Work program on music literature for children's music schools. Musical literature. Electronic manual by Elena Copiy. New edition

Explanatory note

The main objectives of music schools are:

Formation in children of love and interest in serious musical art, understanding of folk, classical and modern musical creativity, development musical abilities, as well as training active listeners and music promoters. In solving these problems significant role belongs to the discipline " Musical literature».

“Musical literature” is one of the compulsory academic disciplines in the system music education, studied at children's music schools and children's art schools. It appeared in the curricula of music schools in the mid-30s, when three more years were added to the four-year education, so that the duration of primary music education was equal to the compulsory seven years. general education. The latter made it possible to significantly enrich the content of primary music education, largely thanks to a new subject - “musical literature”. Its introduction in high school contributed to the growth of the general culture of schoolchildren, contributed to their diversified development, and prepared them for independent communication with classical music.

Program goal:

Contribute musically aesthetic education students,

Expanding their general musical horizons,

Formation of musical memory, thinking, creative skills.

Tasks:

Targeted systematic development musical and auditory abilities of students, musical thinking and musical memory, as the basis for practical skills;

Upbringing the foundations of analytical perception, awareness of certain patterns of musical language organizations;

Formation practical skills and the ability to use them in combination, when performing musical material, in creative forms of music-making;

Output in learners' auditory concepts.

Listening and learning musical works is one of the means musical education, promoting the unity of artistic and technical development young musicians. During the learning process, students become involved in various types of creative work, improving their artistic taste, and learn to listen to music. “Musical literature” contributes to the successful mastery of performing and auditory skills.

In the process of actively studying various musical works, the musical thinking and memory, and auditory development acquires a rich artistic basis. Teaching “musical literature” in close connection with the entire cycle of academic disciplines enriches the musical pedagogical process and contributes to a more rapid and harmonious development of students’ musical abilities. The richness of content and variety of genres of the works studied, familiarity with events musical life, with biographies of major classical composers and our contemporaries, helps students understand the connection between art and the phenomena of social life.

To solve the problems of musical and aesthetic education, the course of “musical literature” sets as its practical goal the development of diverse musical skills in students and, above all, the ability to disassemble musical works:

Hear and understand the expressiveness of individual elements of musical speech

Find your bearings in the sheet music of compositions

Remember and recognize by ear the main themes of the music you listen to

Competently express impressions and thoughts about music

Talk about the completed works, their content, composition and means of expression, freely using the necessary musical terminology.

The formation of auditory attention is carried out involuntarily. Managing this process is a necessary but difficult task for the teacher.

This program is adapted to the conditions of the Naryan-Mar Children's Art School and is based on:

• “Approximate program for the discipline “Musical Literature” for children’s music schools and music departments of Art Schools.” – MK RF, M., 2004.
• Approximate program for “Musical Literature” for children’s music schools and music departments of Art Schools. – MK RF, M., 2002.
• “Program for children’s music schools and children’s art schools in the subject “Musical Literature” (compiled by A. I. Lagutin, E. S. Smirnova).” – M., 1982.
• “Explanatory note to the program in the subject “Musical Literature” (shortened three-year term of study)”, approved by MS Municipal Educational Institution of Educational Institution “DSHI”, Naryan-Mar, 2007.
• “Explanatory note to the program in the subject “Musical Literature” (shortened five-year term of study)”, approved by MS Municipal Educational Institution of Educational Institution “DSHI”, Naryan-Mar, 2007.

Approximate conditions for the implementation of this program:

Availability study groups(according to curriculum);

Availability teaching aids for students;

Availability methodological literature for teachers;

Availability of sets of noise instruments;

Availability of phono and audio library;

Availability of didactic handouts;

Maintaining close communication with teachers in the specialty, choir class, solfeggio;

Maintaining interdisciplinary connections;

Cooperation between different educational institutions(including music), exchange of experience;

Active search for new forms and methods of teaching musical literature, self-education of teachers.

The work program specifies the content of subject topics, gives an approximate distribution of teaching hours by sections of the course and the recommended sequence of studying topics and sections of the subject, taking into account interdisciplinary and intrasubject connections, the logic of the educational process, and the age characteristics of students.

The subject “Musical Literature” is considered one of the main subjects when studying at a music school. It is in these lessons that students acquire greater knowledge about the history of the country, become acquainted with the work of not only composers, but also poets and writers.

