Music lesson "Musical portrait. Can music express a person's character."

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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)

MUSIC AND OTHER ARTS

Lesson 25

Topic: Musical portrait. Can music express a person's character?

Lesson objectives: analyze the variety of connections between music and fine arts; find associative connections between artistic images music and other forms of art; distinguish the characteristic features of types of art (taking into account the criteria presented in the textbook); perceive and compare musical intonations of various meanings while listening to music.

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

Lesson progress:

Organizational point:

Listening: K. Debussy. "Sail".

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

Write on the board:

“Let moods remain the main essence of musical impressions,
but they are also full of thoughts and images"
(N. Rimsky-Korsakov)

Lesson topic message:

What do you guys think, can music express a person’s character, is it capable of doing this? We will try to answer this question with you today.

Work on the topic of the lesson:

When looking at a picture, we include all our senses, not just vision. And we hear, and not just see, what is happening on the canvas. Our gaze, according to the figurative definition of Alexander Ivanovich Herzen, becomes “listening.”

Guys, take a close look at Ilya Repin’s painting “Protodeacon”, who do you see in front of you, describe . (Before us is a portrait of an archdeacon - this is a spiritual rank in the Orthodox Church. We see an elderly man, with a long gray beard, overweight, he has an angry expression on his face, which is given to him by curved eyebrows. He has a large nose, large hands - in general, a gloomy portrait. He probably has a low voice, maybe even a bass voice.)

You saw everything correctly and even heard his low voice. So, guys, when this picture appeared at the exhibition of Peredvizhniki artists, the famous music critic V. Stasov saw in it a character from Pushkin’s poem “Boris Godunov” - Varlaam. Modest Petrovich Mussorgsky reacted in exactly the same way, when he saw the “Protodeacon” he exclaimed: “So this is my Varlaamishche!”

What do you think allowed these two deep and accurate observers to see in the portrait a resemblance to a character from the opera “Boris Godunov”?

It is probably that each of the works - Pushkin’s “Boris Godunov”, and Mussorgsky’s opera of the same name, and Repin’s “Protodeacon” - has one important feature - vividly and authentically - in word, music, image, showing the character of a person.

Between Varlaam and Protodeacon there is, of course, something in common, connected not only with character. Protodeacon is a spiritual rank. Varlaam is a monk who escaped from the monastery and went on a spree in a tavern on the Lithuanian border. He is similar to Repin’s character - huge, pot-bellied, “has a bald forehead, a gray beard, a thick belly.” However, this is not the most important thing that unites and brings together these generally independent images that arose independently of each other. The main thing between them is the unbridled nature, the rudeness of nature, prone to gluttony and revelry.

Listen to how Varlaam sings his famous song “As it was in the city in Kazan” in Mussorgsky’s opera. Pay attention to the timbre of his voice, to the features of the music - violent, unbridled, deliberately loud. Note also the manner of performance: after all, the artist always tries to emphasize the most important thing in the character of the hero.

Listening: M. Mussorgsky. Song of Varlaam from the opera "Boris Godunov".

How did Varlaam appear to you? (Noisy, violent, with an unbridled temper.)

Remember what role details play in works of fine art, how they complement the appearance of the hero, merge with him, and communicate something that cannot be conveyed by other means.

For example, famous painting“Girl with Peaches” - isn’t this a single image? Tenderness, youth, and the gentle sun literally permeate the picture, where every detail, every stroke is filled with the charm of the main character.

But here is a completely different musical portrait.

It was “painted” by the great master of vocal lyricism F. Schubert.

In the center of the image is Margarita, sitting at a spinning wheel and singing about her love.

If portrait features Varlaam were conveyed through the nature of the music and the manner of its performance, then in the song “Margarita at the Spinning Wheel” everything is important: the meaning of the words, the nature of the melody, and the bright imagery of the musical performance.

The portrait of Margarita in this song is drawn against the background of an important everyday detail - a buzzing spindle.

Listening: F. Schubert. "Margarita at the Spinning Wheel" Words by J. W. Goethe.

Margarita is also among the charming female images. But she, having already known love and suffering, is characterized by great depth and emotionality. Her song is an image, a picture, including several plans: external (pictorial), lyrical, psychological.

