Portrait in music - methodological development on music on the topic. Art lesson "musical portrait" Give examples of a musical portrait title of the work author

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Musical portraits

Zinaida Volkonskaya, Elizaveta Gilels, Anna Esipova and Natalia Sats are real stars of past centuries. The names of these women were known far beyond Russia; their performances and productions were awaited by music lovers around the world. "Culture.RF" talks about creative path four outstanding performers.

Zinaida Volkonskaya (1789–1862)

Orest Kiprensky. Portrait of Zinaida Volkonskaya. 1830. State Hermitage Museum

After the death of his teacher, Sergei Prokofiev wrote: “I turned out to be her last winning student from that colossal phalanx of laureates whom she trained at her factory.”.

Natalia Sats (1903–1993)

Natalia Sats. Photo: teatr-sats.ru

Since childhood, Natalia has been surrounded by creative people. Friends of the family and frequent guests of the Moscow house were Sergei Rachmaninov, Konstantin Stanislavsky, Evgeny Vakhtangov and other artists. And her theatrical debut took place when the girl was barely a year old.

In 1921, 17-year-old Natalia Sats founded the Moscow Theater for Children (modern RAMT), of which she remained artistic director for 16 years. One of the most authoritative Russian theater critics, Pavel Markov, recalled Sats as “a girl, almost a girl, who quickly and energetically entered the complex structure of Moscow theater life and forever retained a responsible understanding of her life and creative recognition”. She sought to create a theater that would become for children of all ages a portal into a bright and fairy world, a place of unlimited imagination - and she succeeded.

The cult German conductor Otto Klemperer, having watched Satz's directorial works in children's theater, invited her to Berlin and offered to stage Giuseppe Verdi’s opera Falstaff at the Kroll Opera. For Sats, this production turned out to be a real breakthrough: she became the world's first female opera director - and, without exaggeration, world famous theatrical figure. Her other foreign opera productions also became successful: “The Ring of the Nibelung” by Richard Wagner and “The Marriage of Figaro” by Wolfgang Amadeus Mozart at the Argentine Teatro Colon. Buenos Aires newspapers wrote: “The Russian artist-director created new era in the art of opera. The play [The Marriage of Figaro] is deeply psychological, as is only the case in drama, and this is new and attractive to the viewer.”.

After returning to the USSR in 1937, Natalia Sats was arrested as the wife of a “traitor to the Motherland.” Her husband, People's Commissar of Domestic Trade of Israel Weitzer, was accused of counter-revolutionary activities. Sats spent five years in the Gulag, and after her release she left for Alma-Ata, since she did not have the right to return to Moscow. In Kazakhstan, she opened the first Alma-Ata Theater for Young Spectators, where she worked for 13 years.

In 1965, Natalia Sats, having already returned to the capital, founded the world's first Children's Musical Theater. She staged not only children's performances, but also “adult” operas by Mozart and Puccini, and included “serious” musical classics in her symphony tickets.

IN recent years Natalia Sats taught at GITIS, founded a charitable foundation for promoting the development of art for children, and wrote many books and manuals on music education.

Elizaveta Gilels (1919–2008)

Elizaveta Gilels and Leonid Kogan. Photo: alefmagazine.com

Elizaveta Gilels, the younger sister of pianist Emil Gilels, was born in Odessa. Family worldwide famous performers was by no means musical: father Gregory served as an accountant at a sugar factory, and mother Esther kept house.

Lisa Gilels first picked up the violin at the age of six, and she was taught the basics of musical art by the famous Odessa teacher Pyotr Stolyarsky. While still a teenager, Gilels declared herself a child prodigy: in 1935, the young violinist received second prize at the All-Union Competition of Performing Musicians. And in 1937, when she was 17, Elizaveta, as part of a delegation of Soviet violinists, made a splash at the Eugene Ysaïe Competition in Brussels. The first prize of the competition was awarded to David Oistrakh, the second - to a performer from Austria, and Gilels and her colleagues shared places from third to sixth. This triumphant victory glorified Elizaveta Gilels both in the Soviet Union and abroad.

