Lesson summary
TeacherArkhipovaNS
Item Music
Class 5
Topic: Musical portrait. Can music express a person's character?
Lesson objectives: Be able to compare works of painting and music; respond emotionally to a piece of music and be able to access a person’s inner world through musical and visual images.
Lesson objectives:
Foster interest and love for musical and visual arts.
Introduce the genre of musical portraiture.
Compare works of music and painting.
Show how different types of art - literature, music and painting - in their own way and independently of each other embodied the same life content.
Planned results (URD)
subject
Development of inner hearing and inner vision as the basis for the development of creative imagination;
Deepening students' understanding of the visual properties of music through a comparative analysis of a work of music - "Song of Varlaam" by M. Mussorgsky and fine art - Repin's painting "Prototyakon";
Metasubject
Regulatory
. own the ability to set goals in setting educational tasks in the process of perceiving, performing and evaluating musical compositions.
.to plan own actions in the process of perception and performance of music.
Cognitive
. identify expressive possibilities of music.
. find
. assimilate dictionary of musical terms and concepts in the process of musical
activities
communicative
transmit own impressions of music, other art teachings in oral and written speech
.perform songs with a group of classmates
Personal
. to express your emotional attitude to musical images in singing, when listening to musical works.
. be able to comprehend the interactions of the arts as a means of expanding ideas about the content of musical images, their influence on the spiritual and moral development of the individual;
understand life content of a musical work.
Subject
Developing the ability to reveal the properties of “pictorial music” through the masterful use by composers and performers of the colors of musical speech(register, timbre, dynamic, tempo-rhythmic, modal)
Metasubject
. find community of music and other arts
Personal
.be able to comprehend interaction of arts as a means of expanding ideas about the content of musical images, their influence on the spiritual and moral development of the individual
Lesson type: combined - studying a new topic using ICT.
Lesson form: dialogue.
Musical lesson material:
M. Mussorgsky. Song of Varlaam. From the opera “Boris Godunov” (listening).
M. Mussorgsky. Dwarf. From the piano cycle “Pictures at an Exhibition” (listening).
G. Gladkov, poetry Yu. Entina. Song about paintings (singing).
Additional material: portraits of composers, reproductions of paintings, textbook 5th grade “Art.Music” T.I. Naumenko, V.V. Aleev
During the classes:
Organizing time.
The goal to be achieved by the student:
Prepare for productive work in class.
The goal that the teacher wants to achieve:
Help prepare students for productive work.
Tasks
Create a positive emotional mood;
Help you take the correct working posture;
Sit correctly. Well done! Let's start the lesson!
Entering into the topic of the lesson and creating conditions for conscious perception of new material
Communication UUD:
Ability to listen and reflect.
Personal UUD:
Formation of interest in music lessons.
- Read the epigraph to the lesson. How do you understand it?
Write on the board:
“Let moods remain the main essence of musical impressions, but they are also full of thoughts and images.”
(N.A. Rimsky-Korsakov)
Determining the topic of the lesson and setting the learning task.
Goal: readiness and awareness of the need to build a new way of action
What do you think will be discussed in class today?
- What do you guys think, can music express a person’s character, is it capable of doing this? We will try to answer this question with you today.
– Today you will get acquainted with the genre of musical portrait (Slide).
Primary consolidation stage
Cognitive UUD:
Introducing a new piece of music:
Regular UUD:
Ability to listen and analyze the nature of a musical work;
The ability to compare, see commonalities and differences;
The ability to see a problem and the desire to find answers to the questions posed.
Communication UUD:
The ability to listen to the opinions of comrades and express your own judgments.
Personal UUD:
Recognize and respond emotionally to the expressive features of music;
When looking at a picture, we include all our senses, not just vision. And we hear, but not only see, what is happening on the canvas.
Portrait in literature is one of the means of artistic characterization, which consists in the fact that the writer reveals the typical character of his heroes and expresses his ideological attitude towards them through the image of the appearance of the heroes: their figure, face, clothes, movements, gestures and manners.
In fine art, a portrait is a genre in which someone’s appearance is recreated. Along with the external resemblance, the portrait captures the spiritual world of the person depicted.
Do you think music can paint a portrait and express a person’s character, his spiritual world, his experiences? (Composers, when creating a musical portrait, convey the thoughts and feelings of their characters with the help of musical intonation, melody, and the nature of the music.).
Musical portrait - This is a portrait of the character of the hero. It inextricably merges the expressiveness and visual power of the intonations of the musical language. (Slide).
