What is a musical image? Classification and construction features. Report: Musical image The wealth of musical images
Topic: Variety of musical images (general lesson) Class: 7 “B” Music teacher of Municipal Educational Institution Secondary School No. 2 Sadyrova F.Zh. Goals: to develop imagination and fantasy, the ability to identify a musical image in various works using the example of “Bolero” by M. Ravel, “Sad Waltz” by J. Sibelius, “Rhapsody” by F. Liszt, “Prelude No. 4” by A. Scriabin, musical fragments of works and songs played during the lessons of the first half of the year. Equipment: computer, interactive whiteboard, stereo system, synthesizer. During the classes. I. Class organization. II. Reinforcing the material covered. 1.- What is a musical image? As D.B. said Kabalevsky: “We know that every piece of music contains some particle of life, we call it a musical image. This could be an affectionate image, a kind image of a lullaby, it could be a courageous image (to name), an image that embodies anxiety (to name).” - What musical images have we met this school year? - How do you understand the “Romantic image”? Where did it come from? What it is? That's right, romanticism is an ideological and artistic direction of culture of the late 18th - first half of the 19th century. Romantics paid great attention to revealing the inner world of a person, his feelings and experiences. Listen to an excerpt from a poem by the English poet John Keats, which is typical of his language: Oh, how I love in a clear summer hour, When the sunset's gold flows, And a string of silver clouds Caressed with zephyrs, - for once To escape from the hardships that torment us, For a moment from forget about persistent thoughts and take refuge with an enlightened soul in the dead thicket, pleasing to the eye. Which lines from the poem convey romance to us? 2.What musical works do you know that would convey to us pictures of folk life? (Bolero and Rhapsody) Who are the composers of these works? (Ravel and Liszt). Slide: portrait of M. Ravel What do you know about the work of these composers? (Maurice Ravel is a French composer who loved to travel a lot. His favorite pastime was listening to how machines worked in factories) -2What can you say about the title of the work? (Spanish dance) 3. Listening to an excerpt from “Bolero”. An excerpt from which work was played just now? 4. Listening to an excerpt from “Rhapsody” by Franz Liszt. Slide: portrait of F. Liszt How many images does “Rhapsody” convey? (two) What images are these? (the image of a gypsy camp, two poles of the human condition - seriousness and cheerful dancing) 5. Let’s move on to the next image, “Lyrical”. How do you understand the word “lyrics” and “lyrical image”? That's right, this is a celebration of any beauty. Name a musical genre that can be classified as lyrical and at least one work dedicated to this image. 6.- Now let’s talk about images that make a person empathize, sympathize, and touch a person’s soul. Do we know such images? What works tell us about such images? - That's right, this is an image of suffering, an image of sadness and a dramatic image. Let's describe the development of these images. The image of suffering is conveyed to us by the works of Al.Nik. Scriabin "Prelude No. 4". Slide: A. Scriabin Scriabin created a cycle of 24 preludes for piano. And they are all varied in character. This is a calm, bright mood, and excited lyrics, and a joyfully excited striving forward, as well as dramatic impetuosity. The prelude is very concise and at first glance very simple. Here the image of a lonely suffering soul of a man is conveyed, who is trying to get out of his stupor, but the bell beats its measured rhythm. And the person is forced to come to terms with his fate. The last three rings of the bell complete this small but profound human tragedy. 7. Listening to a fragment from “Prelude No. 4”. Do you know other works that would describe a sad image? That's right, this is “Sad Waltz” by Jean Sibelius, a famous Finnish composer, written for the drama of the Finnish playwright Järnefelt. Slide: portrait of J. Sibelius What do we know about this composer? (children's answers) 8. Listening to “Sad Waltz” by J. Sibelius In this work, a continuously developing image is the image of sadness. It’s as if a person is either completely depressed by boundless sadness, or trying to break out of the shackles of ruthless sadness. So he rushed towards the light, now he almost reached it, it seems he even smiled... But no, again this melancholy, causing tears. But we feel that sadness is strong. 9. Now let's talk about images that convey peace and silence, which a person often lacks. 10. Listening to “The Island” by S. Rachmaninov. Slide: portrait of S. Rachmaninov 11. What state of a person does music convey? Think about M. Gorky’s statement “How well he hears silence.” Which lines especially convey peace and silence? 12. A slightly different silence in “Song of Tourists” from the opera “And the Dawns Here Are Quiet” by K. Molchanov. While we are performing the song, someone will go to the board and complete the task. It is necessary to correctly correlate the names of composers and works. Work at the board. 13. Performance of “Song of Tourists” by K. Molchanov What feelings and mood does this song evoke in you? And what kind of silence appears before us here? Let's pay attention to the board, was the task completed correctly? 14. Lesson summary. Considering the various images that we have met in this half-year, they depict life in its various manifestations. When creating them, composers use a variety of means of musical expression, which means that the nature of the music depends on the musical language.
