Methodological development of the lesson “working on an artistic image in a musical piece of a cantilena character.” "work on the artistic image of a musical work"
Methodical work
"Artistic image as
the problem of music pedagogy"
piano teacher
MOUDOD "Krasnogorsk Children's Music School"
Rybakova Irina Anatolyevna
Krasnogorsk 2012
INTRODUCTION
Statement of the problem, relevance, purpose, objectives.
Working on an artistic image in piano lessons at the initial stage.
"...Music cannot accurately
describe its area -
awakening of feelings.
She should help everyone
live your dream under the influence
instant impact, which
may be variable depending on
from the inclinations of the listeners,
as well as the depth of their perception"
Alfred Cortot
INTRODUCTION
The problem of revealing the artistic image, understanding the composer’s intention and the ability to convey the characteristic features of a given author, of this genre, of this era - is always relevant in music pedagogical work. The process of raising a competent, enthusiastic music listener and music lover is quite complex and lengthy. Natural intuitiveness alone is not enough, just as it is impossible to impart understanding without the student’s desire to perceive.
In a music school, you can often see the following picture (we are talking about children with average musical abilities). A piece of work that a student goes through during a lesson evokes absolutely nothing in the child’s soul other than the desire to finish classes as soon as possible. The student plays the play over and over again with the same result, despite the efforts of the teacher, who constantly says: “there’s an accent here,” “play louder,” etc. Such lessons end with both the student and the teacher being exhausted. -yy with his own opinion: the student still does not understand why all these details and nagging of the teacher; a teacher who is confident in the complete stupidity of the child.
What is the reason for this situation? First of all, it should be noted how great the role of the teacher is in overcoming this problem. The child’s musical future depends on him. It is no secret that ill-conceived music lessons, without a creative attitude towards this important matter, lead to the fact that the child is completely discouraged not only from the desire for musical art, but also from a complete aversion to music. Therefore, it is very important how the teacher makes music lessons, how interesting, exciting and meaningful they will be.
Since we do not have the right to predetermine a child’s musical future, at first we must lead everyone in the same way: teach to listen and perceive music both from the outside and in our own performance (listen to ourselves), develop aesthetic taste, awaken loving relationship to the sound of the piano, to learn to understand the musical text; teach meaningful phrasing, basic control of sound and rhythm; and, finally, as a result of all that has been said, to achieve expressive and imaginative performance of children's plays. With this content of primary education, music brings joy to children, merges with their experiences, and awakens imagination. Hence the passion for activities, and passion, as we know, is the key to success in any business.
It is very important to teach your child to understand music. Often, understanding music means the ability to retell the content. This idea is incomplete. If it were possible to accurately translate the content of a musical work into the language of words, to explain in words the meaning of each sound, then perhaps the need for music as such would disappear.
The specificity of music lies in the fact that its language is the language of musical images that do not convey precise concepts, causes and consequences of the occurrence of any phenomenon. Music conveys and evokes such feelings and experiences that sometimes do not find their full, detailed expression. And the main content of a musical work, its main idea unfolding over time, the nature of this development can be understood and explained. But since this content is revealed by specific musical means (melody, harmony, rhythm, mode, tempo, etc.), then to understand it it is necessary to have an idea of the expressive meaning of all these means. Thus, understanding a musical work presupposes awareness of its main idea, character, mood, conveyed by specific means of musical expressiveness.
the performing musician will be able to become as close as possible to the author’s idea and, if he knows the means of implementation, to convey it with such temperament, persuasiveness and ease, as if he were expressing his ideas, his feelings, his thoughts. A musician needs to “believe” someone else’s fiction and sincerely live with it, put his own subtext into someone else’s text, “pass it through” himself, revive it and supplement it with his imagination. The initial stage of work on a musical work is characterized mainly by the fact that it confronts the performer as an object standing outside him. This is still a “game”, not a “performance”. There is a qualitative difference between “playing” and “executing”. The interpreter must be imbued with the author's thoughts and feelings, and internally agree with the composer. In the process of mastering his concept, the performer creates his own image in his imagination. Having “accepted as truth” everything that he created in his imagination, and feeling the necessity of what he is doing, the player begins to speak on his own behalf and begins to perform. You cannot convince another of what you yourself are not convinced of. The role of the teacher is to teach the student to understand and master art. In other words, to introduce the student into the world of art, awaken his creative abilities and equip him with technology.
This goal can be achieved when the student learns a piece and works on special exercises that develop certain aspects of the “experience apparatus.” If a teacher is busy only showing how to play a play, he will not lead the student to creativity. Working on a piece of music cannot be a goal in itself. Each assigned task should help the student acquire some new quality. Creativity cannot be taught, but you can teach how to work creatively. The teacher must actively manage this complex process of the performer’s work.
In the process of creative penetration into someone else's image, it becomes possible to expand the intellectual and emotional boundaries of the individual. Thanks to the enrichment and the associated change in personality, the alien image ceases to be an alien image, and the performer becomes able to combine the personal, individually unique with the ideas, thoughts and feelings of the author.
Thus, the problem of understanding the artistic image is closely related to the problem of creative education. An education system that leads to creativity supports teaching methods with the help of which the student feels and understands why and for what it is necessary to “do”. Creative education requires an individual approach. Each personality is characterized by a unique combination of a number of innate and acquired qualities. Using the natural characteristics of the student, the teacher can influence and cultivate artistic individuality. Creative education involves cultivating the desire and ability to acquire knowledge and skills. A student can master the basics of his art only through his own active efforts. A teacher who presents everything to the student in an open form does not teach the student to search, does not cultivate creative inquisitiveness.
Creative education presupposes an understanding of the relationship between design and technology. Busoni’s words: “The more means at the artist’s disposal, the more he will find use for them” are an expression of precisely this thought. Creative education expands the scope and scope of a teacher’s work. Enormous demands are placed on the personality of the teacher, his knowledge and skills. The teacher not only teaches the basics of art, but, by cultivating the “mental apparatus,” becomes the artistic and ethical leader of the student. The teacher is called upon to teach his pupil to listen and hear, look and see, observe and make choices, understand the meaning of observed phenomena, and process perceived feelings within himself.
A teacher who develops a performing pianist faces four inseparable tasks.
Firstly, he must instill in the student a general culture, develop observation, cultivate consciousness, and ethics. That is, this is the task
formation of a person (“I understand”, “I know”, “I feel”, “I understand” and “I evaluate”).
Secondly, the teacher must introduce the student to the world of music, reveal to him its aesthetic and cognitive value, instill musical culture, and train his ear. This is the task of forming a musician (“hear”, “feel”, “understand”).
Thirdly, the teacher must lead the development of pianistic skills, teach the ability to express themselves using the means of their instrument. In other words - to shape a pianist (“I can”, “I can implement”).
Fourthly, the teacher must cultivate specific performing qualities: the ability to “ignite”, being imbued with music, the will to embody music, to learn with listeners and to influence the listener. You can call all this the formation of a performer (“I light up,” “I want to embody,” “I want to convey to others and influence others”).
In aesthetics, an artistic image is understood as an allegorical, metaphorical thought that reveals one phenomenon through another. The artist, as it were, collides phenomena with each other and strikes sparks that illuminate life with new light. In ancient Indian art, according to Anandavardhana (IX century), figurative thought had three main elements: poetic figure, meaning, mood. These elements of figurative thought are built according to the laws of artistic conjugation and comparison of different phenomena. For example, the ancient Indian poet, without directly naming the feeling that possessed the young man, conveys to the reader the mood of love, skillfully comparing a lover dreaming of a kiss with a bee flying around a girl.
In the oldest works, the metaphorical nature of artistic thinking appears especially clearly. Artistic thought connects real phenomena, creating an unprecedented creature that bizarrely combines elements of its ancestors. The ancient Egyptian sphinx is neither a lion nor a cap, but a man represented through a lion, and a lion understood through a man. Through the bizarre combination of man and the king of beasts, man learns both nature and himself. Logical thinking establishes a hierarchy and subordination of phenomena. The image reveals valuable objects one through the other. Artistic thought is not imposed from the outside on the objects of the world, but flows organically from their comparison, from their interaction.
The structure of an artistic image is not always as clear as in the Sphinx. However, even in more complex cases in art, phenomena shine and are revealed one through the other. For example, in the novel "War and Peace" the character of Andrei Bolkonsky is revealed through his love for Natasha, and through his relationship with his father, and through the sky of Austerlitz, and through thousands of things. The artist thinks associatively. For him, as for Chekhov’s Trigorin, the cloud is like a piano,” he reveals the fate of the girl through the fate of the bird. In a certain sense, the image is built according to a paradoxical and seemingly absurd formula: “There is an elderberry in the garden, and a guy in Kiev ". In the image, through the “conjugation” of phenomena far removed from each other, unknown aspects and relationships of reality are revealed. An artistic image has its own logic, it reveals itself according to its internal laws, possessing self-motion. The artist sets all the initial parameters of the self-motion of the image, but having set them, he cannot change anything without committing violence against artistic truth.The vital material that underlies the work leads with it, and the artist sometimes comes to a conclusion completely different from the one he was striving for.
Figurative thought is multi-valued, as rich and deep in its meaning and significance as life itself. One of the aspects of the ambiguity of the image is understatement. E. Hemingway compared a work of art to an iceberg: a small part of it is visible, but the main part is hidden under water. This makes the reader active, the process of perceiving the work turns out to be co-creation, thinking out, finishing the image. The perceiver receives an initial impulse for reflection, he is given an emotional state and a program for processing the information received, but he retains both free will and scope for creative imagination. The incompleteness of the image, stimulating the thought of the perceiver, is manifested with particular force in the principle of non fenita (lack of ending, incompleteness).
The image is multifaceted, it contains an abyss of meaning that unfolds over the centuries. Each era finds new sides and facets in the classical image and gives it its own interpretation. In the 19th century. Hamlet was viewed as a reflective intellectual (“Hamletism”), and in the 20th century. - like a fighter. Goethe believed that he could not express the idea of "Faust" in a formula. To reveal it, one would have to write this work again. An image is a whole system of thoughts. The image corresponds to the complexity, aesthetic richness and versatility of life itself. If an artistic image were completely translatable into the language of logic, science could replace art. If it were completely untranslatable into the language of logic, then neither literary criticism, nor art criticism, nor art criticism would exist. We do not translate the image into the language of logic because during analysis a “super-mental residue” remains, and we translate it because deeper and deeper, penetrating into the essence of the work, we can more and more fully and comprehensively reveal its meaning; critical analysis is a process of endless deepening into the infinite meaning of the image.
An artistic image is an individualized generalization that reveals in a concrete sensory form what is essential for a number of phenomena. The dialectic of the universal and the individual in thinking corresponds to their dialectical interpenetration in reality. In art, this unity is expressed not in its universality, but in its individuality: the general manifests itself in the individual and through the individual. “The great poet,” wrote Belinsky, “speaking about himself, about his “I,” speaks about the general - about humanity, for in his nature lies everything that humanity lives by, and therefore in his sadness everyone recognizes his own and vi - there is in him not only a poet, but also a man, his brother in humanity"
The artist thinks in images, the nature of which is concrete - sensual. This connects the images of art with the forms of life itself, although this relationship cannot be taken literally. Such forms as an artistic word, musical sound or architectural ensemble do not and cannot exist in life itself.
The art of classicism is characterized by generalization - artistic generalization by highlighting and absolutizing the characteristic feature of the hero. Romanticism is characterized by idealization - generalization by embodying ideals and imposing them on real material. Realistic art is characterized by typification - artistic generalization through individualization by selecting essential personality traits. Art is capable, without breaking away from the concrete sensory nature of phenomena, to make broad generalizations and create a concept of the world.
An artistic image is the unity of thought and feeling, rational and emotional. Emotionality is the historically early and aesthetically most important fundamental principle of the artistic image. Ancient Indians believe that art was born when a person could not contain his overwhelming feelings.
To create an enduring work, not only a wide scope of reality is important, but also an ideological and emotional temperature sufficient to melt the impressions of existence. The French sculptor O. Rodin distinguished the importance of both thoughts and feelings for artistic creativity: “Art is the work of thought, seeking an understanding of the world and making this world understandable... It is a reflection of the artist’s heart on all objects that he touches.”
An artistic image is a unity of objective and subjective. It reflects great life content. The image includes not only the material of reality, processed by the artist’s creative fantasy about and his attitude towards what is being invented, but also the entire wealth of the creator’s personality, or, as Picasso’s friend Juan Gris notes in this regard, “the quality of the artist depends on the quantity past experience that he carries."
The role of the artist’s individuality is especially clear in the performing arts (music, theater). Each actor, for example, interprets the character in his own way, and different sides of the play are revealed to the audience. For example, Salvini, Ostuzhev, Olivier gave different interpretations of the image of Othello in accordance with their worldview, their creative individuality, their historical, national and personal experience. The personality of the creator is reflected in the artistic image, and the brighter and more significant this personality is, the more significant the creation itself. Great art can satisfy both the most refined taste of an intellectually prepared person and the taste of a mass audience. In a realistic image, the measure of the relationship between the subjective and objective is always preserved; reality is illuminated by the thought and ideal of the artist.
The image is unique and fundamentally original. Even when mastering the same vital material, revealing the same topic on the basis of Ob ideological positions, different creators create different works. the creative individuality of the artist leaves its mark on them. The author of a masterpiece can be recognized by his handwriting, by the features creative manner. “Let copying pass through our hearts before our hands begin to work on it, and then, regardless of ourselves, we will be original,” noted Rodin.
Scientific laws are often discovered by different scientists independently of each other. For example, Leibniz and Newton simultaneously discovered differential and integral calculus. Repetition of scientific discoveries is possible, but in the entire centuries-old history of art there has not been a single case of coincidence between the works of different artists. The law “is realized through its non-realization” (Hegel). General pattern: an artistic image is unique, fundamentally original, since its integral part is the unique individuality of the creator.
Musicology also deals with problems of the artistic image, the content of music, and the means of its expression. There has long been a widespread opinion about the “inexpressibility” of the content of music, about the impossibility of “retelling” it, conveying it in any way, including verbally. “Music begins where words end” (Gay-ne). There is an excessive categoricalness in the statement about the inexpressibility of music in words. After all, many people have tried and are trying to convey the content of certain musical works literary images(or with gestures, dance movements, images), and it cannot be said that all these attempts were unsuccessful. It is especially difficult to talk specifically about music (especially if it appears in a “pure” form - without words and stage action). And the reason for this is in the “composition” of its content, which does not necessarily include visual and conceptual moments that are easier to retell, but instead cover the most subtle shades of emotions that are inaccessible to adequate verbal expression. It is always more difficult to describe what is heard than what is seen - this is due to the adaptation of our language to the predominant role of visual information.
It is even more difficult to describe the experience. And it is completely impossible to tell what constitutes the “soul” of any art - the unique vision and sensation of the world through artistic talent, and even if he thinks and expresses himself in a language so different from everyday speech, like music.
Therefore, when talking about the content of music, we must always remember that it cannot be embodied by means other than musical ones, and fully comprehended otherwise than by comprehending and experiencing the music itself.
This does not mean, however, that music has only its own musical content, expressing itself. It “tells” us about what is beyond its boundaries; it reflects activity in a specific form, being its image.
In modern musicology, a musical theme is also considered an image.
(by analogy with the first characteristic of the hero of the drama), and the theme, along with its development and all metamorphoses (by analogy with the entire fate of the hero in the drama) and the unity of several themes - the work as a whole.
If we proceed from the epistemological understanding of the image, then it is obvious that both the entire work and any significant part of it, regardless of its size, can be called a musical image. The image is where there is content. Borders musical image can be established only if what is meant is not a reflection of reality in general, but of a specific phenomenon, be it an object, a person, a situation or a separate mental state. Then, as an independent image, we will perceive a musical “structure” united by one mood, one character. Where there is no content, no image, there is no art.