Pushkin’s work was also liked by the 19th century Russian composer Modest Petrovich Mussorgsky
Composer biography
Modest Mussorgsky was born on March 21, 1839 in the village of Karevo, Toropetsk district, on the estate of his father, the poor landowner Pyotr Alekseevich. His mother, Yulia Ivanovna, was the first to teach him to play the piano. At the age of ten, he and his older brother came to St. Petersburg to enroll in the School of Guards Ensigns. After graduating from the School, Mussorgsky was assigned to the Preobrazhensky Guards Regiment. Modest was seventeen years old. One of the Preobrazhensky comrades, who knew Dargomyzhsky, brought Mussorgsky to him. The young man immediately captivated the musician not only with his piano playing, but also with his free improvisations, and there he met Balakirev and Cui. Thus began a new life for the young musician, in which Balakirev and the “Mighty Handful” circle took the main place. Soon the period of accumulation of knowledge gave way to a period of active creative activity. The composer decided to write an opera in which his passion for large folk scenes and for depicting a strong-willed personality would be embodied.
While visiting Lyudmila Ivanovna Shestakova, Glinka’s sister, Mussorgsky met Vladimir Vasilyevich Nikolsky. He was a philologist, literary critic, and specialist in the history of Russian literature. He drew Mussorgsky's attention to the tragedy "Boris Godunov". Nikolsky expressed the idea that this tragedy could become wonderful material for an opera libretto. These words made Mussorgsky think deeply. He immersed himself in reading Boris Godunov. The composer felt: an opera based on “Boris Godunov” could become a surprisingly multifaceted work.
By the end of 1869 the opera was completed. Mussorgsky dedicated his brainchild to his circle comrades. In the dedication, he unusually clearly expressed the main idea of the opera: “I understand the people as a great personality, animated by a single idea. This is my task. I tried to solve it in the opera.”
Then there were many more works that are worthy of attention... On March 28, 1881, Mussorgsky passed away. He was barely 42 years old. World fame came to him posthumously.
The opera "Boris Godunov" turned out to be the first work in the history of world opera in which the fate of the people was shown with such depth, insight and truthfulness.
The opera tells about the reign of Boris Godunov, a boyar who was accused of murdering the legitimate heir to the throne, the little Tsarevich Dmitry.
Our attention in today's lesson will be focused on the most interesting character in the opera - Varlaam.
Varlaam sings a song about the siege of Kazan by the troops of Ivan the Terrible.
Now let's see how the composer described this man in music. Listen to the musical speech of the hero so as to imagine his appearance and his character.
- Let's listen to Varlaam sing his famous song “As it was in the city in Kazan.”
Listening to Varlaam's song from the opera Boris Godunov by M. P. Mussorgsky. (Slide).
The sound of the Song of Varlaam as recorded by F.I. Chaliapin (at the same time we complete the task: listen to the musical speech of the hero so as to imagine both his appearance and his character, pay attention to the actor’s voice).
– How do you imagine Varlaam singing such a song?
How do the nature of the performance and the nature of the musical language reveal the character and even the appearance of this person? (violent, loud music...)
Now open the textbook, paragraph 23, p. 133 and look at Ilya Repin’s painting “Protodeacon”
Guys, take a close look at Ilya Repin’s painting “Protodeacon,” describe who you see in front of you. ( Before us is a portrait of a protodeacon - this is a spiritual rank in the Orthodox Church. We see an elderly man, with a long gray beard, overweight, he has an angry expression on his face / which is given to him by curved eyebrows. He has a large nose, large hands - in general, a gloomy portrait. He probably has a low voice, maybe even a bass.)
You saw everything correctly and even heard his low voice. So, guys, when this picture appeared at the exhibition of Peredvizhniki artists, the famous music critic V. Stasov saw in it a character from Pushkin’s poem “Boris Godunov” - Varlaam. Modest Petrovich Mussorgsky reacted in exactly the same way, when he saw the “Protodeacon” he exclaimed: “So this is my Varlaamishche!”
What do Varlaam and Protodeacon have in common? (These are images of powerful, tough people, monks and priests, typical of Ancient Rus').
Comparative table of expressive means.
I. Repin painting “Protodeacon”
M. P. Mussorgsky “Song of Varlaam”
A huge figure, holding his hand on his stomach, gray beard, knitted eyebrows, red face. Gloomy colors. The character is arrogant and domineering.
Dynamics: loud music, melody – jumps up, timbre – brass. Singing voice – bass. The nature of the performance is shouts at the end, a rough manner of performance.
U-One important feature is inherent in painting and opera: it is the ability to show a person’s character in words, music, and images.
What do the picture and the song have in common?
