When and where did the first universities appear? Medieval universities

Quarter: III, week 2.

Theme of the quarter: “Development of music.”

Lesson topic: “Types of music development” (tempo, dynamic).

Goal: to form an understanding of the various types of music development.

– fostering positive motivation in students to perceive works of art. Fostering a listening culture;
– give the concept of tempo and dynamics in music, reveal the meaning of forte and piano. To instill the ability to analyze a piece of music;
– development of students’ creative abilities, development of skills of pure intonation when singing and a sense of rhythm when playing children’s musical instruments. Expanding musical horizons, developing students’ imaginative thinking.

Lesson type: learning new material.

Lesson form: musical conversation - reasoning.

Professional Lesson Settings:

– Take into account the peculiarities of musical and psychological perception of young children when selecting appropriate song and musical material;
– Involve students in various types of musical activities (collective form - choral singing, listening, playing children's musical instruments, musical-rhythmic activity, frontal - musical conversation - reasoning, improvisation);

To arouse a strong interest among children in the work of the Norwegian composer E. Grieg by listening to a fragment (“In the Cave of the Mountain King”), as well as performing musical works (“Children of the whole earth are friends,” “Why does the bear sleep in winter”).

Strive to communicate and collaborate with students during the lesson.

Use video playback equipment (multimedia projector).

Equipment: tape recorder, music library, illustrations for songs, musical terms, portraits of composers, children's musical instruments, synthesizer (piano) (multimedia projector).

Musical material for the lesson:

1. Children's march. A. Serebrennikov – entrance to the classroom
2. musical greeting, set of vocal and choral exercises
3. Different guys. D. Kabalevsky - repetition of the song
4. “Why does a bear sleep in winter?” L. Knipper – learning a song
5. “In the Cave of the Mountain King.” E. Grieg – listening to a fragment
6. “Kalinka”. Russian folk song - playing children's musical instruments.
7. “The children of the whole earth are friends.” D. Lvov-Kompaneets - performance of the song.
8. “March” by T. Khrennikov – leaving the classroom.

Entrance to the classroom to “March” by A. Serebrennikov

Musical greeting.

1. A minute of musical notation.

2. A set of vocal and choral exercises

A). What is the name of the sign that reveals music to us? (Violin, musical key)

b). How many notes are there in music? (7) name them in order.

V). Let's sing all the sounds, showing each step with our hands.

G). Reception “echo” (do-re-do…….

d). Tongue twister (diction) – Andrey Sparrow...

e). Work on breathing (silent inhalation, slow exhalation - stretch, or several abrupt short exhalations) - warm your hands.

Singing “Different guys.

– I’ll play it, and you’ll remember what guys this music is like (1-calm, 2-fidgety)

Right. Now let’s do it: girls are calm, and boys are restless.

– Was the music in this chant the same or different?

– What changed in music? (character, rhythm)

The change was rhythmic.

Any change in music is called its development.

This is the topic of our lesson. (Slide No. 1)

Today in the lesson we will get acquainted with different types of music development.

To understand what music development is and what types of music development there are, you need to listen carefully to the music and the teacher. (Slide No. 2)

Listen to the birds chirping
Listen to the wave sing
Like the rain knocking on your window
Music is heard everywhere

It is these lines of the poem that say: it would be good if each of you is very attentive, very sensitive to music.

Music is an art that reveals itself to the listener in movement, gradually, step by step (sound by sound). Therefore, there is no music without development, even when it strives to depict complete peace and stillness.

But look at changes in human life, in nature, or just around us? (Yes)

– in nature: a grain sprouts, grows, changes and becomes a plant (slide No. 3)

– person: the baby grows, develops, gets stronger, gets smarter, etc. ( slide number 4)

Development is, first of all, a change (slide No. 5) that constantly occurs and is observed by us in life.

If we read (without music) any fairy tale, we will see that various events take place in it, the characters perform different actions, their mood changes, they enter into friendly conversations with each other, then into arguments, etc. All this called development.