Music is a product of human spiritual activity. Consequently, in the most general terms, the content of a musical work can be defined as the results of the reflection of reality captured in sounds by the consciousness of the author - composer (who, in turn, acts in creativity not only as an individual, but also as a representative of a certain social group , an exponent of her interests, psychology, ideology).
It is obvious that if music reflects the phenomena of reality, expresses feelings, emotions, models them, then its means are intended to be precisely means of expression, and in this sense they are meaningful. But the very nature of the connection between content and means, far from being the same in different conditions, has not yet been revealed with the necessary completeness and represents one of the central problems in the totality of them, which has long been felt and designated as the “mystery of the influence” of music.
Individual musical means associated with the elements of music, that is, certain melodic patterns, rhythms, modal turns, harmonies do not have once and for all given, fixed expressive and semantic meanings: the same means can be used in works of different nature and promote different - even opposite - expressive effects. For example, syncopations in some cases contribute to the effect of sharpness, dynamization, explosiveness, in others - lyrical emotion, in others - special lightness, airiness, achieved by veiling metrically significant moments.
However, each medium has its own range of expressive possibilities. They are determined by objective properties and are based on more or less elementary prerequisites (acoustic, biological, psychological), but also formed in the course of musical history
ric process, the ability of this medium to evoke certain ideas and associations. In other words, expressive capabilities arise on the basis of certain objective properties of means and are consolidated by the tradition of using these means.
The question of the relationship between the content and means of music was addressed by musicians and scientists of different times. For example, ancient Greek theorists attributed a certain character to individual modes, and this, apparently, was in accordance with the tradition of using modes in the syncretic poetic-musical art of antiquity.
In the 17th - 18th centuries, the so-called theory of affects became widespread, on the basis of which emotional experiences expressed in music are associated with certain means. In XYii&v, punctuated rhythm was considered, according to this theory, as evoking a feeling of something majestic and significant.
Attempts to directly correlate individual elements of music, down to intervals, with a certain character of expressiveness were encountered later. In those cases where attempts of this kind tacitly implied other conditions and, thus, actually concerned complex means, they were often fruitful, especially in studies devoted to the musical language of a composer.
Consequently, the meaningful and expressive capabilities of the means must be considered in a certain system of musical language and the implementation of these capabilities in works various styles and genres.
In music pedagogy, the problem of interpreting the artistic image is very relevant. A number of tasks arise to solve this problem. This is the nurturing of creativity in children, the development of the intellect and horizons of students. The goal of the teacher in this direction is to cultivate the ability to perceive a musical image in its specific sound embodiment, trace its development, and listen to corresponding changes in the means of expression.
There are ways to enhance the perception of music.
1. Method of listening. This method underlies the entire musical-auditory culture and is a prerequisite for the development of simple auditory skills, the perception of musical images and the formation of musical ear. Children gradually master voluntary auditory attention, selectively directing it to certain musical phenomena in connection with new situations and tasks.
Works for children by Mendelssohn, Schumann, Grieg, Tchaikovsky and related composers teach them emotional imagery, everything that students will encounter in the future when studying the “great”... literature of the romantics.
Studying works of different styles undoubtedly broadens the musical horizons of students. The teacher, in turn, must explain the stylistic features of each work, immersing the student in the unique world in which the composer lived and worked.
As already noted, work on creating an artistic image should proceed with tireless monitoring of hearing.
If you ask students whether they should always listen to their performance when playing an instrument, they will, of course, answer in the affirmative. However, in practice, unfortunately, a different picture is observed. Often students hardly pay attention to the sound at the first stage of studying a piece. This is explained by the fact that their attention is completely absorbed by the “notes”, rhythm and “fingers”. Inattention to sound is often observed at the middle stage of studying a piece, when students, especially those who are zealous in technical work, strive to improve
“hollow out” difficult places and play them for a long time. rough formed sound.
As a result, during classes, only a small part of them is actually devoted to working on sound. The rest of the time the student plays with an inexpressive, “faceless” sound and, without noticing it, harms his hearing. The design features of the piano - the absence of direct contact between the performer and the sound source - can easily lead to mechanical sound production.
Such ways of “working” inhibit the development of the ability to listen to oneself and play expressively, with a beautiful sound.
For the development of hearing, it is important to accustom oneself to listening to the fabric of a work in a differentiated manner - to catch different voices, melodic and harmonic turns, etc.
It is also useful to monitor the performance of music by notes. This kind of practice should begin as early as possible. This is also a good sight reading exercise. In this regard, melodic ear, which is very important for a performer, can be added that its successful development is facilitated by systematic work on melodies of various types and varying lengths. It is also no less important to listen to the “life” of one piano sound, to its extent from origin to cessation. A singer, violinist, clarinetist and all performers, except organists, harpsichordists and pianists, can shape the sound taken, strengthen or weaken it, change its color, in a word, “say” or “sing” it in different ways. Pianists can only take a sound of a certain strength and color and follow its natural gradual decay and its end. But even within these seemingly narrow limits there are an innumerable number of gradations. Either the sound stretches, then it fades away quickly, then it smoothly and plastically passes into another (sphere legato), then it quickly ends (sphere staccato). What a number of subtle articulatory shades! And all these features of the “life” of one sound must be able to be heard with the inner ear, heard and “experienced”.
You can pronounce even such short words as “I”, “you”, “yes”, “no” in hundreds of different ways. And you need to hear them in different ways, as good actors know how to do in these words - now surprise, now mockery, now affirmation, now authority, now anger, now tenderness.
So you can, for example, ask the student to pronounce the third gently to himself, and then play it also on the piano; then - imperiously or in some other way. Only such listening to the intervals of the melody will allow the student to perform it expressively. But at the next stage of performing the melody, it is important not to “shrink” the melodic line, to sing it “with a wide breath.” Integrity in the intonation of a melody is achieved by a combination of different expressive means: a large dynamic stroke, “absorbing” all the small dynamic or articulatory nuances, tempo rhythm, and relief patterns.
Harmonic hearing is no less important. It can be developed in these ways. For example, play excerpts from a piece being learned in a different harmonic texture, say, “close” the harmonic figuration into chords (such a presentation usually gives a clear idea of the harmonic plan) or, conversely, play chord sequences in the form of a harmonic figuration; change the arrangement chords on the keyboard; transfer the melody, say, from the right hand to the left, and the harmonization from the left to the right, etc.
To develop timbre hearing, it is useful to listen to an orchestra and play in an ensemble. It is also important that the teacher makes more use of colorful comparisons and teaches the piano student to listen to a lot of things as if in an orchestral sound. It goes without saying that an imaginary orchestration or an imaginary choral arrangement is needed not in order to imitate the sonority of certain instruments or voices, but only in order to stir up the imagination, activate the student’s inner ear and thereby help realize the character on the piano -ternary feature or manner of performance on one or another instrument or choir. In search of a given orchestral or choral sonority
This student can find a variety of piano colors.
The development of textured hearing requires no less attention. It is very important to listen to everything constituent elements musical fabric. Harmony in its different textural presentation, polyphony and individual sub-voices, piano “instrumentation” and registration - all these interconnected elements of music highlight the expressiveness of the main melody, increase or weaken its impressive power, give it one or another emotional and semantic flavor, contribute to its development. tia and contribute to the creation of an artistic image in all its completeness and versatility. This is especially important when learning polyphonic works. In order to clearly convey the voice in polyphonic pieces, you must first of all pay attention to the intonation of each voice. It is necessary to preserve the intonation and semantic individual characteristics of each voice in a polyphonic fabric; This can be achieved with the help of articulation, caesuras, dynamics, accentuation, agogics.
Inner hearing naturally develops in the process of correct work on works, their performance and listening to music. Its improvement is facilitated by transposing familiar works from memory, selecting and playing by ear, as well as composing music (preferably not only at the piano, but also without it) and improvisation. It is advisable for the teacher to teach the use of working techniques during the study of musical works that require the indispensable and intensive participation of the inner ear, namely: internal “playing” before performing the initial bars of the composition; performing the accompaniment simultaneously with the presentation of the melody by the inner ear. And vice versa; learning a piece from notes without a piano, as well as without notes and without a piano (as recommended by I. Hoffman).
Of course, most of these working methods can only be recommended with an advanced student, but some of them, such as the first one, should be introduced already in the lower grades of school.
It is important to accustom, as mentioned above “in connection with the development of melodic ear,” to imagine the desired sound while working on a composition. It is useful to ask the student what type of sound, in his opinion, corresponds to a particular phrase. First, you need to choose music that is already known to the student. At first, the answers are often vague and not specific enough. Gradually, as the student grows artistically and develops his inner ear, they become more meaningful. This kind of work, accompanied by the reproduction of sounds of corresponding sounds, is very useful to carry out at school.
Summarizing all that has been said, it is appropriate to recall the words of B. Asafiev, characterizing the “intonation auditory attention” of a musician: “The activity of hearing consists in “intonating every moment of perceived music with the inner ear”... connecting it with the previous and subsequent sound and at the same time establish its relationship with “arches” at distances until its stability or “lack of clarity” is felt.
Of great importance is how emotionally the artistic image is perceived and conveyed. Preparing the “mental apparatus” for performing creativity ultimately means cultivating the ability to “ignite”, “want”, “get carried away” and “desire”, in other words - an emotional response to art and a passionate need to excite and convey performing ideas to others .
Warm emotional responsiveness to a piece of music gains ground thanks to smart logical analysis, which is able to “lure out” the desired range of feelings. Far-fetchedness, creativity from the mind extinguishes the creative flame; thoughtfulness, creativity with the mind excites emotional creative forces. The creative excitement that arises at the first contact of a gifted performer with a musical masterpiece arouses his desire to embody it.
In order for a spark of sympathy to turn into a flame of genuine creative passion, it is necessary not only to have a deeper emotional “immersion” in the work, but also to think about it comprehensively. Without the ability to ignite under the influence of an exciting image, there is no performing creativity.
The ability to “get carried away - to want” is educated. If there is a smoldering flame of responsiveness to music in a student’s soul, this flame can be fanned out. Pedagogical influence can enhance the student’s emotional response to music, enrich the palette of his feelings, and raise the temperature of his “creative heating.”
But the education of “creative passion,” as well as the education of emotions in general, can only be achieved in a roundabout way. A person has no direct power over feelings. “Passion - desire” cannot be caused arbitrarily, but this emotional complex can be “lured out” by developing and nurturing a number of abilities. These first of all include creative imagination.
Nurturing creative imagination is aimed at developing its initiative, flexibility, clarity and clarity. The visual images of the inexperienced performer (his “vision”) are indistinct, and the auditory images are vague. It’s a different matter for our real musician: the imaginary image (as a result of the work carried out on the work) becomes clearer, becomes more prominent, “tangible”; “visions” acquire clear contours, “hearings” - the clarity of every detail. The accuracy and conciseness of the representations are largely
largely determine the quality of artistic creativity. The ability to vividly imagine an artistic image is characteristic not only
not only for performers (actors and musicians), but also for writers, composers, painters, sculptors.
Dostoevsky writes about one of his heroes: “This face is alive, the whole person seems to be standing in front of me.”
For a student whose imagination is little developed, the musical text says very little; he still doesn't know how to read between the lines.
One way to develop imagination is to work on a piece of music without an instrument. This method is not new; Liszt, Rubinstein, Bülow and others also used it. Hoffmann indicated four ways to learn a piece of music: 1) at the piano with notes; 2) without piano with notes; 3) at the piano, but without notes," 4) without the piano and without notes. The benefit of working on a piece without an instrument lies, firstly, in the fact that "the apparatus
embodiment" does not lead along the beaten path and thanks to this, the musical imagination can manifest itself with greater flexibility and freedom; secondly, in the fact that the performer - with a serious and honest attitude to the work - has to think through and listen to the details which may go unnoticed when working with the tool.
Comparisons and comparisons can play a big role in the development of the performer’s creative imagination. New ideas, concepts, and images introduced in this way become stimulants of fantasy.
For example, explaining to a student the essence of Chopin's tempo rubato, Liszt takes him to the window and says: “Do you see the branches, how they sway? The leaves, how they sway? The root and trunk hold strong, this is tempo rubato.”
Regarding the very beginning of Bach's two-voice invention in B-flat major, Bülow remarks to his student: “Imagine a completely flat, motionless and calm surface of a lake, along which circles radiate from a thrown pebble - B-flat in the bass.” Finally, the teacher can spark the imagination of the player by comparing one music with another, one episode of a musical work with another. Working, for example, with a student on the finale of Beethoven's sonata op.2, F minor, you can lead him to think that
the A major trio in this movement is a “memory” of main party first movement of the sonata.
It would, of course, be wrong to consider comparisons as “programs” that the player must portray when performing a piece of music. The meaning of comparisons is completely different - they force the student’s musical imagination to work. The introduced comparisons excite his emotional sphere and, thanks to this, help him creatively comprehend the musical image.
The teacher must be able to use comparisons. A bright and prominent detail often gives the comparison an effective character; the specific explains the general.
Let's go beyond the boundaries of music pedagogy and turn to several examples. “I drove away a bumblebee that flew into a flower,” this phrase is not capable of causing a vivid impression in the reader. Therefore, Tolstoy remakes it: “I drove away the shaggy bumblebee, which had dug into the middle of the flower and sweetly and sluggishly slept there.” Details indicating a characteristic action ("drunk", "fallen asleep") or the sensually perceived side of the image ("sweetly and sluggishly asleep", "shaggy") give it impressive power.
The same is true in music and performance pedagogy. Students are often advised to imagine the elements of a piano presentation performed by orchestral instruments. These comparisons can awaken the performer’s imagination and lead to a search for a unique piano sonority, reminiscent of the manner of playing an orchestral instrument. But the student is not always able to imagine the sonority of a particular string, wind or percussion instrument. And here a reminder of one or another typical and original detail often helps: either the characteristic non staccato blow of a stream of air on woodwinds, or the strokes of stringed instruments, etc.
But the teacher cannot limit himself to all this. The comparisons he makes, although they will help in one case or another, do not yet develop the creative initiative that is so necessary for the artist. Meanwhile, for a performer with an initiative imagination, life itself provides the material that he needs: a randomly thrown exclamation, a read story, a watched theatrical performance.
A great performance, a listened to concert - all this can make his imagination work. Therefore, it is so important to teach the student not only to use what the teacher suggests, but also to look for the necessary comparisons needed by the image.
CHAPTER II. WORKING ON ARTISTIC IMAGE IN PIANO LESSONS.
Working in a children's music school, we often have to work with elementary school students. Observing the musical and figurative thinking of children of this age is of great interest. Training at this stage assumes great responsibility of the teacher for the further “musical destiny” of the student.
The experience of major performing pianists shows that even the first acquaintance with a work gives an important creative impulse that influences its further assimilation, since at the same time the future interpretation of images and themes is born. Melodic-harmonic and polyphonic cut of fabric, tempo. For elementary school students, the first contact with music looks different. In pieces close to his auditory experience (for example, song and dance, from the natural world or children's life), the student “guesses” the nature of the music, especially the individual, most memorable episodes. However, not every child manages to grasp the figurative content of the work with such a “rough” playback. Therefore, it is necessary to push him towards a more independent emotional attitude towards music. You can invite the student to re-play the piece or passage he liked so that he can demonstrate his understanding more fully.
After a short stage of active familiarization with the work, the young pianist is faced with the task of detailed analysis of the text and its further assimilation. First, you need to delve into the musical language of the play, its figurative and expressive means. The more timely the student understands the features of musical speech, the more intelligently he will begin to master individual parts of the work and its interpretation as a whole. Practice shows that a piece that is familiar to a child’s ear is quickly understood and learned. This confirms the need to constantly expand the listening horizons of students, not limited by their individual repertoire plans. - Often, for example, a child learns with pleasure a piece that he has repeatedly heard performed by his classmates. Some children quickly grasp the essential features of the work being analyzed, but then solve artistic and performing tasks less persistently and purposefully, while others seem to slowly enter the text, but subsequently firmly assimilate it and use what they have acquired more intelligently. Academician B. Asafiev, summarizing his observations of children, noted that some of them have a more pronounced musical memory, while others have a more responsive response to music; the presence of absolute pitch is accompanied by “dullness” of perception. more complex musical relationships, and vice versa, weak hearing is combined with a deep and serious attitude towards music.
