Lessons of musical literature by Ermakov. Ermakova
Bombora Publishing House Year of publication 2019
They are the main one K-Pop group, symbol South Korea, seven guys who brought Korean music to the world stage. More than 11 million subscribers on the official YouTube channel, more than 7 million on Facebook and 6.5 million on Instagram, and the Russian fan community on VK... ?They are the main K-Pop group, the symbol of South Korea, the seven guys who brought Korean music to the world level. More than 11 million subscribers on the official YouTube channel, more than 7 million on Facebook and 6.5 million on Instagram, and the Russian fan community on VK numbers more than 400 thousand people. Here is the first unofficial biography of a group that has become a global phenomenon! From the book you will learn how it all began, who the members of the group are, how they managed to conquer the world and, of course, what role the ARMY fan community played in all this. Welcome to the world of "bulletproof" BTS! Hide Show all text
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Pastoureau M.
Publishing house New Literary Review Year of publication 2018
Why did societies of Antiquity and the early Middle Ages belong to blue color with complete indifference? Why, starting from the 12th century, has it gradually gained popularity in all areas of life, and blue tones in clothing and in everyday culture they become desirable and... Why did societies of Antiquity and the early Middle Ages treat the color blue with complete indifference? Why, starting from the 12th century, has it gradually gained popularity in all areas of life, and blue tones in clothing and in everyday culture become desirable and prestigious, significantly surpassing green and red? The study of the French historian is devoted to understanding the history of relations between Europeans and the color blue, which is fraught with many mysteries and surprises. From this book the reader will learn what social, moral, artistic and religious values were associated with him in different time, as well as what its prospects are in the future.
Municipal institution of additional education
"Children's Music School" Kondinskoye named after A.V. Krasov
on this topic:
"A modern view of the methodology
teaching musical literature
first year of study at Children's Music School"
Teacher Shafikova Olga Petrovna
Kondinskoye village
2016
Explanatory note
Methodology for conducting lessons in musical literature using pieces from “Children’s Album” by P.I. Tchaikovsky.
1). Thematic plan
2). Lesson plans
Conclusion.
Applications.
Among musical theoretical disciplines, the most controversial and often modified course is the course of musical literature. The abundance of new textbooks, new authors and methods sometimes not only does not help in the work, but, on the contrary, creates chaos in the system of teaching the subject.
The democratization of our society, surprisingly, has broken the thematic plan of the courseIyears of study. Let me remind you that it consisted of the following topics:
1. Songs of Soviet composers
Songs about the Motherland, about Lenin, about the party
Songs of the pre-war and war years
Songs in the struggle for peace and friendship of peoples
Songs about modern life Soviet people
2. Revolutionary songs
Revolutionary songsXIX century
Proletarian fighting songs
and
Songs - marches
Dances of the peoples of the USSR
In total, 8 hours marked in red needed to be replaced with something, and very quickly. And this is where new techniques and “textbooks” began to appear in large numbers.
Lisyanskaya E.B.’s method, based on the genre method of studying musical literature, undoubtedly seemed the best in those years, in any case, very interesting, especially to teachers tired of the “political” load of the subject. Many teachers are happy and very successful in working on this program even now. It was very difficult at first. First of all, there were no textbooks for children or teaching aids for teachers. For each lesson I had to work through a large number of sources, write notes for yourself and for children.
The greatest difficulty was the colossal shortage of musical illustrations. Eternal searches, recordings, re-recordings, orders, etc. Now, with the help of the Internet, the possibilities of illustration have greatly expanded.
But this program also ceased to satisfy me. As a teacher with 30 years of experience, I want to say that this course quite complicated and overloaded for students, and also inconvenient due to the lack of textbooks for all 4 years. In any case, I have never come across them for sale. In addition, the composer as a person, a person, was “lost” in Lisyanskaya’s program. The composer’s biography is studied independently, his work is “scattered” across genres and years of study, and by the end of the entire course it still does not fit into a coherent form.
In connection with the above, I came to the conclusion that the monographic type of presentation of a course in musical literature would still be more convenient and acceptable, and textbooks are still published in the same form.
However, it is no longer possible to return to the “old”, and the presentation of the material must be in a different context.
The first year course, or rather the first part of it, dissatisfied me most of all. Such basic material as “Children’s Album” by P.I. Tchaikovsky has practically disappeared from Lisyanskaya’s course of musical literature, and even from the repertoire in the specialty. This is largely due to the emergence of a huge amount of instrumental literature by new authors, which is certainly very interesting, as well as the penetration jazz style and modern adaptations into children's performance. In pursuit of “fresh, new, interesting and unusual,” teachers have pushed the repertoire of classics so far that children are no longer able, and do not want, to “tinker” with the numerous strokes of serious works. This big picture. Of course, they play the classics, but so little that it is almost impossible to get an idea of Tchaikovsky’s “Children’s Album” or, say, Schumann’s “Album for Youth” from the “piece” performances.
It seems that the subject of musical literature could fill this niche, thereby solving the following problems:
1.Introduce children to P.I. Tchaikovsky’s “Children’s Album” cycle
2. Based on the available material from the plays of the cycle, reveal the themes
Elements of musical speech
Simple musical forms
Main genres of music (song, dance, march)
Software-visual music
The textbook for children's music school "Musical Literature" for the first year of study by the authors Osovitskaya Z.E. can provide significant assistance in preparing this section. and Kazarinova A.S.
In the first year you need to give basic terms. We draw up a thematic plan. In more detailed form it will look like this.
LESSON 1. Elements of musical speech. Melody. Lad. Musical form. Period. Simple two-part form.
Sweet dream
Morning prayer
In the church
LESSON 2. Harmony. Pace. Texture. Rhythm. Simple three-part form. March. " Puppet story" “Oh, these boys.”
Doll disease
Doll funeral
New doll
Horse game
Mother
March wooden soldiers
LESSON 3. Song genre. Homophonic and polyphonic texture. Complex two-part form. Variations. “Travel to European countries” and “Russian page”.
Neapolitan song
Italian song
The organ grinder sings
An old French song
German song
Russian song
A man plays the harmonica
Kamarinskaya
LESSON 4. Dance forms. Complex three-part form. Programmatically – fine music. Register. "Bedtime Story" and "Russian Landscapes".
Waltz
Mazurka
Polka
Nanny's fairy tale
Baba Yaga
Winter morning
The lark's song
LESSON 5. Quiz and test.
In more detailed form, the content of the lessons will look like this.
Introduction. Music in human life.
Music in our lives... It greets a person from the first minutes of life with a mother’s affectionate lullaby and guides him through life ringing melodies children's songs, tender love stories youth, Mendelssohn's wedding march, further by interests:
chanson
pop music
classic
jazz, etc.,
and as a result of his whole life - the funeral march of F. Chopin. The scheme is simple and clear. However, inside it everything is not so simple and even completely different.
P.I. Tchaikovsky created his own idea of musical life other half's childXIXcentury in the piano cycle “Children's Album”. The composer dedicated this composition to his beloved nephew Volodya Davydov. The world of children's games, fun, and quarrels was well known to Tchaikovsky, since he often and for a long time lived in his sister's house in the Ukraine, in the village of Kamenka, and enjoyed communicating with his nephews. The repertoire for children's home music playing was extremely scarce and Pyotr Ilyich decided to “make whole line small passages of unconditional ease and with titles tempting for children.” This is how a cycle arose, consisting of 24 plays, as if “24 hours in the life of a little man.”
The day begins with morning prayer, then playing snowballs outside and playing horses in the spacious rooms of the house. Mom's affectionate voice, and again playing soldiers. The girls have their own worries, their dolls get sick and die “for real.” Games give way to dancing, because the ability to dance was considered a sign of good upbringing. And outside the window you can hear Russian folk song and dance, and the incomprehensible playing of an accordion player. The geography lesson is dedicated to traveling through European countries: Italy, France, Germany. And in the evening, the children are treated to Nanny's tales of miracles and Baba Yaga.
Before going to bed, I dream pleasantly, my thoughts glide smoothly, and I dream of spring, the warm sun and the ringing trills of a lark; for some reason I remembered Italy, along the streets of which organ grinders walk and sing.
The day ends. IN last play cycle the chorale sounds again, which contributes to the compositional harmony and completeness of the “Children’s Album”.
This can be told in words, but music tells stories in its own language, stronger and more expressive. How to understand musical language? How is it different from speech?
The musical language is rich and varied, because its vocabulary contains not just sounds, but melody, mode, rhythm, harmony, timbre, dynamics, tempo, strokes, phrasing... All these elements musical language Composers use them in all possible combinations when creating music.
LESSON 1. Elements of musical speech. Melody. Musical form. Period. Simple two-part form. Cantilena.
Every person retains many pieces of music in their memory. If you try to remember them, you will probably hum the melody or tune.
