Musical works reflecting various human feelings. The use of ICT in music lessons "The world of human feelings. The tragedy of love in music." Music and other arts

Lesson developments (lesson notes)

Basics general education

Line UMK V.V. Aleev. Music (5-9)

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UMK on music by T. I. Naumenko, V. V. Aleev.

Lesson type: combined (consolidation, learning new material)

Lesson type: lesson-reflection.

Artistic and pedagogical idea: “ All the thrill of life of all centuries and races // Lives in you. Always. Now. Now." Maximilian Voloshin

Objective of the lesson: To form in students an attitude towards universal moral and spiritual values, to prepare them for the perception of complex, sometimes contradictory inner world a person recreated in the music of different eras.

Tasks:

• educational: to form an idea of ​​the stylistic features of the work of the Russian composer P. I. Tchaikovsky using the example of the fantasy overture “Romeo and Juliet” and the ability of a bard song to reveal the emotional world of a person.
• educational: to instill in students, through the works of P. I. Tchaikovsky and Yu. Vizbor, spiritual and moral qualities: humanism, mutual understanding, devotion, the ability to find a compromise, rejection of violence against the individual, faith in goodness and love.

• developing: develop emotional responsiveness and musical thinking.

Equipment: PC, multimedia projector, ID, interactive presentation, Power Point presentation, piano.

Lesson plan:

Lesson progress

1. Organizational moment

Entering the classroom, greeting, seating.

2. Updating knowledge

U: Today we will continue our conversation with you about music dedicated to eternal theme in art. Maybe you will remember and name yourself what this topic is?

D: This theme is “The World of Human Senses.”

U: That's right, but how often do you think artists, poets, musicians, playwrights have addressed and are addressing this topic?

D: Quite often.

U: Let's turn to the artistic and pedagogical idea of ​​our lesson, think about its meaning and tell me how it can work in our lesson, why did I choose it for today's lesson? (Reading).

D: These lines conceal a very broad and deep meaning. They say that today's man, our contemporary, experiences the same feelings that other people experienced. New generations do not invent new relationships and feelings; they experience the same ones that people who lived far from us in space and time could experience.

U: Well done, you very accurately understood the meaning of these lines. Tell me, how can we connect it with works of art, in particular with the music that will be played in the lesson?

D: Any work of art tells us about people, their experiences, passions. And music is precisely the language that, like no other art, will clearly and clearly tell about this!

3. Listening

U: Great, you have understood the focus of our lesson today, and I invite you to get acquainted with a new piece of music that will reveal to us amazing world- the world of human feelings.

Look at the screen ( Slides 3, 11 and 12).

Today we will find out sad story, which was told to the world almost 4 centuries ago by the great English playwright, poet and actor - William Shakespeare. A person who was most interested in human relationships, feelings and willingness to defend his views and principles, even dying for them. This story is told in the tragedy Romeo and Juliet. Listen to its beginning - the Prologue - and think about what is the basis of the plot? ( Slide 4)

D: The plot of this work is based on the conflict between two warring families, which led to the death of their children.

U: Why do you think their children died - their names were Romeo, the son of Montague, and Juliet, the daughter of Capulet?

D: Probably because they fell in love and wanted to always be together, but their parents most likely did not allow this, so they stayed together and resisted blind unnecessary enmity.

U: Take a look at the assignment and think about it. ( Slide 5) Is there a place for human feelings in this difficult story?

D: Yes, of course, very different, vivid and contradictory feelings can appear here.

U: Well, what images, in your opinion, should a composer who would write music for this story have to show?

D: Most likely this is the Love of Romeo and Juliet and the Enmity of the Parents.

U: That's right, you, like real composers, coped with this task! You have identified and named the main images. But let's clarify which image to show first - Love or Enmity? What came first?

D: Enmity. But, despite it, Love appeared!

U: Well done! Look at the screen to see how exactly you did it! ( Slides 6 and 7).

Now let's try to “compose” the music of these images, resorting to basic musical expressive means and using an Interactive presentation (or tables on slides 15 and 16).

(Students select musical and expressive means for the image of Enmity and the image of Love, thereby creating images as a whole). We check the result and clarify it.

U: Well, you are real masters, you presented the images very vividly. And now I want to introduce you to the music already created based on this tragedy. The author of this music is a well-known composer - Pyotr Ilyich Tchaikovsky ( Slide 8). This is the fantasy overture of Romeo and Juliet.