Depending on the degree of accessibility of the work for a particular student, the method of dismembered, a kind of analytical analysis, is used in different ways. Such division can be carried out horizontally and vertically. First of all, it is necessary to direct the student’s consciousness to perceive emotional, semantic and structural features melody: its genre coloring, intonation-rhythmic imagery, syntactic division, line of development, its pattern during repeated presentation. Escorts deal with this independently in the same way. Moreover, if a child recognizes a melody easily, it is much more difficult for him to understand the harmony. That is why additional means are often used to help the auditory perception of the latter. For example, to emphasize the beauty of the sound of harmonic transitions, it is useful, when playing, to mark them with a small tenuto and a change of pedal. In this case, there is a great opportunity to strengthen the vertical. At first, you can use a method such as making one element of the fabric by the student, and another by the teacher. Clarification of the artistic relationship between melody and harmony is also facilitated by playing the harmonic figurative background with chord complexes.
In the analysis of polyphonic fabric, especially imitative storage, the student’s attention is directed to the expressive and structural characteristics of each voice.
It is extremely dangerous for a student to formally read copyright
performance instructions regarding dynamics and articulation. It is necessary to instill in him an understanding of the figurative subtext of each of them, depending on the genre or texture of the work. For example, the prominence of dynamic contrasts and articulatory strokes is more consistent with marching than waltz music; the middle parts of the work can be dynamically highlighted differently than the extreme parts that contrast with them.
For children who do not perceive music emotionally enough, it is advisable to enliven the program with bright genre works.
Thus, the emotional and analytical principles in the methods of raising a child are interconnected. Thus, a first-grade student, in terms of his general and musical development, can grasp the entire content and imagine the artistic image of small plays. These will be songs and dance plays, predominantly homophonic presentation. Even in that
In such plays, most students will at first be able to clearly imagine only the main melodic voice. It must be taken into account that a child’s ideas are always closely connected with action. Therefore, it is better to tell him: “Sing (or play) a melody to yourself (out loud), “clap (or tap) the rhythm,” than “imagine how the melody sounds.”
For example, Philip's "Lullaby". The Mother's voice, humming over the cradle, does not leave young performer indifferent. He will try to portray the tenderness of the intonations of the singing voice. For the first year of teaching a child to play the piano, we recommend A. Artobolevskaya’s collection “First Encounter with Music” as the best teaching aid. The sheet music material in this manual is aimed at the first year of classes. It is addressed directly to children and is colorfully illustrated. Pieces and exercises that are easily accessible to children are given in a certain sequence - taking into account the positioning of hands, the acquisition of initial pianistic skills and the mastery of musical notation. The teacher’s task is to make music classes interesting and enjoyable. This should be facilitated by everything that awakens the child’s imagination: musical material and drawings, song lyrics and subtext. story accompanying the game. All this helps to concretize the musical image. It is necessary to start with the auditory education of the student, carrying it out on artistic material that is accessible and interesting for the child.
For example, two plays “Winter” by Krutitsky and “Hedgehog” by Kabalevsky are different in character. “Winter” is a play that is the first meeting of children with something new and unusual for them, namely, slow and slow music. sad. It is very useful to invite the child to select subtexts for this play, which arise from feelings of something harsh, even scary.
In the play "Hedgehog" an image of a new character is created - the image of an animal with sharp prickly needles. This is achieved by new-sounding, “sharp” harmonies. The piece promotes the development of easy staccato and prepares the student to perceive the tart sonorities of modern music.
In the following classes, the genre and stylistic boundaries of the program repertoire are noticeably expanded. In polyphonic literature, a large role is given to two-voice works of an imitative nature. The figurative structure of large-form works is expanding. In small-form pieces; especially of a cantilena character, the three-plane texture is used more fully, combining melody and harmony. Polyphonic works. The musical development of a child involves developing the ability to hear and perceive both individual elements of the piano fabric, i.e., the horizontal, and a single whole, the vertical. In this sense, great educational importance is attached polyphonic music. A special role belongs to the study of cantilena polyphony. IN school curriculum includes polyphonic arrangements for piano of folk lyrical songs, simple cantilena works by Bach and Soviet composers (N. Myaskovsky, S. Maikapar, Yu. Shchurovsky). They contribute to the student’s better listening to voice performance and evoke a strong emotional reaction to the music.
The student comes into contact with contrasting voice leading mainly when studying polyphonic works. First of all, these are pieces from the Notebook of Anna Magdalene Bach. Thus, in the two-voice “Minuet” in C minor and “Aria” in G minor, a child can easily hear the voice leading due to the fact that the leading upper voice is intonationally plastic and melodious, while the lower one is significantly distant from it in register terms and is more independent in melodic-rhythmic drawing. The clarity of the syntactic division of short phrases helps to sense the melodic breath in each of the voices.
A new step in mastering polyphony is familiarization with the structures of continuous, metrically similar movement of voices characteristic of Bach. An example would be "Little Prelude" in C minor from the second notebook. The expressive performance of continuous movement with eighth notes in the upper voice is facilitated by the revelation of the intonational character of the melody and the feeling of melodic breathing within long constructions. The very structure of the melody, presented primarily in harmonic figurations and broken intervals, creates natural preconditions for its expressive intonation. It should sound very melodious with a bright shade of rising intonation turns. In the continuous “fluidity” of the upper voice, the student should feel internal breathing, as if hidden caesuras, which are revealed by carefully listening to the phrasing division into different bar groups.
The next stage is the study of imitative polyphony, familiarity with inventions, fuguettes, and small fugues. In contrast to contrasting two-voices, here each of the two polyphonic lines often has a stable melodic-intonation imagery. Even when working on the lightest examples of such music, auditory analysis is aimed at revealing both the structural and expressive aspects of the thematic material. After the teacher has performed the work, it is necessary to move on to a painstaking analysis of the polyphonic material. Having divided the play into large sections, one should begin to explain the musical, semantic and syntactic essence of the theme and the opposition in each section, as well as interludes.
First, the student must determine the location of the topic and
feel her character. Undertaking, his task is its expressive intonation using means of articulation and dynamic coloring at the found basic tempo. The same applies to opposition if it is restrained.
As is known, already in small fuguettas the theme first appears in an independent monophonic presentation. It is important to develop in the student an internal auditory attunement to the main tempo, which he should feel from the very first sounds. In this case, one should proceed from a sense of the character and genre structure of the entire work. For example, in S. Pavlyuchenko’s fuguette in A minor, the author’s “andante” should be associated not only with a slow tempo, but with the fluidity of rhythm at the beginning of the theme; in “Invention” in C major by V. Shchurovsky, “allegro” does not mean speed as much as the liveliness of the rhythm of the dance image with its characteristic pulsating accent.
In the performance disclosure of the intonational imagery of the theme and counterposition, the decisive role belongs to articulation. It is known how finely found articulatory strokes floMol-aloT reveal the expressive richness of voice performance in Bach's works.
In the articulation of the vertical of a two-voice fabric, usually each voice is shaded with different strokes. in his edition of Bach’s two-voice invention, he advises performing all sixteenth notes in one voice coherently (legato), while contrasting eighth notes in another voice should be performed separately (legato, staccato).
The use of different strokes to “color” the theme and counter-position can be found in Busoni’s edition of Bach’s two-part inventions.
In the performing interpretation of imitations, especially in the works of Bach, a significant role is given to dynamics. The most characteristic feature of the composer’s polyphony is architectural dynamics, in which changes in large structures are accompanied by new “dynamic” lighting. For example, in the small prelude in E minor from the first notebook, the beginning of the two-voice episode in the middle of the piece after the preceding large forte in three voices is shaded by a transparent piano. At the same time, small dynamic fluctuations, a kind of microdynamic nuance, can also appear in the horizontal development of voices.
diy, the student’s auditory control should be directed to episodes of two-
voice in the part of a single hand, set out in drawn-out notes. Due to the rapid decay of the piano sound, there is a need for greater sounding of long notes, as well as listening to intervallic connections between long and shorter sounds passing through its background. So, the study of polyphonic works is an excellent school for the student’s auditory and sound preparation for performing piano works of any genre.
When working on works of large form The schoolchild gradually develops the ability to holistically embrace music along more extended lines of its development, i.e., “long, horizontal” musical thinking is cultivated, to which the perception of individual episodes of a work is subordinated.
Difficulties in mastering sonata allegro due to a change in figurative
the construction of parts, themes (their melodies, rhythms, harmonies, textures) are, as it were, compensated by the genre specificity of the musical language characteristic of popular sonatinas from the program of a given period of study. Such genre specificity characterizes the entire sonata allegro or its individual parts and themes. A striking example there may be such a work as Kabalevsky’s sonatina in A minor, in the rhythm-intonations of which one can feel the march beginning with its typical dotted rhythm, concrete texture and dynamics. The minuet in Melartin's Sonatina sounds completely different with its grace, lightness and transparency. These works are perceived by children as small plays with a three-part structure.
In relatively developed sonata allegros with greater contrast in the parts, we find a characteristic tendency towards melodization of texture, which is an active means of influencing the student’s auditory perceptions when introducing him to a complex musical form. Let's name the first parts of "Sonatina" by A. Zhilinsky, "Ukrainian Sonatina" by Yu. Shchurovsky, "Sonata" in G major by G. Grazioli, "Children's Sonata" in G major by R. Schumann. Along with them, the majority of the student’s repertoire belongs to that part of the music of foreign composers, which prepares the student for the future mastery of the sonata form from Haydn, Mozart, and Beethoven. These are the sonatinas of Clementi, Koolau, Dussek, Dibelli. The figurative and emotional structure of the above-mentioned works is enhanced by great motor aspiration, clarity of rhythm, a strict pattern of alternation of strokes and textural techniques, and the performer's convenience of small technique techniques. The student must identify in them such qualities of thematic material as unity and specificity, and show its development. The most accessible for children's perception is the contrasting comparison of musical material across large, completed segments of form. Since the main, secondary and final parts differ noticeably in character, genre coloring, and mode-harmonic lighting, the student is more easily given the means of performing them. Already in the exhibitions of the first parts of the Kulau sonatinas, Op. 55, C major and Clementi, Op. 36, No. 3, the young pianist clearly distinguishes between the musical - semantic and structural-syntactic aspects of the main three parts. In Ku-lau's work, the emotional essence of each part is expressed mainly through melodic-rhythmic imagery. The joyful, “dancing” main part through the ascending G major scale turns into a soft, smooth side part, directly flowing into the final part with its rushing scale-like flows, clearly anchored in the dominant key.
The phenomena of contrast within parties are more difficult for the student to perceive. Here, at close distances, there is a change in the rhythmic-intonation sphere, articulatory strokes, voice guidance, texture, etc. This contrast most clearly appears in short segments in the main part of the first movement of Mozart’s sonatina in C major No. 1. The contrast of strokes, due to the intensity of emotions within small structures, is one of the difficulties in performing the thematic material of the first part of M. Clementi's sonatina Op. 36, No. 2 and N. Silvansky's sonatina No. 2.
The more deeply and clearly the student understands the expressive and structural nature of the exposition, the more prepared he will be for reading the development and recapitulation. The musical material of the exhibition is unequally developed in the development parts. Thus, comparing two Clementi sonatinas - Op.36 No. 2 and
No. 3, we find the maximum conciseness of the development in the first pro-work, built on the tonal renewal of the rhythmic intonations of the main part. The development in Sonatina No. 3 is succinct on musical means and their performance implementation. The student’s auditory attention should be directed here to detect the similarity of the melodic pattern of the beginning of the development and the beginning of the main part, presented as if in reverse. This transformation of the material determines different performance colors; fanfare elation (forte) is replaced by affectionately playful intonations (piano).
Reprises in sonatinas usually reproduce the thematic foundations of the exposition. As a rule, the student easily recognizes it. Sometimes the main part is missing in it. For example, in Mozart’s sonatina in C major No. 1, the development immediately goes into a secondary part, bypassing the main one.
The most important condition for student mastery sonata form is to instill in him a sense of a single through line of musical development. Often the development of this feeling is facilitated by the common intonation-rhythmic connections of the main and secondary parts. Beethoven's sonata allegro in Op. 49 No. 1 and No. 2 are endowed with such qualities.
As an example of working on a sonata allegro, let's take a closer look at the first movement of Mozart's sonatina in C major.
The language of the sonatina reflects the characteristic stylistic features of Mozart's music. True, its texture lacks the melodic movement of sixteenth notes in figures of fine technique, so characteristic of the composer. Orchestral thinking is felt in the dynamic, articulatory and timbral characteristics of the musical fabric. The main difficulty in performing the sonatina is the frequent contrasts in its thematic material between episodes of different imagery and structure. Already in the main part, densely sounding “fanfare” octave unisons are replaced by a lyrical melody, emerging against the Background of the two accompanying voices. The short connecting episode is close in mood to the beginning of the main game. In the interpretation of the full grace of the side party, the changes in mood within small structures should be clearly shown. However, the fragmentation of the melody into short motivic leagues should not obscure the line of its holistic development towards the nearest culminating points. At the end of the side part, the introductory beginnings of two-voiced chord sections sound emphatically bright (syncopated), flowing into the short final part.
From the very first measure of development, the inverted melodic pattern of the beginning of the main part appears in the new modal “illumination”. This episode ends with the “bold” intonations of the connecting part.
The reprise begins with a side part in C major. However, having interrupted the transition to the final game, the modified beginning of the main game suddenly reappears. In strett two voices, sung pop legato, fanfare intonations are heard, turning into a cheerful full cadence with a short final part.
Works of large form also include variation cycles. Unlike sonatas and sonatinas, their study is carried out primarily on domestic literature. The themes of many of these variations are folk songs. In the compositional techniques of varied presentation of themes, we find two trends: the preservation of the intonation framework of the theme in individual variations or their groups and the introduction of genre-specific variations that have only a distant relationship with the theme. Having identified the structural and expressive features of the theme, it is necessary in each of the variations to find features of intonation-rhythm, harmonic, textural similarity or genre differences with it. This will be helped by playing or “internally” singing the theme, reflected in different types of variations.
So, for example, in the above-mentioned variations by Kabalevsky, the intonation-rhythmic similarity with the theme is almost completely revealed in the first variation, interpreted in the spirit of the theme itself. The second is rhythmically close to it, but somewhat changed in structural and harmonic respects, which determines other features of its performance. The third, more developed, variation is distinguished by its genre novelty (replacing the “perky” F major with a “soft” D minor with occasional melodic turns of the theme). The fourth variation is far from the structure of the theme and resembles a march; it is decorated with dense chord fabric. The final fifth variation combines the features of new imagery with a modified presentation of the intonation turns of the theme.
In working with a student on “Theme with Variations” by K. Sorokin, other figurative and sound concepts are brought up. The variations here are distinguished by their genre contrast; only in the code does the author restore the appearance of the theme. Despite the figurative and textural differences in the theme and variations, their clear embodiment is facilitated by their clearly expressed square structure. The variations are designed according to eight-stroke constructions. Four melodious phrases of the theme are performed in one melodic breath. In the first variation, built on continuous rhythmic movement, all the intonations of the theme, passing through the initial sounds of triplets, are clearly audible. As in the theme, here it is necessary to internally feel the syntactically veiled four melodic structures. The second variation bears the imprint of marching (Risoluto) in the third - the author, skillfully transferring the theme to the lower register, contrasts it with new melody upper to the lower register, contrasts it with a new melody of the upper voice, presented in a different sound-pitch direction. The fourth variation is a type of small toccata in which half-bar scale passages rhythmically alternate with stops on quarter notes at the end of the bars. In the code, reproducing the material of the theme, the author polyphonizes the fabric with a canonical presentation of its initial two phrases.