When Soviet musicians returned from Belgium, they were greeted by a solemn procession, a participant of which was the talented, but in those years still unknown violinist Leonid Kogan. He presented his bouquet to Elizaveta Gilels, whose talent he always admired: this is how the future spouses met. True, they did not immediately become a couple. Gilels had recently become a star, actively performed and toured, and was also older. But one day she heard a performance by an unknown violinist on the radio. The masterly performance amazed her, and when the announcer announced the name of the performer - and he was Leonid Kogan - Gilels already became his big fan.

The musicians got married in 1949. Gilels and Kogan played in a duet for many years, performing works for two violins by Johann Sebastian Bach, Antonio Vivaldi, and Eugene Ysaÿe. Elizabeth gradually abandoned solo career: in 1952, the couple had a son, Pavel Kogan, he became a famous violinist and conductor, and two years later their daughter Nina, a gifted pianist and talented teacher, appeared.

Since 1966, Elizaveta Gilels began teaching at the Moscow Conservatory. Her students were violinists Ilya Kaler, Alexander Rozhdestvensky, Ilya Grubert and other talented musicians. After the death of Leonid Kogan in 1982, Gilels was engaged in systematizing his legacy: preparing books for publication and releasing recordings.

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Learning goals(learners’ UD goals):

Master the concept of “portrait” in a piece of music;

Master the concepts of “expressiveness” and “figurativeness”;

Develop the ability to determine by ear what kind of musical “portrait” the composer created using the example of the work of S. S. Prokofiev;

The student correctly reproduces the definition of the concept of “portrait” in music;

The student correctly reproduces the definition of the concepts of “expressiveness” and “figurativeness”;

He will be able to determine by ear what portrait or image the music has painted for us.

Pedagogical goals:

Training:

1. Organize student learning activities:

According to their mastery of the concept of “portrait” in music;

According to their mastery of the concepts of “expressiveness” and “figurativeness”;

By their mastery of various expressive means used by composers to create “portraits” in music;

To develop the ability to hear various musical images of heroes in specific musical works;

2. Development: to promote the development of the imagination and imagination of students when they become aware of “portraits” in music;

3. Education: create conditions for the formation of an emotional and value-based attitude towards works of art based on the perception and analysis of musical and literary images.

Pedagogical tasks.

Organize:

• familiarizing students with the definition of the concept of “portrait” in music;
• understanding the features of the musical image;
• students’ activities to develop the ability to identify a musical image by ear;
• discussion with students what feelings, emotions, impressions arise when listening to certain pieces of music;
• reflective assessment of the results of students' educational activities

Lesson type: combined

Lesson equipment: a audio and video equipment; presentation.

Lesson progress

Children enter the office to the music “Morning” from the suite “Peer Gynt” by E. Grieg (slide No. 1 – background)

Mikheeva Margarita Eduardovna, teacher of the highest qualification category, Novouralsk School No. 59, Novouralsk

Art lesson (music) in 5th grade 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:

1. teaching:
   1. to develop thinking skills - generalization, the ability to listen and prove;
   2. development of the ability to compare and contrast;
   3. formation of integration skills various types art;
   4. consolidate the concept - means of musical expressiveness: character, intonation, melody, mode, tempo, dynamics, image, form;
   5. learn to compare works of music and painting;
   6. introduce the works of M.P. Mussorgsky;
   7. teach children to feel poetry, musicality and picturesqueness artistic images;
2. developing: to develop emotions, fantasy, imagination of students in the comparative perception of musical, artistic and literary works;
3. correctional:
   1. creating conditions for optimizing students' creative abilities;
   2. 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.

LESSON PROGRESS:

Organizational moment.
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 arts?

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.: and with what musical portrait different 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, and 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 can each 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 of music experts who will try to understand the portrait image created by M.P. Mussorgsky.