Are you familiar with the genre overture? What is it?

D: Overture is an orchestral introduction to an opera, ballet, play or film, in which short form the main images of the work are shown. Sometimes an overture can be an independent symphonic work.

U: A completely comprehensive answer, all that remains is to find out what type our overture should be classified as?

D: Most likely, this is an independent work.

U: Yes, indeed, this is so. Today we will hear a fragment from P.I. Tchaikovsky’s overture, while listening to the music, try to answer these questions - ( Slide 10).

Listening to a fragment of P.I. Tchaikovsky’s “Romeo and Juliet” overture.

Children's answers to questions No. 1 and 2, placed on slide No. 10, marking in the table with a green matrix the elements that match the composer's choice and red - the elements that are different (in a simple table + and -).

Listen to the fragment again and answer the remaining tasks. Checking them out.

U: Guys, I would like you to think again and again not only about the music of this work, but also about the actions of our heroes. Write at home in your notebooks your reflection on how you feel about the actions of Romeo and Juliet, did they manage to preserve their feelings in this way or did their love die with them? What do you think is the ending of this overture, what theme, Enmity or Love, will the author end his overture and why?

(Record homework).

Thus, today we were once again able to verify that music can very clearly convey people’s feelings to the smallest shades and not only convey, but also force the listener, that is, you and me, to empathize with them.

They take away the spirit - powerful sounds!
They contain the rapture of painful passions,
In them is the voice of crying separation,
They contain the joy of my youth!

The excited heart skips a beat,
But I have no power to quench my longing;
The mad soul languishes and desires
And sing, and cry, and love!

V. Krasov

4. Choral singing

U: Guys, today I want to introduce you to another piece of music - a song created in the 20th century famous bard Yuri Vizbor ( slide 10). Yuri Vizbor is a poet, bard, journalist, screenwriter, creator of a youth radio station, and has starred in several films. Most his songs are related to mountaineering themes. Listen to his song and tell me if he can modern music express people's feelings? Does this song have any similarities with the music of P. Tchaikovsky, what does it say and how does it sound?

Listening to Yu. Vizbor’s song “You are the only one I have” and talking about it.

The teacher summarizes the children’s answers and concludes that in the 20th century and in all other eras, people love, suffer, carry their feelings through any adversity and trials, just like the heroes of William Shakespeare.

Learning a song, when learning it uses the techniques of “echo”, singing in a chain, etc.

When working on a song, give special attention manner of performance: a quiet, warm, soulful sound should truthfully convey the confidential, friendly atmosphere in which bard songs are usually performed.

5. Consolidation and generalization of the lesson

U: What music did we meet in class today?

When were these works created? What do these works have in common?

What has music taught us today?

Children's answers.

Turn again to the artistic and pedagogical idea of ​​today's lesson and tell me, have we found confirmation of their meaning in the music and conversation in this lesson?

Well, well, it’s time to say goodbye, the lesson is over, but I hope that today’s lesson will make you and I think again and again about the feelings and relationships of people, will teach us how to build these relationships and develop feelings.

Literature:

1. Kabalevsky D. B. “How to tell children about music?” M., "Enlightenment", 1989.
2. "Music". Program for educational institutions. V. V. Aleev, T. I. Naumenko. M., Bustard, 2003.
3. “Music” T. I. Naumenko, V. V. Aleev. Textbook for general education educational institutions, 8th grade. M., Bustard, 2002.
4. « Great encyclopedia Cyril and Methodius", version 2004, Internet resources, www.KM.ru.
5. Smolina E.A. " Modern lesson music." Creative techniques and tasks. Yaroslavl, Development Academy, 2006.
6. “I explore the world” Children's Encyclopedia, volume “Music”, M., “Astrel” 2002.
7. “...Both music and words...” (Poems to musical works). Compiled by N. V. Leshchova, State Educational Institution of Secondary Professional Education "Omsk Musical Pedagogical College", Omsk, 2005.

MUSIC AND OTHER ARTS

Lesson 13

Topic: The world of human feelings.

Lesson objectives: to develop the ability to highlight and trace the special inner world of a person’s personal experiences through the music of romantic composers.

Materials for the lesson: musical material, portraits of composers.

Lesson progress:

Organizational moment.

The piece “The Lark” by M. I. Glinka is playing.

Read the epigraph to the lesson. How do you understand it?