In the curriculum shortened five-year termOnly IV and V grades of the Children's Music School, from I to III class The course “Listening to Music” is included. But for a more detailed mastery of the entire “Musical Literature” course, the two years provided are not enough. For this reason, it is proposed to make some clarifications. Namely:

Grade I – “Listening to Music” is of an introductory nature, preparing students to master the material in the subject “Musical Literature.” The teacher must develop in students the initial skills of auditory observation of music, “seeing” music in color, “sounding out” drawings, and reasoning about the piece they listened to.

Starting from the second year of study, the teacher switches to the main - Ministerial program “Musical Literature”, without cutting anything, mastering the material four years training.

The final grade for the last year of study goes into the “Certificate of completion of the Children's School of Art”.

As the basis for the program on “Musical Literature” (shortened three-year training period) the ministerial program on “Musical Literature” for the Children's Art School and music departments of Art Schools for 2002 was used.

Due to the fact that according to the curriculum, one hour is allocated for this subject in the first and second years of study, and in the second grade, students study 2 hours a week (“Musical literature” and “ Contemporary music") it is necessary to make clarifications and recommendations to this program:

The first year of study is of an introductory nature and fully complies with the standard program “Musical Literature” for 2002.

Year II - the program is built on the alternation of individual monographic topics, biographical and creative portraits foreign composers.

Based on the ministerial program, during their studies in the third grade, students must master the material of the third and fourth years of study (“Russian music” and “Soviet music”). According to the curriculum, 2 hours per week are allocated for grade III; accordingly, all material should be divided into six months so that the content of the program does not change. For this reason, the first half of the year is devoted to familiarization with the material of the third year of study in the subject “Musical Literature” (block “Russian Music”) - 2 hours a week. In the second half of the year, children master educational material fourth year of study (“Modern music”), studying 2 hours a week.

Thus, during the three-year period of study, all the requirements of the Ministerial Program for the subject “Musical Literature” for 2002 will be maintained. and all educational material will be covered without abbreviations.

As this program is implemented, additions and changes are possible.

This working programm is focused on the teacher’s creative approach to his work and can be considered as an exemplary one. Considerable possibilities for choosing teaching methods and means allow the teacher to plan and build educational process quite freely, focusing not only on the recommendations below, but also on your own experience and learning conditions.

Monitoring and recording progress

Progress testing should be considered as one of the management tools educational activities schoolchildren. The object of daily control in music literature lessons should be: the level of knowledge and skills, students’ academic work, dynamics musical development, student success.

The main form of control in music literature lessons can be in the form of:

Oral individual or frontal interview

Written survey

Testing.

With an individual survey, it is possible to thoroughly check individual students’ assimilation of biographical and musical material through retelling, answering questions, and defining music by ear.

A frontal survey, usually accompanied by high student activity, allows the knowledge of most students to be tested in a limited time. If, when testing knowledge of composers' biographies, students are required to provide more concise answers, then when analyzing musical material they can more fully reveal their capabilities. Such a response should demonstrate auditory perceptions and the ability to convey the expressiveness of music in words. As you answer, you can remind students of the sound of musical fragments.

Current monitoring of progress, carried out at each lesson through observation of students' academic work and surveys on the material covered, should be combined with the organization of periodic general knowledge testing in certain sections of the program. Usually it is carried out once in each academic quarter in the form of control lessons. In such lessons, testing can be carried out both in the form of an individual and frontal survey, or you can offer students questions in written form that would require concise answers and could reveal the degree of mastery of all educational material subject to control. In written form, it is convenient to test knowledge of music by playing examples for the whole group (or recording fragments of music).

The assimilation of all material by each student must be under control. The effectiveness of any form of control increases if its testing functions are skillfully combined with educational and training ones.

In order to get a certain idea of ​​the stock of knowledge accumulated over the years of study, for the final test lesson you can give questions related to the knowledge that should be retained in the memory of teenagers graduating from the Children's Art School for a long time. These can be musical-historical questions, theoretical ones related to the explanation of musical concepts, terms, about modern musical life, about the work of famous composers and musical works. This activity can take the form of a competition or Olympiad.

Any assessment of performance must take into account the conditions academic work, age characteristics of children and reflect an individual approach to each student.

It is advisable to supplement assessment scores with friendly and reasoned judgments about the qualitative side of the answers with a motivation for the mark. Not only individual student responses during individual and frontal surveys can be assessed, but also the quality of educational work in the classroom.

Quarter marks are derived from the results of the current survey and a general test during the control lesson and should objectively reflect the degree of mastery of the educational material. The final marks in musical literature are annual, which are determined on the basis of quarter marks, taking into account the growth trend of students. When deducing them, it is necessary to take into account all student performances:

Lesson work

Test lessons

Participation in concerts, competitions, and olympiads at various levels.