Motive is an expressive piece of melody. A motive can evoke ideas about the entire melody and its character.
Melody - a developed and complete musical thought, expressed monophonically.
The life of a melody is like the life of a flower. A flower is born from a bud, blooms and finally fades. In a short time, the melody manages to emerge from the motive, “bloom” and end. Every melody has a "blooming point" highest point its development, the highest intensity of feelings. It is calledclimax. The melody endscadence – stable turnover.
The structure of a melody is similar to the structure of speech. Just as phrases are formed from words, and sentences are formed from phrases, so in melody small expressive particles - motives - are combined into phrases. Musical phrase, as a rule, is formed from two to three motives. Several related phrases common line development, formoffers , and sentences - a complete melody.
Let's look at the structure of the melody using the example of “Sweet Dream” (example 1).
A beautiful, melodious melody of a dreamy nature develops in small phrases - “waves” and gradually “blooms”. The melodious melody of wide breathing and long unfolding is calledcantilena, which means "singing" in Italian. Each phrase of the melody contains two expressive motives. Overall, the melody has the form of a classical period, consisting of two sentences.
Thus, period – this is a small structure in which a complete musical thought is expressed.
motive motive
1 phrase 2 phrase 3 phrase 4 phrase
1st OFFER period
phrase phrase phrase phrase
2nd SENTENCE
The period is part of the construction piece of music called musical form.
Tchaikovsky's piano cycle begins and ends with pieces of spiritual content.
№1 “Morning Prayer” - the play seems to set the child up for good thoughts and actions. “Lord, make sure that mother and father, sister and brothers, and also aunts, nanny and everyone else are alive, healthy and happy” - a prayer that the kind governess Fanny Durbach taught Pyotr Ilyich as a child.
The melody sounds light and calm in the key of G major. Here one musical idea is developed, so the composer chooses the simplest musical form - a period, which consists of two sentences. In the first sentence, the musical idea remains unsaid, ending with an unstable cadence on the dominant. In the second sentence, the musical thought, developing, comes to a climax and ends with a cadence on the tonic and therefore sounds stable (example No. 2).
The sentences are the same in size: each contains 8 bars. They form classical period re-building. But the play did not end. The period is supplemented by a large coda.
Code - this is a construction that completes a musical work and gives it completeness and completeness.
In the coda, complete calm comes, this is achieved by the long and measured sound of the tonic in the bass, the repetition of the “farewell” cadence. And only when the last transparent-light sounds of the coda fade into silence, one gets the feeling that the work is finished - the form is completed.
№24 “In the church” - the sound is reminiscent of the singing of a church choir.
An important element of expressiveness here is the mode. From music theory lessons we already know thatokay means the consistency of sounds of different pitches, which unite around the main sound - the tonic. The most common modes in European music are major and minor.
In the final piece, E minor creates a feeling of evening and sounds like a response to the “morning” G major of the first piece (example 3).
The form of the play is a period of a single structure:
a period consisting of 12 measures is divided only into phrases that continue one another
repeat period
addition
a large coda, sounding on an ostinato bass and completing not only the piece, but the entire collection.
This is the “farewell word” of the “Children’s Album”.
Period like component more complex forms - two-part and three-part - are used in most of the pieces of the "Children's Album".
LESSON 2. Harmony. Rhythm. Texture. March genre. Simple three-part form. Recitative.
One of the most important expressive means music isharmony . It is based on the combination of sounds into consonances and the relationship of these consonances with each other in a sequential movement. Harmony often refers to the chord accompaniment of a melody. Harmony from Greek means harmony and proportionality.
The plays of the “Children's Album” can be conditionally grouped into groups according to thematic content.
“A Doll's Story” is represented by three plays that reflect the complex and serious attitude to the life of a little person.
"Doll's Disease" The play does not have a continuous melodic line. It is as if “broken” by pauses, each sound of the melody resembles a sigh: “Oh... ah...” (example 4).
Harmony dominates here and determines the character and mood of the play. The form of the play is one-part, consisting of two periods with a coda. The doll's "suffering" reaches its climax in the second period, which contains a tense climax. The coda is long and soporific.
Rhythm – a Greek word meaning proportionality. This is a natural alternation of sounds of different durations in music. Without rhythm, a piece of music cannot exist. Rhythm has great expressive power, and the character of the work depends on it.
"Doll's funeral"The mood of sadness in this play is created using the funeral march genre. Here his features clearly appeared - the tempo of a slow step, dotted rhythm, chord texture, recitative melody, minor scale. (example 5)
Recitative –This is a type of vocal music that approximates natural human speech.
Pace – speed of movement.
Texture – a way of presenting musical material: melody, chords, figurations, echoes, etc.Form plays simple tripartite , consists of equal periods of 16 clock cycles (ABA). The extreme parts are the same; these are periods of repeated construction. The middle part sounds with a dynamic increase, which is associated with the expression of increasing grief. At the moment of climax, a sharp intonation of despair - a tritone - invades the melody. This is the most unchildish miniature in the Children's Album.
Genre (French) - means a type, type of any art. Music intended for singing, walking, games, rituals, military campaigns, and ceremonies belongs to such simple genres as song, dance, and march.
"New doll."The play sounds like a fast dance, conveying different shades joyful feeling: amazement, delight. The melody consists of small motifs merging into one wave. The form of the play is simple three-part.
“Oh, these boys.” Two plays in the cycle are dedicated to boys.
"Horse Game" - lively, figurative, sunny scherzo (Italian “joke”), cheerfully boyish, with a stubborn ostinato rhythm (ostinato- a repeatedly repeated melodic or rhythmic turn). This is the tempo of a small toccata, which is characterized by a fast tempo and ease of execution.
"March of the Wooden Soldiers" . The main means of expression in this play is, of course, rhythm. The dotted rhythm and eighth pauses that constantly interrupt the melody give the music a light, toy-like quality. The rhythm of eighth notes and two sixteenth notes imitates the sound of a trumpet. The form of the play is simple three-part. The middle of the piece sounds secretive and even a little threatening.
It can be assumed that between the game of horses and the performance of the wooden soldiers, some troubles occurred among the players, and Tchaikovsky evokes a tender, reconciling image of his mother.
"Mother". There is a note from the author about the play: “with great feeling and tenderness: The melody is melodious, affectionate, bright; subvocal texture with melodic lower voice.
LESSON 3. Song genre. Complex two-part form. Variations. Homophonic and polyphonic texture.
The next suite can be called “Travel through Countries.” It is formed by songs No. 15 – 18 and No. 23. You can feel the rhythmic liveliness of Italian melodies, the wise sadness of an old French tune, and the sedate regularity of German dance. And yet Tchaikovsky gives preference to Italian “songs”. There are three of them in the “Children's Album”. This is no coincidence. The plays reflected the composer's fresh musical impressions received in Italy.
"Neapolitan Song"- one of the most striking plays in the “Children's Album”. This is an authentic Italian melody. Living in one of the hotels in Naples, Pyotr Ilyich often listened to the playing of traveling artists playing music under his balcony. The composer liked the theme so much that he used it twice - first in “Swan Lake” in 1876, and two years later in “Children’s Album”. The composer calls it a dance in the ballet and a song in the “Children's Album” - and there is no contradiction in this. It combined both song and dance.
“The Neapolitan Song” has two parts – the chorus and the chorus. The chorus has a simple two-part form. The chorus sounds like a song (example 6a), and the chorus is dominated by the elements of rapid dance (example 6b). A picture of a cheerful Italian carnival. Form of the whole piececomplex two-part. The elastic and clear rhythm of the accompaniment gives the work special expressiveness.
"Italian song"has the same structure - chorus and chorus. It is also based on an authentic street song. The melody, mobile and graceful in the first part, is sung more cantilinously (drawn out) in the second. The texture of the presentation is homophonic (homophonic-harmonic structure), where the solo voice (melody) and accompaniment (accompaniment) are combined.
Melody hummed Italian girl, became a play« The organ grinder sings" . The bright melody flows calmly, leisurely, accompanied by waltz accompaniment. The form of the play is simple two-part.
“Italian”, “German”, “The Organ Grinder Sings” and partly “An Old French Song” are reminiscent of the sound of an organ grinder. Tchaikovsky was associated with the mechanical sound of this instrument vivid impressions childhood (tell).
Music "Old French Song" imbued with sincerity and sadness, like a heart’s memory of the distant past. The composer used an authentic tune hereXVIcentury - “Where have you gone, the hobbies of my youth”... A simple and leisurely tune is akin to an ancient ballad. The spare harmonies and restrained minor tone of the narrative are reminiscent of paintings by the old masters.