Write on the board:

“Penetrating deeper into the secrets of harmony, learn to express the most subtle shades of feelings.”
(R. Schumann)

Lesson topic message.

Today in class we continue our conversation about romance.

Work on the topic of the lesson.

1. Repetition of what has been learned.

You will probably agree that it is difficult today to meet a person who would not know anything about romance - musical genre, so popular today. Let's remember what romance is. (The word romance takes us back to the distant Middle Ages, to Spain. In Romanesque, it means in Spanish, that is, it is the same thing. This is how singing in the native Spanish language was distinguished from chants in church Latin. Later, the name “romance” spread throughout all over the world, works for voice accompanied by piano or guitar began to be called romances. Romances reveal very subtle and deep personal experiences.)

Unlike a song, a romance uses more complex means of expression and more complex forms than the simple verse characteristic of a song. The composer strives to convey the exact intonations of poetic speech and reflect the entire series of lyrical images and moods.

The song can be sung with or without accompaniment. Romance cannot do without musical accompaniment, because together with the melody it not only conveys the content, but also deepens it, participating in the creation of a musical image. Romance is a special sublime system of feelings and a poetic vision of the world.

We hear this in modern and old romances, often performed by brilliant pop stars, opera celebrities, bards to the accompaniment of simple guitar strumming and various vocal groups. Each of the performers touches on the strings of a theme close to him.

2. Listening to a piece of music.

Romance is an original work. A romance must have a poet who wrote the poems and a composer who wrote the music for them. Small vocal piece, which unites two healing streams - poetry and music - tells us about a person’s feelings, about his love, joy, happiness, sadness, sadness.

The romance “Sad Night” is a work rare in the depth of its poetic feeling and the subtlety of its musical execution. S. Rachmaninov was the greatest master vocal lyrics; his work is marked by enormous original talent and artistic taste. The same can be said about literary heritage I. Bunin, whose talent in the field of prose and poetry gave rise to many truly great pages.

The creative union of two brilliant masters led to the creation of this heartfelt musical and poetic statement. “The night is sad, like my dreams” already in the first lines of Bunin’s poem sounds a motif that has become traditional for Russian art, the motif of the unity of nature and human soul. But in comparison with Glinka’s “Lark” it has become significantly more complicated: it shows not just lyrical feeling, but a long chain of images, understandable and at the same time allegorical.

Far away, in the deep, wide steppe
The light flickers alone.

The loneliness of the heart is like a light, the only living point in the middle of a deaf, inanimate landscape.

There is a lot of sadness and love in my heart.

This line unexpectedly brings an achingly warm feeling. We begin to better understand the hero, his living sadness, turned into the silence of the night steppe. And the music, still sounding rhythmically, colored in a minor scale, suddenly brightens and is filled with new breath. The impulse to another person, the desire to pour out the heart, disrupts the rhythmic movement of the music.

But who and how will you tell,
What is calling you, what is your heart full of?

The question contained in these lines remains unanswered. The steppe is still empty, not a soul around. The loneliness of a person merges with the sadness of the night - and all this finds an unusually subtle musical embodiment. The impulse is replaced by the previous measured sound, and the repetition of the original line in the soloist’s part sounds like quiet resignation.

The final vocal phrase remains unfinished, as if the intonation of a question hangs in it. However, the flow of music does not stop, its flow picks up this last intonation, and then, until the very end, the music sounds alone, without a human voice, as if finishing what cannot be expressed in words.

We see how animated nature becomes, close to human feelings, how much hidden meaning in every landscape. “The night is sad” - isn’t it sad because the person contemplating it is sad? And if he were cheerful, would the steppe seem so silent and deaf to him?

The poems of many poets are musical in themselves. Let's take, for example, the work of the wonderful German poet Heinrich Heine - one of the greatest lyrical poets of the 19th century century. It is not without reason that Robert Schumann, who belonged to the generation of romantic artists who discovered the subtlest shades of human moods and worshiped the richness of man’s inner world, turned to the work of this great poet. Among Schumann's best song cycles is “The Poet's Love,” written to poems by Heinrich Heine. The cycle consists of sixteen romances, in which there is an exciting love story of the poet.

Now we will listen to the first song (romance) of this cycle, “In the radiance of warm May days.” ( Listening to a piece of music).

