What is the essence of musical content (2 hours)
- Generalization is the most important property of musical content (using the example of Part I “ Moonlight Sonata L. Beethoven).
Musical material:
- L. Beethoven. Sonata No. 14 for piano. Part I (listening); Parts II and III (at the request of the teacher);
- L. Beethoven. Symphony No. 7, parts I and II (at the request of the teacher);
- L. Beethoven, Russian text by E. Alexandrova. "Friendship" (singing).
Characteristics of activities:
- Analyze ways to embody content in musical works.
- Perceive and evaluate musical works from the point of view of the unity of content and form (taking into account the criteria presented in the textbook).
- Master outstanding examples of Western European music (the era of Viennese classicism).
In the search for understanding musical content, logical laws and methods of analysis are powerless. We believe music precisely contrary to all logic, we believe only because it influences us undeniably and obviously. Is it possible not to believe what exists within ourselves?
Anyone who has had to think about the mystery that musical content contains, probably felt: music tells us about something more, which is immeasurably wider and richer than our experience, our knowledge of life.
So, listening, for example, to Beethoven’s “Moonlight” Sonata, we can imagine a picture moonlit night: not just one night in a specific area, with a specific landscape, but the spirit of a moonlit night with its mysterious rustles and aromas, with endless starry sky vast, mysterious.
However, is the content of this work limited to landscape associations only? After all, listening to this sonata, we can imagine the melancholy torment of unrequited love, separation and loneliness, all the bitterness of human sadness.
And all these different ideas will not contradict the character of the Beethoven sonata, its concentrated contemplative mood. For it tells us about sadness - not just the sadness of a moonlit night, but all the sadness of the world, all its tears, suffering and melancholy. And everything that can cause this suffering can become an explanation of the content of the sonata, in which everyone guesses their own mental experience.
Most of you know and truly love Moonlight Sonata. No matter how many times we listen to this magical music, she captivates us with her beauty, deeply excites us with the powerful power of the feelings embodied in her.
In order to experience the irresistible impact of the music of this sonata, one may not even know under what life circumstances it was composed; You may not know that Beethoven himself called it a “fantasy sonata”, and the name “Lunar”, after the composer’s death, was given to it with light hand one of Beethoven's friends - the poet Ludwig Relstab. In poetic form, Relshtab expressed his impressions of the sonata, in the first part of which he saw a picture of a moonlit night, the quiet surface of a lake and a boat serenely sailing along it.
I think that, having listened to this sonata today, you will agree with me that such an interpretation is very far from the actual content of Beethoven’s music and the name “Moonlight” - no matter how accustomed we are to it - does not at all correspond to the character and spirit of this music.
And is it even necessary to “add” some of our own programs to the music if we know the real ones? life circumstances, under which it was created, and what, therefore, thoughts and feelings possessed the composer when creating it.
Now, if you know, at least in general outline, the history of the emergence of the “Moonlight Sonata”, I have no doubt that you will listen and perceive it differently than you have listened and perceived so far.
I have already talked about the deep spiritual crisis that Beethoven experienced and which was captured in his Heiligenstadt will. It was on the eve of this crisis and, undoubtedly, bringing it closer and sharpening that an important event for him took place in Beethoven’s life. Just at this time, when he felt the approach of deafness, he felt (or, at least, it seemed to him so) that for the first time in his life a real love. He began to think of his charming student, the young Countess Giulietta Guicciardi, as his own. future wife. “...She loves me, and I love her. These are the first bright moments in the last two years,” Beethoven wrote to his doctor, hoping that the happiness of love would help him overcome his terrible illness.
And she? She, raised in an aristocratic family, looked down on her teacher - albeit famous, but of humble origin, and also deaf. “Unfortunately, she belongs to a different class,” admitted Beethoven, realizing the gulf that lay between him and his beloved. But Juliet could not understand her brilliant teacher; she was too frivolous and superficial for that. She struck Beethoven Double punch: turned away from him and married Robert Gallenberg, a mediocre composer of music, but a count...
Beethoven was a great musician and a great man. A man of titanic will, a powerful spirit, a man of high thoughts and deepest feelings. Can you imagine how great his love, his suffering, and his desire to overcome this suffering must have been!