D - What the picture and the song have in common is that they show unbridled character, rudeness, a tendency to gluttony and revelry.
You are right, because this is a collective image. This type of people was encountered in Rus' at that time. What is common is not only external similarity, but also certain character traits. The main thing between them is the unbridled nature, the rudeness of nature, the tendency to gluttony and revelry.
What helped the composer and the artist, independently of each other, create such similar images? (There were such people in Rus'.)
In the portrait of “Protodeacon” I. E. Repin immortalized the image of deacon Ivan Ulanov, from his native village of Chuguevo, about whom he wrote: “... nothing spiritual - he is all flesh and blood, pop-eyed, gaping and roaring...”.
What colors did the artist use to paint this portrait? (The artist uses rich colors, where darker colors predominate.)
Despite the different means of expression, in fine art it is paint, in literature it is the word, in music it is sounds. They all told and showed about one person. But still, the music emphasized and suggested those aspects that would not have been immediately noticed.
Vocal choral work
Cognitive UUD
Getting to know the melody and lyrics of a new song
Communicative UUD
Interaction with the teacher in the process of musical and creative activity;
Participation in a choral performance of a piece of music.
Personal UUD:
Formation of performing skills;
The embodiment of the character of the song in your performance through singing, words, intonation.
Chanting.
Learning phrases
Singing difficult melodic turns.
Working on the text.
A song that will help us remember the names of fine arts genres is called "Song about paintings""composer Gennady Gladkov.
Listening to a song.
What genres of painting are sung about in the song?
In music, what are the genres?
Singing in chorus.
Think and tell me, could each of you become the hero of a portrait?
Many of you acted as artists and painted portraits of your friends
In what form is the song written?
What's the mood?
What's the pace?
Give the name of this song. (children's answers)
Why does the song have this name?
3. Musical images
- We got acquainted with two completely different vocal portraits, and the next musical image will sound without words. This is the work “Gnome” from the piano cycle by M.P. Mussorgsky's "Pictures at an Exhibition" is a musical portrait of a small fairy-tale creature, executed with extraordinary artistic power. It was written under the impression of a painting by W. Hartmann, a close friend of the composer.
Mussorgsky remembered a sketch of a Christmas tree decoration - a gnome, a small, clumsy freak with crooked legs. This is how the artist depicted nutcrackers. ---Listen to this piece and think about what mood the gnome is in, what his character is, what do you imagine with this music?
The sound is “The Dwarf” by M.P. Mussorgsky. (Children's answers)
- Guys, how did you imagine the gnome? ( In the music you can hear a limping gait and some sharp, angular jumps. One feels that this dwarf is lonely, he is suffering.)
· The play by M.P. Mussorgsky is very picturesque. Listening to it, we clearly imagine how the little man waddled, ran a little and stopped - it’s difficult to run on such short and thin legs. Then he got tired, walked slower and still diligently and clumsily. It looks like he's even angry at himself for it. The music stopped. Probably fell.
Guys, if you were artists, after listening to this music, what colors would you use to paint this gnome?
That's right, he moves really angularly, in jumps. The funny gnome is turned by the composer into a deeply suffering person. You could hear him moaning, complaining about his fate. He is pulled out of his native fairy-tale element and given to people for amusement. The dwarf tries to protest, to fight, but a desperate cry is heard... Guys, how does the music end? ( It doesn't end as usual, it kind of breaks off.)
You see, guys, “Gnome” is not just an illustration of a picture, it is a deeper image created by the composer.
Independent work
Cognitive UUD
Developing the ability to comprehend the information received.
Regular UUD:
Awareness of what has already been learned and what needs to be further learned
Assessing the quality of learning.
Communication Uud:
Interaction in the process of checking work results.
Personal UUD
Formation of a positive attitude and interest in musical activities
Now you have to take the test and then evaluate your work yourself
Who rates their work as “5” and “4”?
Homework
CognitiveUUD
Music search
Regulatory UUD
Goal setting.
What musical genres are most capable of conveying the portrait features of a hero?
Listen to homework.
“Diary of musical observations” - pp. 26-27.