Lesson 1 - “The Amazing World of Musical Images” (6th grade)
Hello guys!
Please open your notebooks and write down the topic of our lesson.
“Art is a means of conversation with people,” said M. Mussorgsky, and N.A. Rimsky-Korsakov called music the art of poetic thought, which is akin to our speech.
Today in the lesson you and I will have to answer the question: What is similar between musical and spoken language?
Guys, what do you think is similar between musical speech and spoken language? (Answers from the guys)
Please look at our “daisy” - a means of musical expression.
Musical and spoken language have something in common - intonation.
Let's sketch a "daisy". I will tell you what to write down in your notebook.
While you are sketching, I will tell you how each of the means of musical expression affects the musical language.
So, musical intonations make upmelody . Below we write,melody is the soul of a piece of music, its most significant side. The birth of a musical image depends on how the melodies develop, how they combine with each other, and interact with each other.
Now, let's open the textbook on page 6 and read what a musical image is. (Reading). Write down the first sentence.
Artistic images reveal various facets of a person’s spiritual world, his attitude to a variety of phenomena in the surrounding life. Immersing ourselves in the figurative structure of the work, we worry, feel sad, rejoice...
Guys, do you know any musical images? (Answers).
Today we will introduce you to several musical images.
Let's write down that a lyrical image is an image that conveys the author's personal experiences.
1. A. Rubinstein - romance “Mountain Peaks”.
A dramatic image is a musical interpretation of the literary image of a hero. Shows character traits.
2. F. Schubert - “The Forest King”.
Epic image - images depicting the Motherland in a certain historical era.
3. A. Borodin - Symphony No. 2 “Bogatyrskaya”.
The first section of the textbook introduces us to amazing images of vocal and instrumental music.
Let's read in the textbook what vocal music is.
(Reading...Italianvocal…)
Guys, what is romance? (Answers from the guys)
Let's write down what romance is.
Romance is a short musical composition for voice accompanied by an instrument, written to lyrical poetry.
Let's listen to another Russian romance.
4. A. Varlamov - “Red Sundress”.
What is this romance like?
To a Russian folk song.
What feelings do Russian romances glorify?
Love for man, mother, love for the Motherland, land.
Let's read what instrumental music is.
Instrumental music is intended for playing various musical instruments.
What is vocalization? (Singing without words) Let's write it down.
5. S.V. Rachmaninov - vocalization.
What musical images have we met today? (Answers from the guys)
The lesson is over.
Musical image
Music as a living art is born and lives as a result of the unity of all types of activity. Communication between them occurs through musical images. In the mind of the composer, under the influence of musical impressions and creative imagination, a musical image is born, which is then embodied in a musical work. Listening to a musical image, - i.e. vital content embodied in musical sounds determines all other facets of musical perception.
in other words, a musical image is an image embodied in music (feelings, experiences, thoughts, reflections, actions of one or more people; any manifestation of nature, an event in the life of a person, people, humanity... etc.)
A musical image is the combined character, musical and expressive means, socio-historical conditions of creation, construction features, and the style of the composer.
Musical images are:
Lyrical - images of feelings, sensations;-epic - description;-dramatic - images of conflicts, collisions;-fairy-tale-images-fairy tales, unreal;-comic- funnyetc.
Taking advantage of the rich possibilities of the musical language, the composer creates a musical image in whichembodies one or another creative ideas, one or another life content.
Lyrically images
The word lyric comes from the word “lyre” - this is an ancient instrument that was played by singers (rhapsodists), narrating about various events and experienced emotions.
Lyrics are a monologue of the hero in which he talks about his experiences.
The lyrical image reveals the individual spiritual world of the creator. In a lyrical work there are no events, unlike drama and epic - only the confession of the lyrical hero, his personal perception of various phenomena.