The play is written in a simple two-part reprise form. At the beginning and at the end of the play, a three-voice presentation of a polyphonic structure (polyphonic texture) is maintained: the melody sounds against the background of a sustained tonic bass, the middle voice echoes the melody, forming consonances with it. (example 7)
At the beginning of the second part, the melody is enlivened, the texture changes: instead of polyphonic it becomes homophonic. In the reprise, the same narrative melody is heard again. Discreet and noble simplicity, the aroma of antiquity made this play a masterpiece of the “Children's Album”.
"German Song"- cheerful, with a bouncing melody. It is based on the intonations of a Tyrolean song, and the rhythm is reminiscent of the ancient Ländler peasant dance, popular in Germany and Austria. In the harmony, the monotony of which resembles the sound of a barrel organ, only the tonic triad and dominant seventh chord are used. The form of the play is simple three-part, the rhythm is dotted, the texture is homophonic.Song - a genre of vocal music. Here the song is presented as an instrumental piece, which is based on the song's theme.
The “Russian Page” of the album is represented by three plays: “Russian Song”, “A Man Plays a Harmonica”, “Kamarinskaya”. They make up another small suite (suite - sequence (French)).
In Russia in the 60s and 70sXIXcentury, during the period of the rise of national culture, attention to folk music. New arrangements of folk songs appeared, made by Balakirev, Prokunin, Rimsky-Korsakov. In those same years, Tchaikovsky created piano arrangements for four hands of 50 Russian folk songs. Tchaikovsky identified the most important features of Russian folk songs:
variability of the mode of Russian songs (“indefinite key”)
clarity of the rhythm of dance songs.
In the “Russian Suite” from the “Children's Album”, a bright national color attracts attention. The plays use the same development technique - variation, characteristic of folk performance. This technique, however, manifests itself differently in all three plays.
Variations – musical form, consisting of a theme and its modified repetitions (variations).
A A 1 A 2 A 3
subject variations
In each variation the theme appears in a new light, its new sides are revealed; this allows you to reveal the moods inherent in the topic in a multifaceted way.
"Russian song" - a masterful arrangement of the folk song “Are you a head, my little head?” She recreates the powerful four-voice sound of a male choir, full of youthful strength and luck. The melody is laconic (6 bars). Phrases end either in major or in minor. That's what it ismodal variability , which Tchaikovsky noted as characteristic feature Russian folk song (example 8).
The author gives three options for processing the topic. At the same time, the bass line develops independently and becomes as expressive as the melody of the upper voice. In other voices, small independent motives and phrases sometimes appear - they are called sub-voices. The number of votes changes freely: there are four, then three, then two, then four again. Similar free use voices is typical of Russian choral song. This style of presentation of musical material is calledsubvocal polyphony. In the “Russian Song,” the treatment of the theme can be likened to a tree, where the constant theme is the trunk, and the variations are the branches of this tree. The melody consists of short motifs; they flow so smoothly into one another, flowing so continuously, like a girl’s round dance moving in a circle.
"A man plays a harmonica" - a funny sketch from life, a kind of small scene. The sound of the piano is reminiscent of playing the harmonica: the piece plays on a dominant seventh chord - it is repeated 30 times! The single chanted phrase never became a “real”, developed melody. Multiple varied repetitions of this phrase create a comical impression: the hero seems puzzled by the unusual sound of his harmonica and is clearly unable to play anything else. The phrase, not completed, fades away in mid-sentence.
"Kamarinskaya". This famous tune of Russian dance was used by Glinka in his brilliant orchestral fantasy back in 1848. Here, in the “Children’s Album,” the dance song appeared as a modest piano miniature. Developing the traditions of Glinka, Tchaikovsky gives in it a vivid example of instrumental variations. The art of variation—patterned coloring of a theme—comes to the fore.
The composer varies the texture and changes the melody itself. The playful, scherziose theme is followed by three variations. The first and third variations, light, mobile, retaining the touchstaccato. In the second variation, a dashing, brave dance sounds. The theme is presented in dense chords, but even at the same time a familiar dance tune can be heard in the upper voice (example 9).
LESSON 4. Dance forms. Programmatic visual music. Complex three-part form. Register.
Just like song and march, dance belongs to simple genres. In the narrow sense of the word, dance music refers to light music that accompanies everyday and ballroom dancing. From all genres and spheres of musical art dance music It is most closely connected with everyday life, and therefore it is most sensitive to the trends of time and fashion.
In the second halfXIXcenturies in Russia the most fashionable and popular dances were considered: waltz, mazurka, polka, polonaise, krakowiak and others. Tchaikovsky included three of them in his album.
"Waltz".The name supposedly comes from the German word - roll out. The waltz is danced by smoothly twirling couples: its tempo varies from slow to very fast. The meter is three-beat, the accompaniment is characterized by a supporting accent in the bass on the strong beat and two light chords.
Among ballroom dances, the waltz stands out for its lyrical mood and romantic flight.
“Waltz” from the “Children's Album” recreates the atmosphere of a home holiday, therefore it is written in the traditions of home music-making - with a simple melodious melody and a characteristic waltz accompaniment. The melodic phrases are small, smooth, they are sung as if by chance, interrupted by pauses. Starting in a bright E - flat major, the melody gradually goes into the “shadow”, modulating into G minor, forming a form with a modulating period. This is followed by the second period, where the key of E - flat major returns. Mischievous, sweeping leaps appear in the melody, the music sounds cheerful, “with various madness and schoolboyism” (example 10).
Thus, a simple two-part form was formed from the two periods.
In the middle part of the waltz, the character of the music changes, the melody moves to C minor, insistent fifths sound in the accompaniment, and the melodic line takes on a broken two-beat pattern.
But the episode flashed by and the waltz began again. The waltz form is a complex three-part one.
A B A
simple period simple
two-part with two-part
form complement form
Mazurka – Polish folk dance, has a three-beat size, a sharp and clear rhythm, a characteristic rhythmic figure of an eighth with a dot and a sixteenth, the tempo ranges from moderate to very fast. The mazurka combines light grace, brilliant prowess, and dreaminess. Spectacular tapping of heels in dotted rhythmic figures is also characteristic.
"Mazurka" Tchaikovsky is written in the classical tradition of this dance. The character of the melody is somewhat melancholic at the beginning, but in the middle part it becomes active and persistent. This is expressed, first of all, in the variety of rhythmic figures: a dotted rhythm, dissected by a pause, sounds even more sharp and even a little flirtatious, triplets, accents on the last beat. The dance form is simple three-part. (example 11)
"Polka" - Czech folk dance, from the middleXIXcentury acquired the significance of popular ballroom dance. The size of the dance is bipartite. The polka is danced in pairs in a circle, cheerfully and at ease.
In Tchaikovsky's cycle "Polka" is a witty, elegant piece written in the key of B - flat major. In the lower voice there is the usual accompaniment for dance: bass - chord. Theme is being performedstaccato, she is very perky and sharp. During the second conduction, the voices change places: the theme is heard in the lower voice, and the accompaniment in the upper voice. The form is three-part, after a crescendo in the middle part, the reprise is played on the piano.
The remaining four plays from the "Children's Album" can be declared as: "Bedtime Story" and "Russian Landscape". Of course, they also belong to the typeprogrammatic - fine music, which has a name (like all the pieces on the album), and also “depicts” by imitation:
movements of people, animals, birds
reveals their character
depicts space
Among other means musical expressiveness In programmatic visual music, register is important.
Register- part of the musical scale, distinguished between upper, middle and lower registers.
"Nanny's Tale" . Cautiously prickly sonority (strokestaccato), with sharp harmony the composer creates a fabulous image. In quiet tunes one can hear the mysterious “knock-knock-knock...knock-knock-knock” (example 12). Music filled with sensitive pauses and unexpected accents sounds wary.
The development technique used here—the sequence—intensifies the mood of anxiety, leading to screams” (jump to a diminished seventh). In the middle of the simple three-part form, the music is truly scary. The upper voice “freezes in fear” at one sound, and from the gloomy low register a chromatic sequence “crawls out” like a ghost. The motives from which this “terrible” sequence is woven are the same as in the extreme parts (“knock-knock-knock”). The reprise exactly repeats the music of the first movement. And only the light key of C major seems to remind us that this fairy tale is a musical joke.
"Baba Yaga". The play is also pictorial in nature. It is written at a very fast pace (presto) and seems to imitate the flight of Baba Yaga. Staccato eighth notes, coupled with erratic chords, permeate the entire piece. Fast and smooth, they melodically fly up and then fall down.
This play, like “Nanny's Tale,” is written in three-part form, but the contrast of the middle is almost unnoticeable here due to the continuous movement. The culmination of the piece is the beginning of the reprise, sounding an octave higher than the first part. The “screams” of Baba Yaga sound sharper, as if flying overhead and rapidly moving away. The impression of “removal” is created due to the gradual transition to the low register and attenuation of the dynamics. Flew away...
