Municipal educational institution

Bolshevo Secondary School No. 6

with in-depth study of subjects

artistic and aesthetic cycle

__________________________________________________________

Moscow region, Korolev, Komitetsky Les street, 14, tel. 515-02-55

"Musical Portrait"

Open lesson in 6th grade

During the seminar

“Creative development of personality in the lessons of HEC”

Music teacher

Shpineva V.I.,

Korolev

2007

Lesson TOPIC: Musical portrait (6th grade).

Purpose of the lesson : formation in students of the concept of a musical portrait and artistic means of creating a portrait in various types of art.

Tasks:

expanding the general cultural horizons of students;

formation of a culture of singing;

the formation of a deep, conscious perception of works of art;

development of artistic taste;

nurturing creative activity.

Lesson form : integrated lesson.

Equipment : piano, stereo system, reproductions of paintings, projector, screen.

PROGRESS OF THE LESSON.

Organizational moment. Musical greeting.

Teacher. Guys! You and I have already seen more than once how diverse the world of art is. Today we will talk about one of the genres of art – portraiture.

What are the features of this genre?

In what types of art can you create a portrait?

Give examples.

Students answer questions and give their own examples.

Teacher. The outstanding Italian painter, sculptor, architect, scientist, engineer Leonardo da Vinci said that “painting and music are like sisters, they are desired and understood by everyone.” After all, you may not know the language that Beethoven or Raphael spoke, you just need to watch, listen and think...

Continuing this thought, I would now like to invite you to consider a reproduction of the painting “The Swan Princess” by the Russian artist M.A. Vrubel.On the screen is a slide “The Swan Princess” by M. A. Vrubel.

Questions about the painting :

Describe the Swan Princess by Mikhail Vrubel.

What artistic means does the artist use?

What impression does this picture make on you?

Students answer questions emphasize the mystery, proud beauty of the fairy-tale bird girl, and celebrate the extraordinary gift of the painter who created the portrait of the fantastic creature. This is a fabulous bird girl, whose majestic beauty is characteristic folk tales. Her eyes are wide open, as if she sees everything today and tomorrow. Her lips are closed: it seems that she wants to say something, but is silent. The kokoshnik crown is strewn with emerald semi-precious stones. A white airy veil frames the delicate features of the face. Huge snow-white wings, with the sea rippling behind them. A fabulous atmosphere, everything seems to be enchanted, but we hear the beat of a living Russian fairy tale.

Teacher. In what literary work Are we meeting the Swan Princess? How does the author describe it?

Students answer questions by saying “The Tale of Tsar Saltan” by A.S. Pushkin. The teacher recalls lines from this work in which a portrait of the Swan Princess is given.

Teacher. We looked at a pictorial portrait, read a description of the character’s appearance in a literary work. But many composers have turned to this plot. I’ll now play you a fragment of a work by a Russian composer of the 19th century. What kind of work is this?

The teacher plays a fragment from N.A. Rimsky-Korsakov’s opera “The Tale of Tsar Saltan” on the piano.

Students recognize this work and say that it also contains a portrait of the Swan Princess.

Teacher. The French composer C. Saint-Saëns wrote “The Great Zoological Fantasy “Carnival of Animals,” which also features the Swan theme.

Listen to “The Swan” by Saint-Saëns and describe the character of the music.

The teacher plays the piano.

Student answers : Calm tempo, the accompaniment depicts a slight swaying of the waves, against which an unusually beautiful melody sounds. It is very expressive and therefore easy to remember. At first it sounds quiet, and then gradually the dynamics intensify, and the melody sounds like a hymn to beauty. It sounds broad, like a splash of a wave, and then it seems to gradually calm down and everything freezes.

Teacher. Pay attention to this point: in music, as in the visual arts, it is important not only to simply depict, convey the external appearance, but also to penetrate into the deep, spiritual essence of the character. This play is a prime example of this.

Students are shown a slide with two portraits: V.L. Borovikovsky “Portrait of M. Lopukhina” and A.P. Ryabushkin “Portrait of a Moscow girl XVII century."

Teacher. Now, guys, look at these two portraits, listen to the piece of music and think about which portrait this music is more suitable for and why.