“Moonlight Sonata” was created during this difficult time of his life. Under its real title “Sonata quasi una Fantasia”, that is, “Sonata like a fantasy,” Beethoven wrote: “Dedicated to Countess Giulietta Guicciardi” ...
Listen now to this music! Listen to it not only with your ears, but with all your heart! And perhaps now you will hear in the first part such immeasurable sorrow as you have never heard before;
in the second part - such a bright and at the same time such a sad smile that they had not noticed before;
and, finally, in the finale - such a violent boiling of passions, such an incredible desire to break out of the shackles of sadness and suffering, which only a true titan can do. Beethoven, struck by misfortune, but not bent under its weight, was such a titan.
“Moonlight Sonata” brought us closer to the world of Beethoven’s sorrow and Beethoven’s suffering, to that deepest Beethoven’s humanity, which has been stirring the hearts of millions of people for more than a century and a half, even those who have never seriously listened to real music.
In the same way, joyful music reveals to us all the joys of the world, everything that makes people laugh and have fun.
The theme of joy is heard in many of Beethoven's works, including the famous Ninth Symphony, in the finale of which (for the first time in history symphonic music!) Beethoven introduced the choir and soloists singing a mighty hymn - “Ode to Joy” to the words of Schiller.
But the Seventh Symphony is one of the few works of Beethoven where joy, ecstatic, exuberant joy arises not as the end of a struggle, not in the process of overcoming difficulties and obstacles, but as if the struggle that led to this victorious joy took place somewhere before, not seen and not heard by us.
But Beethoven would not have been Beethoven if he had given himself over to the power of elemental joy thoughtlessly, forgetting about the complexities and vicissitudes of real life.
The Seventh Symphony, like most of Beethoven's other symphonies, has four movements. The first of these movements is preceded by a long slow introduction. Many critics heard in this introduction echoes of the love for nature that Beethoven himself often spoke about. For example, much of his Sixth Symphony is connected with nature, which, in his own words, he was helped to compose by cuckoos, orioles, quails and nightingales.
In the introduction to the Seventh Symphony, it is indeed not difficult to hear a picture of the morning awakening of nature. But, like everything in Beethoven, nature here is also powerful, and if the sun rises, then its first rays illuminate everything around with a bright and burning light. Or maybe these are also distant echoes of that struggle, which nevertheless took place and was obviously not easy...
But now the introduction is over, and Beethoven literally brings down the element of joy on us. Three parts of the symphony are filled with it. If there were such an instrument with which one could measure the intensity of music, the strength of the feelings expressed by it, then in Beethoven’s Seventh Symphony alone we would probably find as much joy as there is none in all the works taken together by many other composers.
What a miracle of art and, if you like, a miracle of life! Beethoven, whose life was completely devoid of joy, Beethoven, who once said in despair: “Oh, fate, give me at least one day of pure joy!” - with his art he himself gave humanity an abyss of joy for many centuries to come!
Isn’t this a miracle, in fact: to melt immeasurable suffering into wild joy, to bring to life dazzling bright sounds from dead deafness!..
But the three joyful movements of the Seventh Symphony are the first movement, the third and the fourth. And the second?
It was here that Beethoven remained faithful to the truth of life, which he learned from his own difficult personal experience. Even those of you who have never heard the Seventh Symphony before will probably recognize the music of its second movement. This is mournful music - not quite a song, not quite a march. It contains neither heroic nor tragic notes, which are usually heard in Beethoven's funeral marches. But it is full of such sincere, heartfelt sadness that it is often performed at civil funeral services, on mournful days of the funeral of outstanding people dear to us all.
Even the lighter episode that appears in the middle of this movement (the same, in essence, happens in Chopin’s funeral march, written half a century later) does not deprive this music of its overall mournful tone.
This part of the entire symphony gives an amazing life-like truthfulness, as if saying: we all strive for joy, joy is wonderful! But, alas, our life is not only made of joy...
It was this part that was repeated twice at the request of the public during the first performance of the symphony. It is this part that is one of the most beautiful and popular pages of Beethoven's music. (D. B. Kabalevsky. Conversations about music for youth).