Thus, working with a student on variation cycles develops his musical thinking in two directions: on the one hand, an auditory sensation of the unity of the theme and variations, and on the other, flexible switching to a different figurative structure.
Pieces of a cantilena character. The melody of these works reveals a wide variety of genre shades, a rich intonation-figurative sphere, bright expressiveness of culminating “nodes”, and a three-dimensional line of melodic development. When performing melodies, their rhythmic flexibility, softness, and lyricism should be more fully revealed. Their interpretation requires a feeling of wide breathing. The harmonic “surroundings,” highlighting the intonation prominence of the melody, in itself carries a variety of expressive functions, often being one of the main means of revealing the musical structure.
times. Polyphonic elements are often woven into the cantilena fabric in the form of imitations ("Song" by M. Kolomiets) or in a contrasting combination of bass and melodic voices ("Lyrical Song" by N. Dremlyuga), sometimes in the form of hidden voice leading within harmonic complexes ("In the Fields" R. Gliere). In the works studied at this stage, the more developed lines of melodic movement correspond to a significant expansion of its register frames ("Fairy Tale" by S. Prokofiev, "Fairy Tale" by V. Kosenko). The diverse genre shades of cantilena fabric are revealed when performed by means of dynamic, agogic nuances in their unity with various pedaling techniques.
Thus, the development of the student’s extended, horizontal thinking is facilitated by the study of the cantilena fabric of Kosenko’s “Fairy Tales”. The play, written in the spirit of Russian epics, has many valuable artistic and pedagogical qualities. Starting in a low, “gloomy” register, the melody, presented in unison through two octaves, is gradually enriched with echoes and a dense chord texture (at the main culmination of the middle). The reprisal part closes with a coda with its distant-sounding “bell-like” sound. The performance of Kosenko’s play presupposes mastery of melodious playing skills, a wide palette of dynamics,
mic shades, which is combined with flexible tempo-rhythmic nuances. Pedalization serves to highlight individual bright intonations of unison melodic structures, melodious harmonies, and smooth vocal performance.
The student faces very special tasks when studying S. Prokofiev’s “Fairy Tale”. Unlike cantilena works of a homophonic type, where the harmonic background determines the use of elementary pedaling techniques, when performing this piece one should proceed almost entirely from the texture of intertwining melodic lines. In fact, we have before us a polyphonic fabric in which two contrasting melodic images are revealed. The brightly intoned lyric-epic melody of the upper voice from the very first sound, taken during the “inhalation” in the pauses preceding it, is performed in a single continuous four-beat movement. It is accompanied by an ostinato background of short “plaintive” rhythmic intonations of the lower voice. When the melody is transferred to the lower voice, it is shaded by an even more prominent-sounding legato. In the middle part, the smooth narrative three-part pattern is replaced by a more restrained two-quarter time signature (sostenuto). The alternation of rises and falls of movement by chord links is associated with the image of chime. Compared to episodic pedaling in a two-voice presentation, used only for brightly intoned sounds of the melody, the middle of the piece is characterized by a more complete pedal, uniting the overlying sounds on a common bass.
Already this small analysis of cantilena works testifies to their active influence on the development of various aspects of a child’s musical thinking.
Plays of a moving nature. The world of images of program miniatures of a moving nature is close to the nature of the artistic perception of younger schoolchildren. The reaction of children to the rhythm-motor sphere of this music is especially pronounced. The accessibility of technical means is combined in these works with the simplicity and clarity of homophonic harmonic presentation. Their genre richness determines the use of various techniques of performance implementation. In contrast to cantilena plays, which are characterized by smoothness and plasticity, here there is a clear syntactic structure of presentation, sharp rhythmic pulsation, frequent changes of articulatory strokes, and vivid dynamic comparisons.
Let us consider as an example the play by V. Ziering “In the Forest”. The content of the play is close to the perception of children and develops their creative imagination. The vivid imagery of the picture of nature is naturally combined here with the pianistic expediency of the presentation. The short melodic structures with their “rising” and descending sixteenth-note intonations that predominate in the musical fabric of the play are associated by the student with bird flight and whirling. All the “events” occurring in the play can be conventionally considered according to the three-part scheme so typical of children's piano miniatures. Compared to the extreme parts, which are characterized by the similarity of figurative-expressive and pianistic means, the middle is distinguished by more individualized genre features.
The piece begins with a slow increase in rhythmic and motor energy. After two calm one-bar constructions, a two-bar appears, built on a wave-like alternation of intonation rises and falls and ending with a melodic figure directed upward. In the musical fabric of the next part of the exhibition, beginning with the climactic four-voice, one can feel a gradual release on the descending melodic movement. The middle of the work is distinguished by its vivid emotionality. Through intense crescendo molto on tremulous-sounding tremolo-shaped figures, development comes to the central climax - a colorful episode on the fort. In wide intervals, high-flying and then falling melodic figures are intoned here. Then everything calms down, ending with a trill before moving on to the reprise, in which the figurative structure of the expositional part is restored.
In conclusion, it is necessary to note once again that the work on creating an artistic image is a complex, multifaceted process. The birth of an artistic image is the revelation of a complex of characteristic features of a work, its “face”. To achieve this, appropriate knowledge, skills and abilities are required, which we tried to reveal in this work.
LIST OF REFERENCES USED
1. A. Alekseev Methods of teaching piano.
2. Barenboim Piano pedagogical principles
3.Barenboim Music pedagogy and performance.
4.Yu. Borev Aesthetics.
5. Musical development of the child.
7.A. Cortot On the art of piano.
8.E. Lieberman Creative work of a pianist with copyright
9. Questions of music analysis.
10. V. Milich Education of a student pianist.
12.A. Sokhor Questions of theory and aesthetics of music.
13. Stanislavsky The actor’s work on himself.
14. Encyclopedic Dictionary of a Young Musician
MUNICIPAL EDUCATIONAL INSTITUTION
ADDITIONAL CHILDREN'S EDUCATION
"UNECH CHILDREN'S SCHOOL OF ARTS"
on the topic: “Creation and development of an artistic image
in the process of working on a piece of music"
Developed by:
Skoda T.G.
Discussed and approved by Unechsky
zonal methodological association
Protocol No. _____
Unecha 2014
MUSICAL LANGUAGE OF COMMUNICATION 3
CREATIVE IMAGINATION AND CREATIVE ATTENTION……………………………………………………………………………….4
THE CONCEPT OF “CONTENT OF A MUSICAL WORK”………………………………………………………………………………..5
ANALYSIS OF A WORK OF MUSIC IS THE FIRST STEP TOWARDS CREATION OF AN ARTISTIC IMAGE…………………………………………………………………………………………………………………………………… ……………………………………5
THE PROCESS OF LISTENING TO MUSIC…………………………………………………………………………………………………………………8
LEVEL OF EMOTIONAL RESPONSIBILITY OF A STUDENT………………………………………………………………………………9
MUSICAL-FIGURATORY THINKING…………………………………………………………………………………………………………………..9
CONCLUSION………………………………………………………………………………………………………………………………… …….eleven
Appendix No. 1……………………………………………………………………………………………………………………… …….13
Appendix No. 2……………………………………………………………………………………………………………………………………… …….16
Appendix No. 3……………………………………………………………………………………………………………………………………… …….18
Appendix No. 4……………………………………………………………………………………………………………………………………… …….20
Appendix No. 5……………………………………………………………………………………………………………………………………… …….22
INTRODUCTION
Currently, music education is an integral part of the formation of a person’s spiritual culture based on the development of his musical literacy and ability to master universal human values. cultural values. The purpose of musical education of schoolchildren today is to introduce students to the world of great art, to teach them to love music in all the richness of its forms and genres, in other words, to cultivate musical culture in students as part of their entire spiritual culture, to raise a competent listener, a connoisseur of music in particular and art in general, a creatively educated, intellectually developed person.
In this regard, the question arises: what do we, teacher-musicians, teach our students? What is the intended outcome of children studying at a music school? What needs to be done so that art is not alienated from the child, but becomes part of his soul? How to make a specialty lesson a lesson in learning about yourself and the world around you, a lesson in creativity? We will be able to answer this question when we teach to love music, when children begin to feel and understand its deep meaning. And the teacher, guided by the motto “Penetrate into the soul through music!” Through music, understand yourself and the world!”, it is necessary to create all the conditions so that children want to learn the mystery of this type of art.
The general goal of education in a music school can be defined as developing in students a love for music, the ability to be emotionally responsive to musical works, the brightness of their perception and providing comprehensive musical training that would allow them to perform works of a wide variety of styles and genres, revealing their artistic content to the listener . Developing a student’s artistic image when playing musical works is one of the most important tasks for a teacher-musician.
MUSICAL LANGUAGE OF COMMUNICATION
The concept is undeniable that music is a special language of communication, a musical language, like the language of communication between people. I try to convey this point of view to my students, to form an associative connection between musical and artistic works, comparing plays with poems, fairy tales, stories, events and moods of the surrounding life. Of course, one should not understand the language of music in the literal sense as a literary language. Expressive means and images in music are not as visual and concrete as the images of literature, theater, and painting. Music operates by means of purely emotional influence, appealing primarily to the feelings and moods of people. “If everything that happens in a person’s soul could be expressed in words,” wrote the Russian music critic and composer A.N. Serov, there would be no music in the world!” One should not equate the language of music with the usual literary language because different musicians—performers—perceive and perform the same musical text differently, bringing their own artistic images, feelings, and thoughts into the musical text.
Instrumental music cannot express precise concepts as concretely as spoken language, but sometimes it achieves an exciting power that is difficult or impossible to achieve with spoken language. “You say that words are needed here. Oh no! Here words are not needed, and where they are powerless, the “language of music” is fully armed, said the great P. I. Tchaikovsky.
The world of musical images is extremely vast: each artistically complete work has a unique content, reveals its own range of images - from the simplest to those striking in their depth and significance. Whatever the student plays - folk songs, dances, plays by modern composers or classical music - he needs to understand this work, realizing the expressive meaning of every detail, and be able to perform it, i.e. convey artistic content in your game. A teacher will be able to develop a student’s ability to understand music in this way only if he works seriously in this direction throughout all his years of study and never allows senseless performance.
CREATIVE IMAGINATION AND CREATIVE ATTENTION
When working on the artistic image of a musical work, the main task of the teacher is to develop a number of abilities in the student that contribute to his “passion” when playing. These include creative imagination and creative attention. Nurturing creative imagination is aimed at developing its clarity, flexibility, and initiative. In the first lessons, after performing “Lullaby” to a student, I ask him to explain the purpose of the song and outline its character. Or, on the contrary, having performed a cheerful dance song for him, I propose to tell him what it can represent, and ask him to draw individual moments of its performance. The next step in the work is to determine the emotional characteristics of the major (light, joyful, optimistic) and minor (muted, sad, sorrowful), which further contributes to a more accurate perception of the nature of the musical work. I ask you to make illustrations for musical works - drawings in which the child reflects his perception of the music being performed.
Musical fantasy needs to be developed with successful metaphors, poetic images, analogies with natural and life phenomena, so that figurative associations arise in the player’s imagination, more sensual and concrete sound images, diverse timbres and colors live.
I will give a few examples from my practice.
Appendix No. 1 - 3
The ability to vividly and vividly imagine an artistic image is characteristic not only of performers, but also of writers, composers, and artists. But they get material from Everyday life, and the musician does not have ready-made musical material for the imagination. He needs to constantly acquire special experience, he must be able to hear and make selections. Therefore, a necessary condition for nurturing the creative imagination of a musician is a high level of auditory culture.
Example (Appendix No. 4) - B. Samoilenko “One, two - left!”
Since we are talking about the creation and development of an artistic image, it is necessary to determine what is meant by the concept of “content of a musical work.” The generally accepted concept is that the content in music constitutes an artistic reflection through musical means human feelings, experiences, ideas, relationships of a person to the reality around him. Any piece of music evokes certain emotions, thoughts, certain moods, experiences, ideas. This is the artistic component of a musical composition. But, of course, when performing it, one should not lose sight of the technical side of music-making, since careless performance of a piece of music does not contribute to creating the desired image in the listener. This means that the teacher and student are faced with a rather difficult task - to combine these two directions when working on a piece of music, to synthesize them into a single systemic, holistic approach, a method where the disclosure of artistic content is inextricably linked with the successful overcoming of possible technical difficulties.
ANALYSIS OF A WORK OF MUSIC IS THE FIRST STEP TO CREATE AN ARTISTIC IMAGE
Of course, the most interesting activity for students in specialty classes is working on a piece of artistic music.
When starting to work on a play, analyzing the content of the work with the student, many teachers often make mistakes in two opposite directions. The first is characterized by the fact that the teacher strives to teach children to “see” the work being analyzed in detail, tries to retell its content in words, to create a “literary plot.” As a result, the student actively fantasizes, draws colorful pictures, paying little attention to the technical side of the performance, as a result of which he is unable to convey his images to the listener due to the technical imperfection of the performance. The second direction is joined by teachers who, guided by the fact that music is the art of sounds and acts directly on our senses, generally neglect figurative representations, consider conversations about music unnecessary and limit themselves to “pure sound”, technically perfect performance that does not need any associations. Which of these directions is most acceptable in musical development student? Probably, the truth, as always, is somewhere in the middle, and whether the performer finds the “golden ratio point” depends on whether he will be successful with listeners.
When analyzing a piece of music, I try to immerse the child’s consciousness in the atmosphere in which this work was written, analyze its structure in detail, draw up a tonal plan, determine the climax, determine with what means of expressiveness and technical techniques the main theme and variations will be shown. It should be noted that most of the information about a piece of music communicated to schoolchildren by the teacher takes the form of verbal descriptions, pictures, and certain associations. On their basis, students recreate for themselves a meaningful image of the musical composition being analyzed (the appearance of the hero of the musical work, past events, unprecedented landscapes, fabulous paintings, nature, etc.). And here it is very important whether the teacher will be able to awaken and develop interest in music with his expressive and emotional story. It is at this stage that the further development path of the beginning performer is determined: whether he will follow the path of creative thinking or strict execution of the musical text. In this case, you just need to pay attention to this: often, wanting to explain to the student the meaning of music as fully as possible, even experienced music teachers follow the path of excessive specification of the image, wittingly or unwittingly replacing the music with a story about it. In this case, what comes to the fore is not the mood of the music, not the psychological state that it contains, but all sorts of details, probably interesting, but distracting from the music.
To play well, it is necessary to study the work “from the inside,” so analysis plays a significant role in my work on the work. It is necessary to understand everything, because understanding is taking the first step towards falling in love. The perception of music is inseparable from form. The ardent emotional responsiveness to music is not only not in conflict, but, on the contrary, receives ground thanks to smart logical analysis. Far-fetchedness extinguishes the creative flame, deliberation arouses emotional creative forces.
There cannot be any special scheme in the analysis. Each work has unique features that give it individuality and charm. Finding them and presenting them is the teacher’s task. The student's competent use of methods and techniques is the key to a professional and emotional game. The teacher’s task is to help reveal the work, direct it in the “right direction,” but at the same time give him the opportunity to imagine the content of the work himself, to find out his thoughts and desires.
Many practicing teachers pay insufficient attention to the development of thought processes when working on musical material. Analysis of a piece of music is often simply omitted, with emphasis placed on the pure execution of the musical text. As a result, students have poorly developed musical and artistic thinking, which is necessary for the intellectual and intuitive perception of music. Meanwhile, the formation of an artistic image is based on a comprehensive understanding of the work, which is impossible in the absence of an emotional and intellectual beginning. A thorough artistic and theoretical analysis of the work being studied stimulates increased interest and activates an emotional attitude towards it. At this stage, the originally created artistic image receives its development, acquires clearer colors, becomes voluminous and alive.