The final grade for the last year of study goes into the “Certificate of completion of the Children's Art School”.

Evaluation mechanism:

Frontal survey;

Quick current survey;

Systematic checking of homework;

Independent work to consolidate theoretical material using individual cards;

Testing to consolidate knowledge;

Test lessons at the end of the semester.

Criteria for evaluation

The Children's Art School uses a five-point grading system. For this reason, when marking, all “+” and “-” can be taken into account.

Rating "5" - "Excellent" “Awarded for flawless completion of all tasks in all forms of work in the musical literature lesson. Demonstrated confident use of the studied material in practice.

Rating "4" - "Good" "is awarded if the student demonstrates a sufficient understanding of the nature and content of the musical work, theoretical material... but some inaccuracies are allowed. Minor errors in performing other forms of work are allowed.

Rating "3" - " Satisfactorily" is given if the student demonstrates limitations of his abilities, an inaccurate understanding of the educational material; demonstrates insufficient knowledge of the knowledge required by the program.

Rating “2” - “ Unsatisfactory"is awarded for gross errors when completing tasks proposed by the teacher and provided for in the program; lack of knowledge of terminology.

Studying musical literature – component the process of musical education and training. The course of musical literature examines various phenomena of musical and social life, creative activity composers and outstanding works of folk, classical and modern musical art. When studying the phenomena of musical creativity, students become acquainted with a diverse range of knowledge in the field of music theory: with the features of various genres and forms of folk and professional music, with the expressive means of musical speech, instruments symphony orchestra and the composition of a number of instrumental ensembles.

It is very important to match the amount of educational material with the possibility of its high-quality assimilation, to ensure that its content is accessible to the methods of presentation age characteristics children, their level of general and musical development. The program contains a maximum of educational material that can be qualitatively mastered in the allotted time.

Approximate forms of conducting lessons and homework:

Along with traditional lesson forms, the program provides for new forms:

Open lessons with the presence of student parents;

Test for accumulated skills;

Control lesson-relay race;

Lesson-competition;

Competitions, quizzes, educational games.

Children's participation in such lessons helps in game form consolidate knowledge, skills and abilities; promotes self-affirmation of children, develops perseverance, desire for success, and fosters independence as a personality quality.

Requirements for the level of mastery of the subject by year of study

First year of study

The first year of study is introductory in nature. Its main goal is to awaken students’ interest in listening and analyzing musical works, and in acquiring a variety of musical knowledge. The educational material is arranged according to the didactic principle - in order of increasing complexity.

Main forms the work should be:

Listening to music and working with the musical text of the reader

Characteristics of the content of the works, their genre features, structure and means of expression

Explanation and assimilation of new concepts and terms

A story about the creation and performance of musical works and their authors

Independent work on the text of the textbook and repetition of completed works in the anthology

Memorization and recognition of musical works.

Working methods:

Developmental teaching method;

Verbal;

Visual (illustrations, manuals, anthologies);

Problem-search;

Game motivation method;

Scientific method (use of tests, tables, individual survey cards);

Concentric method of studying theoretical information.

When working with children, it is necessary to use their observations and knowledge, to help them comprehend their previous experience with music. Listening to and analyzing simple compositions of vocal and instrumental music will help students acquire knowledge and master the ways of communicating with music necessary for further educational work.

Second year of study

Starting from the second year of study, the program is based on the alternation of individual monographic and review topics in accordance with the historical and artistic process. This allows us to identify characteristics individual works, some style features outstanding composers, establish relationships between the phenomena of musical creativity. Each topic - monograph contains a story about the composer’s life (biography), short review creative heritage, analysis of individual works, which are then listened to in sound recordings.

The task of biographical lessons is

In the story, recreate the living image of the composer as a person, artist, citizen, patriot. Biographical story allows you to see the diverse connections between art and life, the position of musicians in society. It contains information of a historical, everyday, artistic and musical-theoretical nature. In such lessons, you can use musical fragments of composers, works of painting, poetry, and appeal to the memories of contemporaries.

The second year program includes monographic topics dedicated to the largest representatives of Western European music XVIII- XIX centuries. The genre variety of works (songs, small piano works, suites, sonatas, symphonies, overtures and operas) contributes to the expansion and deepening of previously acquired knowledge and skills. Musical material, which forms the basis of most topics, introduces students for the first time to the sonata-symphonic cycle and sonata form. This knowledge, first obtained in the topic “Y. Haydn”, then consolidated by studying the sonatas and symphonies of Mozart, Beethoven and Schubert. Development instrumental works large shape(auditory, theoretical and performing) should be considered as an important stage in the musical development of schoolchildren. In this regard, the theme “Bach J.S.” It is better to study at the end of the school year.

