Topic: Variety of musical images. The wonderful world of musical images Authors of musical images

Lesson 1 - " Amazing world 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 we 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” - remedies musical expressiveness.

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 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 spiritual world a person, his attitude to a variety of phenomena of life around him. 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”.

Dramatic image - musical interpretation literary image 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 - small musical composition for voice accompanied by an instrument, written on poems of lyrical content.

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 Designed 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.

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-way of presentation musical material Texture - way of presenting musical material Melody - monophonic presentation main idea works Melody - monophonic presentation of the main idea of ​​the 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 performed by several voices in unison. The homophonic-harmonic texture consists of melody and accompaniment. She established herself in music 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. Durability work of art depends on the charge of mental energy invested in it by the author, such a creative outbreak is capable of feeding 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, prepare 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, prepare them in a computer version on A4 sheet, recite them by heart or compose music and perform them in class.

Self-esteem and assessment educational activities students by teacher. 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 take-off 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” based on Dante. This work is written based on the Fifth Song of “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.

Scientists all over the world are trying to give a scientific, comprehensive answer to questions about the emergence of object-visual perception of music and the existence of an invisible boundary between the reality of sounds and the illusion of meaning. Such research can be compared to the eternal search higher intelligence, and you need to start by understanding the nature of the emergence of a musical image in a composition.

What is a musical image?

This is an intangible character of the composition, which has absorbed a bouquet of sounds, thoughts of the composer, performers and listeners into a single energy center without time and a reference point for real space.

The whole composition represents a flow of sensual intonations accompanying a wide variety of emotions and actions of the heroes of its story. Their combination, consistency and contradictions to each other create an image of the composition, revealing facets and expanding the boundaries of self-knowledge. The creation of a musical image in music reflects the palette of feelings and emotional experiences, philosophical reflections and an enthusiastic attitude towards beauty.

The wonderful world of musical images

If a composer paints an early morning, he creates musical images in music, inviting the audience to feel the dawn, the sky in blurry clouds, the awakening of birds and animals. At this time, the dark hall, filled with sounds, instantly changes its scenery to a projection of the morning landscape of endless fields and forests.

The listener's soul rejoices, emotions overwhelm with their freshness and spontaneity. And all because the composer, when creating the melody, used sounds, their intonation, certain musical instruments, capable of orienting human memory to similar sensations of sounds. The sounds of a bell, a shepherd's pipe or the crowing of roosters fill the associative image of the melody so much that the time of action in the composition leaves no doubt - morning. In this case, we are talking about constant, predictable associations.

I. Haydn, Glinka, Verdi tried to explain what the musical image of lightning is, and N.A. Rimsky-Korsakov spent a lot of effort on creating a musical image in music. Sound buildup was used for light and atmospheric imagery, and low sounds were given to the depths of the earth, maintaining a logical juxtaposition of low and high in both art and real life.

Random associations of a musical image

There are also random associations that are unpredictable and strictly individual for each person, like his life experience. These are smells, mood characteristics, atypical lighting, coincidence of circumstances at the time of listening and much more. One association always provokes another, saturating the musical image with additional details, giving a unique, deeply personal character to the entire composition.

Associations created as a result of listening to music have their age and relevance. That is why the realistic visual music of past centuries is gradually turning into the formal, more abstract music of our time. Specific pictorial associations are becoming obsolete. Thus, the compositions of Mozart or Bach do not evoke in the soul of a modern listener the images that were characteristic of their contemporaries. To answer the question, what is a musical image in modern music, not easy. Electronic sounds have long replaced live sounds, but they would have been completely alien to the musicians of the times of Tchaikovsky and Beethoven.

Lyrical images in music

Russian classics know well what it is in music. In 1840, Glinka wrote a romance based on the poems of the great Russian poet A.S. Pushkin “I Remember a Wonderful Moment.” The composer created images of a charming moment: the memory of the first minutes of meeting, the bitterness of parting with a loved one and the joy new meeting. The weightless melody flows smoothly at first, spilling out with gentle motifs, and is suddenly interrupted by an unstable syncopated rhythm.

Rhythmic accents, expressive repetitions and the energy of the “progressive” rhythm of the middle section so clearly reflected the effects of the poetic syllable that the famous poems of the poet in love acquired more vivid, sensual emotions, striking in their depth and residual effect.

In turn, the reverent love for Ekaterina Ermolaevna Kern and the deep experiences that accompanied this relationship created a unique work of spectacular contrasts, flexible options and intonations and revealed new little-explored possibilities for creating his images.

What is a musical image in a romance? This is an excited speech that reveals the secret of the beloved’s experiences and makes the listener a witness, an accomplice, and even the hero-lover himself, plunging into a world of ambiguous feelings and secret fears.

