What can you hear in classical music? Word drawing technique

Verbal illustration in literary reading lessons.

Illustration- a method of creative work by students, used in reading lessons, as well as when writing essays and presentations. Illustrations are taken ready-made, pre-selected, or created by the children themselves. Oral (verbal) drawing techniques are used. Verbal illustration (drawing)- this is a person’s ability to express his thoughts and feelings based on a read fairy tale, fable, story, poem. In no case should verbal drawing turn into a retelling of the work. I begin learning verbal drawing by creating genre (story) pictures. At the same time, we must remember that the verbal picture is static, the characters in it do not move, do not speak, they seem to be “frozen”, as if in a photograph, and do not act, as on the screen. At the first stage of teaching verbal drawing, it is advisable to use the so-called “dynamic” picture that gradually appears before the children’s eyes.

At the first stage of learning verbal drawing, a visual support is needed, for which you can use the so-called “dynamic” picture that gradually appears before the children’s eyes. Moreover, after the students verbally describe each detail of the drawing, any interior, or character, pictures corresponding to those just “drawn” orally are gradually attached to the demonstration sheet of paper. The arrangement of the elements of the picture is discussed with the children. Thus, as the work progresses, a complete picture of the episode is created, which serves as a visual support for the ideas that have arisen in the students’ imaginations. In addition, you can also use a demonstration manual of three sheets, which are attached one on top of the other to the board sequentially, and as the oral picture appears, they are revealed to the children.

At the next stage, you can use the following techniques:

An episode is selected for illustration, the plot of the future picture, the location of its main elements, and color are discussed in general terms. A pencil sketch is made, followed by a verbal description of the illustration.

Children “draw” a picture with words, and then compare it with the corresponding illustration in a children’s book or in a textbook on literary reading.

At the following stages of teaching oral illustration, the following techniques are used:

1) an episode is selected for verbal drawing;

2) the place where the event occurs is “drawn”;

3) the characters are depicted;

4) the necessary details are added;

5) the contour drawing is “colored.” The complexity of the work is possible due to the fact that “coloring” will be carried out along with “drawing”; secondly, during the transition from a collective form of work to an individual one.

Only at the final stage of learning oral illustration can children be asked to independently, without visual support, make a verbal drawing for the text. (“There is no illustration in the textbook. Let’s try to create it ourselves.”) Verbal drawing (illustration) increases the emotional level of perception of a literary text. Typically, verbal pictures are drawn for those episodes that are especially important for understanding the ideological intent of the story. If the description is illustrated, then the most beautiful and at the same time accessible paintings for children are selected.

Verbal drawing of landscape illustrations is usually done for poetic texts. When working on a lyrical work, the method of verbal drawing should be used with extreme caution, since when reading the lyrics, clear visual ideas should not arise, everything should not be expressed in detail, and poetic images cannot be concretized by separating them.

Bibliography:

Goretsky V.G. and others. Literary reading lessons from textbooks “Native Speech”: Book. 1, 2, 3; Book for teachers. - M., 1995.

Nikiforova O.I. Psychology of perception of fiction. - M., 1972.

http://www.pedagogyflow.ru/flowens-641-1.html

http://fullref.ru/job_cf28d84de3278e2be75ee32f39c7a012.html

Fragment of the lesson “Discoveries of new knowledge” on the topic “Balmont Konstantin Dmitrievich Poem “Autumn””

Target: create conditions for the development of expressive reading skills, students’ mastery of the literary device “personification” and learning verbal drawing.

Personal results

Develop communication skills during collective discussion of children’s performances

To develop the ability to evaluate one’s own knowledge and skills in literary reading

To develop the ability to orally evaluate the work of their classmates in the form of judgment and explanation

Meta-subject results

Regulatory universal educational activities:

Evaluate the results of your own educational activities using self-assessment sheets

Formulate the goal and objectives of educational activities using the teacher’s introductory dialogue

Recognize and accept the learning task

Cognitive universal educational activities:

Learn to formulate a learning task by answering a problematic question

Obtain new knowledge: extract information presented in different forms (text, table, diagram, drawing, etc.)

Communicative universal educational activities:

Communicate your position to other people

Engage in educational collaboration with the teacher and classmates

Construct a conscious oral statement

Subject results

Learn to identify the main idea of ​​a work and its mood

Learn to use the technique of personification.

Task "Word drawing".

Music is the art of intoned meaning. That is, there are no words - but there is meaning. By extracting combinations of sounds of different heights and durations from musical instruments, a person is able to speak in another way, different from the verbal one - to express his thoughts and feelings, to share his fantasies.

We selected popular instrumental compositions created by famous musicians of the past, and gave short comments. Many of these works have author's titles, epigraphs and verbal explanations that refer to the literary source, reveal the content of the music or at least hint at it (after all, the composers themselves wanted to be understood!) - such music is called software. In other cases, clues can be found in the musical sound itself - it is interesting to discuss them and try to hear them. This could be the key to classical music for a child.

