Back Forward
Attention! Slide previews are for informational purposes only and may not represent all the features of the presentation. If you are interested this work, please download the full version.
Learning goals(learners’ UD goals):
Master the concept of “portrait” in a piece of music;
Master the concepts of “expressiveness” and “figurativeness”;
Develop the ability to determine by ear what kind of musical “portrait” the composer created using the example of the work of S. S. Prokofiev;
The student correctly reproduces the definition of the concept of “portrait” in music;
The student correctly reproduces the definition of the concepts of “expressiveness” and “figurativeness”;
He will be able to determine by ear what portrait or image the music has painted for us.
Pedagogical goals:
Training:
1. Organize student learning activities:
According to their mastery of the concept of “portrait” in music;
According to their mastery of the concepts of “expressiveness” and “figurativeness”;
By their mastery of various expressive means used by composers to create “portraits” in music;
To develop the ability to hear various musical images of heroes in specific musical works;
2. Development: to promote the development of imagination and fantasy of students when they become aware of “portraits” in music;
3. Education: create conditions for the formation of an emotional and value-based attitude towards works of art based on the perception and analysis of musical and literary images.
Pedagogical tasks.
Organize:
- familiarizing students with the definition of the concept of “portrait” in music;
- understanding the characteristics of the musical image;
- students’ activities to develop the ability to identify a musical image by ear;
- discussion with students what feelings, emotions, impressions arise when listening to certain pieces of music;
- reflective assessment of the results of students' educational activities
Lesson type: combined
Lesson equipment: a audio and video equipment; presentation.
Lesson progress
Children enter the office to the music “Morning” from the suite “Peer Gynt” by E. Grieg (slide No. 1 – background)
| Teacher | Students | |
| - Hello, guys! Today we continue our conversation with you about how many interesting things await us every day. Let's listen and sing one wonderful melody... (slide No. 1) Melody is...? Well done, guys! Chanting: playing E. Grieg’s melody “Morning” on an instrument. |
- Good afternoon! Soul of Music (chorus) |
|
| - What kind of melody sounded? Have you heard it before? Let's sing on the syllable “la” (F major). And now we sing with the words: (slide No. 2) The sun is rising and the sky is brightening. Nature woke up and the morning came |
- Yes, in the last lesson. This is “Morning” by Edvard Grieg. | |
| - What picture did the composer paint for us in this work? | - a picture of the morning, I drew how the sun rises, dawn, day comes... | |
| - Well done! Music can really paint us pictures of nature - this is musical representation. Let's sing the song that I asked you to learn for home. What is she telling us about? |
- she paints us a picture of nature | |
| Performance of the song “The Morning Begins” (minus on slide No. 2) (text – Appendix 1) What else do you think music can tell us? So, what do you think will be the topic of our lesson today? What are we going to talk about today? |
- children's answers About how music can depict a person.... Draw his portrait |
|
| - You are great! The topic of our lesson today is: “Portrait in music” (slide number 3). Very often in musical works we seem to meet different characters - cheerful and... naughty and... boastful and... These can be both adults and children, men or women, girls or boys, as well as animals or birds. By musical theme we can imagine what their character is and even what their appearance is sometimes, how they walk, how they speak, what their mood is. Music can express the feelings, thoughts and characters of a person, i.e. she is able to tell us about them - this is musical expressiveness. Open the textbook to pages 26-27. Below on page 26 we see the concepts of “expressiveness” and “figurativeness”. (The same on the board - slide No. 4). How did you understand what “Figurativeness” is? Expressiveness”? You guys are great! Let's listen to an excerpt from piece of music composer S. S. Prokofiev, already well known to us (slide No. 5) |
- sad Calm Modest |
|
| We listen to music and choose which hero it belongs to (slide 6). Why did you decide on this particular character? What is a portrait in music? How do you think? |
- children's answers Children's answers Portrait in music is image of a person, its character through sounds, melodies |
|