F. Chopin's waltz in B minor sounds.

Questions :

What is the nature of the music, its tempo, means of expression, what's your mood?

What are girls' characters depicted by artists?

Which portrait does this music best suit and why?

Answers: The music is romantic, “lacey”, conveys a feeling of calm and thoughtfulness. The portrait of Lopukhina evokes the same feelings.

Teacher. We looked at a picturesque portrait and listened to a musical portrait that was in tune with it. And now let’s sing in chorus the song that you and I learned: “Teacher’s Waltz” by A. Zaruba.

Students get up from their tables, form a choir and sing the song they learned in previous lessons.

Teacher. Think about what portrait this music paints for us?

Answers: Before us is a portrait of a teacher. The character of the music is smooth, measured, calm, like the character of a teacher.

Students take their seats.

Teacher. Listen to one piece now and try to answer the question: is it possible to see a portrait in this music? If so, whose?

The phonogram “Song of a Soldier” by A. Petrov plays .

Answers: The playful nature of the music paints an expressive portrait good soldier, who went through the battle and remained alive.

Homework : draw a portrait of this soldier.

Teacher. In conclusion, you and I will use musical means to create the image of our homeland, performing the Russian Anthem.

The guys get up.

Teacher. The anthem is a solemn song, majestic and proud. She is free, like the vast expanses of our Motherland; leisurely, like the flow of our deep rivers; sublime, like our hills and mountains; deep, like our protected forests. We sing the Russian Anthem and see Red Square, St. Basil's Cathedral, the Kremlin, our hometown, our street, our home...

Students sing the Russian Anthem.

The teacher offers to summarize the lesson.

What did you learn in this lesson?

What piece of music did you like best?

Which painting made the strongest impression on you?

In what form of art would you like to create a portrait and who and how would you portray?

At the end of the lesson, students are asked to mark the most interesting answers of their friends, grades are given taking into account the opinions of the students.

Portrait in literature and music

A good painter must paint two main things: a person and a representation of his soul.

Leonardo da Vinci

From experience fine views art we know how important it is for a portrait appearance models. Of course, the portrait painter is interested in the latter not in itself, not as a goal, but as a means - an opportunity to look into the depths of a personality. It has long been known that a person’s appearance is connected with his psyche, his inner world. Based on these relationships, psychologists, doctors, and simply people with developed powers of observation and the necessary knowledge “read” information about a person’s mental properties from the iris of the eye (the eyes are the “mirror of the soul”, “window of the soul”, “gate of the soul”), features face, hand, gait, manners, favorite pose, etc.

More than anything else, his face can tell about a person. not without reason, he believed that the face is the “soul of man”; as the Russian philosopher said, “it’s like a navigator’s map.” Lido is the “plot” of the book “Personality”. It is no coincidence that changing your face sometimes means turning into a different person. This interdependence of the external and internal gave impetus to the artistic imagination of writers - V. Hugo in “The Man Who Laughs”, M. Frisch in “I Will Call Myself Gantenbein”. It is facial disfigurement that seems to the hero of D. Oruzll’s novel “1984” to be the final destruction of his personality. The hero of Kobo Abe's novel "Alien Lido", forced by circumstances to make himself a mask, begins to live under its influence double life. A mask that hides a face is the right to a different “image”, a different character, a different value system, a different behavior (remember Fantômas P. Souvestre and M. Allen and the film versions of their books, the plot “ bat"I. Strauss...).

Given how much physical description can reveal, writers often use it to describe a character. A skillfully done description makes the character’s appearance almost “alive”, visible. It’s as if we see individually unique provincials “ Dead souls" The heroes of L. Tolstoy are vivid.

Not only what a person looks like, but also the environment around him, the circumstances in which he exists, also carry information about the character. This was well understood, for example, by Pushkin, introducing Onegin to the reader in the first chapter of his novel, in verse. The author has few expressive touches of the character’s personal “I” (“a young rake”, “dressed like a London dandy”), and it is complemented by many details of Onegin’s upbringing, his social life with balls, theaters, flirtations, fashions, salons, dinners.