LIST OF REFERENCES 1. Abyzova E.N. "Pictures from an Exhibition." Mussorgsky - M.: Music, 1987. 47s. 2. Abyzova E.N. “Modest Petrovich Mussorgsky” - 2nd edition M.: Music, 1986. 157 p. 3. Vershinina G.B. “...Free to speak about music” - M.: “New School” 1996 p. 192 4. Fried E.L. “Modest Petrovich Mussorgsky”: Popular monograph - 4th ed. - Leningrad: Music, 1987. p.110 5. Feinberg S.E. “Pianism as an art” - M.: Music, 1965 p. 185 6. Shlifshtein S.I. “Mussorgsky. Artist. Time. Fate". M.: Music. 1975
Preview:
Methodological development of a lesson on the subject Music
Grade 3, lesson No. 7 (“Music” by G. P. Sergeev, E. D. Kritskaya)
Subject: Portrait in music
Goals:
Educational
- formation of an emotional attitude towards music, understanding of music;
- development of speech culture;
- comparison of musical images and character assessment.
Developmental
- perception of musical images;
- ability to distinguish musical fragments;
- the ability to compare facts, analyze and express your point of view.
Educational
- deepen knowledge about the means of musical expression - dynamic shades, strokes, timbre, intonation;
- using the acquired knowledge when drawing up a musical portrait.
Lesson objectives:
- create a listening culture;
- give an idea of expressive and figurative intonations;
- introduce the means of musical expression (timbre, dynamics, strokes), their role in creating character and image;
- develop positive character traits in children.
Lesson type: use and consolidation of acquired knowledge
Planned results
Subject:
- developing the ability to conduct intonation-figurative analysis of a work.
Personal:
- be tolerant of other people's mistakes and other opinions;
- do not be afraid of your own mistakes;
- understand the algorithm of your action.
Metasubject:
Regulatory
- independently recognize the expressive and figurative features of music;
- accept and maintain learning tasks;
- engage in the process of solving assigned tasks.
Cognitive
- with the help of a teacher, navigate your knowledge system and realize the need for new knowledge;
- understand the artistic and figurative content of a musical work;
Communication
- the ability to hear, listen and understand others, to participate in collective performance.
- distinguish between figurativeness and expressiveness in musical portraits;
- independently reveal the means of musically figurative embodiment of characters.
Concepts and terms that will be introduced or reinforced during the lesson:
portrait in music, intonation, expressiveness, figurativeness.
Forms of work in the lesson:
listening, intonation-figurative analysis, choral singing.
Educational Resources:
- Textbook “Music. 3rd grade” authors E.D. Kritskaya, G.P. Sergeeva; 2017
- CD “Complex of music lessons. 3rd grade"
- Phonochrestomathy. 3rd grade;
- Piano.
Technological lesson map
Lesson steps | Stage task | Teacher's actions | Student activities |
1. Organizational moment (1-2 min) |
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2. Statement of the educational task |
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"Portrait in Music" |
3.Updating knowledge |
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4. Assimilation of new knowledge and methods of action |
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5. Updating the acquired knowledge |
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6. Information about homework |
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7. Vocal and choral work |
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8. Summing up |
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During the classes
- Organizing time.
Teacher: Hello guys!
Seeing a smile and a joyful look -
This is happiness, so they say!
Check if everyone is ready for the lesson.
- Setting a learning task.
Teacher: In the last lesson we talked about how music describes morning in nature.
One of the works depicted the beauty of morning nature, and the other expressed the feelings of a person in the morning. Do you remember what these pieces of music were called?
Children's answers: P. Tchaikovsky “Morning Prayer”, E. Grieg “Morning”
Teacher: If music speaks about a person’s feelings, then it contains….
Children's answers: expressiveness.
Teacher : And if, while listening to music, we “see” pictures of nature, “hear” its voices, then it contains….
Children's answers: figurativeness.
Teacher: Can music portray a person himself?
Children's answers...
Teacher: What is the name of the image of a person in an artist’s painting? In music?
Children's answers: Portrait.
Teacher: Right. The topic of our lesson is Musical Portrait.
- Updating knowledge
Teacher: Look at a pictorial portrait, what can it tell us?
(Work with a portrait of the composer S. Prokofiev)
Children's answers: about a person's appearance, age, clothes, mood...
Teacher: Can music describe a person’s appearance, age, clothing?
Children's answers: No, just the mood.
Teacher: The epigraph or introduction to our lesson says: “There is a person hidden in every intonation.” How can music depict a person?
Children's answers: With the help of intonations.
Teacher: But they must be very expressive for us to understand them.
Chant “Different guys” (performed in groups)
- Assimilation of new knowledge and methods of action
Teacher: Today we will get acquainted with two musical portraits, they were created by the composer S. Prokofiev (written in a notebook). Let's read the poem that became the basis for one of them.
Reading the poem “Chatterbox” by Agnia Barto
What chatterbox Lida, they say,
Vovka made this up.
When should I chat?
I have no time to chat!
Drama club, photo club,
Horkruzhk - I want to sing,
For a drawing class
Everyone voted too.