The class is divided into two creative groups.
Quests:

• follow the 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.

Municipal educational institution

Bolshevo Secondary School No. 6

with in-depth study of subjects

artistic and aesthetic cycle

__________________________________________________________

"Musical Portrait"

Open lesson in 6th grade

During the seminar

“Creative development of personality in the lessons of HEC”

Music teacher

Shpineva V.I.,

Korolev

2007

Lesson TOPIC: Musical portrait (6th grade).

Purpose of the lesson : formation in students of the concept of a musical portrait and artistic means of creating a portrait in various types of art.

Tasks:

expanding the general cultural horizons of students;

formation of a culture of singing;

the formation of a deep, conscious perception of works of art;

development of artistic taste;

nurturing creative activity.

Lesson form : integrated lesson.

Equipment : piano, stereo system, reproductions of paintings, projector, screen.

PROGRESS OF THE LESSON.

Organizational moment. Musical greeting.

Teacher. Guys! You and I have already seen more than once how diverse the world of art is. Today we will talk about one of the genres of art - portraiture.

What are the features of this genre?

In what types of art can you create a portrait?

Give examples.

Students answer questions and give their own examples.

Teacher. The outstanding Italian painter, sculptor, architect, scientist, engineer Leonardo da Vinci said that “painting and music are like sisters, they are desired and understood by everyone.” After all, you may not know the language that Beethoven or Raphael spoke, you just need to watch, listen and think...

Continuing this thought, I would now like to invite you to consider a reproduction of the painting “The Swan Princess” by the Russian artist M.A. Vrubel.On the screen is a slide “The Swan Princess” by M. A. Vrubel.

Questions about the painting :

Describe the Swan Princess by Mikhail Vrubel.

What artistic means does the artist use?

What impression does this picture make on you?

Students answer questions emphasize the mystery, proud beauty of the fairy-tale bird girl, and celebrate the extraordinary gift of the painter who created the portrait of the fantastic creature. This is a fabulous bird girl, whose majestic beauty is characteristic folk tales. Her eyes are wide open, as if she sees everything today and tomorrow. Her lips are closed: it seems that she wants to say something, but is silent. The kokoshnik crown is strewn with emerald semi-precious stones. A white airy veil frames the delicate features of the face. Huge snow-white wings, with the sea rippling behind them. A fabulous atmosphere, everything seems to be enchanted, but we hear the beat of a living Russian fairy tale.

Teacher. In what literary work Are we meeting the Swan Princess? How does the author describe it?

Students answer questions by saying “The Tale of Tsar Saltan” by A.S. Pushkin. The teacher recalls lines from this work in which a portrait of the Swan Princess is given.

Teacher. We looked at a pictorial portrait, read a description of the character’s appearance in a literary work. But many composers have turned to this plot. I’ll now play you a fragment of a work by a Russian composer of the 19th century. What kind of work is this?

The teacher plays a fragment from N.A. Rimsky-Korsakov’s opera “The Tale of Tsar Saltan” on the piano.

Students recognize this work and say that it also contains a portrait of the Swan Princess.

Teacher. The French composer C. Saint-Saëns wrote “The Great Zoological Fantasy “Carnival of Animals”, which also features the Swan theme.

Listen to “The Swan” by Saint-Saëns and describe the character of the music.

The teacher plays the piano.

Student answers : Calm tempo, the accompaniment depicts a slight swaying of the waves, against which an unusually beautiful melody sounds. It is very expressive and therefore easy to remember. At first it sounds quiet, and then gradually the dynamics intensify, and the melody sounds like a hymn to beauty. It sounds broad, like a splash of a wave, and then it seems to gradually calm down and everything freezes.

Teacher. Pay attention to this point: in music, as in the visual arts, it is important not only to simply depict, convey the external appearance, but also to penetrate into the deep, spiritual essence of the character. This play is a prime example of this.

Students are shown a slide with two portraits: V.L. Borovikovsky “Portrait of M. Lopukhina” and A.P. Ryabushkin “Portrait of a Moscow girl XVII century."