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Here are the main properties of lyrics:-feeling-mood-lack of action.Works that reflect the lyrical image:
1. Beethoven "Sonata No. 14" ("Moonlight")2. Schubert "Serenade"3. Chopin "Prelude"4. Rachmaninov "Vocalise"5. Tchaikovsky "Melody"
Dramatic images
Drama (Greek Δρα´μα - action) is one of the types of literature (along with lyrics, epic, and lyroepic), which conveys events through the dialogues of characters. Since ancient times, it has existed in folklore or literary form among various peoples.
Drama is a work depicting the process of action.The main subject of dramatic art was human passions in their most vivid manifestations.
The main properties of the drama:
A person is in a difficult, difficult situation that seems hopeless to him.
He is looking for a way out of this situation
He enters into a struggle - either with his enemies or with the situation itself
Thus, the dramatic hero, unlike the lyrical one, acts, fights, and as a result of this struggle either wins or dies - most often.
In drama, the foreground is not feelings, but actions. But these actions can be caused precisely by feelings, and very strong feelings - passions. The hero, under the power of these feelings, commits active actions.
Almost all Shakespearean heroes belong to dramatic images: Hamlet, Othello, Macbeth.
They are all overwhelmed by strong passions, they are all in a difficult situation.
Hamlet is tormented by hatred of his father's murderers and a desire for revenge;
Othello suffers from jealousy;
Macbeth is very ambitious, his main problem is the thirst for power, because of which he decides to kill the king.
Drama is unthinkable without a dramatic hero: he is its nerve, focus, source. Life swirls around him, like water churning under the action of a ship’s propeller. Even if the hero is inactive (like Hamlet), then this is explosive inaction. "The hero is looking for a catastrophe. Without a catastrophe, a hero is impossible." Who is he - a dramatic hero? Slave to passion. It is not he who is looking, but she who is dragging him towards disaster.Works embodying dramatic images:1. Tchaikovsky "Queen of Spades"
“The Queen of Spades” is an opera based on the story of the same name by A. S. Pushkin.
The plot of the opera:
The main character of the opera is officer Herman, German by birth, poor and dreams of quick and easy enrichment. He is a gambler at heart, but has never played cards, although he has always dreamed of it.
At the beginning of the opera, Herman is in love with the rich heiress of the old countess, Lisa. But he is poor and has no chance of getting married. That is, a hopeless, dramatic situation immediately emerges: poverty and, as a result of this poverty, the inability to achieve the girl he loves.
And then by chance Herman finds out that the old countess, Lisa’s patron, knows the secret of 3 cards. If you bet on each of these cards 3 times in a row, you can win a fortune. And Herman sets himself the goal of learning these 3 cards. This dream becomes his strongest passion, for the sake of it he even sacrifices his love: he uses Lisa as a way to penetrate the countess’s house and find out the secret. He makes an appointment for Lisa at the countess's house, but goes not to the girl, but to the old woman and, at gunpoint, demands that she tell him 3 cards. The old woman dies without telling him them, but the next night her ghost appears to him and says: “Three, seven, ace.”
The next day, Herman admits to Lisa that he was responsible for the death of the Countess, Lisa, unable to withstand such a blow, drowns herself in the river, and Herman goes to a gambling house, bets three and seven one after another, wins, then bets an ace for all the money he won, but at the last moment, instead of an ace, the queen of spades appears in his hands. And Herman sees in the face of this Queen of Spades an old countess. Everything he wins, he loses and commits suicide.
Herman in Tchaikovsky's opera is completely different from Pushkin's.
Pushkin's Herman is cold and calculating, Lisa for him is only a means on the path to enrichment - such a character could not captivate Tchaikovsky, who always needed to love his hero. Much in the opera does not correspond to Pushkin's story: the time of action, the characters of the characters.
Tchaikovsky's Herman is an ardent, romantic hero with strong passions and a fiery imagination; he loves Lisa, and only gradually the secret of the three cards displaces her image from Herman’s consciousness.
2. Beethoven "Symphony No. 5"All of Beethoven's work can be described as dramatic. His personal life becomes a confirmation of these words. Fight is the meaning of his whole life. The fight against poverty, the fight against social norms, the fight against disease. The author himself said about the work “Symphony No. 5”: “So fate is knocking on the door!”