Listen to one funny story and answer, is there any development in it? (slide 7, 8, 9, 10)

Analysis by text.

Yes. There is development. But if such development is in the text of the fairy tale, then it must also be in the music.

Music changes through the means of musical expression.

What means of musical expression do you know? ( slide No. 6)

Well done. You know all the definitions well. Let's focus on these means of musical expression through which the development of music is carried out.

Let's draw up a plan for performing the song ourselves, using the means of musical expression.

Three different verses are like three images of a winter forest: calm, excited and calm again. The first verse paints a picture of a tranquil forest; the bear quietly goes home to his den. Same calm there must be the sound of music. But at the very end of the first verse there is an incident: the bear stepped on the fox’s tail. In the life of forest inhabitants there is commotion, noise, din. The music should sound the same way: fast, excited, noisy. In the third verse, the bear climbed into the den, fell asleep, and the forest became calmer - music in this verse performed more quietly and calmly, than in the first verse.

So you and I ourselves have drawn up a plan according to which we will sing, changing the character of the music. This change is called executive development.

Learning a song. Vocal and choral work on phrases (verses).

Executive Development Plan : (slide No. 11)

Verse 1 – calm
Verse 2 – excited
Verse 3 – calm.

Performing the song entirely in character (standing, with movements possible).

Well done. You tried your best.

Yes, guys, the composer composed the same music for three verses, but your performance introduced development, movement, and a change in character into it. You sang louder, quieter, slowly, faster, etc. This song is a shining example of the performance development of music.

Continuing the theme of the lesson, we will trace how a composer develops music in a large musical work, using the example of familiarity with the work of E. Grieg.

E. Grieg is a Norwegian composer. Portrait (slide No. 12)

– Look at this man’s face. What smart, kind, bright eyes, a smile hiding in the corners of the lips. Therefore, Grieg’s music is permeated with warmth, sincerity, love for his native land, for its harsh nature. After all, Norway is a northern country where it is always cold, there is a lot of snow and the sun shines little.

Composers often turned in their work to oral folk art: fairy tales, epics. Fairy tales are the origins of great serious musical works (“Sadko”, “Sleeping Beauty”, etc.).

The Peer Gynt Suite is one of these fabulous works. (Slide No....)

(A suite is a musical work from several different paintings connected by one plot).

Listen to the plot of a piece of music

Peer Gynt is the name of the young man, the main character of the suite. He leaves his home on a long journey, hoping to get rich and find his happiness. But he found happiness and love only after returning to his homeland. In his travels, Per meets various heroes, among them the oriental dancer Anitra, gnomes and fairy-tale cave dwellers - trolls. Here is one incident from his journey. The hero finds himself in a fairytale cave. Lay down to rest. Just as he was about to fall asleep, he heard a slight movement, a quiet rustling. Trolls began to peek out of cracks, various holes and bumps, there were more and more of them, they surrounded him on all sides, and now they began to line up in columns with warlike cries, the mountain king appeared.

– Determine by the music whether the trolls have gathered for good or evil.

– They sat down as listeners. Which one of you hears more changes will better guess the composer's intention? (slide No. 13 cave)

I believed when I went for the first time
Into the dark depths of the earth:
Spirits of darkness there, in the depths,
The secret of secrets will be revealed to me.

Listening to the fragment “In the Cave of the Mountain King.”

– What did you imagine with this music?

– What changed in music? (tempo - the movement from slow to fast is perfectly conveyed, dynamics - from quiet to loud,

Introduce the recording of dynamic shades - forte (loud) and piano (quiet).

f and p are contrasting shades in musical speech. (slide No. 14)

p f , ---------– crescendo gradual intensification of sound.

Timbre - from quiet to excited, character - from angry to aggressive, the melody was repeated - a technique of repetition, but in a different form.)

– What development of music have you been able to determine?

(Dynamic - from quiet to loud, the composer draws trolls, their procession: from afar - close,
tempo - the speed of execution varied,
timbre - from soft sounds turned into clear, abrupt, hard, sharp.)