What can you tell us about this work? What feelings did it evoke in you? What did the music sound like? ? (The romance “In the Radiance of Warm May Days” by R. Schumann to the words of G. Heine from the cycle “The Love of a Poet” was performed. The music sounded somehow fresh and light like spring, the work speaks of the awakening of nature, the ringing singing of birds.)

Indeed, this is a wonderful spring romance - the first in the cycle. “Awakening of the soul”, the life of the heart are close and consonant with the movements occurring in nature:

In the glow of warm May days
Each leaf opened,
Then I woke up
Thirst for love and affection.

Schumann transforms poetic aromas, sighs and longing into gentle piano sounds. And he entrusts expressive melodies, like poetry, to the voice.

3. Working with the textbook.

Open your textbooks on page 85. You see in front of you a reproduction of Isaac Levitan’s painting “Blossoming Apple Trees,” written using the impressionist technique. Look at it carefully. Do you think it is in tune with Schumann's romance? this picture? (We think that yes, when looking at this picture there is a feeling of freshness, light, a light breeze, a spring mood.)

Impressionism also received its greatest development in the 19th century. Impressionism (from the French impression - impression).

Artists this direction tried to capture the most naturally real world in its mobility and variability, to convey a fleeting impression. Artists of this direction of painting are characterized by the transmission of subtle moods, psychological nuances. You feel how close this is to understanding romance.

These paintings are unusually transparent and poetic, just like the romances. Turn the page, what do you see? The top painting by Claude Monet, “A Corner of the Garden at Montgeron,” depicts summer. Below is a painting by V. Polenov “Autumn in Abramtsevo”, conveying the beauty of the warm autumn day. On the next page is a painting by I. Grabar “ February blue", which depicts birch trees on a warm, sunny winter day.

We can say that every season, every color, flower, smell carries the whole world images that are close and understandable to man with his eternal desire for happiness, love, and beauty.

In the works of the romantics, a whole range of plots, motifs, and intonations arise that deepen the theme of human feelings. Read the text on pages 87-88 of your textbooks. What can we conclude? (The romance “In the Radiance of Warm May Days” - the first romance in the cycle “The Poet’s Love” - talks about love. It sounds timid hope for future happiness, the melodic phrases are somewhat vague, the intonations are mostly of an unbalanced nature.)

What role does accompaniment play? (Accompaniment is an inseparable part of the work, representing continuous movement.)

It is true that here, until the last chord, the instability of harmony remains, which for the most part amounts to dissonance. Dissonance translated from Latin means “I sound out of tune.” This musical term called a combination of two or more sounds that form a tense, sharp sound. Perhaps this dissonance carries with it a premonition of the final catastrophe of disappointment - the difficult and sorrowful path of the “poet’s love”, expressed in 16 romances of the cycle.

Guys, Robert Schumann's music is amazingly picturesque. He knew how to paint a portrait, landscape, everyday scene with sounds so that they became small stories great life. He was not only a wonderful composer and pianist, but also the creator of a musical and literary magazine, in which he talked about musical art and how one should listen to the music of great masters.

4. Vocal and choral work.

The teacher plays “The Lark” by M. I. Glinka.

Guys, are you familiar with this melody, where is it from? (This is the romance “Lark” based on the lyrics by Kukolnik, music by M. I. Glinka.) Right. Is this romance consonant with the romance “In the radiance of warm May days”? (Both yes and no. Yes, because spring is light, freshness, joy. No - because sadness is present in both works. In Glinka the sadness is light, but in Schumann it is somehow vague, a premonition of disappointment , betrayal.)

Today we will learn the first verse of the romance “Lark”.

Lesson summary.

How is a romance different from a song?

Homework:

1. Try to determine the main difference between a romance and a song.
2. Why do some romances exist independently, while others are combined into a cycle?
3. Why is the role of piano accompaniment so important in a romance?
4. In the “Diary of Musical Observations”, write down a poem to which you would compose a romance if you were a composer.

Presentation

Included:
1. Presentation - 15 slides, ppsx;
2. Sounds of music:
Glinka. Lark (in Spanish BDH), mp3;
Rachmaninov. The night is sad, mp3;
Schumann. In the glow of warm May days, mp3;
3. Accompanying article - lesson notes, docx.

The influence of music on the emotional sphere of a person

For the practice of aesthetic education, it seems very important to find ways to form a high emotional culture in schoolchildren. Cultivating the ability to respond to the whole gamut of human experiences is one of the important tasks of musical education. To do this, the music teacher must have information on the basis of what patterns are reflected in the music of human emotions.