3. Schubert "The Forest King"It shows the struggle between two worlds - the real and the fantastic. Since Schubert himself is a romantic composer, and romanticism is characterized by a fascination with mysticism, the collision of these worlds is very clearly expressed in this work. The real world is represented in the image of a father, he tries to look at the world calmly and sensibly, he does not see the Forest King. Fantastic world - Forest King, his daughters. And the baby finds himself at the junction of these worlds. He sees the Forest King, this world frightens and attracts him, and at the same time he relates to the real world, he asks for protection from his father. But in the end, the fantasy world wins, despite all the father’s efforts."The rider urges, the rider gallops,In his hands lay a dead baby."
In this work, fantastic and dramatic images are intertwined. From the dramatic image we see a fierce, irreconcilable struggle, from the fantastic - a mystical look.
Epic imagesEPOS, [Greek. epos - word]An epic is usually a poem that talks about heroic people. deeds.
The origins of epic poetry are rooted in prehistoric tales of gods and other supernatural beings.
Epic is the past, because tells about past events in the life of the people, about their history and exploits;
^ The lyrics are real, because its object is feelings and moods;
Drama is the future, because the main thing in it is the action with the help of which the heroes try to decide their fate, their future.
The first and simple scheme for the division of arts associated with words was proposed by Aristotle, according to which an epic is a story about an event, drama represents it in persons, and lyrics respond with the song of the soul.
The place and time of action of the epic heroes resemble real history and geography (in which the epic is radically different from fairy tales and myths, which are completely unreal). However, the epic is not entirely realistic, although it is based on real events. Much of it is idealized and mythologized.
This is the property of our memory: we always embellish our past a little, especially if it concerns our great past, our history, our heroes. And sometimes it’s the other way around: some historical events and characters seem worse to us than they really were. Properties of the epic:
Heroism
The unity of the hero with his people, in whose name he performs feats
Historicity
Fabulousness (sometimes the epic hero fights not only real enemies, but also mythical creatures)
Evaluativeness (the heroes of the epic are either good or bad, for example, heroes in epics - and their enemies, all sorts of monsters)
Relative objectivity (the epic describes real historical events, and the hero may have his own weaknesses)Epic images in music are images not only of heroes, but also of events, history, they can also be images of nature depicting the Motherland in a certain historical era.
This is the difference between epic and lyricism and drama: what comes first is not the hero with his personal problems, but the story.Works of an epic nature:1. Borodin "Heroic Symphony"2. Borodin "Prince Igor"
Borodin Alexander Porfirievich (1833-1887), one of the composers of the "Mighty Handful".
All his work is permeated with the theme of the greatness of the Russian people, love for the motherland, and love of freedom.
This is the subject of both the “Heroic Symphony”, which captures the image of the mighty heroic Motherland, and the opera “Prince Igor”, created based on the Russian epic “The Tale of Igor’s Campaign”.
“The Tale of Igor’s Campaign” (“The Tale of the Campaign of Igor, Igor, Svyatoslav’s son, Oleg’s grandson) is the most famous (considered the greatest) monument of medieval Russian literature. The plot is based on the unsuccessful campaign of 1185 by Russian princes against the Polovtsians, led by Prince Igor Svyatoslavich.
3. Mussorgsky "Bogatyr Gate"
Fairytale images
The name itself suggests the storyline of these works. These images are most vividly embodied in the works of N.A. Rimsky-Korsakov. This is the symphonic suite “Scheherazade” based on the fairy tales “1001 Nights”, and his famous fairy tale operas “The Snow Maiden”, “The Tale of Tsar Saltan”, “The Golden Cockerel”, etc. Fairy-tale, fantastic images appear in close unity with nature in Rimsky-Korsakov’s music. Most often, they personify, as in works of folk art, certain elemental forces and natural phenomena (Frost, Leshy, Sea Princess, etc.). Fantastic images contain, along with musical, picturesque, fairy-tale and fantastic elements, also features of the external appearance and character of real people. Such versatility (it will be discussed in more detail when analyzing the works) gives Korsakov’s musical fantasy a special originality and poetic depth.
Rimsky-Korsakov's melodies of instrumental type are distinguished by great originality, complex in melodic-rhythmic structure, mobile and virtuosic, which are used by the composer in the musical depiction of fantastic characters.
Here we can also mention fantastic images in music.
fantastic music
some thoughts
No one now has any doubts that science fiction works, published in huge numbers every year, and science fiction films, of which many are also produced, especially in the USA, are very popular. What about “fantasy music” (or, if you prefer, “musical fiction”)?