"Winter morning" - like a picture from the window of a provincial house onto the street - life will awaken. Short intermittent motives and restless intonations create the image of prickly drifting snow, the morning seems gloomy and inhospitable (example 13). The play is written in a simple three-part form. The dotted rhythm, frequent accents, and chord texture give the music an excited, assertive character.
The extreme parts are contrasted by the middle, where pleading, plaintive intonations appear.
Similar in plot to this play"The Lark's Song" of a completely different nature. Light, clear music, as if ringing in the azure, conveys the feeling of awakening spring nature. Calm, even chords sound in the lower voice, and a whimsical melody in the upper voice, imitating real birdsong. It is rhythmically that this theme is very refined. There are a lot of triplets and grace notes in it. The sound of the melody in the upper register creates a feeling of transparent bottomless height and spiritual serenity. The form of the play is also simple three-part.
In conclusion, I would like to note that “Children’s Album” is not just an alternation of short plays - sketches from life or simple dances. These are beauty lessons in the eternal school of beauty, of which anyone can become a student. “Children’s Album” opens the gates to the world of great art, becoming the first step on the path to “Swan Lake” and “Eugene Onegin”, to “The Queen of Spades” and the “Pathetique” Symphony. In a word, to Tchaikovsky.
As a test of students' knowledge, it is recommended to use a frontal survey of students on the topic and terms covered at each lesson.
It is advisable to make the fifth lesson a test using various forms of testing students’ knowledge:
individual survey
frontal survey
small tests
music quiz
essay (for advanced groups) on the topic “My favorite piece from the “Children’s Album” by P.I. Tchaikovsky.”
Thus, having distributed the topicsI quarters:
elements of musical speech
musical forms
main genres: song, dance, march
programmatic - visual music (first acquaintance)
you can completely fit into 4 - 5 lessons, freeing up hours to expand the topic “Musical timbres,” which also requires a new interpretation.
Bibliography.
Buluchevsky Yu., Fomin V. Kratky musical dictionary for students. - L. “Music”, 1988.
Gorskaya E. “Children’s Album” by P.I. Tchaikovsky “Almanac for schoolchildren “Music and You” issue 7 - M., 1988.
“Children's Album” by P.I. Tchaikovsky in the pedagogical repertoire of music schools. - M., 1972.
Lisyanskaya E.B. Musical literature. Toolkit. – M. “Rosman”, 2001.
Kalinina N. “P.I. Tchaikovsky.” – M. “Children’s Literature”, 1988.
Osovitskaya Z.E., Kazarinova A.S. Musical literature. First year of study. – M. “Music”, 2000.
Tchaikovsky P.I. "Children's Album" for piano. - S-P. "Composer", 1992.
I quarter
Elements of musical speech.
The nature of the musical theme. Theme development.
Lesson 1 . Elements of musical speech.
Music surrounds us everywhere. We can say that we live in musical world. Today, the leading role of music has become entertainment: we dance to it, relax, the musical background has become ordinary, often even unconscious. But music since ancient times has much higher value in our life. It educates a person and ennobles his inner world. Music helps: rock a child to sleep, organize a mass action or general work. Music heals. Music improves communication between people of different nationalities.
Music(from Greek “muse”) - art that reflects reality and influences a person with the help of organized sounds (in pitch, duration, volume and timbre).
Music is somewhat similar to speech. It is also addressed to the listener in order to influence him. In music, as in speech, internal state a person is expressed using intonation, register, tempo, timbre, the dynamics of their change and interrelation. Melody, accompaniment, mode, timbre, register, dynamics, tempo, strokes, rhythm, and meter are calledelements of musical speech .
Melody (from Greek “song, tune”) -musical thought expressed monophonically . Melody plays the most important role in musical art. The melody happensvocal And instrumental . There are two types of melody:cantilena (from Italian “singing”) – melodious, smooth andrecitative (from Latin “to recite”) - the desire to get closer to natural speech. In addition, there are melodieswide range And narrow range (sound volume of a voice or instrument - the interval between the lowest and highest sound). Great importance for the expressiveness of the melody has its direction.Rising movement melody is usually associated with increased tension, anddescending – with relaxation (the influence of breathing patterns and work characteristics vocal cords). But sometimes, achieving a special effect, composers use, for example, a downward movement to increase anxiety, tension and vice versa. More often the melody movesundulating : wide upward strokes are filled with a smooth progressive downward movement, etc.
Accompaniment (from French) – melody accompaniment . The division into melody and accompaniment is characteristic of homophonic-harmonicinvoice (from Latin “processing, structure” - musical presentation), as opposed to monophonic, chordal or polyphonic. The accompaniment serves as a harmonic support for the melody (harmony from Greek “harmoniousness, proportionality” – chords and their sequence). There are two types of accompaniment presentation:chordal And featured .
Lad (from the Greek “harmony, harmony, order”) -consistency of musical sounds in pitch. In classical music, two main modes are most often used -major And minor .
Timbre – (from the French “coloring”) –sound color. The voices of instruments, thanks to their special structure, have a unique sound. The voices in the choir also differ in timbre (from bottom to top):bass - tenor - alto - soprano.
Register (from Latin “list, inventory”)– sections of the range of various musical instruments. There are: short , average And high registers.
Dynamics(from Greek "strength") – sound volume. Italian terms are used to refer to dynamics.
Pace(from Latin "time") - speed of sound of a piece of music. Different tempos fast , moderate And slow. Italian terms are used to indicate tempo.
Hatch (from German “line, line”) –expressive element, method of execution. Also denoted by Italian terms.
Meter (from Greek “measure”) –uniform alternation of strong and weak beats. Meter and rhythm indicate a very long connection between music and poetry and body movement.
Rhythm(from Greek "to flow") - alternation of long and short sounds. The combination of musical sounds of different durations forms a rhythmic pattern. A rhythmic pattern that is used throughout a piece or part of it is calledrhythmic formula . By the rhythm formula you can recognize some dances, for example, mazurka -
Tasks:
Using the table inAppendix 1 find it and write it down in your notebook dynamic shades in order: from very quiet to very loud.
Using the table inAppendix 2 find and write down moderate tempos in your notebook.
Read the poems, highlighting the stress in the words, determine which one has a two-beat meter and which one has a three-beat one. What are these verse sizes called? Find your own examples.
B. Zakhoder
Grandfather Roch
Grandfather Roch
Sowed peas
Plowed the land -
He sighed heavily
When I was cleaning -
He wiped away the sweat.
When I was threshing -
One finger was enough.
But when I ate,
Swallowed my tongue -
It was delicious before!
G. Sapgir
How many legs?
Masha drew a cat.
Misha told her:
Look,
The cat didn't have enough legs
- Only three.
Let me draw.
One two Three
Four five!
Lesson 2
Musical image. Musical theme.
The role of elements of musical speech in creating an image.
When we listen to music, we do not try to isolate separately the melody, rhythm, register, timbre, etc., but perceive the whole. A uniquemusical image , which the composer wanted to convey to us. The whole difficulty lies in the fact that it is impossible to understand the language of music in the same literally how we understand the language of literature or specific images of painting. Music conveys emotions, moods, feelings.
Picking up epithets (from the Greek “application”) - definitions that convey impressions of an object; we can describe our impressions of a piece of music.
A piece of music may have one or more images. They are embodied in musical themes.Musical theme (from Greek “that which is the basis”)– the main idea of the work, material for further development. The nature of the topics can be close, complementary, oron the contrary, distant, opposite -contrasting . Whether musical themes sound similar or different depends on the elements of musical speech that the composer selected for each of them.
Taking advantage Appendix 3 , let’s select epithets for the Main and Side Topics"Bogatyr" symphony by A. P. Borodin . The themes are contrasting. We can describe the character of the Chief with epithets: significant, courageous, decisive, persistent, warlike, difficult (at least 5 words must be selected). And the character of the Side Topic is affectionate, soft, friendly, bright, calm. The selected epithets will help us later, when listening again, to recognize the topics.
If we compare the elements of musical speech that make up the Main and Secondary Themes, we will see that they also differ. Thus, the contrasting nature of musical themes is created by various elements of musical speech. And, conversely, in topics of similar nature we will certainly find common elements of musical speech.
Tasks:
1. Using the table inAppendix 4, find the dates of life and death of A.P.
Borodin. Which composers lived with him at the same time?
Try composing your own piece of music. Come up with and write down the name, the nature of the musical theme and the elements of musical speech from which it was formed.
Compare the nature of the Main and Side Themes in the Overture to the opera “Ruslan and Lyudmila” by M. I. Glinka. Are there any common features? Are the elements of musical speech similar?
Lesson 3
Musical image.
Program music.