All this created an image of evil.

Repeated listening to the fragment (possibly using movements)

Development has made music interesting, events change, and music tells us about it.

Using the example of E. Grieg’s play “In the Cave of the Mountain King,” we clearly saw that, using various techniques for developing music, the composer created a vivid picture of the rapid dance of fairy-tale creatures. The work is based on one invariably recurring theme, but throughout the sound of the music we watch with interest its development: the change in character from wary, hidden to excited, excited; a gradual increase in dynamics from a barely audible piano to a thunderous forte; accelerating the pace - from slow to rapid.

The mysterious procession gradually develops into a wild dance of gnomes and trolls - the inhabitants of the fairy-tale cave.

We would not be able, for example, to listen to the end of “In the Cave of the Mountain King” if this music did not have bright, memorable intonations, if nothing developed in it, but the same thing was repeated all the time.

We recognize and remember music easily if it is built on bright, memorable intonations, we are interested in listening to music, it captivates us then, when there is an exciting development in it.

Musical warm-up. (Dance of the little ducklings) (this music also has changes, i.e. development. 1 – part is fast, easy, cheerful

2 – part smooth, slow, calm

Continuing to practically master the changes in music, I suggest playing children's musical instruments. But first, guess the Russian folk song by its melody. (play fragment)

- Right! r.n.p. "Kalinka".

We listen and identify changes.

Part 1 (chorus) – fast, fun, danceable….

Part 2 (verse) – slow, smooth, drawn-out, more songlike….

The guys paid attention to the accents in the music. Let's clap them separately without music

(to achieve simultaneous execution on the account).

Rules for playing instruments:

– how to hold it correctly;

– how to produce sound;

– when to play, at what moment...

Game on d.m.i. to the soundtrack (slide No. 15)

Analysis of execution. What happened?

Well done. We felt and conveyed changes in the music – contrast. The technique of contrast is a technique for developing and changing music.

At the end of the lesson, we will perform a familiar children's song about friendship (play), in music that has development. (“The children of the whole earth are friends”)

Repeating words from pictures on the board (slide No. 16)

Concert performance in character with a genre change: the chorus is dance, the verse is song.

To summarize the lesson, checking how you have mastered a new, complex topic, I ask control questions: ( slide No. 17)

– What is development? Say in one word...(change)

– What have we learned today? (Determine types of development)

– What types of development and in what works or songs or plays do you remember? (Genre – “Children of the Whole Earth Are Friends”, tempo, dynamic – “In the Cave of the Mountain King” by E. Grieg, performance – song “Why the Bear Sleeps in Winter” by L. Knipper, r.n.p. “Kalinka” – tempo.

– In the works of which composer was there a striking development? (Grieg.) What was it called? (“In the Cave of the Mountain King”, dynamic, tempo)

This means that music is based on intonation and development ( slide number 18)

There is no music without development

Homework: – I suggest that you draw at home any drawing for the work that you liked most to decorate the exhibition in the next lesson.

Reflection at the end of the lesson.

Raise your hand high if ………

– The lesson was interesting, I learned a lot of new things.

Hand down if……..

- There are still questions.

Thank you for your active work in class. Grading. Musical farewell.

Exit from the classroom to “March” by T. Khrennikov.

2. Development and form

We found signs of development in some themes. But the real, great development begins after the presentation of the topic. In development, the theme or its individual fragments may be repeated, but always with changes. Sometimes these changes are so significant that they give rise to a completely different musical image, but in it you can recognize the intonations of the theme. You have just become acquainted with Tchaikovsky’s gentle, melodious and very light theme. And then, in the middle of this movement of the Sixth Symphony, a tragedy unfolds, and here is one of the culminations of this tragedy. The main melody is played by trumpets at their maximum volume:

Allegro vivo = 144

But listen to the melody: this is a development of the sequence from the second half of the theme.

As you probably already understood, there are special techniques for development. They can also be called methods or techniques. Basic techniques variational development And sequence.