Third year of study

The study of Russian classical music begins in the third year of study. The program provides for the study of the creativity of the main representatives of Russian classics of the 19th century century.

In addition to monographic topics, the section includes three overview lessons:

Introduction preparing the topic “Glinka”

Conversation about Russian music 2nd half of the 19th century century

Conclusion, which contains information about the largest Russian composers of the late 19th – early 20th centuries. The study of national musical culture should be connected with courses in history and literature.

The main focus in this section is on opera, the leading genre of Russian classical music. The study of operas should be comprehensive and include brief information from the history of creation, characteristics of the content and composition of the work, its most important genre and theatrical features. This information, combined with an analysis of individual scenes and numbers of the opera, will give students a fairly complete understanding of the composition.

Acquaintance with the symphonic works of Glinka, Borodin, Rimsky-Korsakov and Tchaikovsky, with the romances and songs of Glinka and Dargomyzhsky will give students an idea of ​​the richness of the content and variety of genres of Russian classical music.

Fourth year of study

The course of musical literature ends with the study of music of the Soviet and post-Soviet period. The program of this section includes topics devoted to the works of Prokofiev, Shostakovich, Khachaturian and other composers, with a preceding overview introduction. It is useful to conduct reviews of the magazine "Musical Life". Studying the works of composers, their creative path, acquaintance with the most important phenomena of the musical life of our era should contribute to the cultivation of interest, respect and love for modern Russian music.

Organization of classes and brief guidelines

The course “Musical Literature” is studied in music schools for four years. The total course volume is 144 hours. Classes are held once a week. Exams in the subject “Musical Literature” are not held.

Solving the main tasks in the lesson is ensured by alternating different types of educational work:

The presentation of new material should be supplemented by its consolidation

Repetition of what has been covered serves as a test of knowledge and skills.

The main requirements for the lesson “Musical Literature” are the unity of educational and educational objectives, correct selection of educational material, the presence of interdisciplinary connections, provision of necessary equipment and teaching aids.

The effectiveness of music literature lessons is determined by the use of a variety of teaching methods. A significant part of the material, both theoretical and musical, when analyzing works by students is best learned from the teacher’s explanations. The lively and imaginative presentation of biographies is closer to the form of a story, which well combines the techniques of narration, description, reasoning, where visual illustrations can be used. The greatest activity of students can be achieved by turning to the form of conversation when communicating new knowledge, consolidating it, repeating what has been covered and testing the learned material. Visual methods training improves the quality of learning material.

The source of artistic impressions for children in the classroom should be the sound of music. During the lesson, the work that is the subject of study must be performed in its entirety or in a complete fragment. Demonstration of music in the classroom is possible in the form of its performance by the teacher, and by playback using technical means. It is useful to combine demonstration of music with observation of music using notes, using reading books, textbooks, and music examples.

Work in the classroom and at home should help students comprehend and remember the necessary information from the program material, be able to recognize it, reproduce it and independently apply it in musical practice. Consolidation of educational material is possible in the process of presentation and at the end of the lesson, when repeating what has been covered, and when independent work Houses.

The main type of homework on musical literature is working with a textbook, with the text. Notes in students' notebooks can also serve as auxiliary material for completing homework.

In addition to oral ones, educational and practical assignments in the anthology are also advisable. A special educational and practical task can be the analysis of compositions performed in an instrument class. Written assignments should also be limited. The most developed high school students can also be involved in feasible participation in musical and educational activities outside of school.

Calendar-thematic plan

Thematic course plan, in which the educational material is arranged by year of study from approximate distribution

The thematic plan of the course, in which the educational material is arranged by year of study with an approximate distribution of the number of lessons by topic, basically corresponds to the content of well-known textbooks on musical literature.

In each academic year, the program provides (in addition to the hours allocated for studying new material) 4 hours for conducting quarterly control lessons.

Approximate thematic plan

First year of study

Total: 36 lessons.

Second year of study

Total: 36 lessons.

Third year of study

Total: 36 lessons.

Averyanova I. Domestic musical literature of the 20th century. Fourth year of study. Textbook for children's music schools. – M., 2001.

Bryantseva N. Musical literature foreign countries. Second year of study. Textbook for children's music schools. – M., 1999, 2000.

Vladimirov V., Lagutin A. Musical literature. For 4th grade children's music school. – M., 1992, 1993.

Kozlova N. Russian musical literature. Third year of study. Textbook for children's music schools. – M., 2003.

Lagutin A., Vladimirov V. Musical literature. Textbook for 4th grade children's music and art schools. – M., 1999, 2000.