| - That's right, guys! (slide No. 7) Today we will observe how composers create musical portraits with the help of melodies and expressive intonations. Now I will read you a poem by A.L. Barto “Chatterbox” (slide No. 8). Listen carefully and tell me about the features of this poem after listening (reading). What are the features? Select a portrait of a girl from the illustrations presented (slide No. 9). Why this particular picture? Due to what? How did you determine? Guys, such a fast pace of reading and speaking is called TONGUARD (slide number 10) |
- fast... | |
| Why do you think the author used a tongue twister in his poem? Imagine that you were asked to write music for this poem. What would she be like? Do you like this girl? Let's listen to how S.S. Prokofiev painted a portrait of this girl. Listen to the song “Chatterbox” |
- children's answers... to show that the girl likes to talk Fast... |
|
| So, was the composer able to paint us a portrait of a chatterbox? With what? |
- Yes! Fast pace, cheerful character... |
|
| - Do you think the composer likes Lida? On the screen are scenes from the ballet “Romeo and Juliet” and a portrait of G. Ulanova in the role of Juliet. I tell the children about this (slide No. 11). |
- Like!!! | |
| - Think about who is hidden behind this intonation? I play the beginning of “Juliet the Girl” What is her character like? What is she doing? This intonation is built on the C major scale, which quickly soars upward. We sing the scale to major, gradually speeding it up to the syllable “la” (slide 12) Watch the video “Juliet the Girl” (Appendix 2, 21 min.) |
Juliet! Naughty, she's running around |
|
| - Tell me, only one theme was heard in the portrait of Juliet? Right. Why do you think? |
- some Children's answers. |
|
| - Let's try, while listening to music, to depict its mood and actions with facial expressions and movements. Tell me, do you like Juliet? |
The children stand up and show Juliet with plastic movements to the music. She is light, dreamy, in love |
|
| So, tell us, what did we talk about today? What is a portrait in music? (slide No. 13) You are right, music is an expressive art. It expresses the feelings, thoughts, and characters of people. Through them we can see animals, a girl chattering incessantly, and a light and dreamy Juliet. Did you enjoy our lesson today? (slide No. 14) Homework for next lesson |
||
Portrait in music and painting
Target: The children's awareness of the relationship between the two forms of art, music and painting, through portraiture.
Tasks:
- Introduce the “musical portraits” created by M.P. Mussorgsky and S.S. Prokofiev and portraits created by artists I.E. Repin and R.M. Volkov.
- Continue to work on developing the skill of analyzing a piece of music and a work of fine art.
- Contribute to the formation of interest in the history of your Fatherland.
Vocal and choral work:
- When learning musical fragments, try to portray the character of the hero in his voice.
- Work on clear pronunciation of the text.
Lesson equipment:
Computer (disk, presentation with reproductions of paintings).
Lesson structure
- Listening: Song of Varlaam from the opera by M.P. Mussorgsky “Boris Godunov”.
- Discussion of “musical portrait”.
- Learning an excerpt from “The Song of Varlaam.”
- Comparison of the “musical portrait” and the portrait of I. Repin “Protodeacon”.
- Learning an excerpt from “Kutuzov’s Aria”.
- Acquaintance with the portrait of R.M. Volkov “Kutuzov”.
- Comparison of two “portraits”.
- Learning a song
- Conclusion.
Form of work
- Frontal
- Group
Lesson progress
Teacher
Musical portrait. Mikhail Yavorsky.
There are a lot of strange things in our lives,
For example, I dreamed for many years
I even tried more than once,
Write musical portrait.
For nature I found a man -
The standard of nobility and honor,
A contemporary from our century,
He lived his life without lies and without flattery.
And today, I “draw” a portrait,
It's not an easy job, believe me,
My music stand will replace my easel
Instead of paints and brushes - only notes.
The staff will be better than the canvas,
I’ll write everything on it and play it,
This drawing will not be simple,
But I don’t lose my hope.
To make the features look softer,
There will be more minor sounds,
And the opportunities here are great,
Not to the detriment of music science.
The score will not be simple,
But I won’t break the law of music,
And this portrait will be like this:
Everyone will hear his heart and soul.
It won't hang on the wall
He is not afraid of moisture and light,
And, of course, I would like
May he live for many years.
Continuing the theme “Can we see the music”, today in class we'll talk, as you may have guessed from the poem, about portraits in music and painting. What is a portrait?
Students.
