The philosophy of fugue. Presentation for a music lesson for high school. Biographical information about the life of the German composer J. S. Bach. Organ. Homophony, polyphony, fugue. presentation for a music lesson on the topic

Lesson objectives:

1. broadening the horizons of students,
2. education of musical culture and spirituality based on acquaintance with musical creativity I.S. Bach.

Lesson objectives:

• continue to get acquainted with the work and biography of I.S. Bach (including through independent search work with handouts);
• consolidate the concept of “fugue”;
• reveal the concepts of “polyphony” and “homophony”;
• bring students to an awareness of the personality of the composer and the depth of his work.

Visual aids:

1. multimedia presentation* (cm. Appendix 1 );
2. portrait of I.S. Bach;
3. handouts (see tables in the text);
4. cards “polyphony” and “homophony”;
5. sheet music for singing.

Musical material:

1. J. Bach Toccata and Fugue (d-moll)
2. J. Bach Organ Fugue (g-moll)
3. J. Bach Fugue in c-moll (“The Well-Tempered Clavier”, Volume I)
4. P. Tchaikovsky “Barcarolle” (from the cycle “The Seasons”)
5. J. Bach Fugue in C major (“The Well-Tempered Clavier”, Volume I)
6. German folk song “Musicians”

* Full version presentations can be obtained by contacting the author at the following email address: [email protected]

PROGRESS OF THE LESSON

INTRODUCTORY PART

1. Listening exposition of Toccata (in D minor) by J. Bach.

2. Teacher:

“His art both teaches...and consoles, there is so much wisdom and warmth in it...”

What composer's music was played?
- What can you say about the music of I. Bach? (students' answers)

The sound of Bach
Pristine again
His breath
It rushes to the heights.
And we are at this captive organ -
At the music
Music is in captivity.

That's the thunder of a thunderstorm,
That's the ocean's call,
That's the sigh of rain,
That's the moan of the bells,
That's the sound of tears
Broken unexpectedly
And then the stream
Happy chime...

...So merged with the vault of the Dome Cathedral
The entire firmament with star heights,
As you are with me, thirsting for space,
How I am with you in heart and dream.

MAIN PART

3. Lesson topic, setting tasks for students (Slide 1– Appendix 1 )

4. Repetition of the material covered on the biography of the composer.

Teacher:

What do we know about Bach? (students list familiar biographical facts)

5. The main periods of creativity of I.S. Bach.

Explanation of work with handouts: number the material in the correct sequence, based on the student’s message and presentation on the topic, for further pasting into the notebook in chronological order.

Bach served as city organist in the church.

Köthen (1717 – 1723)

The main periods of creativity of I.S. Bach

Instrumental period of creativity: wrote keyboard and orchestral music.

Bach served bandmaster at court.

Leipzig (1723 – 1750)

Organ period of creativity: wrote works for organ.

Cantata-oratorio period of creativity: wrote vocal and instrumental works: cantatas, oratorios.

Weimar (1708 – 1717)

Bach served cantor(choir director) singing school at the church.

Student's story By presentations about the main periods of creativity of I.S. Bach (independent class work with handouts).

6. Singing Themes of the Organ Fugue (G minor) by J. Bach (transposing).

7. Listening exposition of the Organ Fugue (G minor) by J. Bach.

Keep track of how many times and how the theme will sound.

8. Music analysis:

- How many times was the topic sounded? (4)

Did it always sound the same? What has changed? (the theme sounded in different registers)

What are these works called? (fugue)

- How is a fugue constructed? (like a conversation between equal interlocutors)

Check in musical dictionary (Slide 5– Appendix 1 )

9. Explanation of the concepts of “polyphony” and “homophony”(read the definition).

10. Music test to determine the invoice(polyphony, homophony):

J. Bach Fugue in c-moll (“The Well-Tempered Clavier”, Volume I);

P. Tchaikovsky “Barcarolle” (from the cycle “The Seasons”);

J. Bach Fugue in C major (“The Well-Tempered Clavier”, Volume I).

(Oral work with cards: “polyphony”, “homophony”)

11. German folk song "Musicians"

Teacher:

What texture does the following piece sound in? – piano performance (homophony)

I.S. could have composed such music. Bach? (students' answers)

This is a German folk song, and, as you know, Bach was very fond of folk art, even used some themes folk songs in his works.

Learning from notes

12. Teacher:

Guys, I accompanied you on the piano. Who knows what instrument was the ancestor of the piano? (harpsichord)

But in playing the harpsichord, as well as the organ (Bach’s most favorite instrument), the composer had no equal among his talented contemporaries!