The reconstructive (reproductive) imagination, “responsible” for the creation and development of artistic images, develops in schoolchildren in the process of learning to play musical instruments by developing the ability to identify and depict the implied states of musical images, the ability to understand their certain conventions, sometimes understatement, the ability to bring their own emotions into experiences given to us by the composer.
Already at the stage of getting to know the work, I outline the first strokes of a possible artistic image, telling the student about the composer, his work, and the time of creation of a particular piece. The teacher must have not only deep musical theoretical knowledge, but also a very high technique of pedagogical work: be able to approach each student correctly, taking into account his individual abilities, in order to provide the necessary assistance in working on musical content and possible technical difficulties. Thus, the teacher is required to have constant high emotional responsiveness to the artistic content of the musical works on which his student is working, a creative approach to their interpretation and ways of mastering their specific difficulties. It is important to be able to look at a musical composition with fresh eyes every time, even in cases where it is difficult to find a new detail of interpretation in a long-familiar work. It is almost always possible, based on previous experience, to make certain improvements in the process of mastering this work by the student, to speed up the mastery of its difficulties, and thereby make the work interesting for both oneself and the student.
The teacher must master the instrument and be able to show the work being analyzed in his own artistic interpretation. Of course, performance in the classroom, for the student, must be as bright, exciting, and emotional as on the big stage.
The principle: “first play as I do, and then as you see fit” should in no way influence the student’s creative independence. Each participant in the educational process, both teacher and student, has the right to his own vision of the musical and artistic image.
THE PROCESS OF LISTENING TO MUSIC
When working on a piece of music, I try to teach the child to listen to himself, because the ability to hear, understand, and comprehend what is contained in a piece of music is the basis of performing skills. Often we are faced with the fact that the student simply entertains himself with the general sound, without listening and not focusing on what is the main task at this stage. While working on a piece should force the student to listen to himself from the outside. It is necessary to strive, firstly, for a full, soft sound, and secondly, for the most melodious sound. No wonder one of the highest praises for a performer is “his instrument sings.” Singing and melodiousness are the main law of musical performance, the vital basis of music.
The process of listening to music is very important. It must be specified by certain tasks: listen to the rhythmic pattern, melodic moves, melismas, changes in strokes, sound production techniques, silence, stops, pauses. And even pauses need to be listened to! This is also music, and listening to music does not stop for a single minute. Very useful to play with eyes closed. This helps focus your hearing. The analysis of the quality of the game will be more acute. All existing “errors” will be heard better, since with such training, auditory perception is sharpened. Watching a student play, we often hear such shortcomings as not listening to long sounds, the inability to highlight the main voice and soften others, the inability to choose the right tempo, make phrasing, or draw an emotionally correct dynamic line. This is especially often observed when playing the cantilena.
LEVEL OF EMOTIONAL RESPONSIBILITY OF THE STUDENT
I try to direct the student’s thoughts in the right direction of reasoning, help him understand the content of the work, and I can almost always determine the level of emotional responsiveness of my student. If it is not sufficient to embody an artistic image, then I look for ways to awaken it in him.
It happens that a student is emotional, but he does not understand, does not feel this particular music. Just as it is sometimes difficult to convey tranquility in all its depth in music, it is so difficult to convey joy. Most often, “pressure” is successful and its back side- lethargy and indifference. It often happens that the student has a complete absence of any semblance of mood. The teacher “sticks” the entire “mood” with careful work, and during public speaking they quickly “fly away”, revealing the essence of the student.
How to help a student overcome low emotionality? Explaining to the student what needs to be done, I immediately show how it is done and again and again I return to the action, a certain movement.
It often happens that by showing the movement and, of course, playing it yourself, you can “wake up” the student. The teacher requires maximum endurance and patience in order to achieve meaningful action from the student. After all, the student should not turn into a “puppet.” His every movement should be filled with feeling, as well as the awareness that he himself wants it.
MUSICAL-FIGURARY THINKING
Due to a good knowledge of the text, you can completely surrender to the power of musical-imaginative thinking, the expression of your imagination, temperament, character, in other words - all personal integrity. The artistic image has access not to the structure of the musical text, but to the personal sphere of the performer, when the person himself becomes, as it were, a continuation of the musical work. When it comes to high motives for turning to music, the emotional and aesthetic activity of the performer is evident. This is musical-imaginative thinking.
The student’s imaginative thinking is a new formation of his consciousness, which presupposes a fundamentally new attitude towards music game.
The musical image of a performer-artist is that generalized “picture” of his imagination that “guides” direct performance through its universal components. Both in composition and in performance, the decisive link is intuition. Of course, technique and reason are extremely essential. The more subtle emotional experiences a performer must reveal, the more responsive and developed his technical apparatus should be. But the fingers will be silent if the soul is silent. Reason is necessary to thoroughly identify every facet of the work. However, ultimately the main role belongs to intuition, the determining condition in creativity - musical feeling, musical flair.
CONCLUSION
So, having seen the musical building of the work as a whole, defining its components, outlining the development, culmination, finale, decomposing each component into phrases, we understand that the largest, most beautiful, majestic building consists of small bricks (literally - measures). And each of these bricks is beautiful both on its own and as a whole. The performer distinguishes individual motives-characters, their mutual development, contrast and similarity of images. Note that work on artistic content necessarily occurs through understanding the structure and logic tonal plan, harmony, voice control, texture of the work being studied, i.e. the entire complex of artistic, expressive and technical means used by the composer. At the same time, the development of the image includes not only an analysis of its structure, but also the identification of the role of each element of the musical structure in revealing the ideas and emotions embedded in this work in accordance with the composer’s plan. Taking this into account, we are aware that when developing artistic and figurative thinking, we should in no way lose sight of its intellectual component.
Thus, having carefully studied the work from the point of view of musical form, we again, brick by brick, put it together, fully comprehending the purpose of each brick-bar, each note-letter in a word, their role in general construction musical presentation. In this case, there is practically no problem of learning by heart. The student plays every measure, interval, even one note (especially in a cantilena piece), not by memorizing the text, but by “getting used to” it, developing and improving his musical and artistic image.
In this report, I do not consider the technological side of working on the text of a musical work. We are talking about emotional and artistic understanding of musical material, which includes:
1. general impression from the first playback of the work,
2. dividing it into parts that represent a meaningful, logically completed element of the essay being studied,
3. a meaningful combination of parts, episodes through the establishment of similarities and differences in emotional and technical terms between them, a comparison of tonal and harmonic language, accompaniment, features of voice guidance, texture, etc., and as a result - a combination of various artistic images, the development of associative connections .
Of course, such work requires a lot of time. Many teachers, in pursuit of the curriculum, do not allow themselves and the student to delve into the artistic component of a musical work; they base their work on strict execution of the musical text and its repeated, monotonous repetitions. As a result of such work, the musical material is gradually learned by heart and “enters the fingers.” Indeed, the entire load during such activities falls on motor memory (finger memory). Memorization is mechanical, unconscious in nature. The performance of a piece learned by heart in this way is devoid of meaning; students play “just notes” without understanding the meaning of the music. Perhaps the young musician performs the piece quite purely, but is there any point in such work?
The main task in working on the figurative structure of musical works is to create conditions for the student’s artistic performance of the pieces he has learned, to give the child the opportunity to feel like a musician - an artist. Ideally, inspiration should appear whenever a child turns to music. A successful, bright, emotionally filled and at the same time deeply thoughtful performance that completes work on a work will always be important for the student, and sometimes it can turn out to be a major achievement, a kind of creative milestone at a certain stage of his education.
Thus, work on the artistic image of a musical work should be multifaceted. The student and teacher are full of enthusiasm and love for their work. This, in turn, is complemented by the individuality of the student and the enormous charm of the teacher’s personality. In this eternal union, a great variety of forms and methods of working on artistic images of musical works are born.
Appendix No. 5
Annex 1.
Here is a themed children's song called "Happy Geese".
I play this song to the student and ask what its character is, what it represents, what kind of picture can be drawn. Since the play is cheerful, comic, light (major), it must be performed in such a way that the listener feels the mood of this song. The bass and chord in the left hand are played briefly and easily. The first two phrases (the melody is coherent) are a story about the life and antics of geese, and the next two are clumsy geese, depicted in the song by eighth notes, tied in twos, the first of which is the supporting one.
Appendix No. 2
Another children's song - M. Kachurbina “A bear and a doll are dancing a dance”
The words of this song immediately reveal the whole character: cheerful, danceable, performed easily and naturally.
Appendix No. 3
Another children's song - G. Krylova “Our cockerel got sick”
A sad song, plaintive, written in a minor key. The sounds tell us about a sick cockerel who has lost his voice...
Appendix No. 4
The first sentence is a march of children, the clear rhythm of the accompaniment and individual sounds in the melody convey the tramp of the formation marching in step.
The second suggestion is rehearsing the fingers on one sound (fa) in the appropriate rhythm, imitating playing the drum.
The third sentence is that the little trumpeter calls the children together to do good deeds.
Appendix No. 5
R. n.p. Arr. A. Sudarikova “Like under a hill, under a mountain”
Alexander Fedorovich Sudarikov is a famous Moscow teacher, composer, for 30 years he was music editor publishing house "Composer", he is the author and compiler of sheet music and methodological literature for button accordion and accordion.
Often work on a piece begins with the words of a song. Here it is: “Like under a hill, under a mountain, an old man was selling ash...” And why ash? You can say that ash is a good fertilizer for potatoes, but a more accurate explanation is this: at the time when this song was created, ash was an excellent detergent and bleaching agent, and therefore the old man was selling a fairly “hot” product. The form of the piece is a theme with variations, written in the key of C – dur.
So, the old man and his grandson go to the fair to sell ash. The introduction is like riding a cart. The chords in the left hand sound coherently, depicting the creaking of wheels... The theme is the descent from the mountain to the fair, then a booth, buffoons sing and dance. The rhythmic pattern of the melody emphasizes the festive mood. The jester plays the accordion with a bellows tremolo. The bear is dancing - the bass is moving. The next variation is general joy and dancing. But a holiday is a holiday, and you have to return home. The tempo slows down, fermata... And then the drawn-out melody tells about the sadness of an old man who was forced to leave the fair, despite the general celebration. It’s a pity, of course, that it all ends... Fermata again. And the last variation in Allegro tempo - “But still it was great!”
Like under a hill, under a mountain...
Like under a hill, under a mountain
The old man was selling ash!
My potatoes, all fried!
A girl came:
“Sell the ash, grandpa!” -
“How angry is it, girl?” -
“On a penny, grandpa!” -
“Why are you angry, girl?” -
“White the canvas, grandpa!” -
“Whitewash for what, girl?” -
“We need to sell, grandpa!” -
“Sell it for what, girl?” -
“We need money, grandpa!” -
“What’s the money for, girl?” -
“Buy a ring, grandpa!” -
“What’s the ring for, girl?” -
“Give the guys a gift, grandpa!” -
“Why give it, girl?” -
“They love you so much, grandpa!” -
In front of the boys -
I'll walk with my fingers!
Before old people -
I'll pass with white breasts!
Move forward, people.
The dancing takes me away!”
The purpose of the lesson: improving the techniques of conveying figurative content in the play “Andantino” by A. Khachaturian
Tasks:
- work on playing the melody, articulation,
- clarify voice guidance, sound balance between melody and accompaniment,
- find out the dynamic plan,
- work on conveying the form of the play,
- consolidate the skill of competent pedaling.
This lesson is devoted to working on an artistic image in a work of a small form of a cantilena character - the play “Andantino” by A. Khachaturian.
The lesson begins with working on scales and exercises. After playing the C minor scale (the play “Andantino” was written in this key) in forward and reverse motion, the student must pay attention to the precise execution of the fingering. To correct mistakes, it is useful to clarify the fingering when playing with each hand in one, then in two octaves. Play the scale with different rhythmic options, with different dynamics and strokes. These same techniques can be used to work on chromatic scales, arpeggios, chords, etc.
Scales and exercises are material for working on the student’s technical development, along with etudes and pieces of a virtuoso nature. In this lesson we are working on a sketch by K. Czerny (Selected sketches edited by G. Germer, part 1, Study No. 23). The student is offered a clear pronunciation of the upper sounds in the melody, tenacious fingers when playing staccato. When working on passages, precise fingering and the ability to place 1 finger are required. It is necessary to control the freedom and flexibility of the hand, the active work of the fingers, the precise execution of strokes, rhythm, and pauses.
The main time of the lesson is devoted to working on the artistic image in the play “Andantino” by A. Khachaturian.
From the very beginning of training and in the future, the teacher needs to develop and improve not only the technological skills of using the instrument of his students. It is important to intensively “immerse” the student in the music being performed, to “infect” it with it. The work should touch his soul and awaken his imagination. Already from the performance of the first melodies at the beginning of training, it is necessary to get the child to play them expressively, with an understanding of character, i.e. a sad melody - sad, a cheerful one - cheerfully, a solemn one - solemnly, etc.
Work on an artistic image begins with familiarization with the play. It is recommended to choose works with interesting figurative content, in which the emotional and poetic principle appears more clearly. If the music has captivated the student, his emotional state will have a positive effect on his diligence and will contribute to more focused, persistent work on the sound, tempo, nuances, and playing techniques of performing this work, so that as a result it sounds bright, meaningful, and expressive. We need to tell the student about the author of the play and his work. After listening to the play performed by the teacher, talk about its character and artistic content.
At the stage of text analysis, it is necessary to select the most suitable fingering for a particular student. Rational fingering contributes to better solving artistic problems, and relearning it delays the process of studying the work.
“Andantino” is a work with a hidden program; the title only gives a definition of the tempo. The student's imagination is given scope in determining the content of the play. We can assume that this is a musical poetic sketch. For example, a student presented the following picture, came up with the following artistic image: a beautiful mountain landscape, autumn, a young girl standing on the bank of a river. A sad song sounds, reminiscent of the intonations of Armenian music, like a memory of spring, of past happiness, of a friend who has left. The melody is sad, leisurely, in a minor key. The accompaniment is set out in repeating thirds. The low second degree and the use of fifths give the music an oriental flavor. The play is written in two parts. In Part 2, the melody is repeated an octave higher, which intensifies the feeling of sadness. The accompaniment takes on a more agitated character, a sustained bass and a syncopated echo appear. The final phrase sounds like a sad but calm conclusion in the middle register, reminiscent of the voice of a cello.
Working on an artistic image also means working on sound production, a variety of performing techniques necessary to convey the character of a musical work. In the play “Andantino” it is necessary to achieve good legato, expressiveness, and depth of sound of a beautiful melody, similar to human singing. It is necessary to constantly monitor the freedom of the performing apparatus, the ability to immerse the hand in the keys with weight “from the shoulder”, and control the sound by ear. Work on the evenness and softness of the thirds in the accompaniment in part 1, and the hand should not be frozen, as if it were “breathing.” Then over the deep dive of the left hand when playing the bass line and the soft sound of the backing in the 2nd part, performed with 1 finger. You need to learn to play bass and backing notes in one movement. The left hand part in the piece presents quite a challenge. It must be brought to automaticity so that it does not interfere with the performance of the melody.
It is necessary to determine the form of the play, its structure, division into motives, phrases, sentences in order to phrase correctly; find out the features of the presentation of the melody, accompaniment, as well as dynamics (beginning, rise, culmination, decline in each construction). An artistic and dynamic execution plan is drawn up. Having determined the boundaries of phrases, it is necessary to trace the development of the melody and find intonation peaks. When performing a piece, the student must listen to the end of each phrase and learn to take a breath before the next formation. To achieve greater brightness of performance, it is useful to come up with and use subtext. The main culmination is revealed, which in “Andantino” is located in the 2nd part of the play, a single line of development of the musical material is determined with a feeling of not only the supporting sounds in phrases, small peaks, but also the main culmination of the work. It is necessary to achieve in the student’s performance an increase in emotional tension precisely towards the central climax point, which leads to the brightness and integrity of the sound of the play.