And Marya Markovna said,
When I walked out of the hall yesterday:
"Drama club, photo club
It's too much of something.
Choose for yourself, my friend,
Just one circle."
Well, I chose it based on the photo...
But I also want to sing,
And for a drawing class
Everyone voted too.
And what about chatterbox Lida, they say,
Vovka made this up.
When should I chat?
I have no time to chat!
Teacher: Describe the heroine of the poem!
Children's answers: A little girl, a schoolgirl, pretty, cheerful, but too talkative, her name is Lida.
Teacher: What musical intonations can express Lida’s character?
Children's answers: light, bright, fast...
Teacher: What musical intonations can her movements or voice portray?
Children's answers: very fast, hasty, like a tongue twister.
Teacher: Let's listen to the song that the composer created.
Listening to a song.
Teacher: How did music create Lida’s portrait? What is her character like?
Children's answers: Kind, cheerful mood and very fast speech.
Teacher: What can you call this song?
Children's answers: Cheerful talker...
Teacher: Let's note in the notebook (entry in the notebook: “Chatterbox Lida”, the girl’s speech is depicted)
- Updating the acquired knowledge
Teacher: And if music has no words, it is performed only by musical instruments, will it be able to create an image of a person?
Children's answers...
Teacher: Now we will listen to another musical portrait, and guess whose it is. And the music will tell us - if she talks about a man, it will sound marching, if she talks about a woman, it will sound dancelike, if the hero is an adult, the music will sound serious and heavy, if a child, it will sound playful and light.
Listening to a musical fragment by S. Prokofiev “Juliet is a girl”
Children's answers: The music speaks of a woman, there is danceability in it, the heroine is a young or little girl, the music sounds fast, easy, fun.
Teacher: What can you do with music?
Children's answers: dance, play, jump or run.
Teacher: That's right. This heroine's name is Juliet, and we listened to a fragment of the ballet "Romeo and Juliet", which tells the love story of very young heroes. And Juliet is depicted waiting to meet her lover, so she can’t sit still, and she actually runs, jumps, and dances with impatience. Do you hear?
Listening to the fragment again
Teacher: What did the music depict more: the heroine’s movements or her speech?
Children's answers: Movements
Teacher: Let's write down: “Juliet”, movements are depicted (writing in a notebook)
- Homework
The drawing is a mystery. Draw one object that belongs to either Lida the Chatterbox or Juliet.
- Vocal and choral work
Teacher: Can we create a portrait of someone together?
Children's answers...
Teacher: Let's sing a song about a little puppy who went for a walk.
Repeating the words of the song in groups:
1st verse - 1st row, 2nd verse - 2nd row, 3rd verse - 3rd row, 4th verse - all.
Work on the cantilena performance of the melody in the verses and the abrupt sound in the chorus.
Performance of the song.
- Summarizing. Reflection
Teacher. What was unusual/interesting during the lesson?
Children's answers...
Teacher. Have we completed all the tasks?
Children's answers...
Teacher. What did you like or dislike the most?
Children's answers...
Portrait in literature and music
A good painter must paint two main things: a person and a representation of his soul.
Leonardo da Vinci
From the experience of fine arts, we know how important the appearance of the model is for a portrait. Of course, the portrait painter is interested in the latter not in itself, not as a goal, but as a means - an opportunity to look into the depths of a personality. It has long been known that a person’s appearance is connected with his psyche, his inner world. Based on these relationships, psychologists, doctors, and simply people with developed powers of observation and the necessary knowledge “read” information about a person’s mental properties from the iris of the eye (the eyes are the “mirror of the soul”, “window of the soul”, “gate of the soul”), features face, hand, gait, manners, favorite pose, etc.
More than anything else, his face can tell about a person. not without reason, he believed that the face is the “soul of man”; as the Russian philosopher said, “it’s like a navigator’s map.” Lido is the “plot” of the book “Personality”. It is no coincidence that changing your face sometimes means turning into a different person. This interdependence of the external and internal gave impetus to the artistic imagination of writers - V. Hugo in “The Man Who Laughs”, M. Frisch in “I Will Call Myself Gantenbein”. It is facial disfigurement that seems to the hero of D. Oruzll’s novel “1984” to be the final destruction of his personality. The hero of Kobo Abe's novel "Alien Lido", forced by circumstances to make himself a mask, begins to live a double life under its influence. A mask that hides the face is the right to a different “image”, a different character, a different value system, different behavior (let’s remember Souvestre and M. Allen and the film versions of their books, the plot of “Die Fledermaus” by J. Strauss...).
