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Means musical expressiveness
Music originated in ancient times. This is evidenced by the many found objects with images of musical instruments and performers, although the musical works themselves from distant eras have not reached us.
Music has long been recognized as an important and indispensable means of shaping personal qualities man, his spiritual world. B Ancient Greece There was even a teaching that substantiated the impact of music on human emotions. It has been proven that some melodies strengthen courage and perseverance, while others, on the contrary, pamper.
What is unique about music as an art? Let's compare it with painting, sculpture, literature.
Music cannot depict or describe life phenomena with the same degree of concreteness as these types of art (although it does have some visual capabilities).
Is it possible to convey certain content using sounds? What do we call the content of music?
Prominent psychologist B.M. Teplov wrote: “In the most direct and immediate sense, the content of music is feelings, emotions, moods.” (Psychology of musical abilities. - M.; L., 1947. - P. 7.)
The peculiarity of music is that it can convey with great immediacy and power the emotional state of a person, all the richness of feelings and shades that exist in real life.
Due to the fact that music is a temporary form of art (unlike painting and sculpture), it has the ability to convey changes in moods, experiences, and the dynamics of emotional and psychological states. Each piece of music thus has a certain “sensory program” (the term of the psychologist V.G. Razhnikov), unfolding in time.
Music can also depict any specific phenomena of reality - the sound of waves, the howling of the wind, the splashing of a stream, the singing of birds through onomatopoeia.
There is so-called program music, in which the composer either indicates the name of the work, i.e., implies the presence of some generalized program, or writes music for a specific literary text. In program music, various kinds of pictorial moments are more common, but it is important to note that even brightly pictorial works always have an emotional overtones: the chirping of a bird can be friendly, cheerful, or it can be alarmed; the sound of the waves - peaceful or menacing.
Therefore, expressiveness is always inherent in music, and visualization has an auxiliary meaning. Figurativeness is not present in every work, but even vividly visual music always expresses moods, emotional and psychological states.
Music, including music not associated with words, also expresses certain thoughts and evokes generalizations. But they arise through emotional perception sounds, melodies, when the listener traces the development, the clash of characters, themes, and compares various images in parts of the work.
Another feature of music compared to painting and sculpture is the need for an intermediary to reproduce it.
A prominent musicologist and composer B.V. Asafiev noted that music exists in the trinity of processes of its creation by the composer, reproduction by the performer and perception by the listener.
The performer, being an intermediary of the composer, must revive, voice the musical work, creatively comprehend it and express those thoughts and feelings that the author sought to convey.
In general, the expressive possibilities of music have sufficient consistency. So, for example, mourning music is perceived by all people as mournful, and gentle music - as gentle. Listening to music is creative process, since the same product gives rise to different people various musical and extra-musical ideas depending on life experience and experience of music perception.
What is the expressiveness of the language of music based on? What are the means of musical expression?
These include tempo, dynamics, register, timbre, rhythm, harmony, mode, melody, intonation, etc.
A musical image is created by a certain combination! means of musical expression. For example, a menacing character can be conveyed with fairly loud dynamics, a low register combined with a restrained tempo. Gentle character - calm tempo, soft dynamics and measured rhythm. The role of individual musical means in creating an image; may not be the same. Each musical image is dominated by certain means of expression.
The expressiveness of the language of music is in many ways similar to the expressiveness of speech. There is a hypothesis about the origin of music from speech intonations, which are always emotionally charged.
Music and speech have a lot in common. Musical sounds^ just like speech, they are perceived by hearing. The voice conveys a person’s emotional states: laughter, crying, anxiety, joy, tenderness, etc. Intonation coloring in speech is conveyed using timbre, pitch, strength of the voice, tempo of speech, accents, pauses. Musical intonation has the same expressive capabilities.
B.V. Asafiev scientifically substantiated the view of musical art as intonation art, the specificity of which is that it embodies the emotional and semantic content of music, just as the internal state of a person is embodied in the intonations of speech. Speech intonation expresses, first of all, the feelings, moods, and thoughts of the speaker, just like musical intonation. Thus, a person’s excited speech is characterized by a fast pace, continuity or the presence of small pauses, an increase in pitch, and the presence of accents. Music that conveys confusion usually has the same characteristics. A person’s mournful speech, like mournful music (quiet, slow), is interrupted by pauses and exclamations. I
B.V. Asafiev used the term intonation in two meanings. The first is the smallest expressive-semantic particle, “grain-intonation”, “cell” of the image. For example, the intonation of two descending sounds with an emphasis on the first (interval of a small second) usually expresses pain, sigh, crying, and an upward jump in the melody of four sounds (per fourth) with an emphasis on the second sound is an active beginning.
The second meaning of the term is used in a broad sense: as intonation, equal to the length piece of music. In this sense, music does not exist outside the process of intonation. Musical form is a process of changing intonations.
