Works for orchestra by M.I. Glinka “Kamarinskaya”, “Waltz – Fantasy”, “Aragonese Jota”, “Night in Madrid” presentation by Pogodina I.P. The Spanish theme in the works of great composers Topic: “Spanish motifs in the works of M. Glinka”

Municipal autonomous educational institution
secondary school with in-depth study of subjects of the artistic and aesthetic cycle No. 58, Tomsk
Tomsk, st. Biryukova 22, (8-382) 67-88-78

Music lesson 9th grade.

Topic: “Spanish motifs in the works of M.I. Glinka”

Type: (travel lesson)

Target: Introduce students to the works of M.I. Glinka

Tasks: show the role of Spanish flavor in the composer’s work; talk about the life and work of M.I. Glinka during his trip to Spain.

Literature: Encyclopedic Dictionary of a Young Musician (compiled by V.V. Medushevsky, O.O. Ochakovskaya).

Musicalrow: 1st part of the overture “Night in Madri”de” romances “I’m here, Inesilya...”, “I remember a wonderful moment...”spanish tarantella,"Aragonese Jota""Andalusian dance" ).

Moverock

I. Introduction to the topic.

Sounds "Aragonese Jota"

Teacher: Good afternoon (musical greeting). You recognized the piece that was being played now. Our lesson will feature music that uses Spanish motifs, but this music was written by our Russian composer, Mikhail Ivanovich Glinka. And this music sounds because we will take a trip to the Spanish addresses of the great Russian maestro - M.I. Glinka.

(The first part of the overture “Night in Madri” sounds de")

Teacher: You had homework to get acquainted with the biography of M.I. Glinka. (Presentation)

II. A story about Spanish motifs in the works of M.I. Glinka

Teacher: “Visiting Spain was a dream of my youth. My imagination will not stop disturbing me until I visit this curious region for me. I entered Spain on May 20 - the very day of my decision, and was absolutely delighted...”

These lines, like milestones marking the path from a dream to its realization, are given in the book “Spanish Diaries of M.I. Glinka. To the 150th anniversary of Glinka’s travels in Spain”, released in Madrid.” The luxurious edition, which was immediately appreciated by fans of the great Russian’s work, includes the composer’s travel notes, the so-called “Spanish Album,” which contains recordings of folk songs, autographs and drawings of people with whom the composer communicated. And letters about Spain - a subtle story, permeated with precise observations, about the country that inspired the musician’s work.

Throughout Spain there are hardly a dozen monuments erected in honor of foreign writers, artists, and composers. A few of them are dedicated to representatives of Slavic culture. And it is all the more gratifying that both in the Spanish capital and in the south of the country, in Grenada, memorial plaques have been installed in honor of our outstanding Russian - M.I. Glinka. They are a reminder of the touching and respectful attitude of the Spaniards towards the composer, who did more than anyone else to bring our peoples closer together.

Glinka arrived in Spain in May 1845 and, captivated by it, spent almost 2 years here. He knew about this beautiful country before, which, however, is not surprising: Spain in those years was a kind of fashion in Russia. Glinka, of course, was most fascinated by the music of Spain, the rhythms of which he used. Let's listen to Mikhail Ivanovich Glinka's romance to the poems of Alexander Sergeevich Pushkin “I am here, Inezilla...”, written in the style of a Spanish serenade! (The romance “Here, Inezilya...” plays).

student:1 Spanish motifs stirred the composer's soul, and while in Italy, he was planning to come to Spain again and even began to learn Spanish. But then the trip did not take place; almost a decade and a half passed before his dream came true. Oddly enough, family troubles contributed to this: life with Maria Petrovna Ivanova, to whom Glinka became engaged on May 8, 1634, clearly did not work out. The grueling divorce process began. Existence was brightened by love for Ekaterina Kern, the daughter of Anna Petrovna Kern. Ekaterina Ermolaevna, born in 1818, graduated from the St. Petersburg Smolny Institute in 1836 and remained there as a class lady. Then she met Glinka’s sister and met the composer in her house.

student:2 “My gaze involuntarily focused on her. Clear, expressive eyes... An unusually strict figure and a special kind of charm and dignity are diffused throughout her entire person and attracted me more and more,” notes M. Glinka in her “Notes.” - Soon my feelings were shared with Ekaterina Ermolaevna. Our dates became more and more pleasant...”