A talented performer of a romance merges with the image of the lyrical hero, as A. S. Pushkin and Glinka were once one with him, and the invisible trio covers all the listener’s senses, takes possession of his imagination and with one energy flow pours into him the spiritual impulse of love and beauty suffering experienced.

“All arts, like music, require the feeling that inspiration brings,” said Glinka. - And forms. What does harmony mean, and “forme” means beauty, i.e. proportionality of composing a harmonious whole... Feeling and form are soul and body. The first is a gift of supreme grace, the second is acquired through labor...”

Musical image

Musical content manifests itself in musical images, in their emergence, development and interaction.

No matter how uniform a piece of music may be in mood, all sorts of changes, shifts, and contrasts can always be discerned in it. The appearance of a new melody, a change in rhythmic or textural pattern, or a change in section almost always means the emergence of a new image, sometimes similar in content, sometimes directly opposite.

As in the development of life events, natural phenomena or movements human soul There is rarely only one line, one mood, and in music development is based on figurative wealth, the interweaving of various motives, states and experiences.

Each such motive, each state either contributes new image, or complements and generalizes the main one.

In general, 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. For example, Scriabin’s Twelfth Etude presents a very integral image, although upon careful listening we will definitely note its internal complexity, the interweaving of various states and means in it musical development.

Many other small-scale works are built in the same way. As a rule, the duration of a play is closely related to the peculiarities of its figurative structure: small plays are usually close to a single figurative sphere, while large ones require a longer and more complex figurative development. And this is natural: everything major genres V various types x arts are usually associated with the embodiment of complex life content; they are characterized by a large number of heroes and events, while the small ones are usually addressed to some particular phenomenon or experience. This, of course, does not mean that large works are necessarily distinguished by greater depth and significance; often the opposite is true: a small play, even its individual motive, can sometimes say so much that their impact on people is even stronger and deeper.

There is a deep connection between the duration of a musical work and its figurative structure, which is found even in the titles of the works, for example “War and Peace”, “Spartacus”, “Alexander Nevsky” suggest a multi-part embodiment in a large-scale form (opera, ballet, cantata), while while “Cuckoo”, “Butterfly”, “Lonely Flowers” ​​are written in the form of miniatures.

Why do works that do not have a complex figurative structure sometimes move people so deeply?

Perhaps the answer lies in the fact that, by concentrating on a single imaginative state, the composer invests in small piece all the soul, all the creative energy that his artistic design? It is no coincidence that music of the XIX century, in the era of romanticism, which said so much about man and the hidden world of his feelings, it was the musical miniature that reached its highest flowering.

A lot of small-scale, but striking in image works were written by Russian composers. Glinka, Mussorgsky, Lyadov, Rachmaninov, Scriabin, Prokofiev, Shostakovich and other outstanding Russian composers created a whole gallery of musical images. Huge figurative world, real and fantastic, celestial and underwater, forest and steppe, was translated into Russian music, in the wonderful names of its program works. You already know many of the images embodied in the plays of Russian composers - “Aragonese Jota”, “Dwarf”, “Baba Yaga”, “Old Castle”, “Magic Lake”...

No less rich is figurative content and in non-programmatic works that do not have a special title.

Lyrical images

In many works known to us as preludes and mazurkas, the deepest imaginative riches are hidden, revealed to us only in living musical sound.

One of these works is S. Rachmaninov’s Prelude in G sharp minor. Her mood, at the same time tremulous and melancholy, is in tune with Russian musical tradition embodiments of images of sadness and farewell.

The composer did not give the piece a title (Rachmaninov did not designate any of his preludes with a programmatic subtitle), but the music feels a poignant autumnal state: the trembling of the last leaves, drizzling rain, the low gray sky.

The musical image of the prelude is even complemented by a moment of sound-imagery: in the melodic and textured sound one can discern something similar to the farewell crowing of cranes leaving us for a long, long winter.

Perhaps because in our area the cold lasts for so long, and spring comes slowly and reluctantly, every Russian person feels the end of the warm summer with particular acuteness and says goodbye to it with melancholy sadness. And therefore, the images of farewell are closely intertwined with the theme of autumn, with autumn images, of which there are so many in Russian art: flying leaves, drizzle, crane wedge.

How many poems, paintings, musical pieces related to this topic! And how unusually rich the imaginative world of autumn sadness and farewell is.

Here they are flying, here they are flying...Open the gates quickly!
Come out quickly to look at your tall ones!
Now they are silent - and again the soul and nature are orphaned
Because - shut up! - no one can express them that way...