We see that music has the ability to generalize all similar phenomena of the world, that, expressing any state in sounds, it always gives immeasurably more than the experience of the soul of one person can contain.
Not only joys and sorrows, but all the fabulous miracles, all the riches of fantasy, everything mysterious and magical that is hidden in the incomprehensible depths of life - all this is contained in music, the main exponent of the invisible, wonderful, hidden.
Questions and tasks:
- Name musical works known to you that would embody the main human feelings- joy, sadness, anger, delight, etc.
- Listen to these poems. Which one do you think best matches the image of Beethoven's Moonlight Sonata? Explain your choice.
Presentation
Included:
1. Presentation, ppsx;
2. Sounds of music:
Beethoven. Symphony No. 7:
1 part. Poco sostenuto-Vivace, mp3;
Part 2. Allegretto, mp3;
Beethoven. Symphony No. 9, Ode to Joy (final), mp3;
Beethoven. Sonata No. 14:
1 part. Adagio sostenuto (2 versions: symphony orchestra And piano), mp3;
Part 2. Allegretto (piano), mp3;
Part 3. Presto agitato (piano), mp3;
3. Accompanying flock, docx.
The means of which is sound and silence. Probably every person in his life has heard at least once the babbling of a stream in the forest. Doesn't it remind you of melodic music? And the sound of spring rain on the roof - doesn't it look like a melody? It was when a person began to notice such details around him that he realized that music was all around him. It is the art of sounds coming together to create a unique harmony. And man began to learn from nature. However, in order to create a harmonious melody, a simple understanding that music is an art was not enough. Something was missing, and people began to experiment, look for means of transmitting sounds, and express themselves.
How did the music come about?
Over time, man learned to express his emotions through song. The song was thus the first music created by man himself. For the first time, he wanted to use melody to talk about love, this wonderful feeling. The first songs were composed specifically about her. Then, when grief came, the man decided to sing a song about him, to express and show his feelings in it. This is how funeral services, funeral songs, and church hymns arose.
To maintain rhythm, since the development of dance, music has appeared performed by the human body itself - snapping fingers, clapping hands, beating a tambourine or drum. The drum and tambourine are the first musical instruments. With their help, man learned to produce sound. These instruments are so ancient that their origins are difficult to trace, since they can be found among all nations. Music today is recorded with the help of notes, and it is realized in the process of performance.
How does music affect our mood?
Characteristics of music by sound and structure
Music can also be characterized by sound and structure. One sounds more dynamic, the other calmer. Music can have a clear, harmonious rhythmic pattern, or it can have a jagged rhythm. Many elements determine the overall sound of various compositions. Let's look at four terms that are most often asked about: mode, dynamics, backing track and rhythm.
Dynamics and rhythm in music
Dynamics in music - musical notation and designations associated with the volume of its sound. Dynamics refers to abrupt and gradual changes in music, volume, accent, and several other terms.
Rhythm is the relationship of the length of notes (or sounds) in their sequence. It is based on the fact that some notes sound slightly longer than others. They all come together in a musical flow. Rhythmic variations are generated by the ratio of the duration of sounds. Combining, these variations form a rhythmic pattern.
Lad
Mode as a concept in music has many definitions. It occupies a central place in harmony. Let us give several definitions of fret.
Yu.D. Engel believes that this is a scheme for constructing a certain sound series. B.V. Asafiev - that this is the organization of tones in their interaction. I.V. Sposobin pointed out that a mode is a system of connections between sounds, united by a certain tonic center - one sound or consonance.
Various researchers have defined the musical mode in their own ways. However, one thing is clear - thanks to him, a piece of music sounds harmonious.
Backing track
Let's consider the following concept - backing track. It should certainly be revealed when talking about what music is. The definition of a backing track is a composition from which vocals have been removed, or some sound is missing from it. musical instrument. One or more parts of instruments and/or vocals are missing from the backing track, which was/are present in the original version before the composition was changed. Its most common form is the removal of words from a song so that the music sounds alone, without text.