All existing music education programs and methodological recommendations emphasize that music is a means of developing the emotional sphere of students, but the proposed repertoire is built according to historical, thematic or genre principles. In none of the existing music education programs has it been possible to find principles for selecting musical works based on their emotional content, as well as those objective grounds on which a particular musical work can be attributed to the expression of a certain emotional state. Music programs say nothing about the connection between the value attitude towards an object and the nature of the experiences experienced at the same time. As a rule, it is stated that if a person loves something, then it should somehow excite him. The main question is to identify the connection between the emotional sphere of a person and the patterns of its reflection in music, i.e. the translation of everyday emotions into aesthetic ones has not yet been fully disclosed in musicology.

The search for a solution to the problem under consideration has a long history. The ancient Greek philosophers, in whose works we find the development of the principles of the ethical influence of music on humans, proceeded from its imitative nature. By imitating one or another affect with the help of rhythm, melody, timbre, the sound of one or another musical instrument, music, according to the ancients, evokes in listeners the same affect that it imitates. In accordance with this position, classifications of modes, rhythms, and musical instruments were developed in ancient aesthetics, which should be used to cultivate appropriate character traits in the personality of an ancient citizen.

In the Middle Ages this problem was studied within the framework of the theory of affects, which establishes a connection between a person’s emotional manifestations in life and the ways they are reflected in music. This theory examined in detail the interaction of tempos, rhythms, modes, and timbres in the transmission of emotional states, their effect on people with different temperaments, but a complete concept for modeling emotions in the theory of affects was never created.

From modern research It should be noted the works of V.V. Medushevsky, who points out that “the principle of modeling implies the presence of a certain correspondence between the semantic structure of a musical work and our intuitive ideas about emotions.”

Experiment: To identify the most significant parameters for the reflection of emotion in music, a group of five expert musicians were offered 40 pieces of music with the task of sorting them out according to the commonality of the emotional states expressed in them. It was necessary to differentiate musical works according to the parameters “anger”, “joy”, “sadness”, “calmness”. As a result of the experiment, 28 works were selected, which were classified by all experts as expressing emotions of the same modality. The proposed model for categorizing emotions based on two parameters (tempo and mode) obeys the law of quantitative changes and their transition into qualitative differences. The same melody, performed in a major or minor mode, fast or at a slow pace, will, depending on this, convey a different emotion. Therefore, if we set out to place various musical works in the proposed coordinate grid, then some of them, depending on the intensity of the expressed emotion, would be located closer to one of the coordinate axes, and others further away. For example, very sad piece will be located further from the ordinate axis than a work expressing slight elegiac sadness.

As the practice of pedagogical observations shows, the above categorization of emotions based on two components of means of musical expression is quite clearly manifested in the perception of music of the Baroque era (A. Vivaldi, J.S. Bach), Viennese classics (F. Haydn, W. Mozart, L. Beethoven ), romantic composers (F. Schubert, R. Schumann, F. Chopin, F. Liszt, E. Grieg, J. Brahms), Russian classical music(P.I. Tchaikovsky, N.A. Rimsky-Korsakov, A.K. Glazunov), contemporary music (S.S. Prokofiev, D.D. Shostakovich).

In traditional works of musical expression, the following patterns can be identified that should be taken into account when perceiving music in order to understand the emotions inherent in it:

1. Slow tempo + minor coloring of the sound in a generalized form model the emotion of sadness and convey the mood of sadness, despondency, grief, regret about the past wonderful past.

2. Slow tempo + major coloring simulate emotional states of peace, relaxation, contentment. The character of the musical work in this case will be contemplative, balanced, and peaceful.

3. Fast tempo + minor coloring generally model the emotion of anger. The nature of the music in this case will be intensely dramatic, excited, passionate, heroic.

4. Fast tempo + major coloring simulates the emotion of joy. The character of the music is life-affirming, optimistic, cheerful, joyful, jubilant.