Musical form in the broadest sense is the totality of all musical means that express content. In a narrower sense - the structure of a musical work, the relationship of its individual parts and sections within the part, i.e. the structure of the work.
The temporary nature of music allows us to convey development processes and all kinds of changes. To understand the meaning of the work, to feel it, it is necessary to follow the development musical images.
In creating a form, three principles are important: repetition, contrast, development (variation).
Repetition may vary. A musical phrase repeated twice in a row replaces a stop, this helps to listen more deeply and remember the melody. In another case, a contrasting theme is played between repetitions. The role of such repetitions is very great: they form the basis of musical dramaturgy, since they allow us to establish the primacy of the image.
If there is a contrasting episode between repeated sections, a simple three-part form is formed. It can be schematically represented as follows: ABA.
The expressive value of repeating a theme increases if it itself changes after the appearance of a new image (B). Conventionally, its “second appearance is designated as A1. In this case, the tripartite form can be represented by the ABA1 scheme.
Repetition is associated with another principle - contrast, which allows you to highlight repetition. Contrast helps to express changes in mood in music; it can sound like opposition. So, for example, if the first part was full of carefree, fun, the middle part introduces a contrasting image (anxiety, evil, etc.). In the third part, depending on whether the repetition is accurate or changed, you can follow the development of the image, the musical dramaturgy.
Contrast is associated with another principle of formation - development. If the topic itself consists of two (or more) contrasting elements or a section of the form consists of several topics, this gives rise to conflict, the possibility of their collision and development. This principle has a variety - variational development, which originates from folk improvisations.
These three principles of shaping are often found together. More complex musical forms are formed using these same principles.
Let us characterize some types of music - musical genres. music expressiveness form
Broadly speaking, music can be divided into vocal and instrumental. Vocal music is associated with the word, poetic text. Its varieties are solo, ensemble and choral music. In instrumental music, the content is expressed more generally. Its varieties include solo, ensemble and orchestral music.
But dividing music only into vocal and instrumental is very arbitrary. There is a wide variety of genres of folk and classical music.
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The melody is the soul of the composition, it allows you to understand the mood of the work and convey feelings of sadness or joy; the melody can be jumpy, smooth or abrupt. Everything depends on how the author sees it. Pace
Tempo determines the speed of execution, which is expressed in three speeds: slow, fast and moderate. To designate them, terms are used that came to us from the Italian language. So, for slow - adagio, for fast - presto and allegro, and for moderate - andante. In addition, the pace can be lively, calm, etc.
Rhythm and meter, as means of musical expression, determine the mood and movement of music. The rhythm can be different, calm, uniform, abrupt, syncopated, clear, etc. Just like the rhythms that surround us in life. Meter is needed for musicians who determine how to play music. They are written as fractions in the form of quarters.
The mode in music determines its direction. If it is a minor key, then it is sad, sad or thoughtful and dreamy, maybe nostalgic. Major corresponds to cheerful, joyful, clear music. The mode can also be variable, when the minor changes
Timbre colors music, so music can be characterized as ringing, dark, light, etc. Each musical instrument has its own timbre, just like the voice of a particular person
The register of music is divided into low, medium and high, but this is important directly to the musicians who perform the melody, or to experts who analyze the work. Means such as intonation, accent and pause allow you to clearly understand what the composer wants to say.
CHARACTERISTICS OF MUSICAL EXPRESSIVENESS,
THEIR ROLE IN THE CREATION OF AN ARTISTIC IMAGE OF A MUSICAL WORK.
Music is specific form artistic reflection reality in a musical image. There is a hypothesis that music originated from expressive human speech. A musical image is created using means of musical expressiveness:
TEMP – speed of music performance.
TIMBRE – color of sound. When determining timbre, words of associative meaning predominate (transparent, glassy, juicy, velvety music).
INTONATION – carries the main semantic core in music, therefore it is the most important. Intonation in a broad sense is the development of the entire musical work from beginning to end, the intonation of a musical work. The intonation of the second determines the direction of the piece of music.
RHYTHM is a sequence of sounds of varying lengths.
LAD – emotional coloring of sounds, combination of sounds in pitch (major, minor)
REGISTERS – high, medium, low.
GENRE is a type of artistic creativity associated with the historical reality that gave rise to it, the life and way of life of people (song, dance, march - “3 pillars” - Kobalevsky).
Music is close to the emotional nature of a child. It develops under the influence of music artistic perception, experiences become richer.
Music is the greatest source of aesthetic and spiritual pleasure. It accompanies a person throughout his life, causing an emotional response, excitement, and a desire for action. It can inspire, ignite a person, instill in him a spirit of vigor and energy, but it can also lead to a state of melancholy, sorrow or quiet sadness.