Osovitskaya Z., Kazarinova A. Musical literature. First year of study. Textbook for children's music schools. – M., 2000.

Prokhorova I. Musical literature of foreign countries. For 5th grade children's music school. – M., 2001.

Prokhorova I., Skudina G. Musical literature of the Soviet period. For 7th grade children's music school. – M., 2001.
Smirnova E. Russian musical literature. For 6-7 grades of children's music school. – M., 1994.

Reader on musical literature for 4th grade children's music school. Comp. V. Vladimirov, A. Lagutin. – M., 1987.

Reader on musical literature of foreign countries. For 5th grade children's music school. Comp. I. Prokhorova. – M., 1990.

Reader on musical literature for grades 6-7 of children's music school. Comp. E. Smirnova, A. Samonov. – M., 1993.

Reader on musical literature of the Soviet period. For 7th grade children's music school. Compiled and arranged for piano by A. Samonov. – M., 1993.

Application

Sample test questions for Tchaikovsky's opera "Eugene Onegin"

Where and when was the opera created?

What do you know about the first performance of the opera?

Explain the subtitle of the opera (lyrical scenes)?

Where and when does the opera take place?

What do the fates of the main characters have in common?

In which picture is Tatyana most fully characterized?

In which picture is Lensky most fully characterized?

Where can you hear echoes of nature in opera music?

Which opera films have choral scenes?

Which opera films contain dancing?

Name the opera ensembles you know and in which films do they appear?

List the orchestral episodes of the opera?

In which films are there only two characters on stage?

Which films have only one scene?

What is the characteristic of the waltz, what happens on stage to its music?

Which films have crowd scenes?

In which film does Gremin's aria sound? Is this aria a monologue or an aria an address? What is the prince talking about in it?

These questions can be asked to students either orally or in writing. Answers to questions should be supplemented by a definition of music by ear.

Municipal autonomous institution
additional education
"Children's Art School"
Zadonsky municipal district Lipetsk region

Toolkit
For music departments of the Children's Art School

« Short course musical literature"

Age from 8 to 16 years

Compiled by: teacher
musical theoretical disciplines
Komova Alla Vasilievna

Zadonsk
2015

“A short course in musical literature” is intended to summarize the entire course of this subject in children's music schools. Here all the basic information about composers, their most famous works is very concisely presented, the main eras in world musical culture are briefly reviewed, the basic concepts of musical genres, forms and elements of musical speech are given.

1. Polyphony is polyphony. IN polyphonic work There can be from two to five voices, each of which develops independently, but they are all woven into one musical fabric. Polyphony was widespread during the Renaissance (XVI – XVII centuries) by outstanding musicians and polyphonists in the 1st half of the 17th century. were: German composers Georg Friedrich Handel, Georg Philipp Telemann English - Henry Purcell, French composer Jean Baptiste Lully.
In Italy, Antonio Vivaldi stood out. His violin concertos and the suite “The Seasons” are widely known. In France, the most famous composers are harpsichordists: Jean Philippe Rameau, Francois Couperin, Louis Claude Daquin. Harpsichord sonatas are very popular now. Italian composer Domenico Scarlatti.
But the “father” of polyphony is rightfully considered the great German composer Johann Sebastian Bach (1685 - 1750) His work is great and multifaceted.
Bach was born in the German town of Eisenach. He spent his childhood there, where he learned to play the organ, violin and harpsichord. From the age of 15 he lived independently: first in the city of Lüneburg, then, in search of work, he moved to the city of Weimar, where he served as an organist in the church and wrote his best organ works here: “Toccata and Fugue in D minor”, ​​organ chorale preludes and fugues. Then he moves to the city of Köthen.
In Köthen, he serves as a court musician for the Prince of Köthen and here he wrote the best keyboard works: 1st volume of the HTK (well-tempered clavier), 6 English and 6 French suites, inventions, "Chromatic Fantasia and Fugue".
Last years Bach lived in Leipzig. Here he worked as the head of the choir school (cantor) at the Church of St. Thomas and wrote many choral works: “Mass in B Minor,” “St. John Passion,” “Matthew Passion” and other best examples of cantatas and oratorios. Here he wrote the 2nd volume of the HTC.

I.S. Bach became the creator of polyphonic music. No one wrote polyphony better than him. His three sons also became famous composers, but the name of Johann Sebastian Bach went down in the history of musical art for all time! His music is eternal and understandable to people - it is alive.

