A message on the topic of musical portrait. Musical portrait – Knowledge Hypermarket
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 address inner world person 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 arts - 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 development creative imagination;
Deepening students' understanding of the visual properties of music with the help of comparative analysis works of music – “Song of Varlaam” by M. Mussorgsky and fine art – Repin’s paintings “Prototyakon”;
Metasubject
Regulatory
. own goal-setting skills in setting educational tasks in the process of perception, performance and evaluation of 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 piece of music.
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 - study 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
Communicative UUD:
Ability to listen and reflect.
Personal UUD:
Formation of interest in musical activities.
- 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.
Communicative 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 arts a portrait is a genre in which someone’s appearance is recreated. Along with external resemblance, the portrait captures spiritual world 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. This is how it began for the young musician new life, in which the main place was occupied by Balakirev and the circle " Mighty bunch"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 most interesting character operas - 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 hero's musical speech so as to imagine him 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 an archdeacon - this is such a spiritual rank in 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').
comparison table 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 shouting 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 art 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 the sketch Christmas decorations- 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.
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
MUSIC AND OTHER ARTS
Lesson 25
Topic: Musical portrait. Can music express a person's character?
Lesson objectives: analyze the variety of connections between music and fine arts; find associative connections between artistic images of music and other forms of art; distinguish the characteristic features of types of art (taking into account the criteria presented in the textbook); perceive and compare musical intonations of various meanings while listening to music.
Materials for the lesson: portraits of composers, reproductions of paintings, musical material.
During the classes:
Organizing time:
Listening: K. Debussy. "Sail".
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. Rimsky-Korsakov)
Lesson topic message:
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.
Work on the topic of the lesson:
When looking at a picture, we include all our senses, not just vision. And we hear, and not just see, what is happening on the canvas. Our gaze, according to the figurative definition of Alexander Ivanovich Herzen, becomes “listening.”
Guys, take a close look at Ilya Repin’s painting “Protodeacon”, who do you see in front of you, describe . (Before us is a portrait of an archdeacon - 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 voice.)
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 you think allowed these two deep and accurate observers to see in the portrait the resemblance to the character from the opera “Boris Godunov”?
It is probably that each of the works - Pushkin’s “Boris Godunov”, and Mussorgsky’s opera of the same name, and Repin’s “Protodeacon” - has one important feature - vividly and authentically - in word, music, image, showing the character of a person.
Between Varlaam and Protodeacon there is, of course, something in common, connected not only with character. Protodeacon is a spiritual rank. Varlaam is a monk who escaped from the monastery and went on a spree in a tavern on the Lithuanian border. He is similar to Repin’s character - huge, pot-bellied, “has a bald forehead, a gray beard, a thick belly.” However, this is not the most important thing that unites and brings together these generally independent images that arose independently of each other. The main thing between them is the unbridled nature, the rudeness of nature, prone to gluttony and revelry.
Listen to how Varlaam sings his famous song “As it was in the city in Kazan” in Mussorgsky’s opera. Pay attention to the timbre of his voice, to the features of the music - violent, unbridled, deliberately loud. Note also the manner of performance: after all, the artist always tries to emphasize the most important thing in the character of the hero.
Listening: M. Mussorgsky. Song of Varlaam from the opera "Boris Godunov".
How did Varlaam appear to you? (Noisy, violent, with an unbridled temper.)
Remember what role details play in works of fine art, how they complement the appearance of the hero, merge with him, and communicate something that cannot be conveyed by other means.
For example, famous picture“Girl with Peaches” - isn’t this a single image? Tenderness, youth, and the gentle sun literally permeate the picture, where every detail, every stroke is filled with the charm of the main character.
But here is a completely different musical portrait.
"drew" him Great master vocal lyrics by F. Schubert.
In the center of the image is Margarita, sitting at a spinning wheel and singing about her love.
If Varlaam’s portrait features were conveyed through the nature of the music and the manner of its performance, then in the song “Margarita at the Spinning Wheel” everything is important: the meaning of the words, the nature of the melody, and the bright imagery of the musical performance.
The portrait of Margarita in this song is drawn against the background of an important everyday detail - a buzzing spindle.
Listening: F. Schubert. "Margarita at the Spinning Wheel" Words by J. W. Goethe.