Toccata and Fugue in D minor

Johann Sebastian Bach

The organ was one of the main instruments in church music of the Baroque era (XVII - first half of the 18th century). And even more than just an instrument: organs were not made, but built as majestic architectural structures. Several rows of keys for the hands, a row of pedals for the feet and hundreds of sparkling pipes - the power of the sound of the organ resembles a huge orchestra: changing timbres, it can imitate a flute, oboe, trumpet, trombone... Bach loved the organ so much for this diversity. You touch the organ keys (“tocca-ta” - from Italian toccare, “touch”), and a powerful exclamation shakes everything around - the sound of the toccata is sometimes compared to the voice of God.

Performed by: Karl Richter

Prelude in C major from the cycle “The Well-Tempered Clavier”, volume 1

Johann Sebastian Bach

Prelude is an introduction before something important. The musician seems to be trying out an instrument: he plucks the strings of a lute, harp, guitar, harpsichord, piano, and grand piano. This is how music is born. Experts in the symbolism of early music associate the Prelude in C major and say that Bach depicted the flapping of an angel’s wings in it. More precisely, the Archangel Gabriel, who descends to earth to inform the young Virgin Mary that she will become the mother of Christ.

Performed by: Ton Kopman

"Cuckoo"

Louis Claude Daquin

One of the best examples of onomatopoeia in music. The composer himself gave this play a title and thus suggested what it depicts: the noise of the forest, the voice of a cuckoo in the distance. In addition, in “Cuckoo” you can also hear echoes of the time when the composition was created. The first half of the 18th century in France is the Rococo era (rocaille is a decorative element in the form of a shell curl). At royal receptions It is known that Louis Claude Daquin, as a boy of six years old, performed in front of Louis XIV himself - the “Sun King”., in the living rooms, decorated according to the tastes of the era (swirls of ornaments on the walls, elegant furniture on bent legs), a harpsichord sounded - a lacy melody with the same abundance of decorations. Competing with delicious dishes and entertaining conversation, the musician tried to attract the attention of listeners with funny inventions. “The Cuckoo” by Daquin, like the plays of other great French harpsichordists (“ Butterflies" And " Small windmills"François Couperin, " Tambourine"Jean-Philippe Rameau), corresponded to the atmosphere of "luxury and cheerful beauty."

Performed by: Robert Aldwinkle (harpsichord)

Concerto No. 4 in F minor (“Winter”) from the cycle “The Seasons”

Antonio Vivaldi

Italian composer Antonio Vivaldi wrote more than 500 concertos Concert - a piece of music, usually for a solo instrument with an orchestra.. About half of them are for string orchestra with solo violin. It is not surprising: after all, he himself was a brilliant, very temperamental virtuoso violinist. The most popular were four concerts, for which, presumably, the composer himself wrote poetic comments in the form of sonnets. From sonnets we learn that music depicts pictures of nature and scenes from people's lives corresponding to the four seasons Sonnet for the concert “Winter”:
Numb over the fresh snow,
Under the sharp wind blowing in the pipe,
Run, stamping your boots,
And shivering and shivering in the cold.

And still find the saving flame
And, having warmed up, forget the trouble.
And again hurry with uncertain steps, Slide until you fall on the ice.

Flounder, get up and fall again
On the plane of the ice cover,
And everyone strives for the hearth, home.

And hear there, warming your soul in comfort,
Like Boreans flying from iron gates...
There is still joy in winter!
(translated by David Samoilov). Since each concert has three movements (fast, slow, fast again), Vivaldi depicted twelve such scenes in total. On the one hand, this music can be perceived as pure expression, an expression of emotions. But it is interesting that the composer assumed a more specific content and, in addition to the sonnets, accompanied the notes with remarks. Thus, in the first part of the “Winter” concert it is directly stated: your teeth are chattering from the cold, but you are stamping your feet to keep warm. The second part is the warmth of a cozy home, a fire in the fireplace and falling asleep. The third part - cold and warm winds push each other in the sky.

Performed by: Berlin Philharmonic Orchestra, Nigel Kennedy (violin)

Flute solo from the opera "Orpheus and Eurydice"

Christoph Willibald Gluck

The myth of Orpheus and Eurydice is not only about the power of love trying to defeat death, but also about the powerful power of music. The rulers of the kingdom of the dead are captivated by the enchanting beauty of Orpheus' voice and the sounds of his lyre and allow him the incredible - to take his young wife, who died from a snake bite, back to the world of the living. The most tender melody for the flute sounds at the moment when the entrance to Elysium finally opens before Orpheus - the ancient paradise, where the disembodied shadow of the beautiful Eurydice grieves in separation from her beloved. Unlike the myth, the opera has a happy ending, which is typical for the era of classicism.