Considering the enormous impact of music on emotions and the child’s desire to understand and feel its content, it is especially important to use musical works that artistically specifically reflect the reality that is close and accessible to him. It is known that one of the sources of the emergence of musical images are the real sounds of nature and human speech - everything that the human ear perceives in the surrounding world.
Developing in the process of sound communication, music was initially inseparable from speech and dance. She adapted to the rhythm of labor movements, facilitated them, and united people with a single desire. Just as a painter imitates the forms and colors of nature, so a musician imitates the sound - intonation, timbre, voice modulations. However, the essence of music is not in onomatopoeia and pictorial moments. A musical image is devoid of direct, concrete visibility, but it is dynamic in nature and expresses in a generalized way, through sound means, the essential processes of life. “Emotional experience and an idea colored by feeling, expressed through sounds of a special kind, which are based on the intonation of human speech - this is the nature of the musical image.” (Boreev Yu.B.)
By influencing people's feelings and thoughts, music promotes emotional understanding of the surrounding reality and helps transform and change it. With the help of its emotional language, music influences feelings, thinking, influences a person’s worldview, guides and changes him.
One of the main means of creating a musical image is a melody, organized rhythmically, enriched with dynamics, timbre, etc., supported by accompanying voices.
Musical images are created using a set of means of musical expression and are an emotional reflection of images of the real world.
The peculiarity of music, its emotional power lies in the ability to show the rich world of human feelings that arose under the influence of the surrounding life. “Music, through the revelation of human experiences, reflects the life that gave birth to them.” (Vanslov V.V.)
Nature of impact musical composition depends on how specific its content is. From this point of view, a distinction is made between music with verbal text, program music and purely non-program music. instrumental music(program music is equipped with a verbal program that reveals its content).
Non-program music expresses only emotional content. But this content must be there. They determine special cognitive abilities musical art.
Music does not provide new specific factual knowledge, but it can deepen existing knowledge by emotionally saturating it.
3. Concept
Couplet (French couplet) is a part of a song that includes one stanza of text and one melody (chant).
The verse is repeated throughout the song with new verses of poetic text, while the melody may remain the same or vary slightly. As a result, the so-called verse form is formed, which underlies the structure of most musical works of the song genre.
1) Start of singing; singing.
2) The beginning of the choral song or each of its verses, performed by the soloist.
3) The beginning of the epic, usually not related to its main content, necessary to attract the attention of listeners; beginning
part of a verse song, performed at the end of the verse, in a choral song - by the choir after the solo chorus. Unlike the chorus, the text of which is updated in each verse, P. is usually sung to the same text. P. is characterized by simplicity of melody and rhythmic clarity. Often P.'s text represents the expression general idea, slogan, appeal (especially in revolutionary and mass songs). In many cases, P. is performed twice each time, which gives it special weight. The “chorus - chorus” relationship is also transferred to instrumental music - a two-part form arises, the second part of which is often also repeated, Rondo or rondo-shaped form (see Musical form).
No. 4. The concept of unwritten and written musical culture. Features of folk musical art as a phenomenon, its features as a specific layer of musical culture: orality, variation and variability, the presence of standard tunes, syncretism, etc.
The essence and specificity of folklore as a phenomenon, features musical language The problem of forming national self-awareness as the basis for preserving the national identity of culture in modern conditions of world globalization undoubtedly deserves close attention already at the initial stage of human comprehension of culture - during preschool childhood. And folklore ( folk wisdom), and original works of art are indispensable means of influencing the feelings and consciousness of a preschooler, therefore any area of education, including musical and aesthetic education, involves the use of samples national culture and, first of all, musical folklore. Musical folklore is a combination of song, dance, instrumental creativity people. Folklore is a more ancient layer of musical culture than composer's music. This is unwritten musical culture, which differs significantly from the written one. Folklore has a number of features, taking into account which makes it possible to effectively use it in the musical development of children preschool age. 1. For folklore tradition characterized by oral tradition, transmission from person to person, from generation to generation. Due to oral nature, works of folklore use frequent repetitions of melodic turns and texts (counting on the limited capabilities of human memory), laconic musical form. These features make musical folklore accessible to preschool children. 2. As a result of orality, such features as variability and variation have developed in folklore. Variation implies the existence of many similar variants of one sample in space (different regions) and in time. Variability - changing a sample during its performance (depending on the capabilities of the performer). These features of folklore make it possible to use its works as invaluable material for the development of musical creativity preschoolers. A folklore pattern taught with preschoolers is a model on the basis of which a child can improvise, create his own variations, without conflicting with the very nature of folklore. 3. As a result of oral tradition, typical melodies, rhythms, and texts were recorded in folklore, which are transferred from one sample of folklore to another, often being signs of the genre (tertian mode in lullabies, sung fifth syllable in phrases of carol songs, text refrains “Shchodry Vechar, good evening”, “Kalada”, “Agu, it’s spring!” etc.). Preschoolers, becoming familiar with a number of traditional tunes, learn the “vocabulary” and “grammar” of the national musical (as well as verbal) language. In this process, the child’s musical intonation vocabulary is enriched, and folklore becomes recognizable to him (as a result of frequent repetition) and a familiar phenomenon. 4. Folklore (especially the early layer) is characterized by syncretism - the unity of all its elements (singing, movement, use of instruments, play). The child’s worldview is also syncretic, types musical activity preschoolers are closely related. Thus, the folklore repertoire corresponds to the age capabilities and needs of a preschool child
4. Concept
Instrumental music is music performed on instruments without the participation of the human voice. There are solo, ensemble and orchestral instrumental music. Widely distributed in classical music, jazz, electronic music, new age, post-rock, etc.