Further analysis of the proposed model of reflecting emotions in music showed that in its characteristics it is in some sense isomorphic to the well-known classification of temperaments proposed by Eysenck. But instead of the “introversion-extroversion” parameter, our model takes the tempo - slow-fast, and instead of “stability-instability” - the major-minor parameter. In both models, to characterize both a person’s temperament and the mood of a musical work, it turns out to be sufficient to have indicators of two variables - tempo (either mental activity or a musical work) and the qualitative features of emotional experience, revealed in one case in the concept of “stability-instability”, and in the other - a major or minor mode. The main thing is that between the emotional life of a person and its manifestation in natural temperament, on the one hand, and the reflection of its characteristics in music, on the other, there are certain dependencies and connections,

It is known that choleric and sanguine people are distinguished by a fast pace of mental activity, while melancholic and phlegmatic people are slower. If melancholic and choleric people are distinguished by instability, instability of mood, then phlegmatic and sanguine people will be distinguished by stability, a general majority of the emotional worldview.

The affect theory mentioned above postulated that listeners most like the music that best suits their natural temperament. The task was set to test this position in an experiment. 58 schoolchildren in grades VIII-IX were asked to listen to several pieces of music expressing different emotions (sadness, joy, anger, calmness).

Participants in the experiment were asked to rate each of the listened works on a five-point scale - from -2 to +2 with gradations - “don’t like it at all”, “don’t like it”, “indifferent”, “like it”, “like it very much”. It was also necessary to rank the listened works according to the degree of their preference.

Eysenck’s personality questionnaire “Extraversion-neuroticism” (Form A) made it possible to identify the temperament of the experiment participants. During the analysis, eight questionnaires were excluded as unreliable, since the number of points on the “False” scale exceeded 5 units. Of the remaining 50 questionnaires, in 21 cases we obtained a match between the student’s temperament identified using the questionnaire and the nature of the music he liked most. In 29 cases, schoolchildren liked music that did not correspond to the characteristics of their temperament. Thus, the assumption that schoolchildren should most like the music that best suits their natural temperament was not fully confirmed. We found that the preference for musical works, the mood of which corresponds to the temperamental characteristics of a particular schoolchild, is noted mainly among those who have little musical experience. Musically developed students, who react vividly to music, gave high marks to all the works they listened to and found it difficult to choose the one they liked best. Such schoolchildren seemed to move away from their natural preferences and could positively evaluate music of a different character compared to their temperament. It can be assumed that the liveliness of reaction to musical works of different nature indicates the development of the emotional sphere of students. However, finding more subtle correlations between the level of development of the student’s emotional sphere, the level of his musical responsiveness and the characteristics of his natural temperament requires further study.

Musical education, offering students emotions of various modalities in the content of musical works, makes them at the same time more capable of experiencing those emotional states that are not part of the structure of emotions of their natural temperament, thereby expanding and deepening contacts with people around them and reality.

……………………………………………………………………………………………………………………………………………………………………………………. EMOTIONAL RESPONSE TO MUSIC

A special place in raising the level of moral and aesthetic culture of the younger generation belongs to music, which, actively influencing the consciousness of a person and his emotional sphere, is the most important, indispensable means spiritual development personality. Perception of the expressive meaning of musical language, penetration into the content of a work, into its emotional meaning, is possible only if there is the ability to emotionally respond to music, therefore, cultivating in children a love for music, the ability to empathize with the figurative and emotional meaning contained in it, is one of the main tasks of musical education children.

In psychology emotional responsiveness (receptivity, sensitivity) is understood :

as a property of an individual to easily, quickly and flexibly react emotionally to various influences - social events, the process of communication, characteristics of partners, etc.

as an emotional reaction to the state of another person, as the main form of manifestation of an effective emotional attitude towards other people, including empathy and sympathy;

as an indicator of the development of humane feelings and collectivist relations.

Emotional responsiveness to works of art is understood :

as the ability to respond to events, phenomena, works of different genres;

as the ability to empathize with heroes, relate literary facts with life experience;

as the ability of emotional empathy for music;

as an emotional response to works of art.

Emotional responsiveness is the starting point for the development of aesthetic feelings, relationships, needs, as well as aesthetic tastes and interests of the individual.

Aesthetic feelings and aesthetic emotions constitute the highest stage in the development of human feelings and are an indicator of the level of a person’s spiritual life.

According to I. Kant, “emotional responsiveness is a catalyst for thinking (more precisely, intelligence), since it initially ennobles the mind, aestheticizing it.”

Preschool age is a period when sensory knowledge of the world predominates. It is at this age that it is necessary to teach the soul to work: to empathize with another person, his feelings, thoughts, moods.