2. Vienna Classical School.

This is a creative direction in music late XVIII- the beginning of the 19th century, which developed in Vienna (the capital of the Austrian Empire). Three composers belong to it: Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. A sonata-symphonic cycle was formed in their work. Their works are perfect in form and content (ie, classic). That is why they were called the great Viennese classics.
The music of composers of the Viennese classical school still remains an unsurpassed example of composition (classical - one of the meanings of the word - exemplary). School is the concept of succession here, i.e. continuation and improvement by one composer of the traditions and ideas of his predecessor.
The Viennese classics used a new musical structure (way of presenting musical thought) - homophono-harmonic, where there is a main melodic voice, and the other voices accompany the melody (they accompany it). Their work consists of an 8-bar (square) period. This is due to the use of Austrian and German folk themes. The harmony is dominated by triads of the main degrees T, S, D.

Joseph Haydn (1732-1809) was the oldest Viennese classics. The genres of sonata, symphony, concerto and quartet were finally formed in his work. He is called the “father” of symphonies (he has more than 100 of them). His music is based on themes folk dances and songs that he develops with the greatest skill. In his work, the composition of the symphony orchestra was also formed, consisting of three groups instruments - strings, winds and percussion. He served almost his entire life as a court musician for Prince Esterhazy, creating 104 symphonies, 52 sonatas, concertos and 83 quartets. But the pinnacle was his 12 London symphonies, the oratorios “The Seasons” and “The Creation of the World,” written in London at the end of his life.

The German composer W.A. Mozart (1756-1791) became a follower of Haydn’s work. His light music is still modern - a striking example of classicism. From an early age he began to compose sonatas, symphonies and operas. Using Haydn's sonata-symphonic cycle, Mozart developed and enriched it. If in Haydn the contrast between the main and secondary parts is not clearly expressed, then in Mozart the main part is very different in character from the secondary and the development (middle section) is therefore more intense. Mozart's music conveys with amazing power both mournful tragic moods ("Requiem"), humorous images, and beautiful nature. Mozart's music is distinguished by its beauty and grace. Mozart is the author of many operas, the most famous of which are: “The Marriage of Figaro”, “The Magic Flute”, “Don Giovanni”. He has about 50 symphonies (the most famous are G minor No. 40 and “Jupiter” No. 41), many sonatas, concertos for clavier, violin, oboe, flute, and divertiments.

Ludwig
van
Beethoven (1770-1827) - the third Viennese classic.
The great German composer was born in Bonn. Contemporary of the Great french revolution, he embodied in his music rebellious pathos, the dream of freedom and happiness of mankind. He created 9 symphonies (the most famous: C minor No. 5, No. 9), a number of overtures (“Coriolanus”, “Egmont”, “Leonora”); 32 sonatas (“Lunar” No. 14, “Pathetique” No. 8, “Appassionata” No. 23, etc.), the opera “Fidelio”, 5 piano concertos, a violin concerto and sonatas for violin, 16 string quartets. Beethoven's work is filled with enormous energy, the contrast between themes is very bright, his music is dramatic and at the same time life-affirming and understandable to all people.

3. The era of romanticism in music.

Romanticism is a movement in art that arose at the beginning of the 19th century, during the time of reaction after the French bourgeois revolution. People of art at this time could not truthfully reflect reality and they had to either go into the world of fantasy or reflect inner world a person's feelings and emotions.

In music, the first romantic composer was Franz Schubert (1797-1828), the great Austrian composer– a songbook (he has more than 600 of them).
In his youth he had to experience many losses. Finding himself alone in Vienna, he lived with friends and acquaintances and was full of hopes for a wonderful future. His songs during this period were light in content (the cycle “The Beautiful Miller's Wife”). But gradually he begins to understand that life is not as cloudless as it seemed to him, that the fate of a musician is poverty and need. In the song "Organ Grinder" he painted a portrait of himself - a singer thrown out by society. Gloomy moods are reflected in the cycle “ winter journey", "A swan song". Such masterpieces as the ballad “The Forest King” and “Margarita at the Spinning Wheel” were written to Goethe’s words. Schubert's "Serenade" has firmly entered the repertoire famous singers. In addition to songs, Schubert also wrote 8 symphonies (the most famous “Unfinished” in B minor No. 8 in two parts). He also has many small piano works: musical moments, impromptu, ecosesuses, waltzes.
Schubert died very early - at the age of 31, but with his works he managed to prepare the emergence of followers of his work.