Performed by: Chamber Orchestra of the Leningrad Philharmonic, conductor Viktor Fedotov

Symphony No. 40 in G minor, part 1

Wolfgang Amadeus Mozart

What is the secret of this music, so memorable and popular? In many melodies you can hear the intonations of human speech, here it is the speech of an excited person. This is how we speak - hesitantly, repeatingly - when we are overwhelmed with feelings. And this symphony begins amazingly. Without an introduction, without preparation, without loud chords calling for attention, but immediately, suddenly - with the trust and sincerity characteristic of children and lovers (it is no coincidence that this melody is close to the aria of Cherubino - the young page in love from Mozart’s opera “The Marriage of Figaro”).

Overture from the opera “The Marriage of Figaro”

Wolfgang Amadeus Mozart

The overture is an orchestral introduction to the opera; it sets us up for the upcoming performance. In opera buffa Opera buffa ( Italian opera buffa - “comic opera”) is the Italian designation for comic opera.“The Marriage of Figaro” overture sets the atmosphere of joyful bustle and anticipation of the holiday. There are many heroes in it, each with their own character and their own intentions - romantic or mercantile. The plot is complicated, but it develops rapidly - just as the overture is fast-paced. This music also reflects the character of the main character, who persistently and impatiently pushes the action to bring it to a happy ending.

Performed by: English Baroque Soloists, conducted by John Eliot Gardiner

Symphony No. 5 in C minor, part 1

Ludwig van Beethoven

Performed by: Claudio Arrau

Mazurka in A minor, op. 68, No. 2

Frederic Chopin

Mazurka is a Polish folk dance, fast, energetic, with twirling and jumping. In the 19th century it began to be performed at all European balls. As a child, living in Poland, Chopin more than once observed how the mazurka was danced during rural holidays to the sounds of a small village orchestra. The composer’s fate was such that he spent his entire adult life separated from his homeland and missed it very much. Remembering Poland, he composed more and more mazurkas; There are about 60 of them in total, and they are very different in character - sometimes they imitate an ensemble of village instruments, sometimes a ballroom orchestra. But many of Chopin's mazurkas are deeply sad, such as the Mazurka in A minor. This is no longer so much a dance as a lyrical memory of it.

Performed by: Grigory Sokolov

Overture "A Midsummer Night's Dream" based on the comedy by William Shakespeare

Felix Mendelssohn

The overture was conceived as a finished work. Small in size, it contains all the variety of content of Shakespeare's play and conveys its flavor. The first chords of the overture are the beginning of a fairy tale, the expectation of a miracle. The action takes place in a magical night forest, full of mysterious rustles. Is the wind rustling in the leaves? No, these are little elves circling, their transparent wings flashing - their movement conveys the main theme of the overture and thereby sets the tone for the entire work. Here are their majestic rulers - the forest king Oberon and his wife Titania. There are also lyrical images in the overture: two pairs of young lovers got lost in a thicket - and, it seems, they were also confused in their relationships. Lyricism gives way to comedy: clumsy commoners, dancing, rehearsing a performance for the morning performance in the night forest. For some reason, one of them has the head of a donkey and screams like a donkey - this is the forest spirit Puck, a famous naughty man and prankster, who has fooled everyone with his witchcraft; his laughter can be guessed in the music. Never mind, in the end he will fix everything - this will be the end of the fairy tale and the overture.

Performed by: Boston Symphony Orchestra, conducted by Seiji Ozawa

Plays "Pierrot" and "Harlequin" from the cycle "Carnival"

Robert Schumann

Schumann is a master of creating musical portraits. In the cycle of piano miniatures Thumbnail - a short one-part play.“Carnival” he presented a whole series of characters, whose characters are expressed, among other things, through their manner of movement. Here comes Pierrot - he is so thoughtful and sad that he does not notice how he trips over his long sleeves again and again. But Harlequin is agile, fast, and flashes here and there, managing to somersault as he runs. Real people coexist with the masked characters. The cycle contains the plays “Chopin” and “Paganini”, in which Schumann conveyed the images of his outstanding contemporaries, imitating their musical style.

Performed by: Evgeny Kisin

Overture to the opera "Carmen"

Georges Bizet

Blinding light of the midday sun, Spain. The well-dressed crowd gathered for the bullfight is noisy in anticipation of the main participant in the events. And here he comes - a handsome bullfighter, a hero and a favorite of the public: already in the first, fast part of the overture, the famous theme of his march is stated. The celebration of life is felt even more acutely when it borders on mortal risk - the second, slow part marks the invasion of tragedy.