EXPRESSIVE MEANS OF MUSIC
Melody
"Melody will always be the purest expression of human thought"
C. Gounod
The expressive means of music are rich and varied. If an artist in drawing and paint, a sculptor in wood or marble, and a writer and poet in words recreate pictures of the surrounding life, then composers do this with the help of musical instruments. In contrast to non-musical sounds (noise, grinding, rustling). Musical sounds have a precise pitch and a specific duration. In addition, they can have different colors, sound loud or quiet, and be performed quickly or slowly. Meter, rhythm, mode and harmony, register and timbre, dynamics and tempo are all expressive means of musical art.
The most important means of musical expression is MELODY. It is the basis of every work. P. I. Tchaikovsky, this great creator of melodies, said: “Melody is the soul of music.” For where, if not in it - sometimes bright and joyful, sometimes anxious and gloomy - do we hear human hopes, sorrows, anxieties, thoughts ... "
The word "melody" comes from two words - melos - song, and ode - singing. A melody is a monophonic musical thought expressed. In general, a melody is something that you and I can sing. Even if we don’t remember the whole thing, we hum some of its motives and phrases. After all, in musical speech, just like in verbal speech, there are sentences and phrases. Several sounds form a motive - a small particle of melody. Several motifs make up a phrase, and phrases make up sentences.
Folk musical creativity- an inexhaustible treasury of wonderful melodies. Best songs peoples of the world are distinguished by their beauty and expressiveness.
For example, Russian folk song “Oh, there’s a sticky thing in the field”. Its melody is light and graceful. Agile tempo, smooth movement, light major coloring help to express a joyful mood, a feeling of youth and happiness.
A different character of the melody in the song "Oh, you little night". The girl’s sad mood is compared here to a dark autumn night. A broad melody flows slowly in a minor scale.
"Serenade" by F. Schubert– one of the most soulful lyrical melodies created for the voice. Like any other serenade, it is sung at night in honor of the beloved...
In the melody of “Serenade” we guess all the feelings with which the lover’s heart lives at this hour of the night; and tender sadness, and longing, and hope for a quick meeting. Probably Schubert’s “serenade” is about happy love: the day will come, the lovers will meet, and yet its melody reveals a lot to us - something that is not in words and which is very difficult to talk about. Youth, a beloved, a night song flying towards her - this is the content of the work, which lists everything except the most important thing. The main thing is contained in the melody, which tells us how much sadness there is even in the happiest love and how sad a person can be even in his joy.
There are many cheerful melodies in the world, born in moments of joy or holidays. Even among the serenades - mostly sad and thoughtful - you can find cheerful and moving melodies, full of charm and optimism. Who is not familiar with the charming and graceful "Small night serenade» W. A. Mozart, whose melody is full of light and charm of a festive night!
In 18th-century Vienna, it was customary to organize small night concerts under the windows of the person you want to pay attention to. Of course, the meaning of the music performed in his honor was not at all lyrical or intimate, as in a love serenade, but rather funny and slightly mischievous. Therefore, several people took part in such a night concert - after all, joy unites people! To perform Mozart's serenade it was required string orchestra- a collection of virtuoso and expressive instruments that sang so magically in the silence of the Viennese night.
The melody of “A Little Night Serenade” captivates with its subtlety and grace; listening to it, we do not think that this is just everyday music, written to order for a night concert. On the contrary, in its sounds the image of old Vienna lives for us, an unusually musical city, where day and night one could hear wonderful singing, then playing the violin, and even the lightest music was unusually beautiful - after all, Mozart wrote it!
Fascinated by the bright Mozart melodies, the Russian singer F. Chaliapin expressed his attitude towards the great Viennese classics: “You go into a house, simple, without unnecessary decorations, cozy, large windows, a sea of light, greenery all around, everything is welcoming, and a hospitable owner greets you, makes you sit down, and you feel so good that you don’t want to leave. This is Mozart."