Given how much physical description can reveal, writers often use it to describe a character. A skillfully done description makes the character’s appearance almost “alive”, visible. It’s as if we are seeing the individually unique provincials of “Dead Souls.” The heroes of L. Tolstoy are vivid.
Not only what a person looks like, but also the environment around him, the circumstances in which he exists, also carry information about the character. This was well understood, for example, by Pushkin, introducing Onegin to the reader in the first chapter of his novel, in verse. The author has few expressive touches of the character’s personal “I” (“a young rake”, “dressed like a London dandy”), and it is complemented by many details of Onegin’s upbringing, his social life with balls, theaters, flirtations, fashions, salons, dinners.
Obviously, the ability of “circumstances of action” to testify about people found its extreme expression in the short story “The Last Summer of Klingsor” by the modern German writer Hermann Hesse. The artist Klingsor, in order to paint a self-portrait, turns to photographs of himself, parents, friends and lovers; for successful work he even needs stones and mosses - in a word, the entire history of the Earth. However, art also tried the other extreme - the complete cutting off of the environment from the person, which we see in the paintings of the great Renaissance painters: Leonardo da Vinci and Raphael's paintings of nature are deliberately distanced from large-scale faces that attract the viewer's attention. Or we hear in operas: the central aria-portrait of Onegin “You wrote to me, don’t deny it” is in no way connected with the everyday sketches surrounding it - the song of the girls “Maids, beauties, darlings, girlfriends”; confessing his feelings to Liza Yeletsky in Tchaikovsky’s “Queen of Spades”, as if he does not notice the bustle of the noisy St. Petersburg ceremonial ball. Contrast organizes the viewer's or listener's attention, directing it to the “close-up” and relaxing it to the “background.”
By describing the color of the hair and eyes, height, clothing, gait, habits, and circumstances of the hero’s life, the writer does not at all strive to create a “visual sequence” of a work of art. His true goal in this case (and a completely conscious one) lies much further: to consider the human soul in external signs. This is how the great French portrait painter of the 18th century, Quentin de Latour, said about it: “They think that I capture only the features of their faces, but without their knowledge I plunge into the depths of their souls and take it entirely.”
How does music portray a person? Does she embody the visible? To understand this, let's compare three portraits of the same person - the outstanding German composer of the late 19th - early 20th centuries, Richard Strauss.
This is how Romain Rolland saw him (by no means an angel, but a living person): “He still has the appearance of an adult, absent-minded child with pouting lips. Tall, slender, rather elegant, arrogant, he seems to belong to a finer race than the other German musicians among whom he is found. Disdainful, satiated with success, very demanding, he is far from being on peaceful, modest terms with other musicians, like Mahler. Strauss is no less nervous than him... But he has a great advantage over Mahler: he knows how to rest, Easily excitable and drowsy, he escapes from his nervousness thanks to his inherent power of inertia; it has traits of Bavarian looseness. I am sure that after those hours when he lives an intense life and when his energy is extremely consumed, he has hours of seemingly non-existence. Then you notice his wandering and half-asleep eyes.”
Two other portraits of the composer - sound ones - were “drawn” by him himself in the symphonic poem “The Life of a Hero” and in the “Home Symphony”. Musical self-portraits are in many ways similar to the description of R. Rolland. However, let’s think about exactly which aspects of the personality are “voiced.” It is unlikely that, listening to music, we would have guessed that the prototype is “tall, slender, rather elegant”, that he has “the appearance of an adult, sensible child with pouting lips” and “wandering and half-asleep eyes”. But other features of Strauss the man, revealing his emotional world (nervousness, slight excitability and drowsiness) and important character traits (arrogance, narcissism) are convincingly conveyed by music.
A comparison of the portraits of R. Strauss illustrates a more general pattern. The language of music is not particularly conducive to visual associations, but it would be reckless to completely reject this possibility. Most likely, the external, physical parameters of a personality can only partially be reflected in a portrait, but only indirectly, indirectly, and to the extent that they are in harmony with the mental properties of the personality.
It is not difficult to make one more observation. A pictorial portrait through external appearance seeks to capture the deep traits of a person, while a musical portrait has the opposite opportunity - “capturing the essence” of a person (his emotional nature and character), allowing for enrichment with visual associations. A literary portrait, occupying an intermediate place between them, contains an informative description of both the appearance and the emotional and characteristic “core” of the personality.