These are lines from Nikolai Rubtsov’s poem “Cranes,” which so piercingly and accurately depicts the image of the Russian soul and Russian nature, embodied in the high farewell flight of the cranes.

And although Rachmaninov, of course, did not introduce such an accurate picture into his work, it seems that the crane motif in the figurative structure of the prelude is not accidental. Cranes are a kind of symbolic image, as if hovering above the general figurative picture of the prelude, giving its sound a special height and purity.

A musical image is not always associated with the embodiment of subtle lyrical feelings. As in other forms of art, images are not only lyrical, but sometimes acutely dramatic, expressing clashes, contradictions, and conflicts. The embodiment of great life content gives rise to epic images that are particularly complex and multifaceted.

Let us consider various types of figurative and musical development in their connection with the characteristics of musical content.

Dramatic images

Dramatic images, like lyrical ones, are very widely represented in music. On the one hand, they arise in music based on dramatic literary works(such as opera, ballet and others stage genres), however, much more often the concept of “dramatic” is associated in music with the peculiarities of its character, the musical interpretation of heroes, images, etc.

Sample dramatic work F. Schubert's ballad “The Forest King”, written to a poem by the great German poet J. W. Goethe. The ballad also combines genre-dramatic features - after all, it represents a whole scene with the participation of various characters! - and sharp drama, inherent in character this story of amazing depth and power.

What does it say?

Let us immediately note that the ballad is performed, as a rule, in the original language - German, therefore its meaning and content require translation.

Such a translation exists - the best translation of Goethe's ballad into Russian, despite the fact that it was made almost two centuries ago. Its author, V. Zhukovsky, is a contemporary of Pushkin, a unique, very subtle, deeply lyrical poet, who gave this interpretation of Goethe’s “Terrible Vision”.

Forest king

Who gallops, who rushes under the cold darkness?
The rider is late, his young son is with him.
The little one came close to his father, shuddering;
The old man hugs him and warms him.

“Child, why are you clinging to me so timidly?”
“Darling, the king of the forest sparkled in my eyes:
He wears a dark crown and a thick beard.”
“Oh no, the fog is white over the water.”

“Child, look around, baby, towards me;
There is a lot of fun in my side:
Turquoise flowers, pearly streams;
My palaces are made of gold.”

“Dear, the king of the forest speaks to me:
It promises gold, pearls and joy.”
“Oh no, my baby, you misheard:
Then the wind, waking up, shook the sheets.”

“Come to me, my baby! In my oak grove
You will recognize my beautiful daughters;
When it's month they will play and fly,
Playing, flying, putting you to sleep.”

“Darling, the forest king called his daughters:
I see they are nodding to me from the dark branches.”
“Oh no, everything is calm in the depths of the night:
The gray willows stand to the side.”

“Child, I was captivated by your beauty:
Willy-nilly or willy-nilly, you will be mine.”
“Darling, the forest king wants to catch up with us;
Here it is: I’m stuffy, it’s hard for me to breathe.”

The timid rider does not gallop, he flies;
The baby yearns, the baby cries;
The rider urges on, the rider gallops...
In his hands lay a dead baby.

Comparing the German and Russian versions of the poem, the poet Marina Tsvetaeva notes the main difference between them: in Zhukovsky, the Forest King appeared to a boy, in Goethe, he actually appeared. Therefore, Goethe’s ballad is more real, more terrible, more reliable: his child dies not from fear (as in Zhukovsky), but from the real Forest King, who appears before the boy in all the strength of his might.

Schubert, an Austrian composer who read the ballad in German, conveys all the terrible reality of the story about the Forest King: in his song he is as reliable a character as the boy and his father.

The speech of the Forest King is noticeably different from the excited speech of the narrator, the child and the father in the predominance of affectionate insinuation, softness, and enticement. Pay attention to the nature of the melody - abrupt, with an abundance of questions and rising intonations in the parts of all the characters, except for the Forest King, for him it is smooth, rounded, melodious.

But not only the nature of the melodic intonation - with the appearance of the Forest King, the entire textural accompaniment changes: the rhythm of a frantic jump, permeating the ballad from beginning to end, gives way to more calm-sounding chords, very euphonious, gentle, lulling.

There is even a peculiar contrast between the episodes of the ballad, so agitated and alarming in character as a whole, with only two glimpses of calm and euphony (two phrases of the Forest King).

In fact, as often happens in art, it is in such tenderness that the most terrible thing lurks: the call to death, irreparability and irrevocability of departure.

Therefore, Schubert’s music leaves us no illusions: as soon as the sweet and terrible speeches of the Forest King cease, the frantic galloping of the horse (or the beating of the heart?) bursts in again, showing us with its swiftness the last push towards salvation, towards overcoming the terrible forest, its dark and mysterious depths .