student:1 He dreamed of getting married, but could not, since his previous marriage had not yet been dissolved. In 1839 M.I. Glinka wrote a romance for Ekaterina Kern based on poems by A.S. Pushkin’s “Where is our rose...”, and a little later set to music “I remember a wonderful moment...” (It sounds like romance "I remember a wonderful moment...")

student:2 Thus, through the genius of the poet and composer, mother and daughter entered immortality.

student:1 And Glinka was looking for peace of mind.

student:2 “...For me it is necessary to stay in a new country, which, while satisfying the artistic demands of my imagination, would distract I wish I had thoughts from those memories, which are the main cause of my current suffering,” he writes to his friend A. Bartenyeva, and in a letter to his mother he admits that “only Spain is able to heal the wounds of my heart. And she really healed them: thanks to the journey and my stay in this blessed country, I begin to forget all my past sorrows and sorrows.”

student:1 It seemed symbolic to the composer that he came to Spain on his birthday. He turned 41 years old.

student:2 “...I lived at the sight of this delightful southern nature. Almost the entire way I admired the lovely and amazing views. Oak and chestnut groves... Alleys of poplars... Fruit trees all in bloom... Huts surrounded by huge rose bushes... All this looked like an English garden rather than simple rural nature. Finally, the Pyrenees mountains with their snow-capped peaks struck me with their majestic appearance.”

Teacher: Mikhail Ivanovich carefully prepared for the trip, resumed his studies in Spanish and, according to eyewitnesses, by the end of his stay in this country he had a decent command of it. He determined in advance the range of his interests, putting the folk music of Spain in first place: through its prism, Glinka studied the life and customs of ordinary Spaniards, although he enthusiastically visited palaces and museums, tried not to miss premieres in the capital’s theater, and met famous musicians.

(The sound of a Spanish tarantella performed by guitars).

Teacher: To Spain M.I. Glinka arrived in a halo of glory - the author of the first Russian operas “Ivan Susanin” (“Life for the Tsar”) and “Ruslan and Lyudmila”. But unlike other famous Europeans traveling around Spain at the same time, he communicated only with friends, avoided any noise around his person and any honors. He even refused to perform his “Aragonese Jota” in one of the capital’s theaters - it was enough for him that it was performed for the Spaniards who were very close to him.

Glinka's Spanish life was very different from his recent Italian life, associated mainly with professional musicians. Now his circle of acquaintances included muleteers, artisans, merchants, and gypsies. He visits the houses of ordinary people, listens to guitarists and singers.

student:3 The composer reflected his first Spanish impressions in the famous “Aragonese Jota”, or “Brilliant Capriccio”, as the author himself called this play. Connoisseurs rank it among Glinka's best and most original works. He recorded the melody that served as its basis in the summer of 1845. The rhythm of dance, which served Glinka so many times for his best instrumental works, provided him with the same service in the present case.

student:4 “And from the dance melody a magnificent fantastic tree grew, expressing in its wonderful forms both the charm of Spanish nationality and all the beauty of Glinka’s fantasy,” noted the famous critic Vladimir Stasov.

student:3 And the no less famous writer Vladimir Fedorovich Odoevsky, after the first performance of “Aragonese Jota” in 1850, wrote:

“A miracle day involuntarily transports you to the warm southern night, surrounds you with all its ghosts. You hear the jangling of a guitar, the cheerful clatter of castanets, a black-browed beauty dances before your eyes, and the characteristic melody is lost in the distance, then appears again in all its glory.”

student:4 By the way, it was on the advice of V. Odoevsky that Glinka called his “Aragonese Jota” a “Spanish overture.”

(Sounds “Aragonese jota”).

Teacher: The fate of “Memories of a Summer Night in Madrid” is also interesting. The composer conceived it in 1848 in Warsaw and even wrote a medley of 4 Spanish melodies - “Memories of Castile”. But they - alas! - not preserved. And on April 2, 1852, in St. Petersburg, a new version of “Memoirs...”, now known as “Night in Madrid,” was performed for the first time.

student:5 “There was not a single listener who was not captivated to the last degree of delight by the dazzling flashes of Glinka’s mighty genius, which shone so brightly in his second “Spanish Overture,” wrote Pyotr Ilyich Tchaikovsky.