One of them was the Polish composer piano genre Fryderyk Chopin (1810 – 1849).
His music is brilliant. Despite the fact that he wrote exclusively for the piano, he nevertheless discovered a whole world - from the secret depths of human feelings to simple scenes village life.
Turning to Polish national genres - mazurkas, polonaises, waltzes, he showed them from different sides. For example, his mazurkas can be ballroom, or they can resemble a simple village dance. Polonaises are sometimes brilliant, sometimes tragic.
Waltzes are also very diverse in character, and his etudes go beyond the scope of a purely technical work - they are already concert pieces - paintings. Chopin's preludes are small in size, but very different in the shades of feelings touched upon in them. Chopin's nocturnes are examples of melody and harmony. Chopin is the creator of a new genre of piano music - the ballad genre. He also has sonatas. Chopin's funeral march is familiar to everyone - this is the 3rd movement of the B minor sonata.
Fryderyk Chopin is a favorite composer of many pianists. Since 1927, the World Chopin Piano Competitions have been regularly held in Warsaw.

The third romantic of foreign music is Robert Schumann (1810 – 1856).
This is a great German composer - a dreamer and inventor. He had an amazing ability to portray portraits of people in music, often with humor. Piano cycle"Carnival" is his most famous work. He wrote many small pieces for piano, “Album for Youth”, “Butterflies”, 3 sonatas, “Symphonic Etudes” and other works.

4. Russian musical culture.

Mikhail Ivanovich Glinka (1804-1857)
The great Russian composer is the founder of national classical music.
After graduating from the university noble boarding school, he traveled extensively throughout Europe, studying the music of foreign countries (Italy, Germany, Austria). Returning to his homeland, Glinka set out to create a Russian national music school and he managed to do it.
Glinka collected and processed Russian folk songs and wrote his works using their intonations, dressing them in strict classic shapes.
Glinka is the author of about 80 romances and songs, including such masterpieces as “Doubt”, “I Remember a Wonderful Moment”, “Lark” and others.
His first opera on a historical plot was “Life for the Tsar” (“Ivan Susanin”).
From this opera came a branch of Russian historical opera (it became an example of this genre). Glinka’s second opera was written based on the fairy tale by A. S. Pushkin “Ruslan and Lyudmila”. She laid the foundation for Russian fairytale opera.
In addition, “All Russian symphonic music is contained in Glinka’s Kamarinskaya, like an oak in an acorn.” - wrote P.I. Tchaikovsky. This is true. In addition to “Kamarinskaya,” Glinka wrote two overtures on Spanish themes, “Aragonese Jota” and “Night in Madrid,” and his “Waltz Fantasy” is an example of beautiful lyrics in instrumental music.
Having summed up everything that was created before him by Russian composers, Glinka raised Russian music to a qualitatively higher level. new level and achieved recognition of Russian music at the world level.

Alexander Sergeevich Dargomyzhsky (1813 – 1869)
A follower and younger contemporary of Glinka, he entered the history of Russian musical culture as the creator of socially revealing works. Among them is an opera based on the plot of Pushkin’s tragedy of the same name “Rusalka”, where the composer conveyed the tragedy of a simple peasant girl Natasha, abandoned by the prince, to the grief of her father. Another opera is based on the text of Pushkin’s little tragedy “The Stone Guest”. This is also a socio-psychological drama. In his operas, Dargomyzhsky introduced a new principle of end-to-end musical development. It was that musical numbers arias, arioso, duets, choruses - smoothly and without stopping they turn into recitative and vice versa, and the orchestral part often conveys what is not expressed in words.
Dargomyzhsky is the author of about 100 romances and songs. Among them are very popular: “I’m Sad”, “Old Corporal”, “Titular Councilor”, “Worm” and others.
In his music, Dargomyzhsky relied on folk songs, but at the same time on the intonations of living human speech. “I want the sound to directly express the word. I want the truth!” - this is Dargomyzhsky’s creative credo.

In the second half of the 19th century, a rise began in Russia national art- literature, painting, music. At this time, a circle of like-minded musicians arose, called the “Mighty Handful” by the famous music critic Stasov. It is also called the “Great Russian Five” or the “New Russian School”.
The circle included 5 composers.
Its leader was Mily Alekseevich Balakirev (1837-1910) - a bright figure, musical talent. His merit is that he collected and processed Russian folk songs. Balakirev did not create very many works. The most interesting of them are the fantasy “Islamey”, 8
Russian folk songs arranged for piano, about 50 romances.

Alexander Porfirievich Borodin (1833-1887)

- an outstanding chemist, teacher, composer. Author of the opera “Prince Igor” based on the historical plot of the ancient Russian chronicle “The Tale of Igor’s Campaign”, symphonic picture“In Central Asia”, wonderful 2 quartets, 3 symphonies (the most famous 2nd is called “Bogatyrskaya”) and 18 romances. The composer embodied in his work epic epic Russian people, and also illuminated the world eastern Asia, with its beautiful melodies.