You already know the sequence. You can also add that there are sequences accurate And inaccurate, and also ascending And descending. And each execution of a repeating motif is called sequence link. And the sequence also has step.

The first sentence of Polka from Tchaikovsky’s “Children’s Album” contains two sequences at once. In the first of them, the second link is a second higher than the first, which means it is ascending, with a second step. And all the intervals of the first link are exactly transposed in the second one a tone higher, which means it is accurate. In the next sequence, the second link is lower; it is descending. And the jump to a minor sixth in the first link turned into a jump to a perfect fifth in the second, and the sequence turned out to be inaccurate.

Moderate (polka tempo)

Sometimes in imprecise sequences, like here, the step cannot be determined. Look: the first sound is shifted to a minor third, and the rest are shifted to a major second. Music isn't all about math, and it often throws things up.

Now let's practice ourselves. These are blanks for homework. Copy them into your notebooks, and fill in the empty measures with sequences of your own composition. The direction is indicated. The first example suggests a rhythm (empty stems without heads). Invent accuracy, inaccuracy and step as you want, but then determine what you got.

Examples 9a, b

Ascending sequence (D major)

Descending sequence (D minor)

The changes in the second phrase of the theme of Tchaikovsky's Sixth Symphony can be called variations. But, I repeat, development within the topic itself is still “unreal” development. And what appeared in the middle of the movement is a real variational development. Form variations is completely based on variational development. But not every variational development variations. We'll talk about this in more detail a little later.

There are other ways to develop. In third grade, we talked about polyphony and tried to sing the canon “There was a birch tree in the field.” The canon uses a technique called imitation.

In polyphonic music, imitation is one of the main development techniques.

Sequences are often imitated in the middle of polyphonic works. This technique is called canonical sequence.

How long can you develop a topic? If a composer has enough imagination, he can develop it endlessly. But no one will be able to listen to such music, and no one will want to. For music to be easy and interesting to listen to, it needs a form.

When you analyzed your program by specialty, you may have noticed that most plays consist of several relatively complete pieces. Such pieces are called sections, which make up musical form.

The form is formed as a result development of musical material. You have learned what development is and what it happens. Now all that remains is to find out how musical forms are structured and try to compose small musical examples of these forms yourself.

The smallest musical form already familiar to you period. You can find many miniatures that are painted in period form. But more often the form of a musical work consists of several periods. Simple two-part of two, and simple tripartite out of three. There are also complex forms, each section of which consists of several periods.

All these forms, both simple and complex, are used in miniatures. But in large works completely different forms are used: variations, rondo, sonata And rondo sonata forms. You will also become familiar with variations and rondos very soon. And you will meet the sonata form and its variety, the rondo sonata, a year later, getting acquainted with the sonatas and symphonies of J. Haydn.

To avoid confusion, study the following plate. It contains all the forms you need to know about.

In our traditional questionnaire, you will see a new icon. This icon will now be used to mark all creative writing assignments.

Speeches
Musical theme, ways of presenting it. Musical image. Determining the connection between the musical image and the theatrical stage. The connection between the image and the composer’s programmatic intent. (Convey your impressions of the sound of the theme, relying on the means of musical language).

Practical tasks: a quiz on the musical material covered in 1st grade with a repetition of basic concepts; crossword puzzles on musical terms.

Musical material:

N. Rimsky-Korsakov. "The Golden Cockerel", introduction

S. Prokofiev. "Children's Music", Morning

R. Schumann. "Carnival" (No. 2 and No. 3);

plays by E. Grieg, R. Schumann (“Album for Youth”), M. Mussorgsky (“Pictures at an Exhibition”), completed in 1st grade.

Homework: determine the musical image in plays from your performing repertoire, based on an analysis of the elements of musical language.

Means of musical language for creating a musical image

How do primary genres, texture, mode, tempo, strokes, rhythmic pattern, meter, timbre participate in the creation of a musical image? Observation of a change in musical images when changing thematic material by type of comparison, addition, strengthening of the previous one. How do the elements of musical speech change, what means of expressiveness become especially important in the new topic.