13. Drawing up an organ passport.

- Explanation of the essence independent work(with handouts).

Student's story about the body (Slide 7– Appendix 1 )

Students perform independent work using cards (students write down the correct answers to questions).

Where are the organs located in our city? How many are there?

(The children who prepared the homework answer)

14. Listening Organ fugue (G minor) by J. Bach (entirely).

Written assignment - reflection ( Slide 8– Appendix 1 )

15. Discussion: Children read out their thoughts.

Conclusion:

Bach himself is a philosopher, he is wise, sublime, living in harmony with himself.

FINAL PART

16. Lesson summary.Teacher:- Guys, today we touched upon the work of the great I.S. Bach, and I would like to hear your answers to the questions:

• What types of musical texture have we become familiar with?
• Which of them is the main one in the music of J. S. Bach? ( Slide 9– Appendix 1 )

Great Bach, you – music of the Universe, the breathing of the organ has been curbed,
And in the 21st century modern
You will be in people's hearts.

A powerful sound flows like a stream
In the last, triumphant chord,
And man is a particle of the universe -
Feel the delight of immortality.

17. Teacher: Friends, today we spent with you wonderful moments of communication with the music of I.S. Bach. I thank you for your cooperation. See you again!

"War Songs" - Research work: “Who said that there is no place for song in war...” It would seem that the hardships and suffering of wartime leave no room for songs. Do not trample the steppes and lands for fascist reptiles. "Dark Night" K. Listova, lyrics. The idea to “revive” the episode in the dugout with a lyrical song arose spontaneously. music by Anatoly Novikov lyrics by Yakov Shvedov.

“Jazz” - Jazz band (jazz - liveliness, energy band - team, orchestra). Ragtime. Jazz. JAZZ. How did jazz appear? Jazz band Great performers. George Gershwin Self-Portrait (1898-1937). Blues - despondency, sadness. Rag - torn tame - time. New Orleans early 20th century. Ella Fitzderald. Rhythm. Blues. Lullaby. Louis Armstrong.

“War Songs” - Songs with veterans have aged, But they remain in service to this day. Songs of the war years. Butorina Svetlana Viktorovna Mathematics teacher, Bakcharskaya Secondary School. The song premiered in 1938. Song “Katyusha” Music by M.I.Blanter, lyrics by M.V.Isakovsky. Written for the film “Two Fighters”. Thematic class hour.

“Youth musical cultures” - The rock opera genre combines the features of rock and classical music. Ethnic music. Classical musical avant-garde. Rap The birthplace of rap is a poor area of ​​New York - the South Bronx. Rave. Heavy metal. Musical. Pop music. Glam rock.

"Jazz music" - Jazz directions. Purpose: to give an idea of ​​the origins of jazz, features jazz music. Jazz is a child of two cultures. Jazz instruments. The origins of jazz are considered to be: Blues, Ragtime, Spirituals. What is jazz? The history of jazz is part of the history of the 20th century. Jazz has many faces. Trumpet Trombone Clarinet Royal Double bass Guitar Banjo.

“Song dance march” - Dance. Opera – musical performance, where the artists sing. March. The march will lead us into the symphony. Where are the three whales leading us? Song. The ballet involves dancers, an orchestra, and a conductor. Three pillars in music. The opera features soloists, a choir, and an orchestra. Dance will lead us to ballet. The dance will take us to the opera. The march will lead us to the ballet.

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Presentation for a music lesson for high school. Biographical information about life German composer J.S.Bach.Organ: appearance, keyboard, registers. The concepts of homophony and polyphagy. The form of polyphonic music is fugue.

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Slide captions:

German composer Johann Sebastian Bach

Organ - keyboard - wind instrument

City of Eisenach. J. S. Bach was born in this house

The founder of the family is Faith Bach (a baker by profession) Favorite family music game– improvisation (= instant invention) “Who knows what.”

This is how young Bach received his first knowledge of polyphony (=polyphony). Bach's father was a court and city musician.

City of Arnstadt. Bach's first place of work

Church organ played by Bach

The ancient German town of Weimar.

The house in Weimar where Bach lived.

A majority was created in Weimar famous works. The flowering of Bach's talent.

The ancient German city of Dresden.

A competition between Bach and the French organist and harpsichordist Louis Marchand was to take place in Dresden.

City of Leipzig.

Church of St. Thomas in Leipzig, where J. S. Bach worked

In Leipzig, Bach was a cantor (= music teacher, choir director, organist and church composer) at the school of St. Thomas Church. He was involved in a choir of singers and composed a lot of vocal music.