Modest Petrovich Mussorgsky (1839-1881) was a tribune composer who reflected the life and history of the fair-haired people. His operas “Boris Godunov”, “Khovanshchina” are monumental folk musical dramas- the pinnacle of his creativity; musical comedy according to Gogol " Sorochinskaya fair» reveals vivid, vivid images ordinary people; the cycle “Pictures at an Exhibition”, the song cycles “Children’s”, “Songs and Dances of Death”, romances are included in the repertoire of world theaters.

Caesar Antonovich Cui (1835-1918) – composer and musical critic, author of opera-fairy tales “Little Red Riding Hood”, “Puss in Boots”, “Fool Ivanushka”, romances, songs, short piano pieces. His works are not as significant as the works of other composers " Mighty bunch", but he also contributed to the treasury of Russian music.

What united all the composers of the “Mighty Handful” was that they were reverent about the Russian folk song, sought to enrich the Russian classical music, elevate it on a global scale. All of them are followers of the great Russian classical composers M.I. Glinka and A.S. Dargomyzhsky.

References:
Bazhenova L., Nekrasova L., Kurchan N., Rubinstein I., “World art culture 20th century: Cinema, theater, music”, published. Peter 2008
Gorbacheva E. “Popular History of Music”, published. "Veche" 2002
Mikheeva L. " Musical dictionary in stories" published. Moscow, " Soviet composer" 1984
Privalov S. “Foreign musical literature. The era of romanticism"
published "Composer" 2003
5. Prokhorova, I., Skudina, G. “Musical literature of the Soviet period”
published "Music" 2003
6. Prokhorova, I. “Musical literature of foreign countries”
published "Music" 2003

7. Smirnova E. “Russian musical literature”, published. "Music" 2001
8. Encyclopedia for children. Volume 7. Art. Part 3. Music. Theater. Cinema publishing house CJSC "House of Books, Avanta+" 2000

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New edition manuals on musical literature is significantly expanded in accordance with the new training programs a collection of illustrations for biographies of foreign and Russian composers, studied in the course of musical literature at the Children's Music School.
The principle taken as a basis in the first version of the manual (see) has been preserved.

The species row is arranged in chronological order and reflects the most important milestones in the life and work of the presented composers. The greatest changes and additions were made to the disc on musical literature of foreign countries, since today the program provides for the study of the discipline for one and a half years.

A series of biographical lessons is supplemented with review topics characterizing the most significant achievements in culture different eras. Biographical lessons on foreign music is preceded by a description of the musical art of the pre-Bakhov era. Added topics related to art Ancient Greece and Rome, the musical culture of the Middle Ages, the Renaissance and the Baroque era, based on meaningful and varied illustrations. It became possible to dwell in more detail on the characteristics of the era of the formation of the Viennese classical school, the philosophy and aesthetics of this period, opera reform K.V. Gluck, which is also the subject of separate presentations. New topic is also a biography of G. F. Handel. All other traditional biographical themes have been supplemented with a large number of new illustrations. After the biographical lessons, a list of the main Western European composition schools of the 19th-20th centuries is given. This topic is now presented not with one, as before, but with five presentations. Musical material has also been added to all new topics.

The course of Russian musical literature, which, along with musicians, composers, performers, presents statesmen, public figures, scientists, poets, writers, playwrights, artists - people who have made a huge contribution to the cultural heritage of Russia, has also been replenished with new illustrations that will help give a vivid presentation about the most significant phenomena of the era, about the life and work of outstanding Russian composers. For example, the fragment of the biography of A.P. Borodin given below characterizes the environment of the young scientist and musician, those powerful intellectual forces that stood at the origins of Russian natural sciences, being, at the same time, great lovers of art in all its manifestations.

Biographical lessons and review topics can be given either in the form of a lecture or in the form of a conversation with students with illustrations shown. The manual is made with maximum respect for the individuality of the teacher, giving him complete freedom in presenting the material, without imposing a certain text. The teacher has the opportunity to comment on the presented slides to the extent he sees fit.

The background design of each presentation, as well as the disc cover design, have been completely edited.

The teacher can choose from musical and illustrative material that can accompany the slide show. When selecting musical fragments, the author emphasized music that is not studied in the music course. literature of children's music school, which helps to expand ideas about the work of each composer.

On the discs, each topic is presented in the form of a folder, which contains the presentation itself and a folder with musical works.

Below are fragments of the presentations “George Frideric Handel” and “Alexander Porfirievich Borodin” for your viewing pleasure.

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