Figurativeness, as is often the case in vocal music, lies in the accompaniment music: from the very first bars we seem to see and hear a spinning wheel with its measured buzz. Against this background, the lyrical confession of a lonely girl, yearning for her lover, sounds.

All the richness of her love, all shades of mood from hidden sadness to powerful upsurges of feeling are conveyed in the vocal part. But with all the dynamism of this lyrical statement, with all the ups and climaxes of the melodic line, we again and again return to the buzzing of the spinning wheel - the original motive that frames this spiritual musical portrait.

If the musical images of Varlaam and Margarita were mediated by verbal text, then in the next work the musical portrait is carried out without the help of words.

“Gnome” from M. Mussorgsky’s piano cycle “Pictures at an Exhibition” is a musical portrait of a small fairy-tale creature, performed with enormous artistic power. It was written under the impression of a painting by W. Hartmann. These are not only “pictures written by a musician, but these are small dramas in which the very essence of the phenomena of life is revealed - the soul of events, the soul of things, seems to shine through the sounds,” wrote B. Asafiev.

We have already said that not only in music, but also in fine arts What is important is not just the image, the transfer of external appearance, but penetration into the deep, spiritual essence of the character. The play "Gnome" is one example of such a work.

Listening: M. Mussorgsky. “Gnome” from the “Pictures at an Exhibition” series.

Through the limping gait and angular jumps of the fantastic freak, deep suffering suddenly appears - no longer at all fabulous, but living, human. The music dramatically changes its character: broken, bizarre rhythms and leaps, which have a clearly graphic character, give way to the downward movement of chords, the sound of which is imbued with the intonation of aching melancholy, pain, and loneliness.

Mussorgsky’s “Gnome” is no longer a simple illustration of W. Hartmann’s painting, it is a significant development and deepening of the image, about which the composer managed to say so much in his short play.

Questions and tasks:

1. Why do some musical works have a vivid portraiture?
2. What musical genres are most capable of conveying the portrait features of a hero?
3. What do the portraits of “Protodeacon” by I. Repin and Varlaam M. Mussorgsky have in common?
4. How does music convey the portrait of the Dwarf in M. Mussorgsky's play? What do you think the music says more about - the external appearance of the Dwarf or his inner world?
5. Name the works you studied earlier in which portraits of heroes (characters) are embodied through music.
6. Complete the task in the “Diary of Musical Works” - pp. 26-27.

Presentation

Included:
1. Presentation - 11 slides, ppsx;
2. Sounds of music:
Debussy. Prelude "Sails", mp3;
Mussorgsky. Pictures from the exhibition. Two Jews, rich and poor (2 versions: symphony orchestra and piano), mp3;
Mussorgsky. Opera "Boris Godunov". Varlaam’s song “As it was in the city in Kazan”, mp3;
Schubert. Margarita at the spinning wheel, mp3;
3. Accompanying article - lesson notes, docx.

Portrait in music and painting

Target: The children's awareness of the relationship between the two forms of art, music and painting, through portraiture.

Tasks:

1. Introduce the “musical portraits” created by M.P. Mussorgsky and S.S. Prokofiev and portraits created by artists I.E. Repin and R.M. Volkov.
2. Continue to work on developing the skill of analyzing a piece of music and a work of fine art.
3. Contribute to the formation of interest in the history of your Fatherland.

Vocal and choral work:

1. When learning musical fragments, try to portray the character of the hero in his voice.
2. Work on clear pronunciation of the text.

Lesson equipment:

Computer (disc, presentation with reproductions of paintings).

Lesson structure

1. Listening: Song of Varlaam from the opera by M.P. Mussorgsky “Boris Godunov”.
2. Discussion of “musical portrait”.
3. Learning an excerpt from “The Song of Varlaam.”
4. Comparison of the “musical portrait” and the portrait of I. Repin “Protodeacon”.
5. Learning an excerpt from “Kutuzov’s Aria”.
6. Acquaintance with the portrait of R.M. Volkov “Kutuzov”.
7. Comparison of two “portraits”.
8. Learning a song
9. Conclusion.