In Andantino, a cantilena piece, the role of the pedal as a means of color is important. The sound is given not only new colors and a new timbre, but also greater volume and fullness. The pedal helps to more clearly reveal the expressive artistic possibilities of the piece. Right pedal links various sounds into one harmony, helps to combine various elements of texture. It is necessary to carry out detailed work: find the bars where the pedal is used as a binding or colorful means, carefully consider the moment of taking it on and off, listen to each bar with the pedal so that its use does not violate the purity of vocal performance. It is recommended to put it in the notes. It is necessary to carry out special work to consolidate the skill so that the foot does not knock on the pedal, does not rise above it, but constantly feels it with a soft touch. When working on the Andantino piece, it is useful to first learn the pedal by hand, then both hands together, while constantly monitoring the purity of the sound.
Before each performance of a piece by a student, he must be reminded of the need to constantly listen to himself, his performance as if from the outside, try to play not only correctly, but also expressively, emotionally, and also notice shortcomings in order to correct them later.
Achieving success in working on the embodiment of an artistic image is possible only by continuously developing the student’s musicality, his intellect, his emotional responsiveness to music, and improving sound production techniques. He must be captivated by the content and images of the piece, then he works more persistently, improves his pianistic technique, trying to more clearly convey the artistic image of the work in his performance.
To work at home, you must be given the task to continue the work started in class, on the performance of the melody, accompaniment, dynamic shades, use of the pedal, and work on the artistic image of the play.
References:
- Neuhaus G. About the art of piano playing. Publishing house "Deka-VS", 2007
- Lyubomudrova N.A. Methods of learning to play the piano. M.: Muzyka, 1982.
- Alekseev A.D. Methods of learning to play the piano. Third edition - M.: Muzyka, 1978
- Timakin E.M. Education of a pianist. – M.: Muzyka, 2011.
Piano lesson
Subject:
The purpose of the lesson: Reveal an artistic image through the means of musical expression.
Lesson objective:
1. Educational:
- teach sound production techniques that contribute to the disclosure of a musical work.
2.Developing:
- development of musical and artistic thinking, creative activity, emotional and volitional spheres of the individual, creating motivation to acquire knowledge and skills to achieve goals.
Develop musical imagination and performance.
3. Educational:
Cultivating a sustainable interest in activities, a love of art in all forms, the formation of artistic and aesthetic taste.
Lesson methods:
Explanation
Questions for the student and answers to them
Student playing an instrument
Lesson type:
- consolidation of acquired skills
Equipment:
Piano
Notes
Lesson Plan
Stages of work:
1. ORGANIZATIONAL MOMENT
Presentation and psychological moment of setting up the student, checking the correct position at the instrument.
2. CHECK OF KNOWLEDGE
Listening to the work and dialogue with the student.
3. COMMUNICATION OF NEW KNOWLEDGE
Dialogue with the student: analysis of the form, analysis of the tonal plan, analysis of the intervallic composition of the melody, vocalization of instrumental music, timbre color of the melody, work on the cantilena, work on the accompaniment, work on the pedal, finding a musical image and the corresponding sound production in the play. Listening to a recorded work.
Illustration of a teacher using an instrument.
Tempo: determining the tempo that corresponds to the technical capabilities of the student and the nature of the piece.
4. SECURING
Generalization of acquired knowledge, fragmentary performance of a work using new knowledge.
5. HOMEWORK
Consolidating the acquired skills and abilities; visualizing each task in your mind before completing it. Implementation of all planned tasks in preparation for the lesson.
6. SUMMARY
Summarizing the lesson and grading.
During the classes:
Today my student and I are in 4th grade. piano department Abdikarim Madina general lesson on the topic:"Artistic image in a musical work"
For example, we took M. Partskhaladze’s play “In the Old Style”
I would like to start today’s lesson with the words of Neuhaus: “Music is the art of sound,” and since this is the art of sound, then our main task is to work on it. Music itself, as we know, does not speak in words and concepts, but in musical sounds.
And therefore, working on sound is inseparable from working on an artistic image. And it is with the help of musical sounds that the student must reveal the poetic content of the work.
Our work on the artistic image will consist of several stages:
1.analysis of the form
2.analysis of the tonal plan
3.analysis of the interval composition of the melody
4.vocalization of instrumental melody
5.timbral color of the melody
6.work on the cantelena, technological performance techniques
7.work on support
8.work on the pedal
9.conclusion the generalizing stage, when the performance as a whole is already being improved.
And here the artistry and emotionality of the student play an important role.
Now Madina and I are just at final stage and the purpose of our lesson is to repeat and consolidate all stages. And a house. the task was also dedicated to this very purpose, i.e. repetition and consolidation of the material covered.
It is all these stages that we want to briefly show in our lesson today.
Madinochka, please play the entire piece now, but before you start performing it, please remind us what the name of your work is and who is the composer? What do you know about him?
Yes, Merab Alekseevich Partskhaladze is a Soviet and Georgian composer, graduated from the Moscow Conservatory. Known as a composer of children's songs and piano pieces.
Please…
We will briefly go through all our stages.
Stage 1 - this is form analysis. Tell me, what is the form of the work?
Student: One-part form with code
Okay, how many offers are there?
Student: Two
Tell me, what are they? Same, different, similar?
In the second sentence, a new motive appears that was not in the first sentence, but in general the basis of the melody is the same.
This motive in the second sentence, what does it give us anyway?
Leads to the main point, to the climax.
By the way, what is a climax?
Student: This is the main place in the work.
Those. This motive does not appear by chance. What is he like first? He duplicates the theme (teacher's game)
Gradually this motive becomes active, decisive and brings us to the climax.
That is, this analysis of the form gives us a meaningful performance, and this is the first step towards meaningful performance, which means also towards artistic expressiveness. Image.
Stage 2 - This is an analysis of the tonal plan. What is the tonality in our work?
Student: A minor.
Right. According to Neuhaus, you and I analyzed each tonality and its coloring. By the way, who is Neuhaus? I’m already mentioning him a second time.
Genrikh Stanislavovich Neuhaus is, first of all, a personality. The personality is deep and multifacetedly gifted. Pianist, music center organizer"Neuhaus" , writer - he is a unique phenomenon of modern culture.
Now, please tell me, A minor is what key?
Student: tender, fragile.
This is exactly what gives us the impetus to understand how to start performing the piece.
If A minor is fragile, tender, then it should sound like this
(teacher demonstration)
Yes, 2 signs - this is a flat key, it gives a darker color, therefore the performance should be more intense (show), then we go to D minor, and even further to C minor, an even darker, passionate key. What does this give us? This gives us drama. Thus, this is already our 2nd step towards expressive performance.
Stage 3- analysis of the intervallic structure of a melody
Our entire melody is divided into motives. How is our first motive constructed?
(teacher's game)
Yes, progressive movement.
So okay, second motive? About the same, only at the end there is a jump, a wide interval of a sixth, it also needs to be heard.
The third motive is with a seventh.
What is the character of the seventh interval?
Yes, menacing, tense, and since he’s tense, we should intone him, right?
Mentally hearing, and this is also a step towards expressive performance, is another part of which our image is formed.
Yes, seconds, what intonation is this?
Questioning, crying, complaints, i.e. here you need to hear, ask the sound, and what will happen next?
Stage 4- vocalization of the melody
Why is this needed and what is it?
That is, the student tries to sing the melody with notes. What does this give us?
This gives us hearing each sound and anticipating the next one. The student tries to lead the melody by vocalizing the melody.
Now let's try with conducting. Conducting gives us rhythmic organization.
What size do we have here? Yes, 4 quarters, and I'll play along with you.
Tune yourself to A minor, I give you the setting.
So let's stop, you draw the note "C" and then take your breath before the "D", do you think this is correct?
No, why is it wrong? Because the melodic line is broken, that is, these two sounds must be connected. (show)
(student sings to climax)
Try to draw sounds, sing.
Well done! But only all 16 need to be sung.
Now try to play separately only with the right hand, don’t rush 16, more melodious. (teacher showing, then student)
The brush takes my breath away, well done!
Those. Once again turning to this stage of work, which is very important, this is singing the melody according to the notes.
Thus, the main principle in working on cantilena appears - fluidity. And when the student mentally sings the melody, the playing becomes not mechanical, but more expressive.
Stage 5- This is the timbre color of the melody.
Those. Before this, you and I painted the keys in different colors. Now think about it and tell us which instrument you would assign to sing our melody.
Violin, and also? In the old style, what is it? Dance, song? Aria.
What is an aria? That's right, this is a vocal piece, and even with orchestral accompaniment. Okay, who sings the aria?
Yes, woman, why did you decide that? Because the voice is high.
Thus, you and I will now try to imagine the warmth of the voice, expressiveness.
Please play 1 sentence.
(teacher demonstration, then student)
Well done, this is already better!
(teacher demonstration)
But in the second sentence, the final motives can be entrusted to the singer or violins, which will lead us to the climax.
Stage 6- working on the cantilena.
And now we must remember the basic techniques that are used when working on a cantilena.
Technique 1 is that the sound is taken without an accent (demonstration), otherwise the phrase is immediately lost out of thin air, and then we carry on and be sure to breathe.
In this work, our motives begin with pauses, and it is precisely these pauses that give the hand the opportunity to breathe.
Let's try right hand(student plays) - fingers are definitely important in cantilena, you play relaxed. The hand breathes, not frozen, it lives. Plasticity of the hand, movement as wide as possible, then the melody becomes not frozen, but more expressive.
Good enough!
Here are the basic principles, and here we also find the rule - the law of a long note (showing) C - a long sound, the subsequent D cannot be deleted, it flows from there, listen with your ears, try it yourself (student)
Enough, here are the basic principles for working on a cantilena.
Stage 7- support work. Please play the lion separately. hand with the pedal. Let’s stop, tell me, how do you interpret the left hand, what is it?
Yours is too smooth and static. Make her a little nervous, because it's hard to sing with such accompaniment.
(student plays)
Connect more, and all the time feel the pulsation, the beating of the heart, with movement forward, remember the coloring, help the melody.
These eighths are already tense with fingers, and this bridge is B, and then our dominant.
Okay, now you play the melody, and I’ll play along with the melody for you. (play together).
Remove the wrist movement.
Enough, well done!
That is, in support, the main thing is to transfer the weight of the hand to 5.3 fingers, and remove 1 so that it does not come to the fore, because it is large and strong.
Let's move on to the next stage of work
Stage 8 - working on the pedal.
Please start playing, and here the pedal should be a little dry, because, firstly, the piece is in the old style, it can be interpreted as a performance on the harpsichord, right? (the student is playing)
Therefore, here we will not get carried away with a deep romantic pedal, but with a delayed one, on second moves, we will go in twos, as often as possible, because a second in itself is a rather dirty interval, and if you still use the pedal, there will be a hum. In general, the pedal depends largely on the ear, so the ear should always be active.
Okay, that's enough, your pedal was pretty good now
Stage 9 - The very last stage, execution as a whole, taking into account all these stages that we have just gone through.
The goal of the teacher is to tune the student, to push him to more expressively perform a specific program.
Let's say that we have a dreamy, subtle beginning, then it is appropriate to recall the paintings of nature artists, for example, early spring. Yes, exactly when the greenery awakens, and we paint not with bright thick colors, but with pale, warm tones.
At the beginning of our work there is a subtle sound, delicate, fragile, and later the colors become more saturated.
Those. Such associations give the student a clearer idea of what sound to use to perform a given piece.
(the teacher gives 2 drawings of nature and asks them to arrange them in one color sequence, how our work is constructed).
Next sentence 2 should not sound monotonous. It will be more excited and naturally the dynamics here will be more intense. And then these motives will sound on the piano in contrast. It is necessary to build a climax and necessarily a general movement.
Therefore, now you tune in, remember everything that we talked about, draw a picture for yourself and perform your piece with feeling and expressiveness.
Thank you, smart girl!
That’s basically everything we wanted to talk about and show in our lesson today. Work through all the stages that help the student achieve a more emotional performance and reveal the artistic content of the work.
The homework will also be to once again consolidate all these stages and think again about the image, maybe the student imagines the picture differently, and not as the teacher advises. Perhaps something different.
At the end of our lesson today, I want to thank you, Dear Colleagues for taking the time to attend our lesson. Thank you!
Thank you very much, Madinochka, for your active work in class.
Ministry of Education and Science of the Samara Region
GOU SIPCRO
Municipal educational institution gymnasium No. 3 Samara
Methodological development on the topic:
“Work on the means of musical expression
as the basis for revealing the artistic image
in choral works"
Performed:
music teacher Municipal Educational Institution Gymnasium No. 3
g.o. Samara
Nesterova I.V.
Samara 2016
Introduction………………………………………………………………………………………...3
The concept of “artistic image” 7
Psychological and pedagogical aspects of working with students…………………15
Model of working on the artistic image of a choral piece in a music lesson…………………………………………………………………………………19
Conclusion………………………………………………………………………………….28
References……………………………………………………………29
Introduction
Relevance of the problem. In all types of art, the ideological concept of a work is translated into an artistic image, and sometimes into an entire system of images. Imagery is a general feature of art, and each type of art has its own specific means of artistic imagery. An artistic image arises in the process of interaction of various means of expression, each of which receives a certain meaning only in their general connection (in context) and depends on the whole.
Music is the art of sound expression, a kind of thinking with sound images. “The “language of music” itself, “musical speech” is the result developed by man in the process of historical development of his ability to form images. artistic thinking. Therefore, if an artistic image finds expression using means of expression specific to each type of art, then it itself, in turn, determines the meaning of each of the means of expression and the nature of their interaction” 1 .
Of course, at different stages of work on a choral piece in music lessons, the role of artistic and technical elements is ambiguous. At the learning stage, technical aspects usually predominate, and at the artistic finishing stage, more attention is paid to expressive means of performance. However, leading researchers in the field of theory and practice of choral performance (V.L. Zhivov, S.A. Kazachkov, G.P. Stulova, etc.) focus on the fact that the solution of technical problems must necessarily be combined with the process of mastering the artistic intention of the composer : “at any stage of learning a work, the conductor must see the main goal - a masterful disclosure of the ideological and artistic essence of the work and connect the immediate technical tasks with this goal” 2.
Penetration into the essence of the figurative structure of a choral work is primarily associated with a conscientious attitude to reading the musical text, its precise execution in compliance with all the author’s instructions. Neglect of details in the musical text and the author’s instructions creates conditions for an arbitrary interpretation of the work, and a lack of understanding by the performer of the true depth of its content. In this regard, V.L. Zhivov emphasizes that in the process of working on a choral work it is necessary to deeply and comprehensively comprehend the expressive essence of individual performing means, techniques and patterns of their artistic impact: “if for the technical learning of a work with a choir it is enough to have choirmaster skills and methodological techniques of choral work, then this is not enough for the “staging” of a musical work. What is needed here is artistic talent, culture, subtlety of perception, imagination, fantasy, taste, and emotionality” 3 . The author's intention cannot be comprehended only intuitively, - “one can intuitively phrase according to a certain pattern those works that suit the usual mood of the performer” 4. For artistic performance, a deep analysis of the work is needed, knowledge of the era, the style of the composer, the peculiarities of his thinking: “from knowledge, intuition will be enriched, the artist’s imagination will receive food, the artistic image will acquire the significance of a real phenomenon” 5. As S.H. Rappoport wrote, “only those who were infected, excited, captivated by the work, brought personal joy, made them worry deeply, think hard, and in this way led to certain conclusions, assessments, conclusions can deeply comprehend the artistic content” 6 .
In this regard, many researchers in the field of musical performance practice pay attention to the need to foster students’ independence in comprehending the artistic intent of a musical work. So, L.N. Oborin told his student: “I play differently here, but if you succeed convincingly, you can play in your own way.” It is important that the teacher constantly encourages the student to find his own solution in understanding the deep meaning of the work. “A more difficult, but also more fruitful path is the path of guiding the student’s independent mental activity. Unlike direct teaching, this is the path of education, the path of the actual development of independent thinking” 7.