A portrait is an image of a bottom person.
Teacher.
And so, let's listen to the first portrait.
Hearing: Varlaam's song from the opera by M.P. Mussorgsky “Boris Godunov”.
Teacher.
Based on the nature of the musical work, what can be said about this character? What qualities does he have?
Students.
This hero is cheerful and has a sense of strength.
Repeated listening.
Learning a fragment.
Teacher.
Is the force good or evil?
Students.
The force is, after all, evil. The music is powerful, which means the hero is very powerful, at the same time riotous, cruel, everyone is afraid of him.
Teacher.
What means musical expressiveness does the composer use when portraying this “hero”?
Students.
Teacher.
And what song's intonation is used by the composer to portray this character?
Students.
Russian folk dance
Teacher.
Based on the means of musical expression you listed, what do you think this person looks like externally?
Students.
This man is elderly, with a beard, an angry and domineering look.
The portrait of I. Repin “Protodeacon” is shown.
Teacher.
Let's think, is there any similarity between our “musical hero” and the person depicted in this picture? And if so, which one?
Students.
There are similarities. The man depicted in the picture is also elderly, with a beard.
Teacher.
Guys, pay attention to this man’s gaze. Try to portray this look. What is he like?
Students.
The look is sharp, predatory, evil. The eyebrows are thick, black, and splayed, which makes the look heavy and imperious. The picture, like in music, is in dark colors.
Teacher.
We compared two portraits - musical and artistic. The musical portrait was written by the Russian composer M.P. Mussorgsky (Varlaam’s song from the opera “Boris Godunov”), the second portrait belongs to the brilliant Russian portrait painter I. Repin (the portrait is called “Protodeacon”). Moreover, these portraits were created independently of each other.
View an excerpt from the opera “Boris Godunov” (“Song of Varlaam”).
Teacher.
Guys, why do you think such portraits as Varlaam, the archdeacon, appeared?
Students.
The composer and artist saw such people and depicted them.
Teacher.
Listening to the “song of Varlaam” and looking at the painting “Protodeacon,” how do you think the artist and composer treat such people, the same or differently. Justify your answer.
Students.
Both the composer and the artist do not like such people.
Teacher.
Indeed, when Mussorgsky saw “Protodeacon,” he exclaimed: “Yes, this is my Varlaamishche!” This is a whole fire-breathing mountain!”
I.E. Repin in the portrait of “Protodeacon” immortalized the image of deacon Ivan Ulanov, from his native village of Chuguevo, about whom he wrote: “... nothing spiritual - he is all flesh and blood, pop-eyed, gaping and roaring...”.
Teacher.
Tell me, did we get the attitude of the authors towards their characters?
Students.
Con
Teacher.
Have you come across such portraits in our time?
Students.
No.
Teacher.
Why aren’t such portraits created in our time?
Students.
Because in our time there are no such people. In past centuries there were many such “heroes”. Such priests were typical of that time. There are no such clergymen these days.
Teacher.
That is, art reflects the reality around us.
Now we will introduce you to another musical portrait.
Listening to Kutuzov's aria from the opera by S.S. Prokofiev “War and Peace”.
Learning an aria.
The class is divided into three groups and given the following tasks:
1st group – gives a verbal portrait of the character (external and “internal”);
2nd group – selects one portrait corresponding to a given piece of music from the proposed video sequence, substantiates the answer;
3rd group – compares the resulting portrait with a given piece of music.
Students justify their answers based on musical and artistic expression, used by the composer and artist.
Teacher.
We got acquainted with another portrait, directly opposite to Varlaam. Kutuzov's aria from the opera by S.S. was performed. Prokofiev’s “War and Peace” and before us is a painting by Roman Maksimovich Volkov “Kutuzov”.
Who is Kutuzov?
Students.
The commander who defeated Napoleon in the War of 1812.
Teacher.
Which character traits of the hero are emphasized by the composer, and which by the artist?
Students.
The composer emphasizes majesty, strength, nobility, and concern for the Motherland. The artist emphasizes his services to the Motherland, nobility, and intelligence.
Teacher.
How do both the composer and the artist feel about this hero?
Students.