So, any portrait contains emotion, but it is especially significant in a musical portrait. We are convinced of this by a noticeable phenomenon in world musical culture - miniatures by the French composer of the late 17th - early 18th centuries, Francois Couperin, composed for the predecessor of the modern piano, the harpsichord. Many of them depict people well known to the composer: the wife of one of the organists of the royal church, Gabriel Garnier (“La Garnier”), the wife of the composer Antoine Forcret (“The Magnificent, or Forcret”), the bride of Louis XV Maria Leszczynska (“Princess Marie”) , infant daughter of the Prince of Monaco, Antoine I Grimaldi (“Princess de Chabeil, or Muse of Monaco”). Among the “models” there are also people who clearly surrounded the composer (“Manon”, “Angelique”, “Nanette”), and even relatives. In any case, the method of recreating the human personality is the same: through individual emotion. His Manon is cheerful and carefree, appears solemnly majestic in the ceremonial portrait of Antonin, and Mimi’s appearance is painted in more lyrical tones. And all of them are like a continuation of the portrait gallery collected in the book of the great writer and philosopher Jacques de La Bruyère “Characters, or Manners of the Present Century.”
The opera aria also provides a detailed description of the human emotional world. It is curious that in Italian opera of the 17th - early 18th centuries there was a tradition of highlighting the main emotion of the character, the main affect, in the aria. Basic emotions gave birth to types of arias: aria of sorrow, aria of anger, aria of horror, elegy aria, bravura aria and others. Later, composers try to convey not just one all-encompassing state of a person, but a complex of emotions inherent in him and thereby achieve a more individual and deep characterization. Such as in the cavatina (that is, the exit aria) of Lyudmila from the opera “Ruslan and Lyudmila” by Glinka. The composer is clearly inspired by Pushkin's image:
She is sensitive, modest,
Marital love is faithful,
A little windy... so what?
She's even cuter.
Lyudmila's aria consists of two sections. The first, introductory one, an address to his father, is imbued with light sadness and lyricism. A wide, sing-song melody, sounding at a slow tempo, is, however, interrupted by flirtatious phrases.
In the second, main section, we learn the main features of the heroine: cheerfulness, carelessness. Accompanied by “dancing” polka chords, the melody quickly overcomes complex leaps and rhythmic “beats” (syncopation). Lyudmila’s high coloratura soprano rings and shimmers.
Here is another musical portrait, “written” without the participation of the voice - the piece “Mercutio” by Sergei Prokofiev from the piano cycle “Romeo and Juliet”. The music radiates overflowing energy. Fast tempo, elastic rhythms, free transfers from the lower register to the upper register and vice versa, bold intonation breaks in the melody “revive” the image of a merry fellow, a “daring fellow” who “talks more in one minute than he listens to in a month”, a jokester, a joker, able to remain inactive.
Thus, it turns out that a person in music is not simply endowed with some kind of emotion invented by the author, but certainly with one that is especially indicative of the original (the literary prototype, if such, of course, exists). And one more important conclusion: realizing that “one but fiery passion” nevertheless schematizes the personality, “drives” it into a two-dimensional flat space, the composer tries to come to a certain variety of emotional touches; the multi-colored “palette” of emotions allows us to outline not only the emotional world of the character, but, in fact, something much larger - character.
Municipal educational institution
Bolshevo Secondary School No. 6
with in-depth study of subjects
artistic and aesthetic cycle
__________________________________________________________
Moscow region, Korolev, Komitetsky Les street, 14, tel. 515-02-55"Musical Portrait"
Open lesson in 6th grade
During the seminar
“Creative development of personality in the lessons of HEC”
Music teacher
Shpineva V.I.,
Korolev
2007
Lesson TOPIC: Musical portrait (6th grade).
The purpose of the lesson : formation in students of the concept of a musical portrait and artistic means of creating a portrait in various types of art.
Tasks:
expanding the general cultural horizons of students;
formation of a culture of singing;
the formation of a deep, conscious perception of works of art;
development of artistic taste;
nurturing creative activity.
Lesson form : integrated lesson.
Equipment : piano, stereo system, reproductions of paintings, projector, screen.
DURING THE CLASSES.
Organizing time. Musical greeting.
Teacher. Guys! You and I have already seen more than once how diverse the world of art is. Today we will talk about one of the genres of art – portraiture.
What are the features of this genre?
In what types of art can you create a portrait?
Give examples.
Students answer questions and give their own examples.
Teacher. The outstanding Italian painter, sculptor, architect, scientist, engineer Leonardo da Vinci said that “painting and music are like sisters, they are desired and understood by everyone.” After all, you may not know the language that Beethoven or Raphael spoke, you just need to watch, listen and think...