Obviously, the ability of “circumstances of action” to testify about people found its extreme expression in the short story of the modern German writer Hermann Hesse " Last summer Klingsor." The artist Klingsor, in order to paint a self-portrait, turns to photographs of himself, parents, friends and lovers, for successful work he even needs stones and mosses - in a word, the entire history of the Earth. However, art also tried the other extreme - the complete cutting off of the environment from the person, which we see in the paintings of the great Renaissance painters: Leonardo da Vinci and Raphael's paintings of nature are deliberately distanced from large-scale faces that attract the viewer's attention. Or we hear in operas: the central aria-portrait of Onegin “You wrote to me, don’t deny it” is in no way connected with the everyday sketches surrounding it - the song of the girls “Maids, beauties, darlings, girlfriends”; confessing his feelings to Liza Yeletsky in Tchaikovsky’s “Queen of Spades”, as if he does not notice the bustle of the noisy St. Petersburg ceremonial ball. Contrast organizes the viewer's or listener's attention, directing it to " close-up” and relaxing against the “background”.

Describing the color of hair and eyes, height, clothing, gait, habits, circumstances of the hero’s life, the writer does not at all strive to create a “visual row” work of art. His true goal in this case (and completely conscious one) lies much further: to consider in external signs human soul. This is how the big French guy said it portraitist XVIII century Quentin de Latour: “They think that I capture only the features of their faces, but without their knowledge I plunge into the depths of their souls and take it entirely.”

How does music portray a person? Does she embody the visible? To understand this, let’s compare three portraits of the same person - an outstanding German composer late XIX- the beginning of the 20th century by Richard Strauss.

This is how Romain Rolland saw him (by no means an angel, but a living person): “He still has the appearance of an adult, absent-minded child with pouting lips. Tall, slender, rather elegant, arrogant, he seems to belong to a finer race than others German musicians, among which he is located. Disdainful, satiated with success, very demanding, he is far from being on peaceful, modest terms with other musicians, like Mahler. Strauss is no less nervous than him... But he has a great advantage over Mahler: he knows how to rest, Easily excitable and drowsy, he escapes from his nervousness thanks to his inherent power of inertia; it has traits of Bavarian looseness. I am sure that after those hours when he lives an intense life and when his energy is extremely consumed, he has hours of seemingly non-existence. Then you notice his wandering and half-asleep eyes.”

Two other portraits of the composer - sound ones - were “drawn” by him himself in the symphonic poem “The Life of a Hero” and in the “Home Symphony”. Musical self-portraits are in many ways similar to the description of R. Rolland. However, let’s think about exactly which aspects of the personality are “voiced.” It is unlikely that, listening to music, we would have guessed that the prototype is “tall, slender, rather elegant”, that he has “the appearance of an adult, sensible child with pouting lips” and “wandering and half-asleep eyes.” But here are other features of Strauss the man that reveal him emotional world(nervousness, slight excitability and drowsiness) and important features character (arrogance, narcissism) are conveyed convincingly by the music.

A comparison of the portraits of R. Strauss illustrates a more general pattern. The language of music is not particularly conducive to visual associations, but it would be reckless to completely reject this possibility. Most likely, the external, physical parameters of a personality can only partially be reflected in a portrait, but only indirectly, indirectly, and to the extent that they are in harmony with the mental properties of the personality.

It is not difficult to make one more observation. A pictorial portrait through external appearance seeks to capture the deep traits of a person, while a musical portrait has the opposite opportunity - “capturing the essence” of a person (his emotional nature and character), allowing for enrichment with visual associations. Literary portrait, occupying an intermediate place between them, contains an informative description and appearance, and the emotional and characteristic “core” of the personality.

So, any portrait contains emotion, but it is especially significant in a musical portrait. We are convinced of this by a noticeable phenomenon in the world musical culture- miniatures French composer late XVII - early XVIII centuries by François Couperin, composed for the predecessor of the modern piano, the harpsichord. Many of them depict people well known to the composer: the wife of one of the organists of the royal church, Gabriel Garnier (“La Garnier”), the wife of the composer Antoine Forcret (“The Magnificent, or Forcret”), the bride of Louis XV Maria Leszczynska (“Princess Marie”) , infant daughter of the Prince of Monaco, Antoine I Grimaldi (“Princess de Chabeil, or Muse of Monaco”). Among the “models” there are people who clearly surrounded the composer (“Manon”, “Angelique”, “Nanette”), and even relatives. In any case, the method of reconstruction human personality united: through individual emotion. His Manon is cheerful and carefree, appears solemnly majestic in the ceremonial portrait of Antonin, and Mimi’s appearance is painted in more lyrical tones. And all of them are like a continuation of the portrait gallery collected in the book of the great writer and philosopher Jacques de La Bruyère “Characters, or Manners of the Present Century.”