Performed by: Vienna Symphony Orchestra, conductor Herbert von Karajan

The play “In the Cave of the Mountain King” from the suite “Peer Gynt” based on the drama by Henrik Ibsen

Edvard Grieg

Trolls and mountain spirits are the main characters in the folklore of Norway, the homeland of the composer Edvard Grieg. Trolls are ferocious, cruel, stubborn and hostile to humans. This is exactly how they appear in the composer’s most famous orchestral work, “In the Cave of the Mountain King.”

The Troll Lord marches, surrounded by his retinue, to his throne. The procession moves from afar. Along the way, more and more trolls join her, they appear from every crevice, from behind every rock ledge. In the darkness of the cave, the flame of torches flares up. And now this is no longer a procession, but a frantic dance. The trolls praise their king with wild cries. It’s creepy... But how simply it’s done: the melody is repeated invariably, but the number of instruments is added, the volume increases, and the tempo accelerates.

The play "Clouds" from the cycle "Nocturnes"

Claude Debussy

Debussy wrote a short literary program for this small orchestral piece Program(in instrumental music) — verbal presentation of the content of a musical work.. It lacks a plot and characters, nothing is said about human experiences: ““Clouds” is a motionless image of the sky with slowly and melancholy floating and melting gray clouds; moving away, they go out, gently shaded by white light.” Debussy was looking for a way to convey in music the change of color, the difference in lighting, he tried to bring music closer to the paintings of the Impressionists. You should not look for beautiful extended melodies in the play (after all, the melody expresses human feelings, but there is no person here). Short motives-calls are like the voices of nature itself. The impressionistic sound arises due to colorful combinations of chords and the peculiar distribution of instrument timbres: strings act in an unusual background role, short motives are assigned to woodwinds and French horns. The flute and harp unison in the middle of the piece stands out like a white cloud.

Performed by: Boston Symphony Orchestra, conductor Claudio Abbado

March of Chernomor from the opera “Ruslan and Lyudmila”

Mikhail Glinka

Chernomor's march in the opera "Ruslan and Lyudmila" accompanies the ceremonial entrance of the evil dwarf wizard (and the removal of his miraculous beard!). Pushkin's fantastic image was perfectly embodied in Glinka's music. Amazing transformations occur in the march: what is exaggeratedly menacing suddenly turns small and funny, and again menacing, and again funny. The powerful sound of the entire orchestra is responsible for the horror ( tutti- from Italian. “everything”) and trumpet fanfares, for the magical - bells, and for the comical - “that” chords of high woodwinds and the squeak of a piccolo flute. To be afraid or not to be afraid - that is the question!

Performed by: Bolshoi Theater Orchestra, conductor Yuri Simonov

“Polovtsian Dances” from the opera “Prince Igor”

Alexander Borodin

“Polovtsian Dances” is a scene from the opera “Prince Igor”, which is often performed separately as a concert work. According to the plot, Khan Konchak organizes a holiday in honor of the captured Prince Igor in order to end hostility with Russia. Night. The summer heat gradually subsides, and an action of unprecedented beauty and luxury unfolds before the Russian prince. The seductively languid dance of the slaves with smooth, flexible movements gives way to the frantic dance of men, demonstrating their unbridled strength (the author himself called this dance “wild”), and then even more rapid, light Kim dance boys. The dancers replace each other again and again, eventually uniting in a common dance with cries of praise to the khan. Of the series of world-famous melodies of this fragment, the first one that accompanies the dance of the slaves especially stands out - an example of a unique combination of styles. A sad tune with an abundance of flexible turns could be a Russian folk song (which is consistent with the plot - after all, it is not Polovtsian beauties who are dancing, but captives: in the opera the dance is accompanied by the singing of a female choir with the words “Fly away on the wings of the wind You are in our native land, our native song..."). However, the accompaniment with a syncopated rhythm Syncope - shifting the emphasis from a strong beat to a weak beat. and spicy sounds are designed in a distinctly oriental style.

Performed by: Berlin Philharmonic Orchestra, conductor Herbert von Karajan

“Walk”, “Gnome”, “Old Castle”, “Ballet of the Unhatched Chicks”, “Two Jews, Rich and Poor”, “Baba Yaga” and other plays from the “Pictures at an Exhibition” series