Bach's four sons became talented composers that went down in history.

Monument to Bach in Arnstadt.

Monument to J.S.Bach

Monument to Bach in Leipzig.

J. S. Bach's grave in the Church of St. Thomas in Leipzig

The type (style) of music is homophony (homo - one) (phonos - sounding) One voice (melody) is the main one, others accompany and help him. polyphony (poly - many) (phonos - sounding) All voices are important and equal.

A form of polyphonic music FUGA (from Latin - “running”, “chase”, “ fast current") is the highest achievement of polyphonic music. In a fugue there are several voices (melodies), each of which, in accordance with strict rules, repeats (in basic or modified form) the theme - a short melody that runs through the entire fugue.

“Each voice in an essay is a personality, and a polyphonic essay is a conversation between these individuals, and it is necessary to make it a rule that each of the individuals speak well and on time, and if she does not have anything to say, then it would be better to remain silent and wait until her turn will come” J.S.Bach

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Toccata and Fugue in D minor, is a work for organ attributed to Johann Sebastian Bach and supposedly written by him during his stay in Weimar as court organist (). This composition is close to operatic oratorio music with its powerful sound, virtuosic means, and drama.

Characteristic feature toccata consists in the fact that technical figures are constantly carried out in the play, either in the left or in right hand. Toccata is a free virtuoso genre, where episodes with passage technique, arched imitative structures, chord sound and harmonic fullness alternate. The combination of musical structures that are contrasting in character and type of presentation is a sign of a toccata.

A feature of this polyphonic cycle is the continuity of development musical material(no break between toccata and fugue). The size of the work is 4/4. It has three sections: toccata, fugue and coda, which, echoing the toccata, forms a thematic arch. This is how three parts emerge.

The toccata begins with a clearly visible mordent, which is repeated an octave lower. The sequences and passages at the beginning of the work sound tense. In toccata there is no juxtaposition of internal contrasting images. Each formation is separated from one another by bright cadences.

The first 2 constructions are free variation of the theme. The 3rd final construction summarizes all the material and its development. The intensity of the movement increases from section to section. Beginning with allegro, the toccata ends in adagio tempo on the third degree of D minor (F), which adds incompleteness and makes it clear that this is not the finale.

Sustained counterpositions and complex contrapuntal development techniques give way to free development using a variety of material. Frequent interludes developed into large constructions introduce an element of improvisation into the fugue. The interlude and middle section deviate into the parallel tonic of F major.

The reprise returns the fugue to D minor and begins with the stretta. The inner part of the 2 parts of the cycle is anchored by a fugue coda, reminiscent of a toccata due to the contrasting episodes. The piece ends with a plagal cadence from a subdominant triad to a tonic sixth chord.

the first part actually ends on the 3rd quarter of the 49th measure, i.e. on the 195th (48 4 + 3) quarter a1 = 195. The first part actually ends on the 3rd quarter of the 49th measure, i.e. . on the 195th (48 4 + 3) quarter a1 = 195. The chromatic fantasy is divided into the first and second parts in the golden ratio:

Russian Soviet musicologist E.K. Rosenov (1861-1935) Conclusion: Chromatic fantasy, a work of a genre free in form, is literally woven from golden proportions. Perhaps the aesthetic impression from the mathematical analysis of the Chromatic Fantasy is no less powerful than listening to Bach’s immortal creation. And taken together, sensory impression and rational analysis certainly allow us to get one step closer to the innermost recesses of genius.

Fugue Fugue (from Latin fuga - running) is the most perfect form of polyphonic music (polyphony). A fugue is built on repeated executions of the main theme song in different voices. Conducting the main theme is usually interspersed in a fugue with intermediate inserts and interludes. Fugue, unlike fantasy, has a clearly defined law of construction. Nevertheless, the accuracy of the “mathematical” construction of the fugue in D minor is simply amazing!

7 pairs "conduction-interlude" five pairs strictly obey the law of the golden ratio. The structure of the fugue in D minor by J. S. Bach: Whole numbers indicate the number of quarters in the fugue Fractional numbers - the theoretical value of the golden sections Golden proportions in the larger parts of the fugue are marked with curly brackets Centers of symmetry - circles P - holding I - interlude.

Conclusion: A simple mathematical analysis that does not go beyond arithmetic allows us to look at it with completely different eyes. piece of music, see it hidden inner beauty, which we only feel when listening to a work, and which we “see” when carrying out its mathematical analysis.

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