A.S. Rozanov wrote: “In Madrid he found the necessary conditions for life - complete freedom, light and warmth. He also found the charm of clear summer nights, the spectacle of folk festivals under the stars in the Prado. Their memory was the Spanish Overture No. 2, known as “Memory of Castile” or “Night in Madrid”. Just like “Aragonese Jota,” this overture is a deeply poetic reflection in music of Glinka’s Spanish impressions.”

(A fragment of the overture “Night in Madrid” is played).

Teacher: With the assistance of Glinka, Spanish boleros and Andalusian dances came into Russian creativity. He gave Spanish themes to the then young Mily Alekseevich Balakirev. The themes of Rimsky-Korsakov, Glazunov, Dargomyzhsky, and Tchaikovsky were drawn from the “Spanish Album,” dotted with recordings of folk melodies.

“I want to compose something similar to Glinka’s “Spanish Fantasies”,”- Pyotr Ilyich admitted to his friend Nadezhda von Meck.

Unfortunately, much of what concerned Spain was lost: some musical works, several letters and the diary that Mikhail Ivanovich kept during the trip were lost.

Now let's listen to "Andalusian Dance" composed in 1855.

(A recording of a dance performed by a piano sounds).

Teacher: Experts see another facet in Glinka’s Spanish “impulse”: by searching for folk songs and melodies, Glinka thereby stimulates the development of national classical music. From now on, not a single Spanish composer could pass by what was created by this Russian; moreover, here he is considered a teacher.

IN In 1922, a memorial plaque was installed on one of the houses in Grenada, where M.I. Glinka lived in the winter of 1846-1847. But in the very first years of the fascist putsch in July 1936, the board was torn down and disappeared without a trace.

Only 60 years later she appeared again. This memorial plaque informs that “the Russian composer M.I. lived in this place. Glinka and here he studied folk music of that era.

Today, the living memory of the Russian composer is kept by the M.I. Trio. Glinka is a Madrid musical group that is widely known in the country and abroad. He plays the works of the great Russian and, of course, his compositions, born on the beautiful Spanish soil.

(The 2nd part of the overture “Night in Madrid” sounds).

III. Learning a song. (“Waltz Come on”

IV.Lesson summary.

Works for orchestra Pieces for symphony orchestra occupy an important place in Glinka's work. From childhood, Glinka loved the orchestra, preferring symphonic music to any other. Glinka’s most significant works for symphony orchestra are the fantasy “Kamarinskaya”, the Spanish overtures “Aragonese Jota” and “Night in Madrid”, and the symphonic scherzo “Waltz Fantasia”. The repertoire of symphony concerts often includes overtures to both of Glinka’s operas, as well as excellent music for the tragedy “Prince Kholmsky”.

Works for orchestra In symphonic work, as in opera, Glinka remained true to his artistic principles. All of his orchestral plays are accessible to the broad masses of listeners, highly artistic and perfect in form. Glinka believed that the bold expressive means of modern harmonic language and new orchestral colors could be combined with the simplicity and accessibility of images, creating works “equally reportable (that is, understandable) to experts and the common public.” It is no coincidence that in his symphonic plays of recent years he constantly turned to folk song themes. But Glinka did not just “quote”, but widely developed them and, on their basis, created original works, beautiful in their musical images and the beauty of the instrumentation.

“KAMARINSKAYA” In mid-1844, Glinka took a long trip abroad - to France and Spain. Remaining in a foreign land, Glinka cannot help but turn her thoughts to her distant homeland. He writes "Kamarinskaya" (1848). This symphonic fantasy on the themes of two Russian songs. In "Kamarinskaya" Glinka established a new type of symphonic music and laid the foundations for its further development. Everything here is deeply national and original. He skillfully creates an unusually bold combination of different rhythms, characters and moods.

“KAMARINSKAYA” Symphonic fantasy “Kamarinskaya” is a variation on two Russian folk themes, developed alternately. These themes are contrasting. The first of them is a wide and smooth wedding song “Because of the Mountains, High Mountains,” which tells the story of a white swan, a bride, who is pecked and nibbled by gray geese, the groom’s unkind relatives. The second theme is the swashbuckling Russian dance song “Kamarinskaya”. The melody of the first song is quite slow, thoughtfully lyrical. When varying, the melody remains unchanged, intertwined with more and more new echoes, like Russian drawn-out songs. In developing the theme, the composer colorfully uses woodwind instruments, similar in sound to folk wind instruments - the shepherd's horn, the zhaleika, and the pipe.