They respect him and are proud that he is their compatriot.
Teacher.
Students.
Certainly
Teacher.
Which previously studied piece of music is this aria close in spirit to?
Listening to or performing an excerpt from an aria.
Students.
To “The Heroic Symphony” by A.P. Borodin.
Teacher.
Listening to the aria and looking at the picture, can Kutuzov be called a hero? Justify your answer.
Students.
Yes, because he combines all three qualities - Strength, Intelligence, Goodness.
Teacher.
Can Varlaam be called a hero?
Students.
No, he has Strength, Intelligence, but no Good.
(Both portraits are on the board)
Teacher.
And why were the portrait of Kutuzov created by Prokofiev and Volkov and Borodin’s “Heroes” symphony and Vasnetsov’s painting “Bogatyrs”?
Students.
Because such people, heroes, actually existed.
Teacher.
Today we will learn a song whose heroes have Strength, Intelligence, and Goodness. And their main strength is friendship. Song from the movie “Midshipmen, forward!” “Song of Friendship.”
Learning a song.
Conclusion:
- What portraits and their authors did we meet in class?
- How are the same characters portrayed in music and painting?
- What does this “kinship” between music and painting give us to understand?
MUSIC AND OTHER ARTS
Lesson 25
Topic: Musical portrait. Can music express a person's character?
Lesson objectives: analyze the variety of connections between music and fine arts; find associative connections between artistic images of music and other forms of art; distinguish characteristic features types of art (taking into account the criteria presented in the textbook); perceive and compare musical intonations of various meanings while listening to music.
Materials for the lesson: portraits of composers, reproductions of paintings, musical material.
Lesson progress:
Organizational point:
Listening: K. Debussy. "Sail".
Read the epigraph to the lesson. How do you understand it?
Write on the board:
“Let moods remain the main essence of musical impressions,
but they are also full of thoughts and images"
(N. Rimsky-Korsakov)
Lesson topic message:
What do you guys think, can music express a person’s character, is it capable of doing this? We will try to answer this question with you today.
Work on the topic of the lesson:
When looking at a picture, we include all our senses, not just vision. And we hear, and not just see, what is happening on the canvas. Our gaze, according to the figurative definition of Alexander Ivanovich Herzen, becomes “listening.”
Guys, take a close look at Ilya Repin’s painting “Protodeacon”, who do you see in front of you, describe . (Before us is a portrait of an archdeacon - this is a spiritual rank in Orthodox Church. We see an elderly man with a long gray beard, overweight, and he has an angry expression on his face, which his arched eyebrows give him. He has a big nose big hands- in general, a gloomy portrait. He probably has deep voice, maybe even bass.)
You saw everything correctly and even heard his low voice. So, guys, when this picture appeared at the exhibition of the Itinerant artists, the famous music critic V. Stasov saw on it a character from Pushkin’s poem “Boris Godunov” - Varlaam. Modest Petrovich Mussorgsky reacted in exactly the same way, when he saw the “Protodeacon” he exclaimed: “So this is my Varlaamishche!”
What do you think allowed these two deep and accurate observers to see in the portrait the resemblance to the character from the opera “Boris Godunov”?
It is probably that each of the works - Pushkin’s “Boris Godunov”, and Mussorgsky’s opera of the same name, and Repin’s “Protodeacon” - has one important feature- vividly and authentically - in words, music, images, show a person’s character.
Between Varlaam and Protodeacon there is, of course, something in common, connected not only with character. Protodeacon is a spiritual rank. Varlaam is a monk who escaped from the monastery and went on a spree in a tavern on the Lithuanian border. He is similar to Repin’s character - huge, pot-bellied, “has a bald forehead, a gray beard, a thick belly.” However, this is not the most important thing that unites and brings together these generally independent images that arose independently of each other. The main thing between them is the unbridled nature, the rudeness of nature, prone to gluttony and revelry.
Listen to how Varlaam sings his famous song“As it was in the city in Kazan.” Pay attention to the timbre of his voice, to the features of the music - violent, unbridled, deliberately loud. Note also the manner of performance: after all, the artist always tries to emphasize the most important thing in the character of the hero.