Sometimes a composer, wanting to be understood more accurately, uses the ability of music to convey not only mood, but also images of movement, as well as the ability to imitate various sounds, for example: the singing of birds, the trampling of horses, the splashing of waves. And before our inner gaze, whole pictures unfold, “painted” by musical sounds: image-portrait, image-scene, image-landscape, image-mood. And in order to clarify our impressions, to direct them, the composer gives the work a title or even describes in words what we should understand from what we hear. This kind of music is calledsoftware .
Musical image"Ride of the Valkyries" by R. Wagner accessible to every listener - chase, battle and fall. This is something that is conveyed exclusively by elements of musical speech. The belligerence of the music is given by its resemblance to a march: a clear dotted rhythm, a melody with intonations of signals, movement along the sounds of a triad. The timbres of brass instruments resemble a military band. Changes in dynamics allow you to imagine how heroes approach from afar, rush past and move away. Wagner also uses sound imagery: a leap, a whistle, an arrow cutting through the air, thunderous blows, a fall. Thus, the general idea is quite clear. And knowledge of the plot of the opera “Valkyrie” (Part 2 of the tetralogy “The Ring of the Nibelung”), where this symphonic intermission (a musical fragment preceding the action in the opera) sounds allows us to further concretize its content: The warrior goddess, who violated the will of her father, is trying to escape from his wrath on his winged horse.
After listening to “Ride of the Valkyries” by R. Wagner, we will write a short essay in which we will recreate the picture that presented itself to us. Let's not forget that bright musical images need a vivid description.
Tasks:
1.Using the table inAppendix 4, find the dates of life and death of R.
Wagner. Which composers lived with him at the same time?
What does it mean German proverb: « A real musician knows how to hear with his eyes and see with his ears?
Write down the elements of musical speech that R. Wagner used in Ride of the Valkyries.
works (possibly from the repertoire of the specialty).
Lesson 4
Development of the musical theme.
Sequence.
We learned that the theme occupies a leading position in a piece of music. And not only thanks to a memorable melody or a bright image, but also the ability todevelopment ( change). Each musical theme changes completely or partially throughout its presentation. The development of the topic leads toclimax (from Latin "top")– the most intense moment of a musical work, or part of it . There are several methods for developing a musical theme: repetition, sequence, variational development, imitation.
The simplest development method isrepetition . It is usually found in songs where the same melody is repeated with different words. Based on repetitionsequence (from Latin “follow”) - a development technique that is complicated by the fact that the theme is repeated at different heights, at the same interval, exactly or approximately.
Let's listen to a fragment of a symphonic suiteN. A. Rimsky-Korsakov “Scheherazade” (1888) . This music is programmatic. Well known to everyone Arabian tales"1000 and one night" But Rimsky-Korsakov also prefaces the symphonic suite with the program: “Sultan Shahriar, convinced of the treachery and infidelity of women, vowed to execute each of his wives after the first wedding night; but Sultana Scheherazade saved her life by managing to keep him busy with fairy tales, telling them to him for 1001 nights, so that, prompted by curiosity, Shahriar constantly postponed her execution and finally completely abandoned his intention. Scheherazade told him many miracles, quoting poets’ poems and song lyrics, weaving tale into tale, story into story.”
Two important musical themes open the work: Shahriar's Theme and Scheherazade's Theme - they are contrasting. Let's select epithets for each of them. The development of Scheherazade's Theme smoothly leads us to the next theme - “The Sea”. We can easily find out where it “grew” from - from Shahriar’s Theme. The Sea Theme sounds at first very wide, slowly, swaying. Gradually the nature of the theme changes, it seems that the waves are rising on the sea, they are higher and higher, and then a real storm breaks out. This effect was achieved with the help of a sequence - the Sea Theme sounds higher and higher each time, thanks to this the tension will increase.
Tasks:
1. Using the table inAppendix 4, find the dates of life and death of N.A.
Rimsky-Korsakov. Which composers lived with him at the same time?
2. Find a sequence in works in your specialty.
3. Write a short essay on the Theme of the Sea. Reflect those in the text
the changes that happen to her.
Lesson 5
Development of the musical theme.
Variation development.
Variational development – this is also a repetition, but modified, different from the first presentation of the topic. All elements of musical speech that make up the theme can undergo changes. Variational development is one of the ancient ways of changing a musical theme, and the main one in folk music. It is not surprising that in works written using folk melodies, composers choose this particular way of developing the theme.
Let's listen to a fragmentSymphonic fantasy “Kamarinskaya” by M. I. Glinka (1848) . Two Russians sound here folk themes. The first is the wedding song “Because of the Mountains, the High Mountains”, and the second is the dance song “Kamarinskaya”. Variational development helps Glinka get closer to the peculiarities of performing folk melodies. For example, Russian folk songs often begin with a single-voice chorus, to which voices are gradually added, varying the main melody. Likewise, the first theme of “Kamarinskaya” is presented at first monophonically. Then new timbres of various instruments are added to it until the whole orchestra joins. The dance theme also sounds monophonic for the first time. Its development is reminiscent of a daring folk dance, in which dancers try to surprise us with more and more “knees.” There even comes a moment when the composer removes the melody altogether, leaving only the accompaniment. But the dance theme has already been etched into our memory, and it seems to us that it continues to sound. The most surprising thing is the transitions between themes - completely different, initially contrasting themes, after development, quite naturally connect with one another.
IN final (4 parts) Symphony 4 by P. I. Tchaikovsky (1877). IN the composer also uses Russian folk songs. She is so famous that she does not need a reminder. We recognized her, of course. To develop it, the composer also uses a variational method of development.
Variation development helps to reveal the musical theme in a new way, more fully, from different sides, and this greatly enriches the sound.
Tasks:
Using the table inAppendix 4, find the dates of life and death of M. I. Glinka. Which composers lived with him at the same time?
Remember and write down which elements of musical speech changed in the first theme of “Kamarinskaya” by M. I. Glinka. Which ones are in the second?
Remember and write down 5 titles of works by P. I. Tchaikovsky.
Lesson 6
Russian folk music.
Calendar songs.
We have already begun to talk about folk melodies and the features of their development. And now let's take a closer look at this special art. The vocal and instrumental creativity of the people is called mmusical folklore (from English " folk wisdom"). The authors of folk songs are unknown, they are passed on from mouth to mouth, and each performer adds something of his own. Thanks to this collective creativity, songs exist in several versions. In addition, repeated processing polishes the melody, leaving in it only the most striking melodic turns and intonations. Folk song is inextricably linked with the life of the people, their work, way of life, and worldview. Maxim Gorky compared Russian folk songs with Russian history.
The life of ancient man directly depended on the manifestation of the forces of nature. It is not surprising that our ancestors not only deified these mysterious forces, but also noticed their features and patterns. All this was expressed in rituals, and the rituals were accompanied by songs and dances. An annual circle of holidays has developed: Christmas, Christmastide, Maslenitsa, Magpies (Larks), Easter, St. Yegoryev's Day, Trinity, Ivan Kupala. It is curious that all of them were timed to coincide with even more ancient - pagan holidays dedicated to the days of the solstice and solstice. This is how the oldest circle of songs arose -calendar .
The year began in the spring, that’s when they soundedstoneflies . All people's actions were aimed at bringing warmth as quickly as possible. Children ran around with larks baked from dough, scattering them in the field or swinging them on poles so that they seemed to fly. Women and girls rose at dawn to the hills or roofs of houses and called for spring. The melodies of these songs consist of persistently repeated exclamatory intonations. A narrow range and variable fret are characteristics of stoneflies. In addition, each stanza ends with a special cry - a “hoot”.
Carols (from Latin “the first day of every month”) - folk songs of greatness dedicated to winter ritual holidays: Christmas, New Year, Epiphany. Carols were sung by young people, often dressed up to scare away evil spirits. On poles they carried a circle with ribbons - a symbol of the sun. Each carol has an obligatory part - majestic - congratulatory. For good wishes, the owners had to give gifts to the carolers.
On Christmastide (the time from Christmas to Epiphany), young people used to tell fortunes. Fortune telling was often accompanied by special songs -subsurface . They consisted of couplets-riddles: about an imminent wedding, wealth, prosperity, illness, even death. The earrings and rings of all those present were placed on a dish or bowl of water. During the song, the chosen girl took out things one at a time - the owner of the ring or earring and the prediction was intended.
Round dances originally were one of the varieties of spring songs. Later they began to sound throughout the year. Round dances (karavods, karagodas, circles) were circular and non-circular - song-games (tanks or gaivki). In song-games, dancers imitated labor movements or acted out comic scenes. Round dance songs could be lyrical, smooth, leisurely, or fast, comic.
Tasks:
According to the beliefs of the ancient Slavs, Spring flew on the wings of birds. The most revered bird was the lark. Guess why it has this name?
Why did carolers dress up as a bear, a goat, or a devil? Draw such a suit.
Do you know fortune telling? Ask adults and describe one thing.