Form of work

1. Frontal
2. Group

Lesson progress

Teacher

Musical portrait. Mikhail Yavorsky.

There are a lot of strange things in our lives,
For example, I dreamed for many years
I even tried more than once,
Write a musical portrait.

For nature I found a man -
The standard of nobility and honor,
A contemporary from our century,
He lived his life without lies and without flattery.

And today, I “draw” a portrait,
It's not an easy job, believe me,
My music stand will replace my easel
Instead of paints and brushes - only notes.

The staff will be better than the canvas,
I’ll write everything on it and play it,
This drawing will not be simple,
But I don’t lose my hope.

To make the features look softer,
There will be more minor sounds,
And the opportunities here are great,
Not to the detriment of music science.

The score will not be simple,
But I won’t break the law of music,
And this portrait will be like this:
Everyone will hear his heart and soul.

It won't hang on the wall
He is not afraid of moisture and light,
And, of course, I would like
May he live for many years.

Continuing the theme “Can we see music”, today’s lesson will focus on, as you may have guessed from the poem, portraits in music and painting. What is a portrait?

Students.

A portrait is an image of a bottom person.

Teacher.

And so, let's listen to the first portrait.

Hearing: Varlaam's song from the opera by M.P. Mussorgsky “Boris Godunov”.

Teacher.

Based on the nature of the musical work, what can be said about this character? What qualities does he have?

Students.

This hero is cheerful, you can feel the strength in him.

Repeated listening.

Learning a fragment.

Teacher.

Is the force good or evil?

Students.

The force is, after all, evil. The music is powerful, which means the hero is very powerful, at the same time riotous, cruel, everyone is afraid of him.

Teacher.

What means of musical expression does the composer use when portraying this “hero”?

Students.

Teacher.

And what song's intonation is used by the composer to portray this character?

Students.

Russian folk dance

Teacher.

Based on the means of musical expression you listed, what do you think this person looks like externally?

Students.

This man is elderly, with a beard, an angry and domineering look.

The portrait of I. Repin “Protodeacon” is shown.

Teacher.

Let's think, is there any similarity between our “musical hero” and the person depicted in this picture? And if so, which one?

Students.

There are similarities. The man depicted in the picture is also elderly, with a beard.

Teacher.

Guys, pay attention to this man's gaze. Try to portray this look. What is he like?

Students.

The look is sharp, predatory, evil. The eyebrows are thick, black, and splayed, which makes the look heavy and imperious. The picture, like in music, is in dark colors.

Teacher.

We compared two portraits - musical and artistic. The musical portrait was written by the Russian composer M.P. Mussorgsky (Varlaam’s song from the opera “Boris Godunov”), the second portrait belongs to the brilliant Russian portrait painter I. Repin (the portrait is called “Protodeacon”). Moreover, these portraits were created independently of each other.

View an excerpt from the opera “Boris Godunov” (“Song of Varlaam”).

Teacher.

Guys, why do you think such portraits as Varlaam, the archdeacon, appeared?

Students.

The composer and artist saw such people and depicted them.

Teacher.

Listening to the “song of Varlaam” and looking at the painting “Protodeacon,” how do you think the artist and composer treat such people, the same or differently. Justify your answer.

Students.

Both the composer and the artist do not like such people.

Teacher.

Indeed, when Mussorgsky saw “Protodeacon,” he exclaimed: “Yes, this is my Varlaamishche!” This is a whole fire-breathing mountain!”

I.E. Repin in the portrait of “Protodeacon” immortalized the image of deacon Ivan Ulanov, from his native village of Chuguevo, about whom he wrote: “... nothing spiritual - he is all flesh and blood, pop-eyed, gaping and roaring...”.

Teacher.

Tell me, did we get the attitude of the authors towards their characters?

Students.

Con

Teacher.

Have you come across such portraits in our time?

Students.

No.

Teacher.

Why don’t they create such portraits in our time?

Students.

Because in our time there are no such people. In past centuries there were many such “heroes”. Such priests were typical of that time. There are no such clergymen these days.

Teacher.

That is, art reflects the reality around us.

Now we will introduce you to another musical portrait.

Listening to Kutuzov's aria from the opera by S.S. Prokofiev “War and Peace”.