Continuing this thought, I would now like to invite you to consider a reproduction of the painting “The Swan Princess” by the Russian artist M.A. Vrubel.On the screen is a slide “The Swan Princess” by M. A. Vrubel.
Questions about the painting :
Describe the Swan Princess by Mikhail Vrubel.
What artistic media does the artist use?
What impression does this picture make on you?
Students answer questions emphasize the mystery, proud beauty of the fairy-tale bird girl, and celebrate the extraordinary gift of the painter who created the portrait of the fantastic creature. This is a fabulous bird girl, whose majestic beauty is typical of folk tales. Her eyes are wide open, as if she sees everything today and tomorrow. Her lips are closed: it seems that she wants to say something, but is silent. The kokoshnik crown is strewn with emerald semi-precious stones. A white airy veil frames the delicate features of the face. Huge snow-white wings, with the sea rippling behind them. A fabulous atmosphere, everything seems to be enchanted, but we hear the beat of a living Russian fairy tale.
Teacher. In what literary work do we meet the Swan Princess? How does the author describe it?
Students answer questions by saying “The Tale of Tsar Saltan” by A.S. Pushkin. The teacher recalls lines from this work in which a portrait of the Swan Princess is given.
Teacher. We looked at a pictorial portrait, read a description of the character’s appearance in a literary work. But many composers have turned to this plot. I’ll now play you a fragment of a work by a Russian composer of the 19th century. What kind of work is this?
The teacher plays a fragment from N.A. Rimsky-Korsakov’s opera “The Tale of Tsar Saltan” on the piano.
Students recognize this work and say that it also contains a portrait of the Swan Princess.
Teacher. The French composer C. Saint-Saëns wrote “The Great Zoological Fantasy “Carnival of Animals,” which also features the Swan theme.
Listen to “The Swan” by Saint-Saëns and describe the character of the music.
The teacher plays the piano.
Student answers : Calm tempo, the accompaniment depicts a slight swaying of the waves, against which an unusually beautiful melody sounds. It is very expressive and therefore easy to remember. At first it sounds quiet, and then gradually the dynamics intensify, and the melody sounds like a hymn to beauty. It sounds broad, like a splash of a wave, and then it seems to gradually calm down and everything freezes.
Teacher. Pay attention to this point: in music, as in the visual arts, it is important not only to simply depict, convey the external appearance, but also to penetrate into the deep, spiritual essence of the character. This play is a prime example of this.
Students are shown a slide with two portraits: V.L. Borovikovsky “Portrait of M. Lopukhina” and A.P. Ryabushkin “Portrait of a Moscow girl XVII century."
Teacher. Now, guys, look at these two portraits, listen to the piece of music and think about which portrait this music is more suitable for and why.
F. Chopin's waltz in B minor sounds.Questions :
What is the nature of the music, its tempo, means of expression, what is the mood?
What are the characters of the girls depicted by artists?
Which portrait does this music best suit and why?
Answers: The music is romantic, “lacey”, conveys a feeling of calm and thoughtfulness. The portrait of Lopukhina evokes the same feelings.
Teacher. We looked at a picturesque portrait and listened to a musical portrait that was in tune with it. And now let’s sing in chorus the song that you and I learned: “Teacher’s Waltz” by A. Zaruba.
Students get up from their tables, form a choir and sing the song they learned in previous lessons.
Teacher. Think about what portrait this music paints for us?
Answers: Before us is a portrait of a teacher. The character of the music is smooth, measured, calm, like the character of a teacher.
Students take their seats.
Teacher. Listen to one piece now and try to answer the question: is it possible to see a portrait in this music? If so, whose?
The phonogram “Song of a Soldier” by A. Petrov plays .
Answers: The playful nature of the music paints an expressive portrait of a brave soldier who went through battles and remained alive.
Homework : draw a portrait of this soldier.
Teacher. In conclusion, you and I will use musical means to create the image of our homeland, performing the Russian Anthem.
The guys get up.
Teacher. The anthem is a solemn song, majestic and proud. She is free, like the vast expanses of our Motherland; leisurely, like the flow of our deep rivers; sublime, like our hills and mountains; deep, like our protected forests. We sing the Russian Anthem and see Red Square, St. Basil's Cathedral, the Kremlin, our hometown, our street, our home...
Students sing the Russian Anthem.
The teacher offers to summarize the lesson.
What did you learn in this lesson?
What piece of music did you like best?
Which painting made the strongest impression on you?
In what form of art would you like to create a portrait and who and how would you portray?
At the end of the lesson, students are asked to mark the most interesting answers of their friends, grades are given taking into account the opinions of the students.