These sincere words reflect only one side of Mozart’s music - the one that is associated with the brightest images and moods. But, perhaps, in the entire centuries-old history of music you will not find a composer whose melodies would be only joyful and harmonious. And this is natural: after all, life is never only bright, only clear; losses and disappointments, mistakes and delusions are inevitable in it.
It is in art that the feelings and thoughts by which a person lives most clearly manifest themselves.
And therefore, one should not be surprised when the same Mozart who wrote “A Little Night Serenade” is the same Mozart whom the composer A. Rubinstein called Helios - the sun god of music, about whom he exclaimed: “Eternal sunshine in music - your name is Mozart!”- creates one of the most mournful works in all world art - his Requiem.
Dying composer recent months who dedicated his life to this work, wrote about it in one of his letters: “Before me is my funeral song. I can’t leave it unfinished.”
The Requiem was ordered from Mozart by a stranger dressed all in black, who one day knocked on the composer's house and handed over this order as an order from a very important person. Mozart set to work with enthusiasm, while his illness was already sapping his strength.
A. S. Pushkin conveyed Mozart’s state of mind during the period of the Requiem with enormous dramatic power in the small tragedy “Mozart and Salieri.”
My black man gives me no rest day and night.
He follows me everywhere like a shadow.
And now it seems to me that he is the third one sitting with us.
Mozart did not have time to complete his Requiem. After the composer's death, the unfinished sections were completed by his student F. Süssmayr, who was thoroughly initiated by Mozart into the plan of the entire work.
Mozart stopped at the beginning of “Lacrimosa”; he could no longer continue. In this part, which is part of the climax zone of the composition, after the anger, horror, and darkness of the previous parts, a state of sublime lyrical sorrow sets in. Melody "Lacrimosa" ("Tearful Day") based on the intonation of sighing and crying, at the same time demonstrating an example of deep sincerity and noble restraint of feeling.
Rozhdestvenskaya musical fairy tale Tchaikovsky is full of beautiful bright melodies: sometimes tense and dramatic, sometimes quiet and gentle, sometimes song, sometimes dance. One can even say that the music in this ballet has reached its utmost expressiveness - it tells so convincingly and authentically about the events of Hoffmann’s sublime and touching fairy tale.
Despite appealing to fairy tale plot from German literature, the music of “The Nutcracker” is deeply Russian, like Tchaikovsky’s music in general. And New Year's dances, and magical paintings winter nature - all this in the ballet is imbued with intonations that are close and understandable to every person who grew up in Russia, in the atmosphere of its culture, music and customs. It is no coincidence that P. Tchaikovsky himself admitted: “I have never met a person who is more in love with Mother Rus' than I am... I passionately love the Russian person, Russian speech, Russian mentality, Russian beauty of faces, Russian customs.”
Listening to the melody Pas de deux from the ballet “The Nutcracker”, You’re surprised how much music contains from the living expressiveness of human speech! Probably, in this property, the origin of the melody from the intonation of the human voice reveals itself again and again. The slightest shades are accessible to her - a question, an exclamation, and even an ellipsis...
Listen to the intonation development of the music of this fragment - and you will be convinced that it contains all the diversity of emotional statements. But there is also something in it that the great romantic G. Heine said: “Where the words end, the music begins.” Perhaps the correctness of these words is especially obvious if we're talking about about melody: after all, it is melody that is closest to the intonation of living speech. And yet - is it possible to convey the content of the melody in words? Remember how touching, how unusually expressive "Melody" (Eurydice's Complaint) from the opera K. Gluck "Orpheus and Eurydice" and how much she can say without resorting to words.
In this fragment, the composer turned to pure melody - and this melody itself managed to conquer the whole world!
Doesn’t it follow from what has been said that melody is a language that is close and understandable to everyone - people who lived in different times, who spoke different languages, children and adults? After all, for any person joy is expressed in the same way, and human sadness is the same everywhere, and gentle intonations can never be confused with rude and commanding ones, no matter what language they are spoken in. And if we carry images and hopes that are dear to us, then in moments when a melody that excites us sounds, they become brighter, more alive, and tangible.
Doesn't this mean that the melody guesses ourselves - our hidden feelings, our unspoken thoughts? It is no coincidence that they say: “strings of the soul” when they want to designate what gives us the opportunity to perceive and love the boundless beauty of the world around us.