Aesthetic education is aimed at developing the skills of preschoolers to perceive, feel and understand the beautiful, notice the good and the bad, act creatively independently, thereby becoming familiar with various types artistic activity.

One of the brightest means of education is music. Emotional responsiveness to music is the basis of musicality. It is associated with the development of emotional responsiveness in relationships with people, with the cultivation of such personality qualities as kindness, the ability to sympathize with another person (A.I. Katinene, M.L. Palavandishvili, O.P. Radynova).

Music is emotional cognition. Therefore, the main sign of B.M.’s musicality is Teplov calls the experience of music in which its content is comprehended. “Since musical experience in its essence is an emotional experience and the content of music cannot be understood except through an emotional way, the center of musicality is a person’s ability to respond emotionally to music.”

• To form in students an attitude towards universal human moral and spiritual values, to prepare them for the perception of the complex, sometimes contradictory inner world of a person, recreated in the music of different eras.

Tasks:

Educational:

• to form an idea of ​​the stylistic features of the work of the Russian composer P.I. Tchaikovsky using the example of the fantasy overture “Romeo and Juliet” and
• the ability of a bard's song to reveal the emotional world of a person.

Developmental:

• develop emotional responsiveness and musical thinking;

Educational:

• to instill in students, through the works of P.I. Tchaikovsky and Yu. Vizbor, spiritual and moral qualities: humanism, mutual understanding, devotion, the ability to find a compromise, rejection of violence against the individual, faith in goodness and love.

Equipment: PC, multimedia projector, ID, interactive presentation, Power Point presentation, piano.

Lesson plan:

Entering the classroom, greeting, seating.

2. Updating knowledge

U: Today we will continue our conversation with you about music dedicated to an eternal theme in art. Maybe you will remember and name yourself what this topic is?

D: This topic is “The World of Human Senses.”

W: That’s right, but how often do you think artists, poets, musicians, and playwrights have turned and are turning to this topic?

D: Quite often.

U: Let’s turn to the artistic and pedagogical idea of ​​our lesson, think about its meaning and tell me how it can work in our lesson, why did I choose it for today’s lesson? (Reading).

D: These lines hide a very broad and deep meaning. They say that today's man, our contemporary, experiences the same feelings that other people experienced. New generations do not invent new relationships and feelings; they experience the same ones that people who lived far from us in space and time could experience.

W: Well done, you understood the meaning of these lines very accurately. Tell me, how can we connect it with works of art, in particular with the music that will be played in the lesson?

D: Any work of art tells us about people, their experiences, passions. And music is precisely the language that, like no other art, will clearly and clearly tell about this!

3. Listening

U: It’s great that you understood the focus of our lesson today, and I invite you to get acquainted with a new piece of music that will reveal to us a wonderful world - the world of human feelings.

Take a look at the screen (Slides 3,11 and 12, cm . Appendix 3).

– Today we will learn a sad story that was told to the world almost 4 centuries ago by the great English playwright, poet and actor – William Shakespeare. A person who was most interested in human relationships, feelings and willingness to defend his views and principles, even dying for them. This story is told in the tragedy “Romeo and Juliet”. Listen to its beginning - the Prologue - and think about what is the basis of the plot? (Slide 4)

D: The plot of this work is based on the conflict between two warring families, which led to the death of their children.

W: Why do you think their children died - their names were Romeo, the son of Montague, and Juliet, the daughter of Capulet?

D: Probably because they fell in love and wanted to always be together, but their parents most likely did not allow this, so they stayed together and resisted blind unnecessary enmity.

T: Look at the task and think about it. (Slide 5) Is there a place for human feelings in this difficult story?

D: Yes, of course, very different, vivid and contradictory feelings can appear here.

U: Well, what images, in your opinion, should a composer who would write music for this story have to show?

D: Most likely this is the Love of Romeo and Juliet and the Enmity of the Parents.

U: That’s right, you, like real composers, coped with this task! You have identified and named the main images. But let's clarify which image to show first - Love or Enmity? What came first?

D: Enmity. But, despite it, Love appeared!

U: Well done! Look at the screen to see how exactly you did it! (Slides 6 and 7).

Now let's try to “compose” the music of these images, resorting to basic musical expressive means and using the Interactive presentation (or tables on slides 15 and 16).

(Students select musical and expressive means for the image of Enmity and the image of Love, thereby creating images as a whole. It is advisable to give tasks in groups (rows) or boys-girls to speed up the work on designing images. Appendix 1). We check the result and clarify it.