First of all, if you think about it, “fantasy music” has been around for quite some time. Isn’t it possible to include ancient songs and ballads (folklore) that were composed by different peoples all over the Earth in order to praise legendary heroes and various events (including fairy-tale and mythological ones)? And around the 17th century, operas, ballets and various symphonic works appeared, created based on various fairy tales and legends. The penetration of fantasy into musical culture began in the era of romanticism. But we can easily find elements of its “invasion” in the works of musical romantics such as Mozart, Gluck, and Beethoven. However, the most clearly fantastic motifs are heard in the music of German composers R. Wagner, E. T. A. Hoffmann, K. Weber, F. Mendelssohn. Their works are filled with Gothic intonations, motifs of fairy-tale and fantastic elements, closely intertwined with the theme of confrontation between man and the surrounding reality. One cannot help but recall the Norwegian composer Edvard Grieg, famous for his musical canvases based on folk epics, and the works of Henrik Ibsen “Procession of the Dwarves”, “In the Cave of the Mountain King”, Dance of the Elves" 
, as well as the Frenchman Hector Berlioz, in whose work the theme of the elements of the forces of nature is clearly expressed. Romanticism also manifested itself in a unique way in Russian musical culture. Full of fantastic imagery, Mussorgsky's works "Pictures at an Exhibition" and "Night on Bald Mountain", which depict a witches' Sabbath on the night of Ivan Kupala, have had a colossal influence on modern rock culture. Mussorgsky also created the musical interpretation of N.V. Gogol's story "Sorochinskaya Fair". By the way, the penetration of literary fiction into musical culture is most clearly noticeable in the works of Russian composers: “The Queen of Spades” by Tchaikovsky, “The Mermaid” and “The Stone Guest” by Dargomyzhsky, “Ruslan and Lyudmila” by Glinka
, “The Golden Cockerel” by Rimsky-Korsakov, “The Demon” by Rubinstein, etc. At the beginning of the twentieth century, a true revolution in music was made by the brave experimenter Scriabin, an apologist for synthetic art, who stood at the origins of light music. In the symphonic score, he wrote the light part as a separate line. His works such as “The Divine Poem” (3rd Symphony, 1904), “Poem of Fire” (“Prometheus”, 1910), and “Poem of Ecstasy” (1907) are filled with fantastic imagery. And even such recognized “realists” as Shostakovich and Kabalevsky used the technique of fantasy in their musical works. But, perhaps, the real flowering of “fantastic music” (music in science fiction) begins in the 70s of our century, with the development of computer technology and the appearance of the famous films “2001: A Space Odyssey” by S. Kubrick (where, by the way, classical classics were very successfully used works by R. Strauss and I. Strauss) and "Solaris" by A. Tarkovsky (who in his film, together with composer E. Artemyev, one of the first Russian "synthesizers", created a simply wonderful sound "background", combining mysterious cosmic sounds with ingenious music by J.-S. Bach). Is it possible to imagine the famous “trilogy” of J. Lucas “Star Wars” and even “Indiana Jones” (which was directed by Steven Spielberg - but it was Lucas’ idea!) without the fiery and romantic music of J. Williams, performed by a symphony orchestra.
Meanwhile (by the beginning of the 70s), the development of computer technology reaches a certain level - musical synthesizers appear. This new technique opens up brilliant prospects for musicians: it has finally become possible to give free rein to imagination and model, create amazing, downright magical sounds, weave them into music, “sculpt” the sound like a sculptor!.. Perhaps this is real science fiction. in music. So, from this moment a new era begins, a galaxy of first master synthesizers and authors-performers of their works appears.
Comic images
The fate of the comic in music was dramatic. Many art critics do not mention the comic in music at all. The rest either deny the existence of musical comedy or consider its possibilities to be minimal. The most common point of view was well formulated by M. Kagan: “The possibilities of creating a comic image in music are minimal. (...) Perhaps only in the 20th century did music begin to actively seek its own, purely musical means for creating comic images. (...) And yet, despite the important artistic discoveries made by musicians of the 20th century, the comic has not won in musical creativity and, apparently, will never win the place that it has long occupied in literature, dramatic theater, fine arts, and cinema.” .
So, the comic is funny, having broad significance. The task is “correction with laughter.” A smile and laughter become “companions” of the comic only when they express the feeling of satisfaction that a person’s spiritual victory evokes over what contradicts his ideals, what is incompatible with them, what is hostile to him, since to expose what that contradicts the ideal, to realize its contradiction means to overcome the bad, to free oneself from it. Consequently, as the leading Russian esthetician M. S. Kagan wrote, the collision of the real and the ideal lies at the basis of the comic. It should be remembered that the comic, unlike the tragic, occurs only if it does not cause suffering for others and is not dangerous for humans.