Margarita is also among the charming female images. But she, having already known love and suffering, is characterized by great depth and emotionality. Her song is an image, a picture, including several plans: external (pictorial), lyrical, psychological.
Figurativeness, as is often the case in vocal music, lies in the accompaniment music: from the very first bars we seem to see and hear a spinning wheel with its measured buzz. Against this background, the lyrical confession of a lonely girl, yearning for her lover, sounds.
All the richness of her love, all shades of mood from hidden sadness to powerful upsurges of feeling are conveyed in the vocal part. But with all the dynamism of this lyrical statement, with all the ups and climaxes of the melodic line, we return again and again to the buzzing of the spinning wheel - the original motive that frames this spiritual musical portrait.
If the musical images of Varlaam and Margarita were mediated by verbal text, then in the next work the musical portrait is carried out without the help of words.
“Gnome” from M. Mussorgsky’s piano cycle “Pictures at an Exhibition” is a musical portrait of a small fairy-tale creature, performed with enormous artistic power. It was written under the impression of a painting by W. Hartmann. These are not only “pictures written by a musician, but these are small dramas in which the very essence of the phenomena of life is revealed - the soul of events, the soul of things, seems to shine through the sounds,” wrote B. Asafiev.
We have already said that not only in music, but also in the visual arts, it is important not just the image, the transfer of the external appearance, but penetration into the deep, spiritual essence of the character. The play "Gnome" is one example of such a work.
Listening: M. Mussorgsky. “Gnome” from the “Pictures at an Exhibition” series.
Through the limping gait and angular jumps of the fantastic freak, deep suffering suddenly appears - no longer at all fabulous, but living, human. The music dramatically changes its character: broken, bizarre rhythms and leaps, which have a brightly graphic character, give way to the downward movement of chords, the sound of which is imbued with the intonation of aching melancholy, pain, and loneliness.
Mussorgsky’s “Gnome” is no longer a simple illustration of W. Hartmann’s painting, it is a significant development and deepening of the image, about which the composer managed to say so much in his short play.
Questions and tasks:
- Why do some musical works have a vivid portraiture?
- What musical genres are most capable of conveying the portrait features of a hero?
- What do the portraits of “Protodeacon” by I. Repin and Varlaam M. Mussorgsky have in common?
- How does music convey the portrait of the Dwarf in M. Mussorgsky's play? What do you think the music says more about - the external appearance of the Dwarf or his inner world?
- Name the works studied earlier in which portraits of heroes (characters) are embodied through music.
- Complete the task in the “Diary of Musical Works” - pp. 26-27.
Presentation
Included:
1. Presentation - 11 slides, ppsx;
2. Sounds of music:
Debussy. Prelude "Sails", mp3;
Mussorgsky. Pictures from the exhibition. Two Jews, rich and poor (2 versions: symphony orchestra and piano), mp3;
Mussorgsky. Opera "Boris Godunov". Varlaam’s song “As it was in the city in Kazan”, mp3;
Schubert. Margarita at the spinning wheel, mp3;
3. Accompanying article - lesson notes, docx.
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;
- raise children positive features character.
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 expressive and visual features 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 of Agnia Barto's poem "Chatterbox"
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 there are no words in the music, it is only performed musical instruments, can she 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 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...
Mikheeva Margarita Eduardovna, teacher of the highest qualification category, Novouralsk School No. 59, Novouralsk
Art lesson (music) at 5 class III quarter.
Lesson topic: Musical portrait.
Lesson type: Learning new material.
The purpose of the lesson: to show the relationship between music and painting through an imaginative perception of the world.
Tasks:
- teaching:
- to develop thinking skills - generalization, the ability to listen and prove;
- development of the ability to compare and contrast;
- formation of integration skills various types art;
- consolidate the concept - means of musical expressiveness: character, intonation, melody, mode, tempo, dynamics, image, form;
- learn to compare works of music and painting;
- introduce the works of M.P. Mussorgsky;
- teach children to feel poetry, musicality and picturesqueness artistic images;
- developing: to develop emotions, fantasy, imagination of students in the comparative perception of musical, artistic and literary works;
- correctional:
- creating conditions for optimizing students' creative abilities;
- educational: to teach children to feel the poetry of musical and pictorial artistic images.