Modest Mussorgsky

Mussorgsky wrote the piano cycle “Pictures at an Exhibition” after visiting the posthumous exhibition of one of his artist friends, Victor Hartmann. Hence the exceptional variety of content (portraits of fairy-tale characters alternate with sketches of real life, comic scenes with reflections on death, and from the Roman catacombs in Paris we are transported to the “Bogatyr Gate” of Kyiv). The cycle begins with a “Walk”, which is repeated after each subsequent piece: in this theme the composer depicted himself moving from picture to picture. If you listen carefully, you will notice that the character of the “Walk” changes depending on the author’s impressions of what he saw. Since painting captures frozen moments, and music unfolds in time, Mussorgsky makes scenes out of pictures. Baba Yaga forcefully pushes her mortar off the ground, accelerates, and flies. The dwarf hobbles with a limp. Under the walls of the old castle, the Troubadour sings a song. The chicks - or children dressed as chicks - are scurrying and chirping funny (in Hartmann's sketches for the children's ballet of the Bolshoi Theater Julius Gerber's ballet Trilby staged by Marius Petipa at the Bolshoi Theater (1871).- costumes in the form of unopened shells). And in the play “Samuel Goldenberg and Shmuile” (in Soviet editions - “Two Jews, Rich and Poor”) Mussorgsky combined the two heroes of separate portraits of Hartmann: here you can hear the plaintive babble of the petitioner, interrupted by the rude rebuke of the rich man.

There are dozens of adaptations of “Pictures” for orchestras of various compositions, jazz bands and rock groups. The most famous one belongs to Maurice Ravel - created almost 50 years after the original, it was she who contributed to the worldwide popularity of Mussorgsky's work.

Performed by: Svyatoslav Richter

Symphony No. 1 (“Winter Dreams”), part 1

Pyotr Tchaikovsky

Tchaikovsky called his First Symphony “Winter Dreams”, and gave its first movement a slightly more detailed designation - “Dreams on the Winter Road”. Behind the image of “dreams” are personal memories and a whole series of “winter” poems by Russian poets Before listening, you can read “Winter Road” and “Demons” by Pushkin - then Tchaikovsky’s music will acquire the necessary subtext., folk songs and romances about endless snowy expanses, a troika rushing across them and an aching lyrical feeling into which the soul plunges under the quiet “tiring” ringing of a bell. The image of boundless space is conveyed by the bassoon and flute, duplicating each other with a distance of two octaves. The “heartfelt melancholy” of the initial melody gives way to blizzard harmonies: a caustic staccato motif invades the smooth movement Staccato- abrupt execution of sounds..

Dance of the Sugar Plum Fairy from the ballet “The Nutcracker”

Pyotr Tchaikovsky

The Dance of the Sugar Plum Fairy is one of the most famous fragments of the ballet; it has received a life separate from the performance and is heard in symphony concerts, cartoons and television programs. The Sugar Plum Fairy is the mistress of the land of sweets, the mistress of the magical palace in Confiturenburg. From the first sounds of her dance, we are transported into an enchanted fairy-tale world, where there is no place for anything dark, gloomy and evil. The gentle crystal ringing of the celesta promises miracles and happiness (even the name of this instrument is from Italian celesta translated as “heavenly”). At the premiere of the ballet, the effect of the miracle was further enhanced by the fact that no one had heard the celesta in Russia before: Tchaikovsky brought this instrument, new at that time, to us from Paris and for more than a year asked his acquaintances to keep the secret. Similar to a miniature piano, but with metal or glass plates inside, the celesta has taken root in the symphony orchestra. The sound, reminiscent of the ringing of bells, has become a symbol of the fabulously beautiful, unearthly.

Performed by: Philharmonic Orchestra, conductor John Lanchbury

Symphonic Suite “Scheherazade”, part 1

Nikolai Rimsky-Korsakov

The literary prototype of the work is the collection of Arabian fairy tales “One Thousand and One Nights.” It is curious that Rimsky-Korsakov first titled all four parts of the suite Suite - a musical work consisting of several independent parts, contrasting to each other, but united by a common concept., and then removed the titles, not wanting to deprive the listener of freedom of imagination. The composer left an introductory commentary, which briefly retells the story of Scheherazade and Sultan Shahriyar.

At the beginning and end of each movement, a recognizable melody of the solo violin sounds, reminiscent of the intricate patterns of luxurious oriental fabrics, the flexible movements of an oriental dancer, and the leisurely oriental speech decorated with numerous epithets - this is the leitmotif Leitmotif(from German Leitmotiv — “main, leading motive”) — a motive that returns repeatedly throughout the work in connection with the characteristics of a character, feeling, situation, object, etc. Scheherazade. Shahryar's leitmotif, menacing and commanding, opens the work. And he, calmed down, sounds at the very end - She-he-razada found how to pacify the angry temper of the Sultan.

Today, the names of the movements, known from Rimsky-Kor-sakov’s book of memoirs “Chronicle of My Musical Life,” are almost always communicated to the listener, although the picturesque nature of the music makes it possible to do without explanations. The first part is the first fairy tale, “The Sea and Sinbad’s Ship.” The water element in it appears alive and changeable. The waves roll slowly and lazily, foam at the crest, scatter into small splashes sparkling in the sun, and the ship glides along the surface. But although seemingly gentle at first, the sea can show its formidable power at any moment - and now wave after wave rolls in and collapses. Rimsky-Korsakov, a former gar-demarin, depicted the sea like no other.