Shades of the comic are humor and satire. Humor is a good-natured, gentle mockery of individual shortcomings and weaknesses of an overall positive phenomenon. Humor is friendly, good-natured laughter, although not toothless.
Satire is the second type of comic. Unlike humor, satirical laughter is a menacing, cruel, withering laughter. In order to hurt evil, social deformities, vulgarity, immorality and the like as much as possible, the phenomenon is often deliberately exaggerated and exaggerated.
All forms of art have the ability to create comedy. There is no need to talk about literature, theater, cinema, painting - it is so obvious. Scherzo, some images in operas (for example, Farlaf, Dodon) - realize the comic in music. Or let’s remember the finale of the first movement of Tchaikovsky’s Second Symphony, written on the theme of the humorous Ukrainian song “Crane”. This is music that makes the listener smile. Mussorgsky's "Pictures at an Exhibition" is full of humor (for example, "Ballet of the Unhatched Chicks"). Rimsky-Korsakov’s “The Golden Cockerel” and many musical images of the second movement of Shostakovich’s Tenth Symphony are sharply satirical.
Architecture is the only art form that is devoid of a sense of humor. The comic in architecture would be a disaster for both the viewer, the resident, and the visitor of the building or structure. An amazing paradox: architecture has enormous potential for embodying the beautiful, the sublime, the tragic to express and affirm the aesthetic ideals of society - and is fundamentally deprived of the opportunity to create a comic image.
In music, comedy as a contradiction is revealed through artistic, specially organized algorithms and inconsistencies, which always contain an element of surprise. For example, combining different melodies is a musical and comedic tool. Dodon’s aria in the opera “The Golden Cockerel” by N. A. Rimsky-Korsakov is built on this principle, where the combination of primitiveness and sophistication creates a grotesque effect (in Dodon’s mouth one can hear the intonations of the song “Chizhik-Pyzhik”).
In musical genres associated with stage action or having a literary program, the contradiction of the comic is grasped and made visible. However, instrumental music can express the comic without resorting to “extra-musical” means. R. Schumann, having played Beethoven’s Rondo in G major for the first time, in his own words, began to laugh, since this work seemed to him the funniest joke in the world. What was his amazement when he subsequently discovered in Beethoven's papers a note that this rondo was entitled "Rage for a Lost Penny, poured out in the form of a Rondo." About the finale of Beethoven's Second Symphony, the same Schumann wrote that this is the greatest example of humor in instrumental music. And in the musical moments of F. Schubert, he heard the tailor’s unpaid bills - such obvious everyday frustration sounded in them.
Music often uses surprise to create comic effect. Thus, in one of J. Haydn's London symphonies there is a joke: a sudden blow from the timpani shakes the audience, tearing them out of their dreamy distraction. In J. Strauss's Waltz with a Surprise, the smooth flow of the melody is unexpectedly disrupted by the clap of a pistol shot. This always causes a cheerful reaction from the audience. In “The Seminarist” by M.P. Mussorgsky, worldly thoughts, conveyed by the smooth movement of the melody, are suddenly disrupted by patter, personifying the memorization of Latin texts.
The aesthetic foundation of all these musical-comedy means is the effect of surprise.
Comic marches
Comic marches are joke marches. Any joke is based on funny absurdities, funny inconsistencies. This is what we need to look for in the music of comic marches. There were also comic elements in the Chernomor March. The solemnity of the chords in the first section (from the fifth bar) did not correspond to the small, “flickering” durations of these chords. The result was a funny musical absurdity that very figuratively painted a “portrait” of an evil dwarf. 
Therefore, Chernomor's March is also partly comic. But only partly, because there is a lot more in it. But Prokofiev’s March from the collection “Children’s Music” is kept in the spirit of a comic march from beginning to end.
In general, speaking about a comic image in music, the following musical works immediately come to mind:
Wolfgang Amadeus Mozart's "The Marriage of Figaro", where already in the overture (introduction to the opera), notes of laughter and humor are heard. And the plot of the opera itself tells the story of a stupid and funny owner, the Count, and a cheerful and intelligent servant, Figaro, who managed to outwit the Count and put him in a stupid position.
It’s not for nothing that Mozart’s music was used in the film “Trading Places” with Eddie Murphy.