In this article we told you about what music is. The definition of this beautiful art form has only been briefly presented. Of course, for those who are interested in it on a deep, professional level, it makes sense to study its theory and practice, laws and fundamentals. Our article provides answers to only some questions. Music is an art that can take a very long time to study.
Municipal Autonomous Educational institution Gymnasium No. 26 of Tomsk
Control testing in music for I quarter
(according to the program of Naumenko T.I., Aleeva V.V.)
7th grade
Compiled by: Zhukova Lyubov Ivanovna,
music teacher,
G. Tomsk
2016
Final test No. 1 in music (questions)
7th grade
A) true understanding nature Not a cast, not a soulless face.
2. For an artist to create a true work of art, he must:
A) nothing
B) see and understand
3. Which composer was struck by a melody (in the oratorio “The Creation of the World”), expressing the birth of light, and he exclaimed: “This is not from me, it is from above!”
A) J. Brahms
B) M. Glinka
B) I. Haydn
4. Nature in III
A) alive, raging
B) calm, peaceful
B) raging and peaceful
A) unity of content
B) unity of form
A) non-program
B) software
A) one B) two C) three
A) from literary program
A) details
B) generalization
C) both answers are correct
A) all the sorrows of the world
B) all the joys of the world
C) the hero’s sadness and joy
A) the sea and Sinbad's ship
B) Prince Guidon
Final test No. 1 in music (answers)
7th grade
1.What does it teach us in to a greater extent F. Tyutchev in his poem:
Not what you think, nature,
A) a true understanding of nature Not a cast, not a soulless face.
B) imagination She has a soul, she has freedom,
C) the use of the gifts of nature. There is love in it, outside there is language.
2. For an artist to create a genuine work of art, he must:
A) nothing
B) see, understand and embody
B) see and understand
3. The composer, who was struck by a melody (in the oratorio “The Creation of the World”), expressing the birth of light, and he exclaimed: “This is not from me, it is from above!”
A) J. Brahms
B) M. Glinka
B) I. Haydn
4. Nature in III part of the concert “Summer” (from the cycle “Seasons”) A. Vivaldi appears:
A) alive, raging
B) calm, peaceful
B) raging and peaceful
5. What idea unites the poem by F. Tyutchev, the painting by I. Repin and I. Aivazovsky (page 4 of the textbook), the music of A. Vivaldi:
A) unity of content
B) unity of content and form
B) unity of form
6. What kind of music is difficult to explain in words:
A) non-program
B) software
C) having a name (“Forest”, “Scheherazade”, “Night in Madrid” and others)
7. How many moods are there in P. Tchaikovsky’s play “November. On the three":
A) oneB) two At three o'clok
8. Etude No. 12 by A. Scriabin is proof that the expressiveness of the content of a musical work does not always depend on:
A) from the literary program
B) from funds musical expressiveness
C) from the composer’s personal experience
9. The basis of creativity in art is (choose the odd one out):
A) expression of feelings and thoughts strangers
B) expression of feelings and thoughts experienced by the author
IN) personal experience defeats and victories
10. What is the most important property of musical content:
A) details
B) generalization
C) both answers are correct
11. What feelings does the music of L. Beethoven’s “Moonlight Sonata” summarize:
A) all the sorrows of the world
B) all the joys of the world
C) the hero’s sadness and joy
12. N. Rimsky-Korsakov in symphonic suite"Scheherazade" uses titles as its program individual parts(choose the odd one out):
A) the sea and Sinbad's ship
B) the story of Kalender - the prince
B) Prince Guidon
Music like final result mixing sounds and silence in time, conveys the emotional atmosphere, the subtle feelings of the person who wrote it.
According to the works of some scientists, music has the ability to influence both psychological and physical state person. Naturally, such a musical work has its own character, laid down by the creator either purposefully or unconsciously.
Determining the nature of music by tempo and sound.
From the works of V.I. Petrushin, Russian musician and educational psychologist, the following basic principles can be distinguished: musical character in the work:
- The sound and slow tempo convey the emotions of sadness. Such a piece of music can be described as sad, conveying sorrow and despondency, carrying within itself regret about the irrevocable bright past.
- The sound and slow tempo convey a state of peace and contentment. The character of the musical work in this case embodies tranquility, contemplation and balance.