Performed by: State Academic Symphony Orchestra of the USSR, conductor Evgeny Svetlanov

Symphonic fairy tale “Kikimora”

Anatoly Lyadov

Anatoly Lyadov was very fond of everything magical and fantastic. The more whimsical a fairy-tale character was, the more he liked him. While entertaining his children, the composer himself even came up with and drew funny fairy-tale freaks. Inspired by the description of Kikimora from the book “Tales of the Russian People,” Lyadov decided to depict her in music Lyadov prefaced his orchestral piece with the following text, borrowed from “Tales of the Russian People” by Ivan Sakharov: “Kikimora lives and grows with a magician in the stone mountains. From morning to evening, the cat Bayun amuses Kikimora and tells tales from overseas. From evening until broad daylight, Kikimora is rocked in a crystal cradle. Exactly seven years later, Kikimora will grow up. She's a thin, dark-haired Kikimora, but her head is as small as a thimble, and her body can't be compared to a straw. Kikimora knocks and thunders from morning to evening; Kikimora whistles and hisses from evening until noon; from midnight to broad daylight he spins hemp tow, twists hemp yarn, and warps silk warp. Kikimora keeps evil on his mind for all honest people.”. In a short piece for orchestra, the composer told the entire biography of a fairy-tale creature. The slow initial section is Kikimora’s childhood. A gloomy mountain landscape where the sun almost never penetrates. The magical lullaby motif of the cat Bayun is a peace that seems to last forever. But baby Kiki-Mora is already making herself known: her piercing squeak (piccolo flute and go-boy) makes everything around her tremble... And freezes again. You can only hear the light ringing of the crystal cradle in which Kikimora is rocked (the same celes sounds as in the dance of the Sugar Plum Fairy by Tchaikovsky). The fast, impetuous music of the second section depicts a matured Kikimora. She scurries around the forest and plays pranks: knocks, rattles (here the composer uses a xylophone, rare for an orchestra), scares everyone who comes across her... And yet Lyadov’s Kiki-Mora is not evil. Just quirky and strange, just like the world she inhabits.

Performed by: Russian National Orchestra, conductor Mikhail Pletnev

Music for the ballet "Petrushka"

Igor Stravinsky

The ballet “Petrushka” is a unity of music by Stravinsky, scenography by Alec-Saint-dra Benois, choreography by Mikhail Fokine and performance by Vaslav Nijinsky. Although listening to music separately is no less interesting than watching a ballet, it is still advisable to know the plot. Petersburg at the beginning of the last century. The Maslenitsa celebration is an elegant, noisy, joyful crowd. There is a lot of entertainment on the spacious Champ de Mars square: barrel organs are playing, mechanical ballerinas are dancing, the cries of barkers are heard from different sides, trying to lure spectators into their booths - the color of the mass folk scenes is intended to highlight the dramatic essence of the work. The appearance of the Magician attracts everyone's attention, the colorful noise subsides, and mysterious music plays: the Magician brings his dolls to life, and the viewer finds himself in another story. A play within a play is enacted: Petrushka suffers from unrequited love for the Ballerina (his leitmotif sounds like a sad lyrical cry). The beautiful, insensitive doll prefers to him the elegant, albeit rude Arab. In the battle with Arab, Parsley dies. But this is just a puppet show - the festivities continue. You can hear the strumming of an accordion and snatches of city songs (“Along along Piterskaya”, “Oh you, the canopy, my canopy”). A man plays the pipe, showing off a trained bear, a masked devil jokingly scares people walking, a merchant starts dancing with the gypsies. All this is visible and tangible. Do you still feel sorry for Petrushka? No need to worry! The magician takes away the broken doll, but Petrushka’s funny face appears in the crowd, thumbing his nose at everyone: the hero’s leitmotif completes the ballet.

Performed by: Columbia Symphony Orchestra. Conductor: Igor Stravinsky

March from the opera “The Love for Three Oranges”

Sergei Prokofiev

This march best expresses the character of a fairy-tale comedy - defiantly bright, eccentric, uncontrollably cheerful, just like the character of one of its heroes - the never-dull jester Truffa the Iceman: according to the plot, he must certainly make the Prince laugh and stir up the mood. And indeed, the elastic rhythm of the march is such that it is impossible to sit still: the bold trumpet motif, the distinct beat of the snare drum - it is difficult to imagine more life-affirming music. It accurately reflected the attitude of Sergei Sergeevich Prokofiev

Children's room Arzamas

Tom Schreiter - The Secret Language of Attraction Toma Svetlana, Shestakov A.