“KAMARINSKAYA” The tune of “Kamarinskaya” is fast and cheerful. In variations of this melody, Glinka uses pizzicato strings, reminiscent of the sound of the Russian balalaika. When varied, the dance melody also acquires echoes, and sometimes significantly changes its appearance. Thus, after a number of variations, a melody appears that is similar - despite the fast dance movement and abruptness - to the theme of a drawn-out wedding song. This theme imperceptibly leads to the return of the first - a slowly majestic theme, after which a riotous folk dance sounds with renewed vigor. In “Kamarinskaya” Glinka embodied the features of the national character, with bold and bright strokes he painted a picture of the festive life of the Russian people. The contrasting juxtaposition of slow lyrical and then cheerful, playful songs can often be found in folk choral performances. It is very important that Glinka skillfully used the subvocal and variational development of the melody, characteristic of folk performance. Subsequently, all these features were developed by other Russian composers. It is no coincidence that Tchaikovsky said about “Kamarinskaya” that all Russian symphonic music is contained in “Kamarinskaya”, “just as the whole oak tree is in the acorn.”

“Waltz-Fantasy” “Waltz-Fantasy” is one of Glinka’s most poetic lyrical works. At first it was a small piano piece. It was later expanded and orchestrated. Shortly before his death (in 1856), the composer began to rework it and turned an everyday play into a symphonic fantasy of perfect skill. It is based on a sincere, affectionate theme. Thanks to the descending tritone intonation, this thoughtfully elegiac melody sounds impetuous and intense. The structure of the theme is peculiar: odd three-bar phrases, such as we find in Russian folk songs, and not “square” four-bar phrases, as in Western European waltzes. Such an odd structure gives Glinka’s melody aspiration and flight.

“Waltz-Fantasy” The main waltz theme is clearly contrasted with episodes of varied content, sometimes bright and grandiose, sometimes excitedly dramatic. The main theme is repeated many times, forming a rondo shape. The instrumentation of this work is amazingly elegant. The predominance of the string group gives the entire symphonic work lightness, flight, transparency, and the unique charm of a dream. For the first time in Russian music, a detailed symphonic work emerged on the basis of everyday dance, reflecting the diverse shades of emotional experiences.

OVERTURES In the fall of 1845, Glinka created the Aragonese Jota overture. In Liszt’s letter to V.P. Engelhardt we find a vivid description of this work: “... I am very pleased... to inform you that “Jota” has just been performed with the greatest success... Already at the rehearsal, the understanding musicians... were amazed and delighted by the lively and sharp originality this charming piece, minted in such fine contours, trimmed and finished with such taste and art! What delightful episodes, wittily connected with the main motive... what subtle shades of color, distributed over the different timbres of the orchestra!.. What captivating rhythmic moves from the beginning and to the end! What the happiest surprises, abundantly coming from the very logic of development! " Having completed work on "Aragonese Jota", Glinka is in no hurry to begin the next composition, but devotes himself entirely to further in-depth study of Spanish folk music. In 1848, upon returning to Russia, another overture on a Spanish theme appeared - “Night in Madrid”.

RESULT In his “Waltz-Fantasy”, “Kamarinskaya”, overtures and ballet scenes of both operas, Glinka created timelessly beautiful examples of symphonic music that grew out of everyday dances. His initiative was continued by Russian composers: Tchaikovsky, Balakirev, Borodin, Rimsky-Korsakov, Glazunov, and today many Soviet composers.

To use presentation previews, create a Google account and log in to it: https://accounts.google.com

Slide captions:

Mikhail Ivanovich Glinka 1804 – 1857 about the founder of Russian musical classics

Mikhail Ivanovich Glinka “Laid the beginning of everything that our musical art lives on. Whatever phenomenon of Russian music you turn to, all the threads will lead to Glinka... At the source of any significant phenomenon of Russian music, Glinka’s name will shine.” G. V. Sviridov, composer, 1915 - 1998

Works of the composer Chamber and vocal music 80 romances and songs based on poems by A. S. Pushkin, V. A. Zhukovsky, M. Yu. Lermontov and others “Don’t tempt...” “Doubt” “Don’t sing, beauty, in front of me...” “I remember a wonderful moment...” “Farewell to St. Petersburg” - a romance cycle of twelve works based on poems by N. V. Kukolnik, 1840