Let's summarize:
1. What is a melody, and what types does it come in?
2. In which musical genres Is melody most often dominant?
3. Remember several melodies that would express different intonations: sad, affectionate, cheerful, etc.
4. How do you understand the words of P. Tchaikovsky: “melody is the soul of music”?
5. How does the content of music affect the character of the melody?
Presentation
Included:
1. Presentation: 17 slides, ppsx;
2. Sounds of music:
“Oh you, little night”, Russian folk song (performed by Dmitry Hvorostovsky), mp3;
“Oh, you little night”, Russian folk song (performed by the male choir of the St. Petersburg courtyard of the Optina Pustyn Monastery), mp3;
“Oh you, little night”, Russian folk song (performed by Fyodor Chaliapin), mp3;
Glitch. “Melody” from the opera “Orpheus and Eurydice”, mp3;
“Ay, there’s a liponka in the field”, Russian folk song (performed by Sergei Lemeshev), mp3;
Mozart. Little night serenade, mp3;
Mozart. Requiem “Lacrimosa” (“Tearful Day”), mp3;
Tchaikovsky. Pas de deux from the ballet “The Nutcracker”, mp3;
Schubert. Serenade, mp3;
3. Article, docx.
Music, according to the ancient Greek philosopher Plato, gives life and joy to everything that exists in the world, is the embodiment of that beautiful and sublime that exists on earth.
Like any other form of art, music has its own specific features and expressive means. For example, music is not capable of depicting various phenomena, like painting, but it can very accurately and subtly convey a person’s experiences, his emotional state. Its content lies in artistic and intonation images formed in the mind of a musician, be it a composer, performer or listener.
Each type of art has a language that is unique to it. In music, such a language is the language of sounds.
So, what are the main means of musical expression that reveal the secret of how music is born?
The basis of any musical work, its leading principle is melody. A melody is a developed and complete musical thought, expressed monophonically. It can be very different - both smooth and jerky, calm and cheerful, etc.
No less important okay as a means of expression. There are two types: major and minor. The difference between them is that major music evokes clear, joyful feelings in listeners, while minor music evokes slightly sad and dreamy feelings.
Pace – expresses the speed at which a particular piece of music is performed. It can be fast (allegro), slow (adagio) or moderate (andante).
A special means of musical expression is timbre. It represents the color of sound characteristic of any voice and instrument. It is thanks to timbre that one can distinguish the human voice or the “voice” of a musical instrument.
In music, melody is always inseparable from another means of expression - rhythm, without which it cannot exist. Translated from Greek, rhythm is “measurement,” that is, a uniform, coordinated alternation of short and long sounds. It is rhythm that has the ability to influence the character of music. For example, lyricism is imparted to a piece of music using a smooth rhythm, while some excitement is achieved using an intermittent rhythm.
Additional means of musical expression include invoice – a method of processing a certain material, strokes or methods of producing sounds, dynamics - sound strength.
Thanks to the harmonious combination of all of the above expressive means or part of them, music appears that accompanies us in life almost everywhere.
Each art has its own techniques and mechanisms for conveying emotions, and music has its own language. The means of musical expression include tempo, dynamics, register, timbre, rhythm, harmony, mode, melody, intonation, etc.
The melody is the soul of the composition, it allows you to understand the mood of the work and convey feelings of sadness or joy; the melody can be jumpy, smooth or abrupt. Everything depends on how the author sees it.
Tempo determines the speed of execution, which is expressed in three speeds: slow, fast and moderate. To designate them, terms are used that came to us from the Italian language. So, for slow - adagio, for fast - presto and allegro, and for moderate - andante. In addition, the pace can be lively, calm, etc.
Rhythm and meter, as means of musical expression, determine the mood and movement of music. The rhythm can be different, calm, uniform, abrupt, syncopated, clear, etc. Just like the rhythms that surround us in life. Meter is needed for musicians who determine how to play music. They are written as fractions in the form of quarters.
The mode in music determines its direction. If it is a minor key, then it is sad, sad or thoughtful and dreamy, maybe nostalgic. Major corresponds to cheerful, joyful, clear music. The mode can also be variable, when minor is replaced by major and vice versa.
Timbre colors music, so music can be characterized as ringing, dark, light, etc. Each musical instrument has its own timbre, as well as the voice of a particular person.
The register of music is divided into low, medium and high, but this is important directly to the musicians who perform the melody, or to the experts who analyze the work. Means such as intonation, emphasis and pause allow you to clearly understand what the composer wants to say.
A musical image is created by a certain combination of means of musical expression. For example, a menacing character can be conveyed with fairly loud dynamics, a low register combined with a restrained tempo. Gentle character - calm tempo, soft dynamics and measured rhythm. The role of individual musical means in creating an image; may not be the same. Each musical image is dominated by certain means of expression.
The expressiveness of the language of music is in many ways similar to the expressiveness of speech. There is a hypothesis about the origin of music from speech intonations, which are always emotionally charged. Music and speech have a lot in common. Musical sounds, like speech, are perceived by the ear. The voice conveys a person’s emotional states: laughter, crying, anxiety, joy, tenderness, etc. Intonation coloring in speech is conveyed using timbre, pitch, strength of the voice, tempo of speech, accents, pauses. Musical intonation has the same expressive capabilities.