Harry Paul, Ross Rec - Drive. Drive employees and achieve outstanding results Studio AV-Records 96kb/s

Nick Shestakov - Anatomy of Leadership Shestakov A. 192kb/s

Bodo Schaefer - The art of managing your time unknown 192kb/s

A bit of a strange title for this lesson, isn't it? Usually pictures are drawn with paints or pencils. Well, as a last resort, you can create a verbal picture: describe in words the beauty of nature or an event, in other words, talk about it colorfully. Everything is correct. But today you will learn that you can depict with the help of sounds.

By the way, we have already looked at one example of a musical picture: in lesson 2, you and I listened to D. Kabalevsky’s play “Clowns” performed by the little pianist Georgy Dorodnov. Using sounds, the composer created the image of funny clowns who perform in the circus and amuse children, while they can sing, dance, and tumble...

And in lesson 3 we listened to Sher’s play “Butterfly” performed by a little violinist. The image of a light butterfly is created by the sounds of a violin when the bow only lightly touches the strings.

Of course, a musical picture is more difficult to understand than, for example, a painted one. In an ordinary picture, everything is immediately visible. And to understand a musical picture, you need to be able to do a lot: be able to listen carefully to the music, have at least a little imagination and fantasy, understand the tempo of the music (fast or slow), pay attention to the title of the piece... Let's try to understand the musical image?

Again we listen to plays from the “Children's Album” by P.I. Tchaikovsky. The names of the plays attract attention: “Baba Yaga”, “New Doll”, “The Doll’s Disease”, “March of the Wooden Soldiers”, etc. How was the composer able to draw such pictures using music?

But let's listen.

“The Doll’s Disease” from Tchaikovsky’s “Children’s Album.” What do you think: if we are talking about illness, then what kind of music should be - happy or sad?

The doll is sick

Doll Masha got sick.
The doctor said it was bad.
Masha is in pain, Masha is in pain.
You can't help her, poor thing.
Masha will leave us soon.
This is woe, this is woe, woe,
woe, woe, woe, woe...

You already know what sounds can be high and low. The high-pitched sounds in the play convey the groans of a sick doll, its cries. Then the music gradually becomes quieter and quieter - the sick doll falls asleep. And although Tchaikovsky wrote the pieces on this album for small piano players, there are also arrangements for orchestra. And it is the sounds of the violin that convey the groans and cries of the sick doll more naturally. Let's watch and listen.

The Transcarpathian wedding song “Oh, Vasily, Vasilyochka” will help you take a break from a serious lesson: move to the beat of the music, come up with some of your own movements, observing the rhythm of the music.

Now let's continue the conversation about musical films.

Pyotr Ilyich Tchaikovsky in “Children's Album” not only showed through sounds pictures of the ordinary life of a child of that time, but also went on a trip with the children. Please note that many plays bear the names of different countries: “Italian Song”, “Old French Song”, “German Song”, “Neapolitan Song”. He wanted children to learn to understand the culture not only of their own country, but also of other peoples. In addition, the album contains folk dances: “Mazurka” is a Polish dance; “Kamarinskaya” – Russian folk dance song; "Polka" is a Czech folk dance.

You see how much you can tell through music!

Let's listen to the "Neapolitan Song" from Tchaikovsky's "Children's Album". The composer was in Italy, fell in love with Italian music and used some of this music in his works. For example, he included Neapolitan dance in his ballet Swan Lake.

Listen to how the little pianist performs it.

Answer the questions:

What instrument does the girl play?

In what other performance have we heard this play?

Which performance did you like best?

And here is another musical picture: the play by the German composer Robert Schumann “The Bold Rider”. Let's listen to it, and then talk about what sounds the composer used to describe the brave rider.

The sounds of this piece jerky, quite fast- they seem to illustrate (that is, repeat, show) the horse’s easy running. The boy accentuates (highlights) individual sounds with his play, emphasizing the rhythm. And you can repeat this rhythm with a pencil, as we have already done. Most likely, the horse is small, and there is a small, brave rider on it, because Schumann also wrote this play for children and for children to perform. You can even draw a picture of a brave rider as he appeared to you while listening to music.

Brave Rider

Review questions

1) Remember the names of all the plays you listened to today and their authors (composers).

2) Now it’s clear that with the help of sounds you can depict all a person’s feelings: sadness, joy, cheerful mood, and even draw a musical image?

3) What are the sounds? Complete the characteristics of sounds you know with those we learned today.

Pictures of the changing seasons, the rustling of leaves, bird voices, the splashing of waves, the murmur of a stream, thunderclaps - all this can be conveyed in music. Many famous people were able to do this brilliantly: their musical works about nature became classics of the musical landscape.

Natural phenomena and musical sketches of flora and fauna appear in instrumental and piano works, vocal and choral works, and sometimes even in the form of program cycles.