The romance “I remember a wonderful moment...” Glinka dedicated to Ekaterina Kern, performed by Mikhail Davidovich Aleksandrovich, tenor. Glinka's music makes the same impression on us as Pushkin's poetry. She captivates with her extraordinary beauty and poetry, delights with the greatness of thought and wise clarity of expression. Glinka is also close to Pushkin in his bright, harmonious perception of the world. With his music, he talks about how beautiful a person is, how much sublime is in the best impulses of his soul - in heroism, devotion to the fatherland, selflessness, friendship, love.

Symphonic music “Kamarinskaya” (1848) - a symphonic overture-fantasy on Russian themes. P. I. Tchaikovsky noted that “in “Kamarinskaya”, like an oak in an acorn, the entire Russian symphonic school is contained.” Assignment. How do you understand the meaning of these words of the composer? Explain your answer.

Symphonic music “Aragonese Jota” (1845), “Night in Madrid” (1851) are overtures created under the impression of a trip to Spain, a vivid example of the embodiment of Spanish folk motifs in music. JOTA - Spanish folk dance; performed at a fast tempo, lively, temperamental, accompanied by playing the guitar, mandolin, and the clicking of castanets

The birth of the Russian national opera Glinka marked the beginning of two directions of Russian opera: 1. Folk musical drama - “A Life for the Tsar” (in Soviet times it was called “Ivan Susanin”), 1836. What events was Ivan Susanin the hero of? The general tone of the opera was determined by the dying words of Ivan Susanin from the poem by K. F. Ryleev: He who is Russian at heart, cheerfully and boldly, And joyfully dies for a just cause!

“Life for the Tsar” (in Soviet times it was called “Ivan Susanin”), 1836. Ivan Susanin, peasant of the village of Domnina Antonida, his daughter Vanya, Susanin’s adopted son Bogdan Sobinin, militiaman, Antonida’s fiancé Russian warrior Polish messenger Sigismund, King of Poland Chora peasants and peasant women, militias, Polish soldiers, knights; ballet of Polish gentlemen and panenkas Place of action: the village of Domnino, Poland, Moscow (in the epilogue). Time period: 1612-1613. Shalyapin F.I. - in the role of Ivan Susanin.

Susanin's Aria Performed by Fyodor Ivanovich Chaliapin (1873 - 1938) They sense the truth! You, dawn, quickly shine, quickly usher in, usher in the hour of salvation! You will rise, my dawn! I will look into your face, the last dawn. My time has come! Lord, do not leave me in my need! Bitter is my fate! A terrible melancholy has crept into my chest, grief torments my heart... How terribly hard it is to die in torture... You will come, my dawn! I will look into your face, I will look for the last time... My time has come! At that bitter hour! At that terrible hour! Lord, strengthen me, strengthen me! My bitter hour, my terrible hour, my hour of death! You strengthen me! My mortal, my dying hour! You strengthen me! How did the great singer manage to create a picture full of drama and sorrow?

The birth of Russian national opera 2. Fairytale opera, epic opera - “Ruslan and Lyudmila”, 1842 (written on the plot of the poem of the same name by A. S. Pushkin) Ilya Repin. Mikhail Ivanovich Glinka during the composition of the opera Ruslan and Lyudmila. 1887 Sketch of the scenery for Act III of the opera “Ruslan and Lyudmila” by A. Roller. 1840s

The significance of the work of M. I. Glinka In general, the historical role of M. I. Glinka lies in the fact that he: 1. Became the founder of Russian classical music; 2. Has proven himself to be the brightest innovator and discoverer of new paths in the development of national musical culture; 3. Summarized the previous research and synthesized the traditions of Western European musical culture and the features of Russian folk art.

Homework 1. The history of the creation of the epic fairy tale opera “Ruslan and Lyudmila” 2. Glinka’s melody as the anthem of Russia 3. Essay “The History of Russia and its reflection in the works of M. I. Glinka”

Sections: Music

Class: 4

Goal: to teach to understand the depth of content and features of the musical language of Spanish music, to find characteristic features of Spanish music in the works of composers from around the world.

Materials and equipment for the lesson: a poster with a blank crossword puzzle on the board, flashcards, a computer, a projector, a screen, a piano, a presentation for the lesson. On the students' tables there are rattles, spoons, tambourines, and castanets.