On music lessons V kindergarten We tell the kids: the music is “live”, the heart “beats” in it. Music can speak, it has its own special speech that you need to learn to understand. Like everything living, music is born from a small cell, a grain, then it germinates, develops, takes on a certain form... And since music is alive, you must treat it like a friend: be able to hear it, feel it, experience it, otherwise it will not reveal anything to you. The ability to understand a work of art is not a privilege for the elite, the especially gifted. It can be developed.
Music as a living art is born and lives as a result of the unity of all types of activity. Communication between them occurs through musical images, because Outside of images, music (as an art form) does not exist. In the mind of the composer, under the influence of musical impressions and creative imagination a musical image is born, which is then embodied in a piece of music.
An image is a subjective phenomenon that arises as a result of objective-practical, sensory-perceptual, mental activity, which is a holistic reflection of reality, in which the main categories (space, movement, color, shape, texture, etc.) are simultaneously presented.
In information terms, an image is an unusually capacious form of representation of the surrounding reality.
Active perception of a musical image presupposes the unity of two principles - objective and subjective, i.e. what is inherent in the work of art, and those interpretations, ideas, associations that are born in the child’s mind in connection with it. Obviously, the wider the circle of such subjective ideas, the richer and more complete the circle of images created by the child with the help of plasticity and gesture, the more actively he will participate in the execution creative tasks, improvise and come up with options for figurative movements in games and round dances.
10. Musical-rhythmic movements - a type of musical activity (meaning, tasks, types of rhythm, content of the program).
Musical and rhythmic movements are active work, which is a reflection of the nature of music in motion. Musical and rhythmic movements include music games, dancing and exercises. The basis of musical-rhythmic education is the development in children of the ability to perceive musical images and the ability to reflect them in movement.
The meaning and objectives of musical and rhythmic education
He was one of the first to develop a system of musical-rhythmic education in late XIX V. Swiss teacher and musician Emile Jacques-Dalcroze. Above creation modern system Many musicians, teachers, psychologists, methodologists, music directors preschool institutions. The leading place among them belongs to N.G. Alexandrova, as well as her students and followers - E.V. Konorova, N.P. Zbrueva, V.I. Greener, N.E. Kiesewalter, M.A. Rumer. Taking into account the child’s need for movement caused by the growth of the body, they sought to form his motor skills and, most importantly, to comprehensive development through an organic combination of movements with musical sound.
It is known that with the help of movement a child learns about the world. By performing various movements in games and dances, children deepen their knowledge of reality. Music evokes motor reactions and deepens them; it does not just accompany movements, but determines their essence. The teacher’s task is to develop in children the ability to quickly perform the movements proposed to them and, if necessary, to be able to slow them down, that is, to develop active inhibition. Music is a stimulus that causes a reaction, both in the direction of excitation and inhibition. In music education classes, you can observe how lethargic, passive children become active, and excited children become disciplined.
In the process of practicing musical and rhythmic movements, the child’s body is strengthened; are developing ear for music, memory, attention; moral and volitional qualities, dexterity, accuracy, speed, determination are brought up, such properties of movement as softness, springiness, energy, plasticity are developed; children's posture improves. Musical rhythm helps to organize movement and makes it easier to master. With proper selection, musical and rhythmic movements strengthen the heart muscles, improve blood circulation, respiratory processes, and develop muscles.
The basis of musical-rhythmic education is the development in children of the perception of musical images and the ability to reflect them in movement. Moving in accordance with the time course of a musical work, the child also perceives pitch movement, i.e., melody in connection with all expressive means. It reflects in movement the character and tempo of a musical work, reacts to dynamic changes, begins, changes and ends movement in accordance with the structure of musical phrases, and reproduces a simple rhythmic pattern in movement. Therefore, the child, perceiving expressiveness musical rhythm, perceives the entire piece of music holistically. It conveys emotional character; a musical work with all its components (development and change of musical images, changes in tempo, dynamics, registers, etc.).
Thus, musical-rhythmic movement is a means of developing emotional responsiveness to music and a sense of musical rhythm.
Seeing the beauty of movement in games, dances, round dances, striving to perform the movement as beautifully and gracefully as possible, to coordinate it with music, the child develops aesthetically, learns to see and create beauty.
Musical and rhythmic formations, national dances, dramatizations, round dance games with singing, built on the best examples of folk, Russian classical and modern music, form moral character children, develop musicality and artistic taste, and cultivate love for the Motherland. In addition, musical and rhythmic movements contribute to the development of spatial and temporal orientation. The child finds himself in play situations that require a quick reaction to changes in music, to the movements of his friends, and is faced with the need to self-execution tasks. This develops his attention and creative initiative.
Consequently, practicing musical and rhythmic movements is associated with all aspects of education. They contribute to the mental, moral, aesthetic and physical development of the child.
The significance of musical and rhythmic movements in a child’s life is that they:
♦ enrich the emotional world of children and develop musical abilities;
♦ develop cognitive abilities;
♦ foster activity, discipline, and a sense of teamwork;
contribute to the physical improvement of the body.
