronomically smooth game. As B. Asafiev said, rhythm should not be perceived as “lanterns on the highway with their monotonous regularity...” (“Musical form as a process” L., 1963, p. 298). Living musical rhythm is the pulse of artistic interpretation. The pulse of a living being has its deviations due to the emotional state. Sometimes two different concepts are confused - rhythmic play and metrical play. There is an abyss between these concepts. The performing artist cannot contain his feelings and intentions within the merciless beats of the metronome. He uses a variety of agogic deviations, games rubato ( Rubare (it.) – to steal). Execution principle rubato based on the following: how much time he “stole” - so much he gives back.
Rhythm and meter are closely interrelated. Not all students clearly understand what rhythm and meter are, so it’s not a bad idea to remember the following here: rhythm is the patterns of musical time, beautiful and reasonable, otherwise an organized sequence of sounds of the same or different durations; meter - marks the time when sounds appear in the pattern. Tempo tells how quickly a musical pattern unfolds. There are some typical rhythm disturbances that are most common among students. The rhythm often breaks down in technically difficult places. Some students, due to their limited motor abilities, slow down in a difficult place. First of all, they must realize that they are actually slowing down. Then you need to choose the most convenient fingering for a given hand, having previously found out the inconvenient technical elements and overcome difficulties through training. In such cases, it is recommended to play with a dotted rhythm, triplets, etc. Each accordion player practices difficult parts in his own way. Sometimes the student, without noticing it, speeds up in a difficult passage. It turns out that at a fast pace it is easier to “skip” an inconvenient place. Most often this happens in etudes, for example K. Czerny’s “Chromatic Etude,” when the student begins to play faster in convenient places, where everything is under your fingers, for example in chromatic passages. Sometimes during the performance the ends of phrases are “swallowed” or not heard, especially when there is a half or whole note or chord at the end.
As already mentioned, the game rubato , the correct sense of tempo and rhythm are the most essential moments in interpretation. At the same time, if good rubato can inhale artistic life into a work, then it is not the possession of tempo-rhythmic freedom, its inappropriate manifestation that destroys the form, and at the same time the figurative content of the work.
I would like to dwell on some specific performing techniques that influence the interpretation process. What is interpretation is the process of sound realization of a musical text. It assumes an individual approach to the music being performed, an active attitude towards it, and the presence of a creative concept for the embodiment of the author's plan.
At the initial stage of working on a piece of music, the musician deals directly with the musical text. But text is just signs; they need to be deciphered. Figuratively speaking, a musical text is a plan of a building recorded on paper. By learning a piece from memory, we create a framework, as it were. But a piece learned with the correct nuances and tempos is not everything. Detailed work continues, polishing, the process of getting used to the work (in fact, this whole process begins, of course, even during analysis), it becomes something familiar to the performer. And only after performing the work in concerts can we consider that the building itself is ready. “The task of the performer is to revive the fossilized signs again and set them in motion” (Busoni F. Op. Cit., p. 25). The performer can fully be called a co-author of the composer, since in order for the notes to turn into sounds, for the work to sound, it must, at a minimum, be performed. The musical text not only needs to be deciphered - it needs to be interpreted! After all, the notation of notes is the same, the punctuation marks (nuances, pauses, etc.) are the same everywhere, but how endless is the range of feelings in music! Bernard Shaw once said that there are dozens of ways to pronounce the simplest words “yes” and “no” and only one single way to write them down. The performing musician also has the power to express the same musical thought with many different emotional tones. You just need to have a developed artistic imagination and know and hear the right intonation or nuance.
“First hear, then play,” A. Schnabel (1882-1951), an Austrian pianist, composer, teacher, one of the greatest pianists of the 20th century, liked to repeat.
Musical text provides rich information for expressive performance. However, oddly enough, students simply do not notice much of what is indicated in the text. In a musical text, it is very important to identify the main and secondary material, to clearly intonate phrases and motives. Music has its own punctuation marks (the beginnings and ends of phrases, motifs, intonations, pauses, etc.); Observing them helps to order and organize our musical thoughts.
When working on a piece of music, the figurative content appears more and more clearly. The performer begins to sense subtleties that he had not previously suspected. The imagination finds more and more new images, associations, the ear finds the necessary intonations, colors, and the sound picture appears more and more clearly.
Only by loving the composition can you achieve maximum artistic results. In this case, the performer becomes so accustomed to the work, enters into empathy with the composer, that he begins to feel as if he is the author of the music. You have to believe in music. Not a single empty beat during the game. As Stanislavsky said: “You cannot do something that you yourself do not believe, that you consider to be untrue” (Stanislavsky K.S. An actor’s work on himself. Collected works in 8 volumes, volume 2 - M., 1954, p. 174 ).
A rich imagination and the gift of improvisation are necessary for a true musician. Play fresh every time, as if reliving what you are performing, in musical notation to see and identify the artistic image of a work is great art. Who has the power to manage the musical text so that the notes - these symbolic signs - speak, not just sound, but are able to evoke certain aesthetic feelings in listeners? “Art begins where it begins a little,” said Bryulov. This is the “little bit” available in artonly artistically gifted people.
All outstanding figures of musical art agree on one thing: a performing musician is only interesting when he is a person. “No matter how well the performer masters the skill, if he himself is an insignificant person and he himself has nothing to say to the listener, his impact will be insignificant” (Goldenweiser A. On performance. - In the book “Issues of piano performance”, issue 1. - M. , 1965, p. 62).
It is necessary that broadening one’s horizons and replenishing one’s consciousness with life’s impressions becomes the norm for the student. There is hardly any need to remind us what benefits visiting concerts, theaters, museums, and a passion for literature, poetry, and painting bring to the formation of a student’s creative personality. Every person has the gift of artistic perception of the world. A musician must engage in artistic self-education throughout his life. Expanding your horizons helps enrich your performing imagination. We, teachers, must ignite a creative spark in every student and be able to activate even the slowest ones. Nowadays it is often stated that the average level in accordion performance has noticeably increased. Most students cope well with technical difficulties. But, unfortunately, deep and sincere acting is rare. At best, one feels a lot of work by the teacher. Of course, technical perfection is good, but it is not enough. In the end, it is not so important if the performer stumbles somewhere or gets caught false note. What matters is what he expresses through his playing; what it talks about, how it sculpts the artistic image of the work. And if a musician is fully imbued with the content of the composition, the ideological plan of the composer, if he has something to say and something to express, you can be sure that an inspired artistic interpretation will be born, that is, the result will be what we are working on sound, technique, in an artistic way - music will sound!
References:
F.R. Lips “The Art of Playing the Bayan”, M. 2004.
V.V. Kryukova. “Musical Pedagogy”, Phoenix Publishing House, 2002.
G.M. Tsypina. “Psychology of musical activity”, M. 2003
G.V. Keldysh, “Musical Encyclopedic Dictionary”, M. “Soviet Encyclopedia”, 1990.