Learning an aria.

The class is divided into three groups and given the following tasks:

1st group – gives a verbal portrait of the character (external and “internal”);

2nd group – selects one portrait corresponding to a given piece of music from the proposed video sequence, substantiates the answer;

3rd group – compares the resulting portrait with a given piece of music.

Students justify their answers based on musical and artistic expression, used by the composer and artist.

Teacher.

We have become acquainted with another portrait, directly opposite to Varlaam. Kutuzov's aria from the opera by S.S. was performed. Prokofiev’s “War and Peace” and before us is a painting by Roman Maksimovich Volkov “Kutuzov”.

Who is Kutuzov?

Students.

The commander who defeated Napoleon in the War of 1812.

Teacher.

Which character traits of the hero are emphasized by the composer, and which by the artist?

Students.

The composer emphasizes majesty, strength, nobility, and concern for the Motherland. The artist emphasizes his services to the Motherland, nobility, and intelligence.

Teacher.

How do both the composer and the artist feel about this hero?

Students.

They respect him and are proud that he is their compatriot.

Teacher.

Students.

Certainly

Teacher.

Which previously studied piece of music is this aria close in spirit to?

Listening to or performing an excerpt from an aria.

Students.

To “The Heroic Symphony” by A.P. Borodin.

Teacher.

Listening to the aria and looking at the picture, can Kutuzov be called a hero? Justify your answer.

Students.

Yes, because he combines all three qualities - Strength, Intelligence, Goodness.

Teacher.

Can Varlaam be called a hero?

Students.

No, he has Strength, Intelligence, but no Good.

(Both portraits are on the board)

Teacher.

And why were the portrait of Kutuzov created by Prokofiev and Volkov and Borodin’s “Heroes” symphony and Vasnetsov’s painting “Bogatyrs”?

Students.

Because such people, heroes, actually existed.

Teacher.

Today we will learn a song whose heroes have Strength, Intelligence, and Goodness. And their main strength is friendship. Song from the movie “Midshipmen, forward!” “Song of Friendship.”

Learning a song.

Conclusion:

1. What portraits and their authors did we meet in class?
2. How are the same characters portrayed in music and painting?
3. What does this “kinship” between music and painting give us to understand?

>>Musical portrait

Musical portrait

It is interesting to compare the features of recreating a person’s appearance in literature, fine arts, and music.

In music there cannot be a resemblance to a specific person, but at the same time it is no coincidence that it is said that “a person is hidden in intonation.” Since music is a temporary art (it unfolds and develops over time), it, like lyrical poetry, is subject to the embodiment of emotional states and human experiences with all their changes.

The word "portrait" in relation to musical art, especially for instrumental non-program music, is a metaphor. At the same time, sound recording, as well as the synthesis of music with words, stage action and extra-musical associations expand its capabilities. Expressing the feelings and moods of a person, embodying his various states, the nature of movement, music can evoke visual analogies that allow us to imagine what kind of person is in front of us.

Character, lyrical hero, narrator, narrator - these concepts are important not only in a literary work, but also in a musical one. They are necessary for understanding the content of program music, music for the theater - opera, ballet, as well as instrumental and symphonic music.

The intonation of the character more clearly reproduces external signs, manifestations of a person in life: age, gender, temperament, character, unique manner of speaking, moving, national characteristics. All this is embodied in music, and we seem to see a person.

Music can help you meet people from a different era. Instrumental works create images of various characters. F. Haydn admitted that he always composed music keeping in mind the characteristic types of people. “Mozart’s themes are like an expressive face... You could write a whole book about female images V instrumental music Mozart" (V. Medushevsky).

Listen to excerpts from works by different composers: V.-A. Mozart and S. Prokofiev, A. Borodin and B. Tishchenko, J. Bizet and R. Shchedrin, A. Schnittke and V. Kikty. What portraits of people did you “see” in music? What means of expression give you the opportunity to present the characteristics of the characters and characters?

Artistic and creative task
Make sketches of portraits of characters from your favorite musical compositions, and give them a verbal description.

Musical portrait

It is interesting to compare the features of recreating a person’s appearance in literature, fine arts, and music.