You can watch the video by contacting the author of the article!

During the classes

1. Organizational moment ( slide 2) Annex 1

Entrance to the classroom under “Aragonese Jota” by M.I. Glinka. (After entering it is necessary to involve the student in the dance)

2. Repeating the material covered and working on new ones.

Teacher: Hello, guys. Remind me of the theme of the year.

Children: There are no insurmountable boundaries between the music of different peoples of the world.

Teacher: What national dance were we performing now? Russia, Austria, Bashkortostan? This is very important, because we have to make a journey into the world of music in this country.

Children: No, this is a dance from another country...

Teacher: The crossword puzzle will help us with this by solving it - along the vertical you will read the name of the country to which we are going today!

(There is a blank crossword puzzle on the board, students answer the questions posed, and the student at the board fills it out)Appendix 2(slide 3)

Children: This is Spain! (slide 4)

Teacher: That's right - our path lies to Spain. I want to return again to the music that greeted us today. Can you name its author? In France he was called Michel, in Poland - Pan Mihai, in Spain - Don Miguel, and in Russia - “the founder of Russian classical music”... Who are we talking about?

Children: This is M.I. Glinka. (slide5)

Teacher: Yes, this is M.I. Glinka. He spent two years in Spain, and upon returning to his homeland, the symphonic overture “Aragonese Jota” was born. Jota is a Spanish dance and Aragon is a place in Spain.

(I place a card on the board - OVERTURE)

Teacher: Our path lies to Spain. (slide 6)

Teacher: Is this country next to Russia?

Children: No, far away...

Teacher: Will everyone be able to visit this country? Raise your hands, those who have visited this country. Whose parents have been there?

Children: No, not everything... it’s far away and the trip is quite expensive.

Teacher: But it doesn’t matter, because music can introduce us to the culture of this people! (slide 7)

Teacher: Before us is Spain. What is she like? What do you see? What do you hear?

Children: We see a beautiful building, the sea, musicians, dancers, bulls running along the street... We hear the sound of the sea, music, the clatter of hooves of running bulls, the click of dancers' heels...

Teacher: Before us is a bright, exotic country, located in the mountains, washed by seas and oceans, with unforgettable architecture, filled with music, dancing, and bullfighting. (slide 8)

Teacher: Who is depicted in the portrait?

Children: P.I. Tchaikovsky.

(I play on the piano a fragment from the ballet “Swan Lake” - “Dance of the Little Swans”)

Teacher: Are you familiar with this music? In what musical performance did you meet her?

Children: “Dance of the Little Swans” from the ballet “Swan Lake”.

Teacher: There is a ball in the palace, Prince Siegfried is 18 years old, and in honor of this important event, guests from different countries of the world came here, and among them guests from Spain. Let's listen to a fragment from the ballet and imagine how Tchaikovsky saw the guests from Spain, and the nature of the music will help us with this.

(Listening to a fragment from “Spanish Dance”)

Teacher: What is the nature of the music? How does Tchaikovsky represent the Spaniards?

Children: The nature of the music is strict, decisive, proud, castanets sound. Tchaikovsky's Spaniards are proud, freedom-loving, warlike, but at the same time with a sense of dignity.

Teacher: What means of musical expression were used by Tchaikovsky?

Children: Sharp rhythm, loud dynamics, abrupt, clear voice delivery, danceability combined with marching.

Teacher: I agree with you, the music is bright, temperamental, rhythmic, combining danceability and marching, and castanets emphasize its special, Spanish flavor.

(Demonstration of castanets)
(A card is attached to the board - BALLET)

Teacher: Our meeting continues with a video fragment, be very careful. (slide 9)

Teacher: Where are we?

Children: To the theater.

Teacher: Which theater? What do the heroes do?

Children: Singing.

Teacher: What kind of performance is this?

Children: This is an opera.

Teacher: What vocal numbers have you heard?

Children: Solo and choral.

Teacher: Who is she, the main character?

Children: Gypsy.

Teacher: What is she like? What is her character like?

Children: Proud, graceful, temperamental, brave.

Teacher: By what means is this achieved - MELODY or RHYTHM?

Children: First you hear RHYTHM!

Teacher: What is he like? Marching or dancing?

Children: Sharp, crisp, danceable.