- verbal-inductive (conversation, dialogue);
- visual-deductive (comparison);
- partially search (improvisation);
Equipment: Audio and video equipment. ICT. Portrait of M.P. Mussorgsky, reference cards, POWER POINT presentation.
Musical material:
"Baba Yaga" M.P. Mussorgsky, song "Captain Nemo" music. Ya. Dubravina, lyrics. V. Suslova.
Presentation on the works of M. Mussorgsky, cartoon "Pictures at an Exhibition".
Form of work: group, individual.
DURING THE CLASSES:
Organizing time.
Musical greeting.
Students are offered an associative series: a portrait of “Alyonushka” by Vasnetsov, a portrait of Mussorgsky, a fragment of the song “Captain Nemo” by music. Ya. Dubravina, lyrics. V. Suslova.
Students must formulate the topic of the lesson themselves based on the associations they see.
U.: Our topic today is “Portrait in Music.” What is a "portrait" in fine art?
D.: image of a person in full height; to depict several people; if you depict people up to their shoulders, it is a portrait.
U.: What can you and I see in the portrait?
D.: suit; hairstyle; character; mood; young or old; rich or poor.
U.: How does a musical portrait differ from a portrait in painting?
D: You can’t see it right away, you need to listen to all the music to see it in your imagination. It lasts in time; conveys movement, mood; the picture can be viewed slowly, but the piece of music continues for some time and ends; in the picture everything is visible at once, but when you listen to music, you have to imagine something; And different people everyone can imagine their own...
U.: Remind me what means of expression the artist uses to create his paintings?
D: palette, color, stroke, stroke, etc.
T: What means of expression does the composer use to create a musical image?
D: dynamics, tempo, register, timbre, intonation.
U.: in front of you on the board (cards) are written means of musical expression. Choose those that will help you understand the musical portrait. Explain their purpose.
(Recorded: form, tempo, rhythm, mode, dynamics, melody)
D.: tempo is the speed of the music, it allows you to determine how the hero moved; allows you to learn something about the character of the hero.
The mode - major or minor - creates the mood of the hero. Major is usually a joyful mood, minor is sad, thoughtful.
Dynamics is volume: the closer the hero is to us, the louder the music sounds.
Melody is the image of the hero, his thoughts; these are our thoughts about him.
U.: All this knowledge will help us understand how a composer creates musical portraits and what helps him in this.
M.P. Mussorgsky created many nationally vibrant musical images, in which he reveals the uniqueness of the Russian character.
“My music should be an artistic representation of human language in all the subtlest nuances” M.P. Mussorgsky.
Mussorgsky is the creator of various musical portraits.
We will talk about such images - musical portraits - in our lesson. Let's remember what a musical portrait is?
A musical portrait is a portrait of the character of the hero. It inextricably combines the expressive and figurative power of the intonations of the musical language.
Today we will get acquainted with a musical portrait, only a fabulous one.
We will have two creative groups musical experts who will try to understand the portrait image created by M.P. Mussorgsky.
The class is divided into two creative groups.
Tasks:
- follow up development of music,
- analyze the means of musical expression, their use,
- give a name to the image in the portrait.
Listening: M.P. Mussorgsky "Baba Yaga" from the series "Pictures at an Exhibition."
The analysis of the listened work is carried out by representatives from two creative groups.
T: Guys, let's see how film director I. Kovalevskaya imagined the image of Baba Yaga, who created a cartoon based on the musical work "Baba Yaga" from the piano cycle "Pictures at an Exhibition." Does the image of Baba Yaga from the cartoon match your presented images?
Lesson summary.
What did we talk about in class today?
Music has a visual quality. With the help of inner vision and imagination, we can imagine what the composer is telling us about.
Teacher: So you were able to express your feelings, emotions, imagination in verbal drawings.
Lesson summary.
U.: The topic of our lesson today was called “Portrait in Music.” Whose portrait did we meet today?
D.: Baba Yagi!
U.: Music has a figurative quality. With the help of inner vision and imagination, we can imagine what the composer is telling us about. This means that you were able to express your feelings, emotions, and imagination in verbal drawings.
U.: And now - homework: 1) draw Baba Yaga the way you imagined her from Mussorgsky’s work. 2) compose a song or ditty about Baba Yaga.
Reflection.
T: Guys, what new did you learn in class today?
(Students are offered self-assessment sheets to fill out).