Lesson 7
Russian folk music.
Family and household. Epics. Lyrical songs. Ditties.
Another wide range of songs -family and household . There were Russian folk songs for almost all occasions: Motherland, Krestbinsky, Lullabies, Wedding, Lamentations.
Lullaby the song serves to lull the child to sleep. A very simple, even monotonous melody sounds calm, measured, words and melodic turns are often repeated - the child needs to be put to sleep, not entertained.
An ancient Russian wedding consisted of traditional comedic and dramatic scenes, games, and all the action was accompanied by variouswedding songs. This “performance,” in which the “roles” were precisely described and known, sometimes lasted several days, involving all the residents in its participants. Everything was led by a man - a matchmaker or friend, who perfectly knew all the intricacies of the ritual. Wedding festivities began in the bride's house: matchmaking, bride's viewing, bachelorette party, bride price, farewell of the bride to her family. Then everyone went to church for the wedding. And the second part of the wedding took place at the groom’s house. Here the tables were laid and songs were constantly played: majestic, drinking, comic, and dance songs.
Occupies a special place in folk musiclament song - melodiously intoned poetic improvisation associated with the expression of grief and sorrow. Laments were sung at funerals, at sad news, farewells to a foreign country or to the military, and even at weddings - when the bride said goodbye to her home. The melody of these songs is very simple, consisting of descending low-second intonations in a narrow range. The line sometimes ends with sighs, shouts or crying. Every Russian woman had to be able to cry, but there were mourners who did it with special skill.
The unwritten history of Rus' isepics (old times, antiques) - legendary poetic narratives about the distant historical past. The heroes of epics are heroes, bearers of the best traits of the people, defenders of the Russian land. The epics were chanted to the measured accompaniment of the gusli. The text came first, and the melody only added expressiveness to it. The storytellers of epics were called Boyans. These were professional musicians, which were stored in memory great amount stories.
The people did not distinguish between epics andhistorical song , calling both of them antiquities. But the differences were also quite significant. In historical songs, the events of Russian history were presented more accurately. They were composed by direct participants in the Tatar-Mongol yoke, the capture of Kazan by Ivan the Terrible, and the Polish interventionXVIIcentury, the uprisings of Ermak and Pugachev, the Napoleonic invasion, etc. Musically, historical songs are much more complex than epics. Bright, memorable melodies with a clear structure emphasize the content of the text.
Lingering lyrical songs addressed to inner world a person, his experiences, feelings. They are called drawn-out because the syllables in them are widely sung - “a song for a whole mile.” Lyrical songs have very complex melodies, free rhythm, variable meter and mode. They are later - the flowering of lyrical lingering songs occurs inXVIIIcentury And they talk about their native side, bitter fate, separation, women’s lot, hard forced labor and, of course, about love. They are characterized by improvisation (improvisation - from the Latin “unexpected, sudden”), so in different regions the same song is sung differently.
Later than everyone else XIX century appeared ditties (from “frequent” “fast”) - comic songs, couplets, quatrains, usually performed to the accompaniment of an accordion or balalaika. “Choruses”, “bad jokes”, “shorties”, “taratorki”, “dances” - the names of ditties in different areas Russia conveys the essence of these songs very accurately. The lyrical ditties were called “suffering.” Russian people still compose ditties, responding to the events of modern life with biting, comic poems.
Tasks:
What epic heroes do you know? Write down their names.
Remember and write down the names of historical songs known to you (or your parents). What events in Russian history do they talk about?
Do you know ditties? Write down the words you know or compose your own ditty. Sing it.
Lesson 8
Folk song in Russian classical music.
The work of Russian composers is inextricably linked folk song. M.I. Glinka said: “We don’t create music, it’s the people who create it: we just record andarrange "(from German “to put in order, to arrange” - an arrangement of an arrangement of a musical work). From the endXVIIIcentury, professional musicians begin to pay attention to folk melodies, using authentic songs in their works or imitating their sound. At the same time, the first collections of Russian folk songs appeared. But Russian folk art attracted special attention inXIXcentury, in the works of M. I. Glinka, A. S. Dargomyzhsky, P. I. Tchaikovsky, composers of the “Mighty Handful” - M. A. Balakirev, N. A. Rimsky-Korsakov, A. P. Borodin, M. P. Mussorgsky and Ts. A. Cui. They recorded, processed and studied the melodies of folk songs. The most famous collections of Russian folk songs arranged by M. A. Balakirev, N. A. Rimsky-Korskakov, P. I. Tchaikovsky and N. A. Lyadov.
M. A. Balakirev - Russian composer, musical and public figure, organizer of the association of musicians "The Mighty Handful" - after a trip along the Volga in 1860, he published a collection of "40 Russian folk songs arranged for voice and piano."
Particularly often in his work he turned to folk stories, images and melodiesN. A. Rimsky-Korsakov . In his opera "Sadko" (1896) , written on the plot of a Russian epic about a Novgorod guslar, the composer reflects on the great power of art - an idea that attracted the attention of composers, both past and present (let us remember, for example, the myth about the ancient Greek singer Orpheus). With his songs, Sadko conquered the formidable Sea King, won the love of his daughter Volkhova, and brought wealth and glory to his native Novgorod. The melodies and recitatives of the opera are very close to the tunes of Russian folk songs, for example, Sadko’s aria from the 2nd film “Oh, you dark oak tree!” is a very subtle and precise stylization of a drawn-out lyrical song. The lyrical and magical beginnings merge in the lullaby of the Sea Princess - Volkhov “A dream walked along the shore.” Rimsky-Korsakov also uses genuine folk melodies here - the chorus “Is Height, Height in Heaven” written to the melody of the epic “Nightingale Budimerovich”. The composer preserved here not only the tune, but also folk words.
IN opera "The Tale of the Invisible City of Kitezh and the Maiden Fevronia" (1907) Rimsky-Korsakov turns to a folk legend. Back in the days Tatar-Mongol invasion VXIIIcentury, this amazingly bright legend about miraculous salvation Trans-Volga city of Kitezh from enemies. When the Tatars came to the city of Kitezh, hidden in impenetrable forests, only the empty shore of Lake Svetloyar was revealed to them. But its waters reflected the walls of the city, the domes of churches, towers and huts. Seeing this, the enemies, overcome with horror, fled away. The symphonic intermission “The Battle of Kerzhenets” tells through musical means the unequal battle between the defenders of Kitezh and the Tatars. By juxtaposing two contrasting themes - Russian and enemy - the composer creates an image of battle. In the theme of the Tatar invaders, Rimsky-Korsakov used (in a modified form) the melody historical song“It’s full of Tatars.”
Exercise:
Remember the works you listened to in class, in which the composers used Russian folk melodies.
Remember and write down the names of fairy tales, short stories, stories, or poems that talk about musicians.
After listening to the Symphonic Intermission “The Battle of Kerzhenets” by N. A. Rimsky-Korsakov, write a short essay.
Orthodox prayer book. Saving Icons - gift set of 2 books in a box for Orthodox Christians.
The gift set was created not only to decorate a bookshelf, but also to fully help in the difficult task of saving the soul. The “Orthodox Prayer Book” contains prayers that will help a righteous Christian strengthen his spirit and not stray from the right path, while the book “Saving Icons” contains not only descriptions of miraculous icons, but also cites the lives of saints as an example of Christian virtue. We hope these books will help strengthen faith in moments of doubt.
Compiled by: A.A. Evstigneev.
The game is addressed to speech therapists, teachers, responsible and attentive parents who want to help their children activate sounds that have just appeared or have been introduced by a speech therapist. The problem with children who have learned to speak a complex sound is that they can only pronounce it in some words. Many parents complain to the speech therapist: Here he speaks correctly, but at home he speaks incorrectly. The manual is intended specifically to help the child in game form to master unobtrusively and with interest correct pronunciation sounds. As in regular walkers, players roll the dice and move their piece forward by the number of pictures rolled. The move is counted if the player phonetically names the dropped word correctly. To enhance the play situation and attract the attention of children and develop their phonetic hearing, an adult can use a provoking technique and pronounce the word incorrectly (not spoons, but ozhki or horns). You will see the child's eyes widen in surprise. Ref
The Crimean peninsula, the legendary Tauris, the center of world cultures and religions, has been the scene of countless wars throughout its many-thousand-year history. This flourishing land, about which A.S. Pushkin wrote: “The lands of the midday are magical lands,” attracted endless hordes of conquerors. Whoever wanted to control this God-chosen corner - Greeks and Romans, Goths and Huns, Khazars and warriors of the Golden Horde, Crimean khans and Turks. And even after the Manifesto on the annexation of Crimea to the Russian Empire was signed by Empress Catherine II in 1783, it took more than two centuries for the fate of the peninsula to be finally determined.