In music there cannot be a resemblance to a specific person, but at the same time

It is no coincidence that it is said that “a person is hidden in intonation.” Because music is an art that is temporary O e (it unfolds, develops in time), like lyric poetry, it is subject to the embodiment of emotional states and human experiences with all their changes.

The word “portrait” in relation to the art of music, especially instrumental non-program music, is a metaphor. At the same time, sound recording, as well as the synthesis of music with words, stage action and extra-musical associations expand its capabilities. Expressing the feelings and moods of a person, embodying his various states, the nature of movement, music can evoke visual analogies that allow us to imagine what kind of person is in front of us.

N. Roerich. Russian artist (1874-1947) Sketch for the set of the opera “Prince Igor”

Character, lyrical hero, storyteller, narrator - these concepts are important not only in a literary work, but also in a musical one. They are necessary for understanding the content of program music, music for the theater - opera, ballet, as well as instrumental and symphonic music.

The intonation of the character more clearly reproduces external signs, manifestations of a person in life: age, gender, temperament, character, unique manner of speaking, moving, national characteristics. All this is embodied in music, and we seem to see a person.

Music can help you meet people from a different era. Instrumental works create images of various characters.

F. Haydn admitted that he always composed music keeping in mind the characteristic types of people. “Mozart’s themes are like an expressive face...

You could write a whole book about female images in Mozart’s instrumental music” (V. Medushevsky).

Portrait of the composer in literature and cinema

The portrait of any cultural and artistic figure is created primarily by his works: music, paintings, sculptures, etc., as well as his letters, memoirs of contemporaries and works of art about him, which arose in subsequent eras.

"Mozart's Universe" (Irina Yakushina) this is the name of one of the books about life and creativity Wolfgang Amadeus Mozart(1756-1799), Austrian composer, author of immortal musical works - Symphonies No. 40, “Little Night Serenade”, “Rondo in Turkish Style”, “Requiem”.

P Why is Mozart's music compared to the Universe? Apparently, because it reveals various phenomena of life in a varied and deep way, its eternal themes: good and evil, love and hate, life and death, beautiful and ugly. Contrasts of images and situations constitute the main driving force of his music, which helps listeners understand his life credo: “Life is incomparably beautiful on the beloved land!”

The tragic death of Mozart at the age of 35 has given rise to many speculations about the death of the composer, who was in the prime of his creative powers. One of them - the poisoning of Mozart by his contemporary, the socially recognized court composer Antonio Salieri (1750 -1825), formed the basis of A. Pushkin's small tragedy "Mozart and Salieri", an opera by N. Rimsky-Korsakov, modern films and dramatic performances.

Gives viewers a different interpretation of the relationship between the two composers film director M. Forman - creator of the film “Amadeus”, winner of five Academy Awards: the distraught old man Salieri, who is rescued after a suicide attempt, in confession tells the priest about his feelings and experiences that he experienced while watching Mozart's talent blossom. The final part of the film captures the moments of the production of the opera “The Magic Flute” and the creation of “Requiem”.

Read a little tragedy

A.S. Pushkin. Mozart and Salieri. Listen here.

Consider the illustrations of M. Vrubel.

Watch excerpts from the film "Amadeus". What features of the characters of Mozart and Salieri do these works reveal to you?

What experience of relationships between people do you gain as a result of acquaintance with works of art?

Listen to fragments of works by Mozart that you are familiar with.

Mozart Figaro's Aria from the opera "The Marriage of Figaro". Listen here.

What feelings expressed in Mozart's music are consistent with the feelings of the modern listener?

Listen to a modern adaptation of one of Mozart's works. Why famous performers turn to a creative interpretation of Mozart's music?

Mozart Symphony No. 40 in a modern arrangement. Listen here.

Read literary works, in which an image-portrait of the composer is drawn (excerpts from the novel by D. Weiss “The Sublime and the Earthly” Listen Here, poems by L. Boleslavsky, V. Bokov, etc.).

Yu. Voronov Mozart. Listen here.

Mozart Fantasia in D minor. Listen here.

Mozart Fantasia in D minor lit. Listen here.

Lev Boleslavsky. Requiem. Listen Here