U: Our lesson is over, thank you guys, you did a very good job.
Musical portrait
It is interesting to compare the features of recreating a person’s appearance in literature, fine arts, and music.
In music there cannot be a resemblance to a specific person, but at the same time
It is no coincidence that it is said that “a person is hidden in intonation.” Because music is an art that is temporary O e (it unfolds, develops in time), like lyric poetry, it is subject to the embodiment of emotional states and human experiences with all their changes.
The word "portrait" in relation to musical art, especially for instrumental non-program music, is a metaphor. At the same time, sound recording, as well as the synthesis of music with words, stage action and extra-musical associations expand its capabilities. Expressing the feelings and moods of a person, embodying his various states, the nature of movement, music can evoke visual analogies that allow us to imagine what kind of person is in front of us.
N. Roerich. Russian artist (1874-1947) Sketch for the set of the opera “Prince Igor”
Character, lyrical hero, storyteller, narrator - these concepts are important not only in a literary work, but also in a musical one. They are necessary for understanding the content of program music, music for the theater - opera, ballet, as well as instrumental and symphonic music.
The intonation of the character more clearly reproduces external signs, manifestations of a person in life: age, gender, temperament, character, unique manner of speaking, moving, national characteristics. All this is embodied in music, and we seem to see a person.
Music can help you meet people from a different era. Instrumental works create images of various characters.
F. Haydn admitted that he always composed music with characteristic types person. “Mozart’s themes are like an expressive face...
You could write a whole book about female images V instrumental music Mozart" (V. Medushevsky).
Portrait of the composer in literature and cinema
The portrait of any cultural and artistic figure is created primarily by his works: music, paintings, sculptures, etc., as well as his letters, memoirs of contemporaries and works of art about him, which arose in subsequent eras.
"Mozart's Universe" (Irina Yakushina) this is the name of one of the books about life and creativity Wolfgang Amadeus Mozart(1756-1799), Austrian composer, author of immortal musical works - Symphonies No. 40, “Little Night Serenade”, “Rondo in Turkish Style”, “Requiem”.
P Why is Mozart's music compared to the Universe? Apparently, because it reveals various phenomena of life in a varied and deep way, its eternal themes: good and evil, love and hate, life and death, beautiful and ugly. Contrasts of images and situations constitute the main driving force of his music, which helps listeners understand his life credo: “Life is incomparably beautiful on the beloved land!”
Tragic death Mozart's death at the age of 35 has given rise to much speculation about the death of a composer in his prime. creative forces. One of them - the poisoning of Mozart by his contemporary, the socially recognized court composer Antonio Salieri (1750 -1825), formed the basis of A. Pushkin’s small tragedy “Mozart and Salieri”, an opera by N. Rimsky-Korsakov, modern films and dramatic performances.
Gives viewers a different interpretation of the relationship between the two composers film director M. Forman - creator of the film “Amadeus”, winner of five Academy Awards: the distraught old man Salieri, who is rescued from a suicide attempt, in confession tells the priest about his feelings and experiences that he experienced while watching Mozart's talent flourish. The final part of the film captures the moments of the production of the opera “The Magic Flute” and the creation of “Requiem”.
Read a little tragedy
A.S. Pushkin. Mozart and Salieri. Listen here.
Consider the illustrations of M. Vrubel.
Watch excerpts from the film "Amadeus". What features of the characters of Mozart and Salieri do these works reveal to you?
What experience of relationships between people do you gain as a result of acquaintance with works of art?
Listen to fragments of Mozart's works that you are familiar with.
Mozart Figaro's Aria from the opera "The Marriage of Figaro". Listen here.
What feelings expressed in Mozart's music are consistent with the feelings of the modern listener?
Listen to a modern adaptation of one of Mozart's works. Why famous performers turn to a creative interpretation of Mozart's music?
Mozart Symphony No. 40 in a modern arrangement. Listen here.
Read literary works, in which an image-portrait of the composer is drawn (excerpts from the novel by D. Weiss “The Sublime and the Earthly” Listen Here, poems by L. Boleslavsky, V. Bokov, etc.).
Yu. Voronov Mozart. Listen here.
Mozart Fantasia in D minor. Listen here.
Mozart Fantasia in D minor lit. Listen here.
Lev Boleslavsky. Requiem. Listen Here
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