Listening: M. Mussorgsky. Song of Varlaam from the opera "Boris Godunov".
How did Varlaam appear to you? (Noisy, violent, with an unbridled temper.)
Remember what role details play in works of fine art, how they complement the appearance of the hero, merge with him, and communicate something that cannot be conveyed by other means.
For example, famous painting“Girl with Peaches” - isn’t this a single image? Tenderness, youth, and the gentle sun literally permeate the picture, where every detail, every stroke is filled with the charm of the main character.
But here is a completely different musical portrait.
"drew" him great master vocal lyrics F. Schubert.
In the center of the image is Margarita, sitting at a spinning wheel and singing about her love.
If Varlaam’s portrait features were conveyed through the nature of the music and the manner of its performance, then in the song “Margarita at the Spinning Wheel” everything is important: the meaning of the words, the nature of the melody, and the bright imagery of the musical performance.
The portrait of Margarita in this song is drawn against the background of an important everyday detail - a buzzing spindle.
Listening: F. Schubert. "Margarita at the Spinning Wheel" Words by J. W. Goethe.
Margarita is also among the charming female images. But she, having already known love and suffering, is characterized by great depth and emotionality. Her song is an image, a picture, including several plans: external (pictorial), lyrical, psychological.
Figurativeness, as often happens in vocal music, is contained in the music of the accompaniment: already from the first bars we seem to see and hear a spinning wheel with its measured buzz. Against this background, the lyrical confession of a lonely girl, yearning for her lover, sounds.
All the richness of her love, all shades of mood from hidden sadness to powerful upsurges of feeling are conveyed in the vocal part. But with all the dynamism of this lyrical statement, with all the ups and climaxes of the melodic line, we again and again return to the buzzing of the spinning wheel - the original motive that frames this spiritual musical portrait.
If the musical images of Varlaam and Margarita were mediated by verbal text, then in the next work the musical portrait is carried out without the help of words.
"Gnome" from piano cycle M. Mussorgsky “Pictures at an Exhibition” - a musical portrait of a little fairy-tale creature, executed with enormous artistic power. It was written under the impression of a painting by W. Hartmann. These are not only “pictures written by a musician, but these are small dramas in which the very essence of the phenomena of life is revealed - the soul of events, the soul of things, seems to shine through the sounds,” wrote B. Asafiev.
We have already said that not only in music, but also in fine arts What is important is not just the image, the transfer of external appearance, but penetration into the deep, spiritual essence of the character. The play "Gnome" is one example of such a work.
Listening: M. Mussorgsky. “Gnome” from the “Pictures at an Exhibition” series.
Through the limping gait and angular jumps of the fantastic freak, deep suffering suddenly appears - no longer at all fabulous, but living, human. The music dramatically changes its character: broken, bizarre rhythms and leaps, which have a clearly graphic character, give way to the downward movement of chords, the sound of which is imbued with the intonation of aching melancholy, pain, and loneliness.
Mussorgsky's "Gnome" is no longer simple illustration W. Hartmann's paintings are a significant development and deepening of the image, about which the composer managed to say so much in his short play.
Questions and tasks:
- Why do some musical works have a vivid portraiture?
- Which musical genres most capable of conveying the portrait features of the hero?
- What do the portraits of “Protodeacon” by I. Repin and Varlaam M. Mussorgsky have in common?
- How does music convey the portrait of the Dwarf in M. Mussorgsky's play? What do you think the music says more about - the external appearance of the Dwarf or his inner world?
- Name the works you studied earlier in which portraits of heroes (characters) are embodied through music.
- Complete the task in the “Diary of Musical Works” - pp. 26-27.
Presentation
Included:
1. Presentation - 11 slides, ppsx;
2. Sounds of music:
Debussy. Prelude "Sails", mp3;
Mussorgsky. Pictures from the exhibition. Two Jews, rich and poor (2 versions: symphony orchestra and piano), mp3;
Mussorgsky. Opera "Boris Godunov". Varlaam’s song “As it was in the city in Kazan”, mp3;
Schubert. Margarita at the spinning wheel, mp3;
3. Accompanying article - lesson notes, docx.
It turns out that a person can sound... In notes, musical phrases, melodies, his character is revealed and his “face” is depicted. It is known that a portrait painted by an artist is able to convey the essence of a person, leaving a certain secret. Every part of the face, every curve of the body on the canvas resurrects us as a person, while preserving something intimate.