In general, in Mozart’s work there are many examples of the comic, and Mozart himself was called “sunny”: so much sun, lightness and laughter can be heard in his music.
I would also like to draw your attention to Mikhail Ivanovich Glinka’s opera “Ruslan and Lyudmila”. The two characters Farlaf and Chernomor were written by the composer not without humor. Fat, clumsy Farlaf, dreaming of an easy victory (meeting with the sorceress Naina, who promises him:
But don't be afraid of me:
I am favorable to you;
Go home and wait for me.
We'll take Lyudmila away secretly,
And Svetozar for your feat
He will give her to you as a wife.) Farlaf is so happy that this feeling overwhelms him. For the musical characterization of Farlaf, Glinka chooses the rondo form, built on repeated returns to the same thought (one thought possesses him), and even the bass (low male voice) forces him to sing at a very fast pace, almost patter, which gives a comic effect ( he seemed out of breath).
This is life embodied in music, its feelings, experiences, thoughts, reflections, actions of one or several people; any manifestation of nature, an event in the life of a person, people, humanity. This is life embodied in music, its feelings, experiences, thoughts, reflections, actions of one or several people; any manifestation of nature, an event in the life of a person, people, humanity.
In music there are rarely works based on a single image. In music there are rarely works based on a single image. Only a small play or a small fragment can be considered unified in its figurative content. Only a small play or a small fragment can be considered unified in its figurative content.
Rhythm - alternation of short and long sounds Rhythm - alternation of short and long sounds Texture - method of presentation of musical material Texture - method of presentation of musical material Melody - monophonic presentation of the main idea of a work Melody - monophonic presentation of the main idea of a work
FACTURE A musical idea can be expressed in various ways. Music A musical idea can be expressed in various ways. Music, like fabric, is made up of various components, such as melody, like fabric, it is made up of various components, such as melody, accompanying voices, sustained sounds, etc. This entire complex of means is called texture. accompanying voices, sustained sounds, etc. This entire complex of means is called texture.
Types of musical textures Monodia (unison) (from the Greek "mono" - one) is the oldest single-voice Monodia (unison) (from the Greek "mono" - one) is the oldest single-voice texture, which is a single-voice melody, or the conduction of a melody several voices in unison. texture, which is a one-voice melody, or a melody carried out by several voices in unison. The homophonic-harmonic texture consists of melody and accompaniment. It became established in the music of the Viennese classics (second half of the 18th century) and is the most common texture to this day. Chord texture - represents a chord presentation without a pronounced melody. Examples include church chants - chorales (quite often this texture is called chorale), subvocal polyphony - characteristic of Russian folk song. It is based on free improvisation in the process of performing a melody, when the main voice is joined by other voices - supporting voices.
Sergei Vasilyevich Rachmaninov Composer Composer Pianist Pianist Conductor Conductor Born near Novgorod, in the homeland of the epic hero Sadko. Just like Sadko, Rachmaninov loved his land and always grieved being away from it. After all, in 1917, in the prime of his creative powers, he left Russia forever.
When was this passionate and dramatic polonaise born, to which the composer gave the name - Farewell to the Motherland? In those very days when the Polish uprising of 1794 was suppressed, the composer left the country. Imagine, Polonaise is 213 years old. When was this passionate and dramatic polonaise born, to which the composer gave the name - Farewell to the Motherland? In those very days when the Polish uprising of 1794 was suppressed, the composer left the country. Imagine, Polonaise is 213 years old. The durability of a work of art depends on the charge of mental energy invested in it by the author; such a creative outburst can feed people with the energy of feelings for centuries. The durability of a work of art depends on the charge of mental energy invested in it by the author; such a creative outburst can feed people with the energy of feelings for centuries. And here they are – the wonderful, amazing, endless and varied transformations of Oginski’s polonaise in the souls of people. And here they are – the wonderful, amazing, endless and varied transformations of Oginski’s polonaise in the souls of people. “OGINSKY’S POLONASE FAREWELL TO THE MOTHERLAND”
A song based on Oginsky's Polonaise performed by the Turetsky Choir. What was interesting in their performance? What was interesting about their performance? How did you feel when you left home, even for a short time? How did you feel when you left home, even for a short time?
Homework Express your feelings about separation from home in an essay or drawing. Express your feelings about separation from home in an essay or drawing. Find or compose poems about separation from home, compile them in a computer version on A4 sheet, recite them by heart or compose music and perform them in class. Find or compose poems about separation from home, compile them in a computer version on A4 sheet, recite them by heart or compose music and perform them in class.