“The Seasons” by A. Vivaldi

Antonio Vivaldi

Vivaldi's four three-movement violin concertos dedicated to the seasons are without a doubt the most famous nature music works of the Baroque era. The poetic sonnets for the concerts are believed to have been written by the composer himself and express the musical meaning of each part.

Vivaldi conveys with his music the rumble of thunder, the sound of rain, the rustling of leaves, the trills of birds, the barking of dogs, the howling of the wind, and even the silence of an autumn night. Many of the composer's remarks in the score directly indicate one or another natural phenomenon that should be depicted.

Vivaldi “The Seasons” – “Winter”

"The Seasons" by J. Haydn

Joseph Haydn

The monumental oratorio “The Seasons” was a unique result of the composer’s creative activity and became a true masterpiece of classicism in music.

Four seasons are sequentially presented to the listener in 44 films. The heroes of the oratorio are rural residents (peasants, hunters). They know how to work and have fun, they have no time to indulge in despondency. People here are part of nature, they are involved in its annual cycle.

Haydn, like his predecessor, makes extensive use of the capabilities of different instruments to convey the sounds of nature, such as a summer thunderstorm, the chirping of grasshoppers and a chorus of frogs.

Haydn associates musical works about nature with the lives of people - they are almost always present in his “paintings”. So, for example, in the finale of the 103rd symphony, we seem to be in the forest and hear the signals of hunters, to depict which the composer resorts to a well-known means - . Listen:

Haydn Symphony No. 103 – finale

************************************************************************

“Seasons” by P. I. Tchaikovsky

The composer chose the genre of piano miniatures for his twelve months. But the piano alone is capable of conveying the colors of nature no worse than the choir and orchestra.

Here is the spring rejoicing of the lark, and the joyful awakening of the snowdrop, and the dreamy romance of white nights, and the song of a boatman rocking on the river waves, and the field work of peasants, and hound hunting, and the alarmingly sad autumn fading of nature.

Tchaikovsky “Seasons” – March – “Song of the Lark”

************************************************************************

“Carnival of Animals” by C. Saint-Saens

Among musical works about nature, Saint-Saëns’ “grand zoological fantasy” for chamber ensemble stands out. The frivolity of the idea determined the fate of the work: “Carnival,” the score of which Saint-Saëns even forbade publication during his lifetime, was performed in its entirety only among the composer’s friends.

The instrumental composition is original: in addition to strings and several wind instruments, it includes two pianos, a celesta and such a rare instrument in our time as a glass harmonica.

The cycle has 13 parts describing different animals, and a final part that combines all the numbers into a single piece. It’s funny that the composer also included novice pianists who diligently play scales among the animals.

The comic nature of “Carnival” is emphasized by numerous musical allusions and quotes. For example, “Turtles” perform Offenbach’s cancan, only slowed down several times, and the double bass in “Elephant” develops the theme of Berlioz’s “Ballet of the Sylphs”.

Saint-Saëns “Carnival of the Animals” – Swan

************************************************************************

Sea elements by N. A. Rimsky-Korsakov

The Russian composer knew about the sea firsthand. As a midshipman, and then as a midshipman on the Almaz clipper, he made a long journey to the North American coast. His favorite sea images appear in many of his creations.

This is, for example, the theme of the “blue ocean-sea” in the opera “Sadko”. In just a few sounds the author conveys the hidden power of the ocean, and this motif permeates the entire opera.

The sea reigns both in the symphonic musical film “Sadko” and in the first part of the suite “Scheherazade” - “The Sea and Sinbad’s Ship”, in which calm gives way to storm.

Rimsky-Korsakov “Sadko” – introduction “Ocean-sea blue”

************************************************************************

“The east was covered with a ruddy dawn...”

Another favorite theme of nature music is sunrise. Here two of the most famous morning themes immediately come to mind, having something in common with each other. Each in its own way accurately conveys the awakening of nature. This is the romantic “Morning” by E. Grieg and the solemn “Dawn on the Moscow River” by M. P. Mussorgsky.

In Grieg, the imitation of a shepherd's horn is picked up by string instruments, and then by the entire orchestra: the sun rises over the harsh fjords, and the murmur of a stream and the singing of birds are clearly heard in the music.

Mussorgsky's Dawn also begins with a shepherd's melody, the ringing of bells seems to be woven into the growing orchestral sound, and the sun rises higher and higher over the river, covering the water with golden ripples.

Mussorgsky – “Khovanshchina” – introduction “Dawn on the Moscow River”

************************************************************************

It is almost impossible to list everything in which the theme of nature is developed - this list will be too long. Here you can include concertos by Vivaldi (“Nightingale”, “Cuckoo”, “Night”), “Bird Trio” from Beethoven’s sixth symphony, “Flight of the Bumblebee” by Rimsky-Korsakov, “Goldfish” by Debussy, “Spring and Autumn” and “Winter road" by Sviridov and many other musical pictures of nature.