Music, like any other form of art, brings something beautiful to life. It conveys the mood, charging a person with positivity. Very often we look for ourselves in the lines of songs, trying to catch any note and compare it with our personality.
Imagine these two greatest forms of art together - painting and music! Portrait of a man in music. Interesting?
A musical portrait is...
First of all, this is art that reveals your soul, musically conveys the emotions and character of a person. It is yours, personal, unique, like the person himself. With the help of a musical portrait, you look at yourself from different sides, revealing ever deeper facets of your inner world. A melody, actually copied from your “I”, helps to improve your spiritual state - you can’t argue with that! After all, listening to certain music, you experience emotions. What if this is the music of your soul? Did you have to look at it from the outside? This is an indelible impression - reality takes on different shapes: love, beauty, limitlessness...
How do you create a musical portrait?
Have you ever wondered what peace is? Sometimes, at some moments, you feel some peace of mind. Nothing worries you, you walk along endless paths, there, deep inside. When thoughts are lost and you are immersed in something more that cannot be described. This something rises deep from within, from the very secret rooms hearts.
How many people are able to read the unknown world?
A musical portrait can only be created by a genius, a genius of the soul. He can not only read, but also reproduce it into music, feel, understand your thinking, consciousness, open your will. Play the music that plays inside you.
The fullness of the art of creating a musical portrait lives in the unique environment of the intuitive world. In order to create it, the composer needs personal contact with a person or a personal photograph or video recording. When all the information about the person is collected, the musician records the portrait in the studio, providing the melody with high-quality sound. It has also happened in practice that a composer writes a musical portrait in the presence of the person he is writing about. But in any case, with personal meeting or without it, the quality will not change. In any case, this will be what is called - musical image inner world.
Do you want to hear what a musical portrait sounds like?
A musical portrait has two types of creation:
1) Improvisation (impromptu) is the recreation of the author’s feelings directly into the recording
2) A written piece is a complex, meticulously developed composition in notes. This kind of composition can later be arranged. This melody has the form of a piece that needs to be worked on for a certain time.
Musical portrait - historical heritage and an exclusive gift
It’s very hard to surprise a modern person, isn’t it? Imagine that you are receiving yourself as a gift - your inner world, feelings and experiences that have long been familiar and dear to you?.. Only expressed in the language of music. This is not only relevant and new for our world, it seems incredible and unimaginable!
By ordering a musical portrait, you can give a gift to your loved one. After all, the author can write a musical portrait of you personally or, for example, express your feelings for a loved one - portray him the way you see him! A musician can paint a portrait about love, friendship, etc. In a musical portrait you can embody all the versatility of your personality!
You can learn about the service and order a musical portrait
Mikheeva Margarita Eduardovna, higher education teacher qualification category, "Novouralskaya SKOSH No. 59", Novouralsk
Art lesson (music) at 5 class III quarter.
Lesson topic: Musical portrait.
Lesson type: Learning new material.
The purpose of the lesson: to show the relationship between music and painting through an imaginative perception of the world.
Tasks:
- teaching:
- to develop thinking skills - generalization, the ability to listen and prove;
- development of the ability to compare and contrast;
- formation of integration skills various types art;
- consolidate the concept - means of musical expressiveness: character, intonation, melody, mode, tempo, dynamics, image, form;
- learn to compare works of music and painting;
- introduce the works of M.P. Mussorgsky;
- teach children to feel poetry, musicality and picturesqueness artistic images;
- developing: to develop emotions, fantasy, imagination of students in the comparative perception of musical, artistic and literary works;
- correctional:
- creating conditions for optimization creativity students;
- educational: to teach children to feel the poetry of musical and pictorial artistic images.
- verbal-inductive (conversation, dialogue);
- visual-deductive (comparison);
- partially search (improvisation);
Equipment: Audio and video equipment. ICT. Portrait of M.P. Mussorgsky, reference cards, POWER presentation POINT.