The goal of our project– study the theoretical and practical aspects of the problem of working on an artistic image and forming a model of working on the artistic image of a choral work in music lessons at school.
In accordance with the goal, we formulated tasks:
identify the features of the “artistic image” of choral works;
analyze the psychological and pedagogical aspects of working on the artistic image of a choral work in music lessons with teenage students;
to identify the specifics of working on the artistic image of a choral work during music lessons at school and to form a model of working with teenage students.
In our research, we relied on the following scientific works:
in musicology: Asafieva B.V., Kremleva Yu.A., Lavrentieva I.V., Mazel L.A., Medushevsky V.V., Ogolevets A.S., Kholopova V.N.;
in psychology: Kirnarskaya D.K., Kona I.S., Kulagina L.Yu., Mukhina V.S., Obukhova L.F., Petrovsky A.V., Petrushin V.I., Teplova B.N.;
on the theory and practice of choral performance: Zhivova V.L., Kazachkova S.A., Nikolskaya-Beregovskaya K.F., Pazovsky A.M., Sheremeteva N., Yurlova A.A., Stulova G.P.;
in vocal pedagogy and methodology: Varlamova A., Daletsky O.V., Dmitrieva L.B., Zdanovich A., Lukanina V., Malinina E.A., Morozova V.P., Orlova N.D.
In the scientific literature there are many definitions of the concept of “artistic image”. In our work, we rely on the definition of F.V. Konstantinov: “an artistic image is a method and form of mastering reality in art, a universal category of artistic creativity” 8 and V.M. Kozhevnikov: “an artistic image is a category of aesthetics, characterizing a special, inherent only art is a way of mastering and transforming reality. An image is also called any phenomenon creatively recreated in a work of art (especially often a character or literary hero)" 9 .
Among other aesthetic categories, the category of artistic image is of relatively late origin. In ancient and medieval aesthetics, which did not distinguish the artistic into a special sphere, art was characterized primarily by a canon - a set of technological recommendations. The category of style associated with the idea of the active side of art, the right of the artist to form a work in accordance with his creative initiative and the laws of a particular type of art or genre, goes back to the anthropocentric aesthetics of the Renaissance (but was later fixed in terminology - in classicism). The category of artistic image took shape in Hegel’s aesthetics. In his doctrine of forms (symbolic, classical, romantic) and types of art, Hegel outlined various principles for constructing an artistic image as various types of relationship “between image and idea” in their historical and logical sequence.
In the course of the historical development of artistic imagery, the relationship between its main components changes: the objective and the semantic. " Historical fate image is due to its artistic richness. It is the life of the image over the centuries, its ability to form more and more new connections with the world of specific phenomena, to be included in a variety of philosophical systems and to be explained from within different societies and movements that form the basis of the constantly ongoing process of its “practical” implementation” 10 .
In the artistic image, the objective-cognitive and subjective-creative principles are inextricably fused. “As a reflection of reality, the image is, to one degree or another, endowed with reliability, spatio-temporal extension, objective completeness and self-sufficiency and other properties of a single, really existing object” 11. However, the image cannot be mixed with real objects, since it is separated by the frame of convention from the entire surrounding reality and belongs to the internal, “illusory” world of the work. The image not only reflects, but generalizes reality, reveals the essential and unchangeable in a single, transitory sense.
The creative nature of the image, like the cognitive one, manifests itself in two ways:
“An artistic image is the result of the activity of the imagination, which recreates the world in accordance with the unlimited spiritual needs and aspirations of man, his purposeful activity and holistic ideal. In the image, along with the objectively existing and essential, the desired, assumed, i.e., everything that relates to the subjective, emotional-volitional sphere of being, its unmanifested internal potentialities is captured” 12 ;
“unlike purely mental images of fantasy, in an artistic image a creative transformation of real material is achieved: colors, sounds, words, etc., a single “thing” (text, picture, performance) is created, occupying its special place among the objects of the real world . Having become objectified, the image returns to the reality that it depicted, but no longer as a passive reproduction, but as an active transformation of it” 13.
According to their semantic generality, images are divided into individual, characteristic, typical, image-motifs, topoi, and archetypes. A clear differentiation of these types of images is complicated by the fact that they can be considered both as different aspects of one image, and as a hierarchy of its semantic levels (individual, as it deepens, turns into characteristic, etc.). Individual images are created by the original, sometimes bizarre imagination of the artist and express the measure of his originality and uniqueness. Characteristic images reveal the patterns of socio-historical life, capture the morals and customs common in a given era and in a given environment. Typicality is the highest degree of specificity, thanks to which typical images, absorbing the essential features of the concrete historical, socially characteristic, at the same time outgrow the boundaries of their era and acquire universal human features, revealing the stable, eternal properties of human nature. These are, for example, eternal images Don Quixote, Hamlet, Faust, characteristically typical images of Tartuffe, Oblomov, etc. All these three types of images (individual, characteristic, typical) are isolated in the sphere of their existence, that is, they are, as a rule, the creative creation of one author within one specific work (regardless of the degree of their further impact on the literary process). The next three varieties (motive, topos, archetype) are generalized not according to the “reflected”, real-historical content, but according to the conditional, culturally developed and fixed form; therefore, they are characterized by the stability of their own use, which goes beyond the scope of one work. A motif is an image repeated in several works of one or many authors, revealing the creative preferences of the author or the whole artistic direction. Topos (“common place”) is an image that is already characteristic of an entire culture of a given period or a given nation. These are the topoi of the road or winter for Russian culture (A. Pushkin, N. Gogol, A. Blok, G. Sviridov, V. Shebalin, etc.). In a topic, that is, a set of topoi images, the artistic consciousness of an entire era or nation expresses itself. Finally, the archetype image contains the most stable and ubiquitous “schemes” or “formulas” of human imagination, manifested both in mythology and in art at all stages of its historical development (in archaic, classical, modern art). Permeating all fiction from its mythological origins to the present, archetypes form a constant fund of plots and situations, passed on from writer to writer.
According to their structure, i.e. the relationship between their two plans, objective and semantic, explicit and implied, images are divided into:
“autological, “self-significant”, in which both plans coincide;
metalogical, in which the revealed differs from the implied, as a part from the whole, the material from the spiritual, the greater from the lesser, etc.; this includes all image-tropes (for example, metaphor, comparison, personification, hyperbole, metonymy, synecdoche), the classification of which has been well developed in poetics since antiquity;
allegorical and symbolic, in which the implied does not differ fundamentally from the revealed but surpasses it in the degree of its universality of abstraction, “disembodiment” 14.
Music is the art of sound (more precisely, intonation-melodic) utterance, a kind of thinking in sound images. As in other forms of art, the ideological concept of a musical work is always translated into an artistic image, and often (if the work is large) into a whole system of images. “The “language of music” itself, “musical speech” is the result developed by man in the process of historical development of his ability for imaginative artistic thinking. Therefore, if an artistic image finds expression using means of expression specific to each type of art, then it itself, in turn, determines the meaning of each of the means of expression and the nature of their interaction” 15.
Musical images, being sound-temporal, at the same time have an intonational nature. Intonation is one of the main specific content elements of music. Academician B.V. Asafiev called intonation the primary cell of musical content. He owns famous aphorism, which defines the essence of music: “the art of intoned meaning” 16. He argued that music does not exist outside the process of intonation. By this B.V. Asafiev meant that the entire sequence of sounds and their combination only then acquire artistic value when they become intonation. The intonational expressiveness of music is manifested, first of all, in the thematic complex, the main element of which is the melody. But even in those cases when the musical image is revealed not only in the melody, but in the more complex and multifaceted structure of the musical work, the significance of the melodic principle in the work as a whole remains dominant. Meanwhile, in some cases, such expressive elements as harmony, timbre, and rhythm may come to the fore. In most works, musical intonation and melodic turns constitute the most important, leading link in the artistic image of a musical work. The power of music, the richness of musical images are manifested in the fact that characteristic intonations are complemented by other elements of the artistic whole: richness of harmony, variety of timbres, metro-rhythmic development, textural transformations, dynamic changes, as well as sufficient specificity and completeness.
Compared to other types of art, music recreates various aspects of reality, first of all, through revealing the inner spiritual world of a person and his feelings. The ability to convey with great impressive power the subtlest shades of feeling, reproduced, moreover, always in motion, in a process of continuous dynamic development, thus constitutes a distinctive feature of music, one of its most powerful and attractive aspects. This is one of the most important features of musical art. Music differs from other forms of art primarily in its inherent ability to directly embody various processes of the surrounding reality, emotionally refracted in the human psyche.
Music by its very essence is a dynamic art, for which transitions and changes in moods, emotions, and pictures form the basis of aesthetics. This does not mean, of course, that images of peace are inaccessible to music. But, of course, images of peace in music are conditional, relative. By depicting movement, painting seems to stop its moments and allows you to analyze them. The movement in the painting freezes, as if interrupted by a magical force. On the contrary, in music peace itself is internally tense; it is the result of a kind of hypnosis of sounds, restraining and suppressing movement. Hence the characteristic features of musical works that embody images of peace: quiet sounds, a small amplitude of shades and especially persistent repetition of any melodic or harmonic turns.
Also, in the process of working on the artistic image of choral works, it is necessary to take into account that it has specific differences, since it is the result of the close interaction of words and music, poetic and musical images. Poetry and music are close in nature, but have their own characteristics. A single poetic text is already a fusion of many heterogeneous elements, which combines plot, composition, genre characteristics, phonetics, syntax, rhythm, the emotional state of the lyrical hero and the stylistic coloring of words. In turn, the possibilities of musical language also have certain specifics in the sphere of creating artistic imagery. Speaking about the expressive possibilities of choral music, V.L. Zhivov emphasizes that “in this case, the performing musician and the listener have the opportunity to comprehend the content of the work not only through intonation, but also through the semantic meaning of the text. In addition, the combination of music and speech enhances its impact on listeners: the text makes the thoughts expressed in the music more concrete and definite; it, in turn, enhances the impact of words with its figurative and emotional side” 17.
It must be remembered that a musical image cannot be completely adequate to a poetic image, therefore, complementing each other, they form complex musical and poetic images, partially coinciding only to one degree or another. The potential of music is enormous in revealing the emotional and psychological “subtext” - the hidden meaning of a poem. Following the internal subtext, a musical image can sometimes even contradict the external meaning of the words; after all, music is capable of filling a poetic image with a deeper meaning and extremely sharpening the feelings and thoughts contained in it. “Music generally complements poetry, conveys what cannot or almost cannot be expressed in words. This property of music constitutes its main charm, its main enchanting power” 18. Therefore, it is important that students, at all stages of work on revealing the artistic image of a choral work, direct their attention to searching for the deep nature of the interpenetration of poetry and music.
For example, the outstanding teacher-pianist G.G. Neuhaus, when working with students on a piano work, widely used an appeal to associations, thereby stimulating the work of the performer’s imagination. In choral music, the imagination of the performer is no less important than in instrumental genres. The poetic text gives only direction to the work of the imagination; associations associated with musical sound enrich these initial figurative ideas, concretize them, and make them more subtle. Associative-figurative thinking helps performers to realize musical performances through the necessary sound expression, to fill all the details of the performance of a choral work with meaning.
Thus, in choral works the artistic image is a complex “trinity” of words, vocal part and instrumental accompaniment, in which each component carries a certain expressive and semantic load. In order to more accurately determine their functions in interaction with each other, we can conditionally distinguish three pairs of relationships:
1) words and vocal melody;
2) words and instrumental accompaniment;
3) vocal melody and instrumental accompaniment.
In the process of working on the artistic image of a vocal work, first of all, you should pay attention to the artistic correspondence of the musical images to the character and images of the poetic text. The artistic correspondence between music and text can be generalized or detailed.
The interaction between word and accompaniment is not so straightforward and immediate and is carried out mainly through the medium of vocal melody. However, there are some exceptional forms of direct connection between the word and the accompaniment, as well as another form of their indirect connection. This last form of connection occurs in cases where the mediating link - the vocal melody - is temporarily turned off either during the course of the action in connection with the content of the scene, or when its expressive resources are exhausted in accordance with the development of the drama.
The interaction of the vocal part and accompaniment in creating a single musical image can be very diverse and subtle - from parallel orientation and similarity of expressive means to simultaneous contrast.
Psychological and pedagogical aspects of working with teenage students in music lessons
Adolescence is usually characterized as a turning point, transitional, critical, but more often as the age of puberty. L.S. Vygotsky distinguished three points of maturation: organic, sexual and social. The chronological boundaries of adolescence are defined in completely different ways. For example, in Russian psychiatry the age from 14 to 18 years is called adolescence, while in psychology 16-18 year olds are considered young men.
The German philosopher and psychologist E. Spranger published the book “Psychology of Adolescence” in 1924, which has not lost its significance to this day. E. Spranger developed a cultural-psychological concept of adolescence. Adolescence, according to E. Spranger, is the age of growing into culture. He wrote that mental development is the ingrowth of the individual psyche into the objective and normative spirit of a given era. Discussing the question of whether adolescence is always a period of “storm and stress,” E. Spranger described three types of development of adolescence.
The first type is characterized by a sharp, stormy, crisis course, when adolescence is experienced as a second birth, as a result of which a new “I” emerges. The second type of development is smooth, slow, gradual growth, when a teenager joins adult life without deep and serious changes in his own personality. The third type is a development process when a teenager actively and consciously shapes and educates himself, overcoming internal anxieties and crises through willpower. It is typical for people with a high level of self-control and self-discipline.
The main new developments of this age, according to E. Spranger, are the discovery of the “I,” the emergence of reflection, and awareness of one’s individuality. Based on the idea that the main task of psychology is to understand the inner world of the individual, which is closely connected with culture and history, E. Spranger initiated a systematic study of self-awareness, value orientations, and worldviews of adolescents.
Adolescence is a decisive stage in the formation of a worldview, as well as the discovery of one’s inner world. The restructuring of self-awareness is associated not so much with the mental development of a teenager, but with the emergence of new questions about himself and new contexts and angles from which he views himself. Gaining the ability to immerse himself in his experiences, the young man rediscovers a whole world of new emotions, the beauty of nature, and the sounds of music. However, this process also causes a lot of anxious, dramatic experiences, since the inner “I” does not coincide with the “external” behavior, actualizing the problem of self-control. And along with the awareness of one’s uniqueness and difference from others comes a feeling of loneliness. One’s own “I” is still vague and vague; there is often a feeling of inner emptiness that needs to be filled with something. Hence the need for selective communication and the need for privacy grows.
By confronting a person with many new contradictory life situations, adolescence stimulates and actualizes his creative potential. As I.Yu. Kulagina states in her work “Age Psychology”, considering the characteristics of adolescence, in connection with the increase in the intellectual development of a teenager, the development of imagination also accelerates. Coming closer to theoretical thinking, imagination gives impetus to the development of creativity in adolescents.
For a teenager, the social world is a reality in which he does not yet feel like an agent capable of changing this world. And indeed, a teenager can transform little in nature, in the objective world, in social relations. That is why, obviously, his “transformations” are expressed in the destruction of objects, in acts of teenage vandalism in nature and in the city, unbridled mischief and hooligan antics in in public places. At the same time, he is shy, awkward and unsure of himself. The realm of imagination is a completely different matter. The reality of the imaginary world is subjective - it is only its reality. A teenager subjectively controls the arrangement of his inner world by his own will. The world of imagination is a special world. The teenager already owns actions that bring him satisfaction: he controls time, has free reversibility in space, is free from cause-and-effect relationships existing in real space social relations of people. Thus, imagination, combining with rational knowledge, can enrich the inner life of a teenager, transform and become a true creative force.