Teacher: I will sing the beginning of the aria, and you note the rhythm.

(Children mark the rhythm, I hum)

Teacher: Before us is a proud beauty who has a powerful gift, the ability to make you fall in love at first sight, she has many fans. Who can win her heart? (slide 10)

Teacher: Who is this?

Children: Toreador.

Teacher: What is his character?

Children: Brave, Courageous, Fearless.

Teacher: What music could characterize our hero? Song? Dance? March?

Children: March. Teacher: What's the rhythm? Dynamics? Is the melody rising or falling?

Teacher: Let's listen to a scene from the opera, where the main character will be a bullfighter, but WHETHER IT'S ONLY HIM - the voices of the performers will tell you.

(slide 10. “Toreador’s Aria” sounds)

Children: Toreadora, Hora and Carmen!

Teacher: Did we hear the marching in the music that we were supposed to? Sharp, clear rhythm? Did he win this fight?

Children: Yes. He's a winner!

Teacher: What do you think, the composer of which country wrote this opera - Russia, France, Spain?

Children: Spain! (slide 11)

(I post a card on the board - OPERA)

The following video presents us with the work of the Russian composer of the 20th century R. Shchedrin. (slide 12)

Teacher: I suggest you listen to a fragment from his ballet “Carmen Suite”. What is a suite? (Children's answers) Absolutely right, a suite is a series of different dances united by one plot. Look and listen carefully, and then answer the question - aren’t you familiar with the music? (slide 13)

Children: I know you! This is music from Bizet's opera!

Teacher: Absolutely right - this is the melody of “Carmen’s Aria” from the opera by J. Bizet! Yes, Shchedrin wrote his ballet using the music of a French composer, but for the Soviet composer the theme of Spain was reflected differently in the ballet, opening up to us the world of Spanish music in symphonic music and classical dance. Guys, mark the rhythm of the aria with percussion instruments, and I will sing the melody, and then we will switch roles, you will sing the melody on the syllable “le”, and I will play the rhythm on the piano.

(Children note the rhythm and then sing a fragment of the aria)

(There is a card on the board - SUITE) (slide 14)

Teacher: Do you know this name? Who is shown in the portrait?

Children: This is the creator of the Bashkir State Academic Folk Dance Ensemble Faizi Gaskarov!

Teacher: This famous ensemble has traveled to many countries around the world with its concerts, and the repertoire of this group includes many dances from different countries of the world and, of course, Spain. Let's watch the dance suite “Andalusian Evenings” and plunge into the atmosphere of real Spanish dance.

(slide 15. Video clip of the dance “Andalusian Evenings”)

Teacher: Guys, what movements did the dancers perform?

Children: Claps, stomps, the girls performed smooth but clear movements with their hands, the girls had castanets in their hands...

Teacher: Aren’t these movements similar to those we performed with you in “Aragonese Jota”?

Children: Very similar!

3. Generalization: (slide 16)

(Children answer questions written on the screen.)

Teacher: Guys, we just have to figure out the topic of today’s lesson. Who can do this? Have you heard the music of Spain today? Have we met the music of Spanish composers? (No) What composers' music helped us visit Spain?

Children: We did not hear the music of Spanish composers, but we were helped by the music of Russian composers - Glinka, Tchaikovsky, Shchedrin, as well as the Frenchman J. Bizet - composers who created their works based on Spanish folk music.

Teacher: In what musical genres was Spanish folk music used by composers?

Children: In the overture, in the ballets, in the opera, in the suite.

Teacher: The topic of our lesson: “Music of Spain in the works of Russian composers and composers from other countries of the world.”

Teacher: “If each friend in a circle extends his hand to each other...

Children read poems together with the teacher: “That will be visible through the porthole, friendship is the equator...”

(Performance of the song “Friendship”, group “Barbariki” music by V. Ososhnik)

Teacher: Guys, why do you think I suggested ending the lesson with this song?

Children: Because it's about friendship!

Teacher: Yes, if there were no FRIENDSHIP between peoples, we would not be able to cross borders! (slide 17)

Theme of the half-year: There are no insurmountable boundaries between the music of different countries of the world!

Teacher: Thank you for your work in class!

Homework

Find information about composers in Spain, because our next meeting will be dedicated to them.

Goodbye!

(Exit to the music of “Castile No. 7” by I. Albeniz.)