The main direction in working on musical and rhythmic movements is systematic musical development child.
Music does not just accompany the movement, but determines its essence, i.e. the movement should not only be a movement to the accompaniment of music or against the background of music, it should correspond to:
♦ the nature of the music;
♦ means of musical expression;
♦ the form of a musical work.
Let's look at this in more detail.
Music, as we know, conveys the most various shades moods. For example, in the following three works for walking - “Festive March” by N. Levi, “Etude” by T. Lomova and “March” by S. Prokofiev - music of a cheerful, calm and solemn character. Naturally, in these three cases, children will walk differently. They will walk to the first march with a brisk step, to the music of T. Lomova - calm, unhurried, and to the “March” of S. Prokofiev, the children will walk solemnly. Therefore, the movement in in this case walking matches the character of the music.
Among the means of musical expressiveness, tempo, metro-rhythm and dynamics are of particular importance for musical-rhythmic education. Tempo is the speed of movement of a piece of music, metrhythm is the organization of strong and weak beats, the ratio of different durations, dynamics is the strength (loudness) of sound.
Depending on the tempo of the musical piece, the child moves quickly or slowly, slows down or speeds up his movements. Metrorhythm determines the coordination of certain movements with music. For example, in J. Strauss’s “Polka”, on the downbeat of the beat, children are asked to put their foot forward on their toes; for accents, children threaten with either their right or left hand.
By the age of six, they not only feel metrical accents, but can also partially reproduce the rhythmic pattern of a musical work. So, in the round dance “There is a viburnum on the mountain” (Russian folk melody), to the chorus “Well, who cares about the viburnum,” the children do 4 claps and three stamps. This is already a rhythmic pattern.
Movement, as already said, is consistent with the form of a piece of music. Already children junior groups can distinguish contrasting music two-part form and change movements in connection with it. Let's consider the dance "Boots" (Russian folk melody), intended for children of primary preschool age. There are two parts to this dance. Children go to the first part of the work, and stamp their feet to the second part. Therefore, the movements depend on the form of the musical piece. Older children are introduced to three-part and more complex forms of musical works, and are taught to change movements in accordance with the change of parts of a less contrasting nature. The more accurately and in detail they distinguish between the nature of music, the means of musical expression, and the forms of musical works, the more freely and expressively they perform movements.
Preschool is a period of accumulation of musical impressions, intensive development musical perception. Depending on age development, the nature of children's musical and rhythmic activity changes.
In the very early childhood The child runs, jumps and dances happily. But this is not yet the execution of a game or dance, but only partial inclusion in this process. The child moves imprecisely and inexpressively. During these years, children develop emotional responsiveness to music, the ability to listen to it, remember and perform music-related movements shown by the teacher and consistent with the words of the song.
In the fourth year of life, children are able to master and perform movements independently. But these movements are not yet sufficiently coordinated; children are poorly oriented in space and have difficulty joining in collective actions. Therefore, the musical and rhythmic activity of children of the fourth year of life is quite modest. They learn to move in accordance with the brightly contrasting nature of the music, at a slow and fast tempo, are able to react to the beginning and end of the sound of music and perform simple movements.
In the fifth year of life, children already have experience listening to music, can recognize familiar melodies, distinguish the most striking means of musical expression, and determine the nature of music. Their auditory sensations are differentiated, they move more rhythmically, more consistent with the nature of the music, they begin and stop movements in accordance with the beginning and at the end of the music, they perform more varied movements (straight gallop, movements in pairs, stamping with one leg, placing the foot on the heel).
At the age of five or six, children can move expressively and rhythmically, showing their individuality in their movements.
They should be able to feel the metrical beat and, first in clapping, and then in movements, perform a simple rhythmic pattern, master a variety of movements (from rhythmic running with a high leg lift and jumping from foot to foot to a polka step, half-squat, alternating step, etc.). d.).
Consequently, in the process of musical-rhythmic movements are carried out as general tasks musical education and the following special tasks
Development of musical perception, musical-rhythmic sense and, in connection with this, rhythmic movements;
Teaching children to coordinate movements with the nature of a musical work, the most striking means of musical expression, development of spatial and temporal orientations;
Teaching children musical and rhythmic skills through games, dances and exercises;
Development of artistic and creative abilities.
The motor basis of musical and rhythmic movements, which are carried out with children in the form of games, dances and exercises, are:
♦ basic movements - walking, running, jumping, jumping;
♦ gymnastic movements with objects (balls, ribbons, hoops, flags);
♦ dance movements;
♦ imitation movements, which are combinations of basic movements with imitation of various actions and movements of birds, people, animals, vehicles, etc.
All these movements are transmitted by children in different ways and are useful material for the development of imagination and creative activity.