IN military history Crimea is forever inscribed in Russia as a symbol of unfading military glory, heroic and tragic military past. Every meter of Crimean land is watered with the blood of our soldiers who died during the Russian-Turkish, Crimean, Civil and Great Patriotic Wars.
In this book, written by a highly professional team of Russian historians - candidates and doctors historical sciences, traces the entire history of the Crimean peninsula from ancient times to the present day, the first truly scientific and objective “History of Crimea” in new Russia.
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Teaching a child to sight read correctly is one of the most important tasks of a pianist teacher. The ability to easily parse a musical text greatly helps a child during his studies: it significantly expands his repertoire, accustoms him to independent work, and most importantly, makes the learning process easier, more enjoyable and interesting. But the skill of reading musical notation correctly does not come from nowhere and does not appear on its own. It needs to be developed painstakingly and patiently, starting from the very first steps of the little pianist. Despite the fact that many outstanding music teachers have dealt with the problem of reading notes from sight and there is numerous literature on this topic, in this issue A unified and clear methodology has not yet been developed. This textbook is another attempt to systematize the process of learning to sight read, based on a theoretical understanding of the musical text. Each piece in the collection is a unique musical illustration of a certain theoretical position or rule, which simultaneously takes into account the peculiarities of piano fingering, performing techniques and technical tasks.
2nd edition.
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Weaving from newspapers is a relatively young, but already extremely popular type of needlework. The products created by craftsmen are not much inferior to crafts in the quilling or pop-up styles. We are sure that once you start working on this book, you will not be able to stop!
The publication can also be used by teachers of technology lessons at school, specialists working with children in Homes children's creativity, since more environmentally friendly materials can be used when weaving: consumer paper, notebook sheets, natural and food dyes. This book pays special attention to this.
2nd edition.
In our parking lot, professionals - taxi drivers and firefighters, police officers and military personnel - are waiting for their urgent call. Don't ask why they got together. Perhaps they belong to the same department, for example, for extremely fast service to the toy population... And we have no doubt that in childhood our professionals strengthened their will and character. They also developed their ingenuity and trained their reaction speed. Otherwise, you will not reach heights in your profession. These qualities will be useful to everyone in life - housewives, teachers, and programmers. Our game will help today's specialists stay in shape and teach future ones how to use good skills. visual memory, be observant, strive to win.
Many people wonder: how not to repeat the mistakes of our parents? Often we remember very well what was wrong in our upbringing, and we hope that we will do better. However, there comes a time when we are surprised to realize that it doesn’t work out better.
When the time comes to raise your own children, along with confusion and fear, the “repeat program” turns on. And we begin to reproduce the parenting style of our parents, only complementing it with more modern social stereotypes. We repeat the model we are familiar with simply because we do not have another, because we do not know how to act differently.
This book, written by a practicing psychologist, will help you free yourself from the power of stereotypes and understand what is right for you and your child. It is based on the practice of psychological assistance to parents of young children.
5th edition.
The title of the collection fully reflects its content, since it contains the most famous and beloved classical works. These include original works for piano and transcriptions of fragments from operas, ballets, symphonies and other instrumental works. Among them are “Adagio” by T. Albinoni, “The Joke” by J. S. Bach, “Turkish Rondo” by W. A. Mozart, “The Seasons” by A. Vivaldi, “Flight of the Bumblebee” by N. Rimsky-Korsakov, polka “Trick- track" by J. Strauss and many other "pearls" of European music of the 17th-19th centuries.
The variety of genres, images, and moods will allow each performer to choose a piece “to their liking.” The collection contains works that can decorate not only a home musical evening, but also a concert program.
The publication is intended primarily for music lovers, but can also be used in middle and high school children's music schools, helping to expand the pedagogical repertoire.
Compiled by: N. Sazonova.
5th edition.
The publication from the "Schoolchildren's Workshop" series is an educational kit for labor training lessons (technology) and consists of two parts:
- step-by-step instructions with illustrations, tasks for learning how to work with various materials and so on.;
- sheets of paper and cardboard with templates and drawings, which are cut out during the work process and used for creative work.
The educational kit will significantly facilitate the preparation of the student for classes, and will allow the teacher to organize an interesting and active cognitive activity in class, as well as creative work on interests outside of class time.
Compiled by: Sheremetyeva Tatyana Leonidovna.
This book is about how fashionable adult hobby becomes accessible to little creators too. Young soap makers perform 28 master classes. You will learn how to make soap, bombs, shower gel, and also have fun experiments.
The book will be of interest to beginning soap makers - both children and adults. It was written by the owner of the Mama Soap store, who has been teaching soap making for more than five years and is the author of several books on this topic.
Perhaps, your baby has never been exposed to so many dangers as in the first months of life, when his health is just developing and adapting to the world around him.
This book will tell you how to prevent and overcome the most common diseases of babies. The authors of the book - experienced pediatricians - consider all the main groups of ailments of children from birth to the first year of life: ENT diseases, cardiovascular, urinary systems, etc. You will learn about the symptoms of major childhood infections, methods of treating them, as well as about which issues parents should rely on the doctor, and what measures they can take themselves.
The book is intended for music school students, for parents of students who want to help their children master the basics of music theory, as well as for music school teachers who are interested in various areas in modern music pedagogy.
The main feature of the proposed methodology is that the comprehension of the theoretical foundations of music occurs through teaching children in solfeggio lessons to compose melodies, improvise, and select accompaniment.
All the necessary theoretical information is contained in the proposed rule songs. This saves a lot of time in class by eliminating tedious notes. To avoid copyright infringement, the book does not contain all the musical material used in the lessons. The exception is a few rule songs, whose authorship could not be determined, but they have long been heard in the lessons of many teachers.
The musical games offered in the book allow you not only to consolidate the material being studied, but also to make the subject of solfeggio attractive and even loved.
7th edition, stereotypical.
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“It’s not good to lie,” we have been told since childhood. However, what exactly is bad is not immediately clear to the child. Is it bad to fantasize? Is it bad to keep quiet? Is it bad when you tell lies for your own benefit? What if it’s for the benefit of a friend you want to help? What if there is no benefit at all? And why can’t I lie, but mom and dad can? In short, this lie is full of misunderstandings. Both from the point of view of adults and from the point of view of children.
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Do you feel like you know everything about your child, or at least everything you need to know? However, every time you encounter unexpected problems.
How to raise a child happy and help overcome obstacles that arise along the path of life? How to notice and correct developmental deviations in time: be it speech defects or various difficulties psychological nature? How to prepare food tasty and beautiful for the delight of your baby, without deviating from the principles healthy eating? How to unleash a child's innate abilities?
Do you want to have comprehensive information without spending a lot of time searching for it? If so, this book is for you. Not a word of fiction, invention or guesswork. Only reliable, verified information. Opinions of specialists: doctors, psychologists, teachers. The experience of parents who have tested the suitability of certain tips on their children. In matters of education, every detail is important!
You have in your hands a book on speech development, created according to the original method of A.S. Matveeva. Unique system test tasks will allow parents to evaluate lexicon baby, connected speech skills, ability to communicate with peers and adults, features of speech and mental development child.
For preschool age.
Municipal educational institution of additional education for children "Children's Art School" in Arkadak.
Lesson plan on musical literature (4th grade Phono, 1st year of study)
Teacher Putilina N.Yu.
Subject:
Ballet "The Nutcracker"
P.I. Tchaikovsky.
Subject: Ballet by P.I. Tchaikovsky “The Nutcracker”.
Type: Learning new material.
Look: Traditional.
Target: Introduce children to a musical and stage genre such as ballet.
Tasks:
Educational: to awaken interest in the work of P.I. Tchaikovsky.
Educational:Get acquainted with the ballet “The Nutcracker” by P.I. Tchaikovsky.
Educational: Develop musical thinking, imagination.
Lesson steps:
1. Organizational.
2. The stage of acquiring new knowledge.
3. Consolidation stage.
4. The final stage.
Lesson plan:
1. Organizational moment.
Getting to know the Mariinsky Theater. Brief summary of the fairy tale “The Nutcracker” by Hoffmann. Brief biography of P.I. Tchaikovsky. Introduction to the musical stage genre - ballet, including the concepts: pantomime, overture, classical dance.
2. Main stage. Knowledge acquisition stage.
Study of P.I. Tchaikovsky’s ballet “The Nutcracker”:
1 act, 1 scene; "March", "Growth of the Christmas Tree".
Act 1, scene 2: “Waltz of the Snow Flakes.”
Act 2, dances: “Coffee”, “Tea”, “Trepak”, “Dance of the Three Shepherdesses”, “Waltz of the Flowers”, “Adagio”, “Dance of the Sugar Plum Fairy”.
3.Stage: Consolidation of knowledge.
Questions to reinforce new material.
4. Final stage: homework.
Means of education:computer, (projector), music center.