Self-assessment and teacher assessment of students’ learning activities. Self-assessment algorithm. Did you remember everything that was discussed in class? Were you active in class? Were your answers correct? Did you keep order in class? Did you write down everything on the topic of the lesson in your notebook? Have you done your homework?
The musical image has objective and subjective sides. It conveys the essence of the phenomenon, its typical features. A musical image is a specific form of a generalized reflection of life through the means of musical art. The basis of the musical image is the musical theme. A musical image is a unity of objective and subjective principles. Contents artistic The image in music is human life.
The musical image embodies the most essential, typical features of the phenomenon - this is objectivity. The second side of the image is subjective, associated with the aesthetic aspect. The image conveys a phenomenon in development. The subjective factor is of great importance in music, both in the creative process of creating a musical work and in the process of its perception. However, in both cases, the exaggeration of the subjective principle leads to subjectivism in the concept of music. Speaking about the reflection of the subjective and emotional side in music, one cannot help but draw attention to the fact that the abstractly generalized is subject to music. An image in music is always a reflection of life passed through the artist. Each musical image can be called life, which is reflected in the music by the composer. When defining a musical image, you need to keep in mind not only the means with which it was created by the composer, but also what he wanted to embody in it. At the same time, it is important that even the most modest musical images in content and artistic form necessarily contain at least a slight development.
The initial structural element of music is sound. It differs from real sound in its physical sense. Musical sound has height, saturation, length, timbre. Music as sound art is less specified. Such a property as visibility remains practically outside the boundaries of the musical image. Music conveys the world reality and phenomena through sensory-emotional associations, i.e. not directly, but indirectly. That is why musical language is the language of feelings, moods, states, and then the language of thoughts. 
The specificity of a musical image is a problem for musical-aesthetic theory. Throughout the history of its development, music has sought in different ways specify musical image. The methods for this specification were different:
1) sound recording;
2) the use of intonations with a clearly defined genre belonging(marches, songs, dances);
3) program music and, finally,
4 ) establishment of various synthetic connections.
Let's consider these methods of concretizing musical images. There are two types of sound recording: imitation and associative.
Imitation: imitations of real-life sounds reality: the singing of birds (nightingale, cuckoo, quail) in Beethoven’s “Pastoral Symphony,” the sound of bells in Berlioz’s Symphony Fantastique, the takeoff of an airplane and the explosion of a bomb in Shchedrin’s Second Symphony.
Associative sound recording is built on the ability of consciousness to create images - representations by association. The range of such associations is quite large: associations 1) by movement
("Flight of the Bumblebee "). Associations arise in the listener due to 2) the height and quality of the sound (bear - low register of sound, etc.). 
Associations represent a separate form of associations in music 3) by color
when, as a result of the perception of a piece of music, an idea of the color of the phenomenon arises.
Associative sound recording is more common compared to imitation. Regarding the use of intonations with a bright genre belonging, then there are an infinite number of examples here. So, in the scherzo from Tchaikovsky’s symphony there is both a march theme and the Russian folk song “There was a birch tree in the field...”.
Program music is of particular importance for concretizing the musical image. In some cases, the program is: 1) the title of the work itself or an epigraph. At other times, the program presents 2) the detailed content of a musical work. In language programs, a distinction is made between picture and story programs. A textbook example can serve as a painting - “The Seasons” by Tchaikovsky, the piano preludes of the impressionist Debussy “The Girl with Flaxen Hair”. The names themselves speak for themselves. 
The plot program includes musical works based on an ancient or biblical myth, folk legend or original work - a literary genre - from lyrical works to drama, tragedy or comedy. Story programs can be sequentially developed. Tchaikovsky used a detailed plot for the symphonic fantasy “Francesca do Rimini” after Dante. This work is written based on the Fifth Song “Hell” from the “Divine Comedy”.
Sometimes the program in a musical work is determined by a painting. Program music brought the genre to life programmatically - instrumental and program-symphonic music. If the listener is not familiar with the program, then his perception will not be adequate in detail, but there will not be any special deviations (the character will be unchanged in the perception of the music). Concretization of musical images of non-program music ( instrumental) occurs at the level of perception and depends on the subjective factor. It is no coincidence that different people have different thoughts and feelings when listening to non-program music.