Teacher. Now, guys, look at these two portraits, listen to the piece of music and think about which portrait this music is more suitable for and why.

Questions :

What is the nature of the music, its tempo, means of expression, what's your mood?

What are girls' characters depicted by artists?

Which portrait does this music best suit and why?

Answers: The music is romantic, “lacey”, conveys a feeling of calm and thoughtfulness. The portrait of Lopukhina evokes the same feelings.

Teacher. We looked at a picturesque portrait and listened to a musical portrait that was in tune with it. And now let’s sing in chorus the song that you and I learned: “Teacher’s Waltz” by A. Zaruba.

Students get up from their tables, form a choir and sing the song they learned in previous lessons.

Teacher. Think about what portrait this music paints for us?

Answers: Before us is a portrait of a teacher. The character of the music is smooth, measured, calm, like the character of a teacher.

Students take their seats.

Teacher. Listen to one piece now and try to answer the question: is it possible to see a portrait in this music? If so, whose?

The phonogram “Song of a Soldier” by A. Petrov plays .

Answers: The playful nature of the music paints an expressive portrait good soldier, who went through the battle and remained alive.

Homework : draw a portrait of this soldier.

Teacher. In conclusion, you and I will use musical means to create the image of our homeland, performing the Russian Anthem.

The guys get up.

Teacher. The anthem is a solemn song, majestic and proud. She is free, like the vast expanses of our Motherland; leisurely, like the flow of our deep rivers; sublime, like our hills and mountains; deep, like our protected forests. We sing the Russian Anthem and see Red Square, St. Basil's Cathedral, the Kremlin, our hometown, our street, our home...

Students sing the Russian Anthem.

The teacher offers to summarize the lesson.

What did you learn in this lesson?

What piece of music did you like best?

Which painting made the strongest impression on you?

In what form of art would you like to create a portrait and who and how would you portray?

At the end of the lesson, students are asked to mark the most interesting answers of their friends, grades are given taking into account the opinions of the students.

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 traits 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 the expressive and figurative features of music;
• accept and maintain learning tasks;
• engage in the process of solving assigned tasks.

Cognitive

• with the help of a teacher, navigate your knowledge system and realize the need for new knowledge;
• understand the artistic and figurative content of a musical work;

Communication

• the ability to hear, listen and understand others, to participate in collective performance.
• distinguish between figurativeness and expressiveness in musical portraits;
• independently reveal the means of musically figurative embodiment of characters.

Concepts and terms that will be introduced or reinforced during the lesson:

portrait in music, intonation, expressiveness, figurativeness.

Forms of work in the lesson:

listening, intonation-figurative analysis, choral singing.

Educational Resources:

• Textbook “Music. 3rd grade” authors E.D. Kritskaya, G.P. Sergeeva; 2017
• CD “Complex of music lessons. 3rd grade"
• Phonochrestomathy. 3rd grade;
• Piano.

Technological lesson map

Lesson progress

1. Organizational moment.

Teacher: Hello guys!

Seeing a smile and a joyful look -

This is happiness, so they say!

Check if everyone is ready for the lesson.

1. 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.

1. Updating knowledge

Teacher: Look at the picturesque 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)

1. 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)

1. 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 speech?

Children's answers: Movements

Teacher: Let's write down: “Juliet”, movements are depicted (writing in a notebook)

1. Homework

The drawing is a mystery. Draw one object that belongs to either Lida the Chatterbox or Juliet.

1. Vocal and choral work

Teacher: Can we create a portrait of someone together?

Children's answers...

Teacher: Let's sing a song about a little puppy who went for a walk.

Repeating the words of the song in groups:

1st verse - 1st row, 2nd verse - 2nd row, 3rd verse - 3rd row, 4th verse - all.

Work on the cantilena performance of the melody in the verses and the abrupt sound in the chorus.

Performing a song.

1. Summing up. 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...