TO detailed description emotional world of a person is located and opera aria. It is curious that in Italian opera XVII - early XVIII centuries there was a tradition to highlight in arias main emotion character, main affect. Basic emotions gave birth to types of arias: aria of sorrow, aria of anger, aria of horror, elegy aria, bravura aria and others. Later, composers try to convey not just one all-encompassing state of a person, but a complex of emotions inherent in him and thereby achieve a more individual and deep characterization. Such as in the cavatina (that is, the exit aria) of Lyudmila from the opera “Ruslan and Lyudmila” by Glinka. The composer is clearly inspired by Pushkin's image:

She is sensitive, modest,

Marital love is faithful,

A little windy... so what?

More the cuter the better she.

Lyudmila's aria consists of two sections. The first, introductory one, an address to his father, is imbued with light sadness and lyricism. A wide chanting melody that sounds in at a slow pace, is interrupted, however, by flirtatious phrases.

In the second, main section, we learn the main features of the heroine: cheerfulness, carelessness. Accompanied by “dancing” polka chords, the melody quickly overcomes complex leaps and rhythmic “beats” (syncopation). Lyudmila’s high coloratura soprano rings and shimmers.

Here is another musical portrait, “written” without the participation of the voice - the play “Mercutio” by Sergei Prokofiev from piano cycle"Romeo and Juliet". The music radiates overflowing energy. Fast pace, elastic rhythms, free transfers from the lower register to the upper and vice versa, bold intonation breaks in the melody “revive” the image of a merry fellow, a “daring fellow” who “talks more in one minute than he listens to in a month”, a joker, a joker who does not know how to stay in inaction.

Thus, it turns out that a person in music is not simply endowed with some emotion invented by the author, but certainly with one that is especially indicative of the original ( literary prototype, if such a thing exists, of course). And one more important conclusion: realizing that “one but fiery passion” nevertheless schematizes the personality, “drives” it into a two-dimensional flat space, the composer tries to come to a certain set of emotional touches; the multi-colored “palette” of emotions allows us to outline not only the emotional world of the character, but, in fact, something much larger - character.

Portrait in music and painting

Target: The children's awareness of the relationship between the two forms of art, music and painting, through portraiture.

Tasks:

1. Introduce the “musical portraits” created by M.P. Mussorgsky and S.S. Prokofiev and portraits created by artists I.E. Repin and R.M. Volkov.
2. Continue to work on developing the skill of analyzing a piece of music and a work of fine art.
3. Contribute to the formation of interest in the history of your Fatherland.

Vocal and choral work:

1. When learning musical fragments, try to portray the character of the hero in his voice.
2. Work on clear pronunciation of the text.

Lesson equipment:

Computer (disc, presentation with reproductions of paintings).

Lesson structure

1. Listening: Song of Varlaam from the opera by M.P. Mussorgsky “Boris Godunov”.
2. Discussion of “musical portrait”.
3. Learning an excerpt from “The Song of Varlaam.”
4. Comparison of the “musical portrait” and the portrait of I. Repin “Protodeacon”.
5. Learning an excerpt from “Kutuzov’s Aria”.
6. Acquaintance with the portrait of R.M. Volkov “Kutuzov”.
7. Comparison of two “portraits”.
8. Learning a song
9. Conclusion.

Form of work

1. Frontal
2. Group

Lesson progress

Teacher

Musical portrait. Mikhail Yavorsky.

There are a lot of strange things in our lives,
For example, I dreamed for many years
I even tried more than once,
Write a musical portrait.

For nature I found a man -
The standard of nobility and honor,
A contemporary from our century,
He lived his life without lies and without flattery.