Musical material:

S. Prokofiev. Ballet "Romeo and Juliet", Juliet the girl

S. Prokofiev. "Children's Music", Rain and Rainbow

P. Tchaikovsky. "Children's Album", Waltz

E. Grieg. "Peer Gynt", Song of Solveig.

Additionally: M. Glinka. Opera "Ruslan and Lyudmila", March of Chernomor;

J. Bizet. Opera "Carmen", overture.

Homework: tell what elements of musical language play a decisive role in creating images of familiar musical works.
Topic 2.Basic development techniques in music(concepts of phrase, motive, period).
Basic development techniques in music: repetition (accurate and inaccurate), sequence, contrast.

The concept of a structural unit (phrase, motive).

Homework: find examples of the three particular forms in your own performing repertoire.

Rondo shape

Rondo shape. Theme-refrain (multiple return), the meaning of the return of the theme-refrain in different examples. Episodes (developmental type, contrasting).

Practical task: convey the plot of a fairy tale in the form of a drawing diagram corresponding to the shape of a rondo (for example, “Kolobok”).

Musical material:

J.-F. Ramo. Tambourine

D. Kabalevsky. Rondo Toccata

M. Glinka. Opera "Ruslan and Lyudmila", Rondo Farlafa

S. Prokofiev. Opera "The Love for Three Oranges", Juliet the Girl, March

V.-A. Mozart. Opera "The Marriage of Figaro", Figaro's aria "The Frisky Boy"

A. Vivaldi. "Seasons"

A. Borodin. Romance "The Sleeping Princess".

Homework: choose a fairy tale that can correspond to the rondo scheme.

Variation form

Variations. Variations in folk music. Basso ostinato (chaconne, passacaglia). Classical variations (strict). Soprano ostinato (Glinkinskie). When analyzing, it is advisable not to first explain the structure of the plays, but to determine it together with the students, then you should fix the scheme and draw conclusions together with the children (about the content and form, about the composer’s intention).

Musical material:

G.-F. Handel. Chaconne

V.-A. Mozart. Opera "The Magic Flute", variations on the theme of bells

M. Glinka, Opera “Ruslan and Lyudmila”, choir “Oh you, Svet-Lyudmila” and “Persian choir”

M. Glinka. Opera "Ivan Susanin", chorus "Glory".

Sonata form

General concept of the sonata cycle. Sonata form.

Practical task: analysis of sonatinas from students' repertoire.

Musical material:

J. Haydn. Sonata in D major 1 movement.

Know the features of folk art and the main genres of folk songs;

Know everyday and concert genres in music;

Get acquainted with the basic musical forms: period, two-part and three-part simple forms; Rondo, variations, sonata.

The result of the training is a formed set of knowledge, skills and abilities, reflecting the student’s musical memory and hearing, musical perception and thinking, artistic taste, knowledge of musical styles, mastery of musical terminology, and a certain musical and general cultural outlook.

The learning outcomes are:

Knowledge:

• 
  primary knowledge about the role and significance of musical art;
• 
  initial knowledge of music as an art form, its main components, including musical instruments, performing groups (choral, orchestral);
• 
  knowledge, in accordance with program requirements, of musical works of foreign and domestic composers of various styles (with examples);
• 
  knowledge, in accordance with program requirements, of basic information about the work of foreign and domestic composers of various styles;
• 
  knowledge of musical genres and forms in accordance with program requirements;

• 
  analyze the content of music, form, musical language on an intonation-figurative basis;
• 
  discover associative connections with other types of art;
• 
  distinguish and understand the life-like content of musical works of different genres; distinguish between lyrical, epic, dramatic musical images;
• 
  work with a book and music text.

• 
  verbally expressing your thoughts about the piece of music you listened to;
• 
  identifying (recognizing) fragments of studied musical works by ear;
• 
  perception of a musical work;
• 
  manifestations of emotional empathy in the process of perceiving a musical work;

IV . Forms and methods of control, rating system