Teaching aids:musical literature, Z. Osovitskaya, A. Kazarinova.
Audio guide on musical literature by Kushnir.
During the classes:
1. Organizational moment.
Slide number 1. Title of the presentation.
Slide number 2. Screensaver with the image of "The Nutcracker".
Teacher: Hello guys. Today we will introduce you to musical theater the world of fairy tales and amazing transformations, the world of our dreams and dreams.
Slide number 3. Mariinskii Opera House.
Teacher: Before you is the Mariinsky Opera and Ballet Theater of St. Petersburg.
Slide number 4. Theater stage.
Teacher: It was on this stage of the theater on December 6, 1892 with great success The premiere of the ballet “The Nutcracker” took place. Raise your hand, who was in the theater? I hope that someday, who has not been to the theater, will definitely attend the premiere of a ballet or opera. Guys, do you know who wrote the music for the ballet “The Nutcracker”.
Children: Answer - P.I. Tchaikovsky
Teacher: That's right, guys.
Slide number 5. Portrait of P.I. Tchaikovsky.
The teacher introduces the children to a short biography of the composer.
Teacher: Guys, who knows what the word ballet means?
Children: Answer: Ballet comes from the Italian word “ballo”, which means “dancing”, one of the most complex and rich genres of musical and theatrical art.
Teacher: That's right guys! Tchaikovsky's ballets are filled with deep content and feeling and have become examples of academic ballet. P.I. Tchaikovsky wrote: “Ballet is the same symphony.” It is written with the same bright complex language, like operas. In ballet, as in literature, music, and painting, interest in the spiritual life of man, in the world of his feelings, mood, and experiences has increased. Choreographers and dancers began to look for new forms of expression in dance and pantomime. However, the music for the ballets was written by minor composers - artisans, and sometimes by ordinary orchestra players. The music of one performance often resembled a motley patchwork quilt, “sewn together” from multi-colored “scraps” of music by several composers. This disparity between music and choreography in ballet continued until the two met. brilliant masters– composer P.I. Tchaikovsky and choreographer Marius Petipa.
Slide number 6. Portrait of Marius Petipa.
The teacher briefly tells the biography of the choreographer.
Teacher: Marius Petipa wrote the script for The Nutcracker. In it he determined the character of the music and the structure of the two-act ballet. However, his illness prevented him from continuing his work and the premiere of the performance was prepared by L. Ivanov, the theater’s second choreographer.
Slide number 7. Lev Ivanov.
Teacher: Who can tell me what fairy tale the ballet “The Nutcracker” was written based on? Who is its author?
Children: Answer. Based on the fairy tale of the German writer F. Hoffmann “The Nutcracker and the Mouse King”.
Slide number 8. Ernst Hoffmann.
Teacher: That's right guys! Well done! Let's remember the content of the fairy tale together.
Children take turns telling a story.
2. Stage of assimilation of new knowledge.
Teacher: In music, the world of good and evil is sharply divided for the listener by timbres and orchestration. For the composer, the world of goodness is the world of childhood, poetry and beauty. In the overture, children's scenes at the Christmas tree, and then in the kingdom of sweets in Confiturenburg, string instruments “sing”; they are complemented by the “warm”, rich in timbre voices of oboes, English horn, and clarinets.
The fantastic world of the mouse kingdom, the evil “Through the Looking Glass” is associated with the sound of extreme, unpleasant to the ear registers of instruments - low violas, clarinets, bassoons, with the abrupt “dry” sound of the strings and the “mouse squeak” of the flute - piccolo. P.I. Tchaikovsky also included children's musical instruments in the score: children's trumpets, drums and cymbals. The most unusual instrument in the score is the celesta.
Warehouse No. 9. Celesta.
Teacher: All the main events of the ballet take place in Act 1, and Act 2 is a brilliant divertissement.
The teacher explains the meaning of the word divertissement.
Teacher: Today we will listen and analyze several numbers from the ballet (there are 15 in total). Guys! Who can tell me what the word overture means? You and I have already become acquainted with this meaning of the word when we studied the opera genre.
Children: Overture is an instrumental introduction to an opera, ballet... preparing the listeners' attention for the upcoming action.
Teacher: Correct! The curtain is still closed, and the symphony orchestra is already playing the overture.
The overture sounds. The children are listening.
Slide number 10. Living room in the Silberghaus house.
Teacher: After the adult hosts and guests turned on the Christmas tree lights and prepared the gifts, the children were allowed into the living room and the holiday began. The music is elastic in rhythm and “airy” in sound to the theme of the overture. But there are also special signs: these are fanfare, emphasizing the solemnity of the moment, the distribution of gifts, an “alarming episode” - a harbinger of the fantastic events of the Christmas night.
Slide number 11. Distribution of gifts.
Teacher: Let's listen to the march and try to imagine the events taking place at this holiday.
Slide number 12. Christmas tree growth.
Teacher: The events of the fairy tale are transferred to the fantastic world of Through the Looking Glass. Miracles begin after the midnight clock strikes. Clara, coming secretly into the living room to visit the Nutcracker, suddenly sees a miracle: the tree grows and gradually becomes huge. “The growth of the Christmas tree” is depicted in music “in an endless”, dizzying ascent along the fabulous steps of a grandiose melody - a sequence. It’s as if the walls of the living room disappear, the boundaries of space and time expand. The music is fabulous, conveying the joyful soul of the girl.
The fragment “Growth of the Christmas Tree” plays.
Slide"13. " Battle scene."
Teacher: The battle scene is central, climactic episode Act 1 of the ballet. It shows the power of fantastic evil and the indestructible power of good that can overcome evil.
The puppet war is wonderfully depicted in music. Military “fanfares” performed by oboes (not trumpets), the drumming of children’s drums, the fussy running of strings (mouses), shrill flute motifs (mouse squeals) - all this “ military music toys." The opposing scale-like lines of orchestral passages also reflect the confrontation of “military” forces. These elements of musical language create a picture of a fantastic battle, ominous in its orchestral coloring. The rescue of the Nutcracker and the dispelling of the evil spell are marked by the return of light to the music. With the transformation of the freak Nutcracker into a handsome prince, the C major scale reigns in music.
A battle scene plays.
Slide number 14. " Waltz of Snow Flakes.
Teacher: Let's imagine spruce forest winter, blizzard. This number creates a picture of an anxious mood (the key is E minor), then the “children's choir - snowflakes” enters. A melodious, serene, bright melody (G major) sounds. It sounds like a waltz.
Teacher: Palace in the kingdom of sweets, Confiturenburg. Clara and the Nutcracker arrive at the ball in the kingdom of sweets... "in a shell chariot strewn with stones, sparkling in the sun and drawn by golden dolphins... The music expands and rises like raging jets." (libretto by Petipa). Miracles happen here, guests from different countries dance.
Slide number 15. Dance “Coffee”.
The “Coffee” dance sounds.
Teacher: His music is full of eastern night, dark sadness.
Slide number 16. Dance “Tea”.
Teacher: It makes me happy with its funny sound.
It sounds like "Tea".
Slide number 17. Russian dance "Trepak".
Teacher: Trepak delights with his prowess and manly sound.
Slide number 18. " Dance of the Three Shepherdesses.
Teacher: “Dance of the Three Shepherdesses” is subtle and graceful. Shepherdesses dance playing on pipes made of reeds. "Dance of the Three Shepherdesses" sounds.
Slide number 19. "Waltz of the Flowers".
Teacher: The divertissement ends with “Waltz of the Flowers.” The waltz has no equal in the beauty and generosity of its melodies.
The "Waltz of the Flowers" sounds.
Slide number 20. "Adagio".
Teacher: “Waltz of the Flowers” is followed by the main lyrical number of the ballet PA DE DEU ADAgio.
Teacher: Who can explain the meaning of this word?
Children: PA DE DEUX is a dance for two.
Teacher: Well done! Adagio is the central number of the ballet - the climax. It becomes a musical symbol of happiness and love.
Sounds like "Adagio".
Slide number 21. " Dance of the Sugar Plum Fairy.
Teacher: The music of “The Sugar Plum Fairy” is not ordinary, it has a “heavenly voice.” Tchaikovsky heard it at the celesta. Its smooth, mechanically clear, repeating rhythm is reminiscent of the movement of ancient wind-up toys.
Sounds like "Dance of the Sugar Plum Fairy."
Teacher: The ballet ends with a general waltz and a jubilant apotheosis.
3. Stage of consolidation of knowledge.
Teacher: So, today we listened to the ballet “The Nutcracker”. We learned the concepts of new words such as overture, pantomime, divertissement, “Adagio”.
Teacher: Guys! Let's repeat the meaning of these words again and remember them.
Children repeat the meaning of words.
4.Final stage. Homework.
Draw pictures for the ballet.