U: Well, you are real masters, you presented the images very vividly. And now I want to introduce you to the music already created based on this tragedy. The author of this music is a well-known composer - Pyotr Ilyich Tchaikovsky (Slide 8). This is the Overture - a fantasy of “Romeo and Juliet”.

Are you familiar with the genre - overture? What is it?

D: Overture is an orchestral introduction to an opera, ballet, play or film, which briefly shows the main images of the work. Sometimes an overture can be an independent symphonic work.

U: Quite a comprehensive answer, all that remains is to find out what type our overture should be classified as?

D: Most likely this is an independent work.

W: Yes, indeed, it is so. Today we will hear a fragment from P.I. Tchaikovsky’s overture, while listening to the music, try to answer these questions - (Slide 10).

Listening to a fragment of P.I. Tchaikovsky’s overture “Romeo and Juliet”.

Children's answers to questions No. 1 and 2 placed on slide 10, marking in the table with a green matrix the elements that match the composer’s choice and red - the elements that are different (in a simple table + and -).

Listen to the fragment again and answer the remaining tasks. Checking them out.

W: Guys, I would like you to think again and again not only about the music of this work, but also about the actions of our heroes. Write at home in your notebooks your reflection on how you feel about the actions of Romeo and Juliet, did they manage to preserve their feelings in this way or did their love die with them? How can you figure out what the ending of this overture is, what theme, Enmity or Love, will the author end his overture and why?

(Record homework).

– Thus, today we were once again able to verify that music can very clearly convey people’s feelings to the smallest shades and not only convey, but also force the listener, that is, you and me, to empathize with them.

“They take away the spirit - powerful sounds!
They contain the rapture of painful passions,
In them is the voice of crying separation,
They contain the joy of my youth!

The excited heart skips a beat,
But I have no power to quench my longing;
The mad soul languishes and desires
And sing, and cry, and love!”
(V. Krasov)

U: Guys, today I want to introduce you to another piece of music - a song born in the 20th century by the famous bard Yuri Vizbor (slide 10). Yuri Vizbor is a poet, bard, journalist, screenwriter, creator of a youth radio station, and has starred in several films. Most of his songs are related to mountaineering themes. Listen to his song and tell me, can modern music express people's feelings? Does this song have any similarities with the music of P. Tchaikovsky, what does it say and how does it sound?

Demonstration of Yu. Vizbor’s song “You are the only one I have” and conversation about it.

The teacher summarizes the children’s answers and concludes that in the 20th century and in all other eras, people love, suffer, carry their feelings through any adversity and trials, just like the heroes of William Shakespeare.

Learning a song, when learning it uses the techniques of “echo”, singing in a chain, etc.

When working on a song, pay special attention to the manner of performance: a quiet, warm, soulful sound should truthfully convey the confidential, friendly atmosphere in which bard songs are usually performed.

5. Consolidation and generalization of the lesson

T: What kind of music did we meet in class today? When were these works created? What do these works have in common? What has music taught us today?

Children's answers.

– Turn again to the artistic and pedagogical idea of ​​today’s lesson and tell me, have we found confirmation of their meaning in the music and conversation in this lesson? Briefly express your attitude to today’s lesson conversation in syncwine.

(Distribute pre-prepared syncwine templates. Appendix 2)

Well, well, it’s time to say goodbye, the lesson is over, but I hope that today’s lesson will make you and I think again and again about the feelings and relationships of people, will teach us how to build these relationships and develop feelings.

1. Kabalevsky D.B.“How to tell children about music?” M., “Enlightenment” 1989.
2. “Music” - a program for educational institutions, V.V. Aleev, T.I. Naumenko. M., “Bustard” 2003.
3. “Music” T.I. Naumenko, V.V. Aleev. Textbook for general education institutions, grade 8. M., “Bustard” 2002
4. “Big Encyclopedia of Cyril and Methodius”, version 2004, Internet resources, www.KM.ru
5. Smolina E.A.“Modern music lesson.” Creative techniques and tasks. Yaroslavl, Development Academy, 2006.
6. “I explore the world” Children's Encyclopedia, volume “Music”, M., “Astrel” 2002.
7. “...And music and words...” (Poems for musical works) compiled by N.V. Leshchova State Educational Institution of Secondary Professional Education “Omsk Musical Pedagogical College”, Omsk, 2005.