- The minor key sound and fast tempo suggest emotions of anger. The character of the music can be described as passionate, excited, intensely dramatic.
- The major coloring and fast tempo undoubtedly convey emotions of joy, indicated by an optimistic and life-affirming, cheerful and jubilant character.
It should be emphasized that such elements of expressiveness in music as dynamics, timbre and means of harmony are very important for reflecting any of the emotions; the brightness of the transmission of musical character in the work greatly depends on them. If you conduct an experiment and play the same melody in a major or minor sound, fast or at a slow pace, then the melody will convey a completely different emotion and, accordingly, the general character of the musical work will change.
The relationship between the nature of a piece of music and the temperament of the listener.
If we compare the opuses classical composers with works modern masters, then we can trace a certain trend in the development of musical coloring. It becomes more and more complex and multifaceted, but the emotional background and character do not change significantly. Consequently, the nature of a musical work is a constant that does not change over time. Works written 2-3 centuries ago have the same impact on the listener as they did during the period of popularity among their contemporaries.
It has been revealed that a person chooses music to listen to not only based on his mood, but unconsciously taking into account his temperament.
- Melancholic – slow minor music, emotion – sadness.
- Choleric - minor, fast music– emotion – anger.
- Phlegmatic – slow major music – emotion – calm.
- Sanguine – major key, fast music – emotion – joy.
Absolutely all musical works have their own character and temperament. They were originally laid down by the author, guided by feelings and emotions at the time of creation. However, the listener cannot always decipher exactly what the author wanted to convey, since perception is subjective and passes through the prism of the listener’s sensations and emotions, based on his personal temperament.
Content in music- the internal spiritual appearance of the work; what the music expresses. Every artistic content has three sides - subject(plot), emotional And ideological(“Book on aesthetics for musicians”, M.-Sofia, 1983, p. 137). Central concepts of musical content - idea(sensually embodied musical thought) and musical image
(directly opening to musical feeling holistically expressed character, as well as musical capturing feelings and states of mind
). The most important and specific aspect of musical content is beauty, beautiful, outside of which there is no art (ibid., p. 39). Dominance of high aesthetic, artistic feelings of beauty and harmony(through the prism of which lower, everyday feelings and emotions are refracted) allows music to fulfill the most important social function elevation of the human personality.
Form in music- sound implementation of content using a system of elements and their relationships. The embryo of this Form musical and mobile dynamic her impulse - intonation complex, most directly reflecting the essence of the ideological and figurative content and representing the implementation of the core of the music. thoughts through the means of rhythm, mode and texture. Musical thought(idea, image) is embodied in metric organization, motivic structure of the melody, chords, counterpoint, timbres, etc..; it is fully realized in a holistic musical Form, in logical development through a system of repetitions, contrasts, reflections, in the totality of various semantic functions of the parts of a musical Form. The technique of composition (musical form) serves the fullness of expression of the music. thoughts, the creation of an aesthetically complete artistic whole, the achievement of beauty (for example, in harmony, technical rules determine “harmonic beauty”, according to P. I. Tchaikovsky).
Musical form and content are the same. Any, including the most subtle, shades of artistic feelings are certainly expressed by some means of musical form, any technical details serve to express the content (even if it cannot be expressed verbally). The non-conceptuality of music. artistic image, which does not allow it to be adequately reproduced in the language of verbal speech, can be captured with a sufficient degree of reliability by the specific artistic and technical apparatus of music theoretical analysis, which proves the unity of content and musical Form. Leading, creative factor in this unity is always content poured into intonation. Moreover, the function of creativity is not only reflective, passive, but also “demiurgic”, suggesting the creation of new artistic, aesthetic, spiritual values (not existing in the reflected object as such). Musical form is an expression of the muses. thoughts within the framework of a historical and socially determined intonation structure and corresponding sound material. Music material is organized V Musical form based on fundamental distinction repetition and non-repetition; all specific musical forms - Various types repetitions.
Even after music was isolated from the original “musical” trinity of word - melody - body movement (Greek chorea), The musical form maintains an organic connection with poetry, step, and dance.(“In the beginning there was rhythm,” according to H. Bülow).
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