During adolescence, imagination can turn into an independent internal activity. A teenager can perform mental tasks with mathematical signs, can operate with the meanings and meanings of language, connecting two higher mental functions: imagination and thinking. At the same time, a teenager can build his own imaginary world of special relationships with people, a world in which he plays out the same stories and experiences the same feelings until he gets rid of his problems.
Modern society places increasingly high demands on people. In conditions of growing social competition, a young person needs to be able to creatively apply the knowledge and skills that he possesses. In order to be in demand in modern society, it is necessary to introduce something new into it through your activities, i.e. to be "indispensable". And for this, the activity must be creative. The modern school, setting itself the task of socializing the student, emphasizes the need to take into account the conditions of a changing society. Therefore, it is necessary to pay special attention to the development of creative abilities of schoolchildren.
The most fertile environment for the development of creative abilities of adolescents is the art of music. It is teenagers and young adults who are most sensitive to the effects of music. However, young audiences tend to have a strong interest in pop and rock music. Thanks to its expressiveness, which calls for movement with its rhythm, this music allows a teenager to join the given rhythm and express his vague experiences through bodily movements. “Music is the best way to immerse adolescents in dependence on rhythms, pitch, strength, and unites everyone with the metabolic sensations of dark bodily functions and creates a complex range of auditory, bodily and social experiences.”
While active creative exploration classical music is a complex mental process, which consists in understanding the musical image, in the ability to convey it into various types active in mastering the musical language and means of musical expression.
To speak the “language” of music, you need not only to speak this “language”, but also to have something to say spiritually, intellectually and emotionally. According to B. Teplov's research, experiencing music as an expression of some content is the main sign of musicality. How more people“hears in sounds”, especially musical. But we must not lose sight of the other side of the matter. To experience music emotionally, you must first perceive the sonic fabric itself.
Thus, educational work in music lessons should be intense, intense and creative. In this case, it is necessary to take into account not only objective individual differences, but also the subjective world of the adolescent’s developing personality.
Model of working on the artistic image of a choral piece in a music lesson
Having analyzed the theoretical aspect of the problem of the content of work on the artistic image of a choral work and generalized the practical experience of working with a choir, we can formulate the following model of work.
Work on the artistic image of a work should occupy a leading place in the structure of the lesson, and be a through line of all educational activities. The vocal skills of singers must be formed by artistic requirements and instructions for performance, which carry the need for high individual improvement and creative growth of each artist. “Education of the voice through the demands of music should be fundamental, because the singing voice is ultimately intended to express music” 19.
In creating the artistic image of a vocal work, all means of musical expression are important. Each vocal work poses a number of technical and artistic tasks for the performer: if this work is tempo, containing technical problems, if this is a work of a lyrical nature, requiring a cantilena sound, if this is a work that contains expression, or stylistic expressiveness, or semantic expressiveness. Therefore, it is inappropriate to identify the most significant means of musical expressiveness to solve them. The most significant are probably those contained in a specific piece of music. Identifying these expressive means and mastering them is the main task in this particular work. And in total, in the set of these works, it is an indicator of its versatility.
Technical work and work on the artistic image must be carried out simultaneously, since both technology and artistic content are like two wings of the same bird. While working on technical issues, we, at the same time, set ourselves artistic tasks, and by solving these artistic problems, we work on the technical improvement of the work.
Exercise is the primary means of acquiring vocal skills. When tuning his vocal apparatus, the student must be able to express emotional fullness in the exercises. Even the simplest “chant” must contain elements of artistry, because it subsequently projects elements that we will later encounter in serious classical works. “The correct origin of sound, the technique of sound science, sound production, the method of breathing - all this is mastered and consolidated in exercises, and only then is polished in vocalises and works of art” 20. Thoughtless, formal singing exercises can lead to the strengthening of incorrect and even harmful skills for the vocal apparatus. And without artistic elements, the meaning of singing in general is lost.
It is advisable to select a repertoire for working with students that will be understandable to that age. Professor of IChE SSPU A.Ya. Ponomarenko and teacher of the PCC of the vocal department of SMU N.A. Afanasyeva believe that it is not necessary to give teenagers technically complex works containing a large range, complex “jumps”, intense tessitura, as well as complex works from an artistic point of view imagery. Since “young performers still know little about life, therefore some meaningful depth of the work may not be available to them.” (Professor of IChS SSPU A.Ya. Ponomarenko) On the contrary, Associate Professor V.S. Kozlov believes that an easy repertoire will be uninteresting to students of this age, and works of increased complexity will stimulate a teenager to self-development and self-improvement. Artistic works are the main means of educating a singer, therefore a properly selected repertoire contributes to the growth of the singer as a performing musician and as a vocalist. Also, all the teachers agreed that “imagery is a product of the inner vision of a teenager” (professor of the Institute of Chemical Engineering of the State Pedagogical University A.Ya. Ponomarenko), and the genre orientation of the repertoire should be determined, guided by individual approach. Whether these works will be of a lyrical nature, historical or love lyrics depends on the degree of preparedness of the student for perception and performance. After all, “it is not at all indifferent to the voice what musical tasks it will be asked to perform” 21 . But, in any case, one should invade the sensory world of a teenager very carefully, and “what requires baring the soul should not be given” (Professor of the Institute of Chemistry and Art of the State Pedagogical University A.Ya. Ponomarenko). The most important thing is “that the vocal works performed do not provoke psychological stress” (senior teacher of the Institute of Chemistry and Art of the SSPU I.D. Ogloblina).
“The student’s independent work in comprehending and revealing the artistic image of the work being performed is very important!” The teacher should only push, hint, and the student himself should realize it. It is necessary to awaken the child’s subconscious in every possible way” (senior teacher of the Institute of Chemistry and Chemistry of the SSPU I.D. Ogloblina). You should expand your horizons by reading fiction, visiting theaters, concerts, and always exchange opinions, impressions of what you saw and heard, and demand analysis of the performance. Only in this way will the student learn to independently “immerse himself in the content of the work being performed.”
Methods and techniques for working on musical means
expressiveness as the basis for revealing
artistic image in choral works
Methods and techniques for working on a melody
The word “melody” comes from ancient Greek and means to sing a song. Melody, one might say, is the face or soul of a piece of music. Correct performance of a melody requires an expressive, clear, uniform sound from the entire choir, reproduction of the choral sound as a single sound.
When working with a choir, you should strive, first of all, to achieve good unison singing, to achieve the best unity of voices. Constantly take care to improve the sonority and intonation of the choir. When working on a melody, you should adhere to the following rules:
Teach long singing, melodiousness of sound (chain breathing)
Learn to sing a pure intoning melody
Learn to sing in a single position, in one manner of performance.
Don't chant, don't force the sound
“Don’t throw away” endings, long notes, but finish singing, singing. Reach out
Sing not loudly, but loudly
Sing exactly according to the conductor's hand
Sing on your breath
Don't sing with a flat, tense sound
Methods and techniques for working on harmony
Harmony is one of the most important expressive means of music, based on the combination of sounds into harmonies and the relationship of these harmonies with each other in a sequential movement. The concept of “harmony” as a means of expressiveness is present in polyphonic music of any type. Harmonia in Greek means harmony, proportionality, connection. To achieve harmonic beauty and harmonious sound, you should use the technique of lining up chords in your work - vertically, playing chords outside the rhythm for longer durations, while listening to voices. It is also useful to sing off-rhythm chords with different dynamic sonorities.
Methods and techniques for working on diction
Vocal diction requires increased activity of the articulatory apparatus. Sluggish articulatory diction is one of the main reasons for poor diction in singing. Articulation when singing differs in many ways from ordinary speech. In general, singing articulation is much more active than speech articulation. During speech pronunciation, the external organs of the articulatory apparatus (lips, lower jaw) work more energetically and faster, and during singing, the internal organs (tongue, pharynx, soft palate). Consonants in singing are formed in the same way as in speech, but are pronounced more actively and clearly. With vowels the situation is different. They are rounded, approaching in their sound the vowel “o”. Compared to vowels in speech, voicedness increases in singing vowels. Diction from Greek - pronunciation. The main criterion for good diction in a choir is the full assimilation of the content of the work being performed by the audience. Clear pronunciation of words is a prerequisite for good choral singing.
Methods and techniques for working on the meaningfulness of text pronunciation
Work on the meaningfulness of text transmission begins with the placement of logical stresses in phrases. The conductor is obliged to work on the text before the rehearsal: determine the boundaries of musical phrases, indicate places where breathing resumes or place semantic caesuras in the text, identify and mark climaxes.
Methods and techniques for working on dynamics, tempo and strokes
Emotionality in performance is manifested mainly in dynamics and tempo. You should strictly adhere to all tempo, line and dynamic instructions of the composer.
Methods and techniques for working on the expressiveness of words in singing
The basis of the expressive presentation of the text is the emotional coloring of the work corresponding to its content. The development of the emotional content of any musical work is subject to a certain logic. In conveying this content, the composer uses all possible means of musical expressiveness: mode, tempo, meter, tessitura, texture of choral writing, dynamics, harmony, etc. The performer’s task is to reveal the composer’s emotional intent, not only to convey the corresponding emotional state, but also to demonstrate your attitude to the content of the work, which must first of all be felt. Without experiences there can be no true art.
Methods of work for emancipating teenagers in the process of working on an artistic image:
Joint music playing (singing in a duet, in an ensemble with a teacher
alternately with each choir part)
Muscle relaxation (plastic movements, dance);
Psychological liberation (elements of acting)
Concentration on the performer
Compliance with the principle of gradualism and systematicity. Under no circumstances should you frighten a teenager with many demands;
Method of creative search (the music itself contributes to their
emancipation);
Display method. The most common method used by teachers in the solo singing class is the demonstration method, since it “has a holistic effect on the vocal apparatus” 22. However, experienced teachers advise using the demonstration method very carefully, since the student learns not only positive traits, but also the shortcomings of his teacher. “Using this method, you cannot turn the lesson into your recital.” (Professor IHE SSPU A.Ya. Ponomarenko) The student himself must come to the correct solution to the performance problem through the teacher’s hint. The student does not think how, through what actions he achieved the desired effect. Consciousness turns on later, when the found quality of sound is consolidated through repetition, and the student begins to understand what exactly he is doing.
In working on an artistic image, the word and associative thinking also play a big role. It is necessary to “ask the student to imagine what he is singing about, describe this image in all details, and only then perform it” (senior teacher of the Institute of Chemistry and Chemistry of the State Pedagogical University I.D. Ogloblina). Teacher of the PCC of the vocal department of SMU N.A. Afanasyeva and teacher of the vocal department of the SSPK O.V. Serdega great attention spend time working in front of the mirror. This allows you to control facial movements and subordinate them to the image being performed. And L.B. Dmitriev believes that the musical material itself will cultivate the voice and imaginative thinking, even if pedagogical comments are absent 23.
Arguing about whether there are age specificities in the process of working on the means of musical expressiveness as the basis for revealing the artistic image of a choral work, we can conclude that this specificity does exist. “You need to approach a teenager very carefully so as not to “break his psyche,” not like an adult professional,” says N.A. Afanasyeva, teacher of the Central Committee of the Vocal Department of SMU. “Teenagers are often withdrawn and complex, which interferes with work on the facial and pantomimic side of a vocal work” (teacher of the vocal department of the SSPK O.V. Serdega). According to Professor A.Ya. Ponomarenko of the Institute of Art and Art of the State Pedagogical University, working on an artistic image is associated with spiritual nudity, which confuses the teenager. “At the same time, teenagers are already more mature people, you can talk to them about feelings,” says Art. I.D. Ogloblina, teacher of the Institute of Chemistry and Art of the State Pedagogical University, “they are able to penetrate into the figurative world of the work, to realize its meaningful depth.” But one should be careful to reveal their inner world through music. Thus, the degree of intensity of work on the artistic image of a vocal work with teenage students will depend on the degree of development of the teenager’s sensory world, on the level of his intellectual development, because each person has an individual pace of “growing up.” In any case, teenagers are very “flexible material”, and in this sense they are still children. “What you put into them is what you get out.” (Professor IKhOS SSPU A. Artistic tasks should be explained tactfully through the requirements of music, through associations.
The structure of the model for using musical means
expressiveness in working with a choir
Summarizing the conclusions from the analysis of music pedagogical research and the results of the survey, we came to the following conclusions on the problem of the content of work on the artistic image:
the artistic moment must be present in the structure of the vocal lesson from the very beginning;
even the simplest “chant” must contain elements of artistry, because it subsequently projects elements that we will later encounter in serious classical works;
deciding technical issues, we simultaneously set ourselves artistic goals, and in the process of artistic work we work on the technical perfection of the work;
working on the artistic image of a vocal work requires the student to deeply analyze the expressive essence of the performing means and techniques of the vocal work;
mastering performing skills in revealing and comprehending the artistic image of a vocal work, independent work of the student is important, including broadening his horizons by reading specialized literature, visiting theaters, analyzing what he heard and saw;
In a choral singing lesson, it is necessary to use all methods that identify and help reveal the artistic image of a vocal work. But the display method should be used very carefully, without imposing your interpretation. Students themselves must come to the correct solution to the performance problem through the teacher’s hint;
in the process of working on the artistic image of a vocal work, it is necessary to take into account age specifics so as not to “break” the child’s psyche;
Thus, the concept of “artistic image” includes a method specific to art of reflecting life, its implementation in a living, concrete, directly perceived form. Imagery is a general feature of art, and each type of art has its own specific means of artistic imagery. An artistic image arises in the process of interaction of various means of expression, each of which receives a certain meaning only in their general connection (in context) and depends on the whole.
The technical and artistic aspects of working on a choral work should not only be closely interconnected, but also determine one another. The teacher should not forget about this: “if you fail to arouse in the singers a feeling of admiration for the artistic merits of the composition being performed, your work with the choir will not achieve the desired goal” 24.
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1 Kozlov P.G., Stepanov A.A. Analysis of a musical work: Textbook. – M., 1960. P. 18.
2 Zhivov V.L. Choral performance: Theory. Methodology. Practice: A textbook for students of higher educational institutions. – M., 2003. P. 133.
3 Ibid. C 136
4 Musical performance: Collection of articles. Vol. 10. – M., 1979. P. 8.
6 Musical performance: Collection of articles. Vol. 7. – M., 1972. P. 44.
7 Rubinshtein S.L. Problems of general psychology. – M., 1973. P. 234.
8 Philosophical Encyclopedia. Ch. ed. Konstantinov F.V. – T. 4. – M.: Soviet Encyclopedia, 1970. P. 452.
9 Literary encyclopedic dictionary // ed. V.M. Kozhevnikova and P.A. Nikolaev. – M.: Soviet Encyclopedia, 1987. P. 252.
10 Ibid. P. 254.
11 Ibid. P. 255.
12 Ibid. P. 254.
13 Ibid. P. 255.
14 there. P. 256.
15 Kozlov P.G., Stepanov A.A. Analysis of a musical work: Textbook. – M.: Soviet Russia, 1960. P.22.
16 Asafiev B.V. Musical form as a process. - AT 2. – Part 2. – L., 1971. – P. 344.
17 Zhivov V.L. Choral performance: Theory. Methodology. Practice: A textbook for students of higher educational institutions. – M., 2003. P. 33.
18 Serov A.N. Critical articles. – T. 4. M., 1979. P. 177.
19 Dmitriev L.B. Fundamentals of vocal technique. – M.: Muzyka, 1968. P. 557.
20 Dmitriev L.B. Fundamentals of vocal technique. – M.: Muzyka, 1968. P. 567
21 Dmitriev L.B. Fundamentals of vocal technique. – M.: Muzyka, 1968. P.557
22 Dmitriev L.B. Fundamentals of vocal technique. – M.: Muzyka, 1968. P.560
23 Dmitriev L.B. Fundamentals of vocal technique. – M.: Muzyka, 1968. P.557
24 Chesnokov P.G. Choir and its management. – M., 1961. P. 238.