Musical material:
"Baba Yaga" M.P. Mussorgsky, song "Captain Nemo" music. Ya. Dubravina, lyrics. V. Suslova.
Presentation on the works of M. Mussorgsky, cartoon "Pictures at an Exhibition".
Form of work: group, individual.
LESSON PROGRESS:
Organizational moment.
Musical greeting.
Students are offered an associative series: a portrait of “Alyonushka” by Vasnetsov, a portrait of Mussorgsky, a fragment of the song “Captain Nemo” by music. Ya. Dubravina, lyrics. V. Suslova.
Students must formulate the topic of the lesson themselves based on the associations they see.
U.: Our topic today is “Portrait in Music”. What is a "portrait" in fine art?
D.: image of a person in full height; to depict several people; if you depict people up to their shoulders, it is a portrait.
U.: What can you and I see in the portrait?
D.: suit; hairstyle; character; mood; young or old; rich or poor.
U.: How does a musical portrait differ from a portrait in painting?
D: You can’t see it right away, you need to listen to all the music to see it in your imagination. It lasts in time; conveys movement, mood; the picture can be viewed slowly, but the piece of music continues for some time and ends; in the picture everything is visible at once, but when you listen to music, you have to imagine something; And different people everyone can imagine their own...
U.: Remind me what means of expression the artist uses to create his paintings?
D: palette, color, stroke, stroke, etc.
T: What means of expression does the composer use to create a musical image?
D: dynamics, tempo, register, timbre, intonation.
U.: in front of you on the board (cards) are written means of musical expression. Choose those that will help you understand the musical portrait. Explain their purpose.
(Recorded: form, tempo, rhythm, mode, dynamics, melody)
D.: tempo is the speed of the music, it allows you to determine how the hero moved; allows you to learn something about the character of the hero.
The mode - major or minor - creates the mood of the hero. Major is usually joyful mood, minor – sad, thoughtful.
Dynamics is volume: the closer the hero is to us, the louder the music sounds.
Melody is the image of the hero, his thoughts; these are our thoughts about him.
U.: All this knowledge will help us understand how a composer creates musical portraits and what helps him in this.
M.P. Mussorgsky created many nationally outstanding musical images, in which it reveals the uniqueness of the Russian character.
“My music should be an artistic representation of human language in all the subtlest nuances” M.P. Mussorgsky.
Mussorgsky is the creator of various musical portraits.
We will talk about such images - musical portraits - in our lesson. Let's remember what a musical portrait is?
A musical portrait is a portrait of the character of the hero. It inextricably combines the expressive and figurative power of the intonations of the musical language.
Today we will get acquainted with a musical portrait, only a fabulous one.
We will have two creative groups music experts who will try to understand the portrait image created by M.P. Mussorgsky.
The class is divided into two creative groups.
Quests:
- follow up development of music,
- analyze the means of musical expression, their use,
- give a name to the image in the portrait.
Listening: M.P. Mussorgsky "Baba Yaga" from the series "Pictures at an Exhibition."
The analysis of the listened work is carried out by representatives from two creative groups.
T: Guys, let's see how film director I. Kovalevskaya imagined the image of Baba Yaga, who created a cartoon based on the musical work "Baba Yaga" from the piano cycle "Pictures at an Exhibition." Does the image of Baba Yaga from the cartoon match your presented images?
Lesson summary.
What did we talk about in class today?
Music has a visual quality. With the help of inner vision and imagination, we can imagine what the composer is telling us about.
Teacher: So you were able to express your feelings, emotions, imagination in verbal drawings.
Lesson summary.
U.: The topic of our lesson today was called “Portrait in Music.” Whose portrait did we meet today?
D.: Baba Yagi!
U.: Music has a figurative quality. With the help of inner vision and imagination, we can imagine what the composer is telling us about. This means that you were able to express your feelings, emotions, and imagination in verbal drawings.
U.: And now - homework: 1) draw Baba Yaga the way you imagined her from Mussorgsky’s work. 2) compose a song or ditty about Baba Yaga.
Reflection.
T: Guys, what new did you learn in class today?
(Students are offered self-assessment sheets to fill out).
U: Our lesson is over, thank you guys, you did a very good job.