This is where the dynamics of the musical development of the ballad ends: because at the end, when there is a stop in movement, the last phrase sounds like an afterword: “In his hands lay a dead baby.”

Thus, in the musical interpretation of the ballad, we see not only the images of its participants, but also images that directly influenced the construction of the entire musical development. Life, its impulses, its aspirations for liberation - and death, frightening and attractive, terrible and lulling. Hence the two-dimensionality of the musical movement, realistic and figurative in the episodes associated with the galloping of the horse, the confusion of the father, the gasping voice of the child, and distantly affectionate in the calm, almost lullaby-like speeches of the Forest King.

The embodiment of dramatic images requires maximum concentration from the composer expressive means, which leads to the creation of an internally dynamic and, as a rule, compact work (or its fragment), based on the figurative development of a dramatic nature. That is why dramatic images are so often embodied in the forms vocal music, V instrumental genres on a small scale, as well as in individual fragments of cyclic works (sonatas, concertos, symphonies).

Epic images

Epic images require long and unhurried development; they can be exhibited for a long time and slowly develop, introducing the listener into an atmosphere of a unique epic flavor.

One of the brightest works, imbued with epic imagery, is the epic opera “Sadko” by N. Rimsky-Korsakov. It is the Russian epics, which became the source of numerous plot fragments of the opera, that give it its epic character and leisurely musical movement. The composer himself wrote about this in the preface to the opera “Sadko”: “Many speeches, as well as descriptions of the scenery and stage details, are borrowed entirely from various epics, songs, plots, lamentations, etc. Therefore, the libretto often preserves the epic verse with its characteristic features."

Not only the libretto, but also the music of the opera bears the stamp of the features of the epic verse. The action begins from afar, with a leisurely orchestral introduction called “Blue Ocean-Sea.” Ocean-Sea is listed in the list of characters as the King of the Sea, that is, a completely reliable, albeit mythological character. In the overall picture of the heroes of various fairy tales The King of the Sea occupies the same definite place as the King of the Forest - the hero of Schubert's ballad. However, how differently these fairy-tale heroes, representing two completely different types of musical imagery!

Remember the beginning of Schubert's ballad. The fast-paced action captivates us from the very first beat. The clatter of hooves, against which the excited speech of the characters sounds, gives the musical movement a character of confusion and growing anxiety. This is the law of development of dramatic images.

The opera “Sadko”, which in some plot motifs has similarities with “The Forest King” (as the boy fell in love with the Forest King and was taken by force to the forest kingdom, so Sadko fell in love with the Sea Princess and was sunk to the bottom of the “ocean sea”), has a different character devoid of dramatic edge.

The undramatic, narrative nature of the musical development of the opera is also revealed already in its first bars. It is not the length of the plot that is represented in the musical image of the introduction “Ocean-Sea Blue”, but the poetic beauty of this magical musical picture. Game sea ​​waves is heard in the intro music: not menacing, not powerful, but enchantingly fantastic. Slowly, as if admiring its own colors, the sea water shimmers.

In the opera “Sadko”, most of the plot events are connected with her image, and from the nature of the introduction it is clear that they will not be tragic, endowed with acute conflicts and clashes, but calm and majestic, in the spirit of folk epics.

This is the musical interpretation of various types of imagery, characteristic not only of music, but also of other forms of art. Lyrical, dramatic, epic figurative spheres form their own meaningful features. In music, this is reflected in its various aspects: the choice of genre, the scale of the work, the organization of expressive means.

We will talk about the uniqueness of the main features of the musical interpretation of content in the second part of the textbook. Because in music, like in no other art, every technique, every stroke, even the smallest one, is meaningful. And sometimes a very minor change - sometimes a single note - can radically change its content, its impact on the listener.

Questions and tasks:

1. How does an image more often manifest itself in a piece of music - simultaneously or multifacetedly and why?
2. How is the nature of the musical image (lyrical, dramatic, epic) related to the choice of musical genre and scale of the work?
3. Can a small piece of music express a deep and complex image?
4. How do the means of musical expression convey the figurative content of music? Explain this using the example of F. Schubert’s ballad “The Forest King”.
5. Why did N. Rimsky-Korsakov use authentic epics and songs when creating the opera “Sadko”?

Presentation

Included:
1. Presentation - 13 slides, ppsx;
2. Sounds of music:
Rachmaninov. Prelude No. 12 in G sharp minor, mp3;
Rimsky-Korsakov. “Blue Ocean-Sea” from the opera “Sadko”, mp3;
Schubert. Ballad “Forest Tsar” (3 versions - in Russian, German languages and piano without vocals), mp3;
3. Accompanying article, docx.