And today, I “draw” a portrait,
It's not an easy job, believe me,
My music stand will replace my easel
Instead of paints and brushes - only notes.

The staff will be better than the canvas,
I’ll write everything on it and play it,
This drawing will not be simple,
But I don’t lose my hope.

To make the features look softer,
There will be more minor sounds,
And the opportunities here are great,
Not to the detriment of music science.

The score will not be simple,
But I won’t break the law of music,
And this portrait will be like this:
Everyone will hear his heart and soul.

It won't hang on the wall
He is not afraid of moisture and light,
And, of course, I would like
May he live for many years.

Continuing the theme “Can we see music”, today’s lesson will focus on, as you may have guessed from the poem, portraits in music and painting. What is a portrait?

Students.

A portrait is an image of a bottom person.

Teacher.

And so, let's listen to the first portrait.

Hearing: Varlaam's song from the opera by M.P. Mussorgsky “Boris Godunov”.

Teacher.

Based on the nature of the musical work, what can be said about this character? What qualities does he have?

Students.

This hero is cheerful, you can feel the strength in him.

Repeated listening.

Learning a fragment.

Teacher.

Is the force good or evil?

Students.

The force is, after all, evil. The music is powerful, which means the hero is very powerful, at the same time riotous, cruel, everyone is afraid of him.

Teacher.

What means musical expressiveness does the composer use when portraying this “hero”?

Students.

Teacher.

And what song's intonation is used by the composer to portray this character?

Students.

Russian folk dance

Teacher.

Based on the means of musical expression you listed, what do you think this person looks like externally?

Students.

This man is elderly, with a beard, an angry and domineering look.

The portrait of I. Repin “Protodeacon” is shown.

Teacher.

Let's think about whether there is any similarity between our “ musical hero” with the person depicted in this picture? And if so, which one?

Students.

There are similarities. The man depicted in the picture is also elderly, with a beard.

Teacher.

Guys, pay attention to this man's gaze. Try to portray this look. What is he like?

Students.

The look is sharp, predatory, evil. The eyebrows are thick, black, and splayed, which makes the look heavy and authoritative. The picture, like in music, is in dark colors.

Teacher.

We compared two portraits - musical and artistic. The musical portrait was written by the Russian composer M.P. Mussorgsky (Varlaam’s song from the opera “Boris Godunov”), the second portrait belongs to the brilliant Russian portrait painter I. Repin (the portrait is called “Protodeacon”). Moreover, these portraits were created independently of each other.

View an excerpt from the opera “Boris Godunov” (“Song of Varlaam”).

Teacher.

Guys, why do you think such portraits as Varlaam, the archdeacon, appeared?

Students.

The composer and artist saw such people and depicted them.

Teacher.

Listening to the “song of Varlaam” and looking at the painting “Protodeacon,” how do you think the artist and composer treat such people, the same or differently. Justify your answer.

Students.

Both the composer and the artist do not like such people.

Teacher.

Indeed, when Mussorgsky saw “Protodeacon,” he exclaimed: “Yes, this is my Varlaamishche! This is a whole fire-breathing mountain!”

I.E. Repin in the portrait of “Protodeacon” immortalized the image of deacon Ivan Ulanov, from his native village of Chuguevo, about whom he wrote: “... nothing spiritual - he is all flesh and blood, pop-eyed, gaping and roaring...”.

Teacher.

Tell me, did we get the attitude of the authors towards their characters?

Students.

Con

Teacher.

Have you come across such portraits in our time?

Students.

No.

Teacher.

Why don’t they create such portraits in our time?

Students.

Because in our time there are no such people. In past centuries there were many such “heroes”. Such priests were typical of that time. There are no such clergymen these days.

Teacher.

That is, art reflects the reality around us.

Now we will introduce you to another musical portrait.

Listening to Kutuzov's aria from the opera by S.S. Prokofiev “War and Peace”.

Learning an aria.

The class is divided into three groups and given the following tasks:

1st group – gives verbal portrait character (external and “internal”);

2nd group – selects one portrait corresponding to the given piece of music from the proposed video sequence, substantiates the answer;

3rd group – compares the resulting portrait with a given piece of music.

Students justify their answers based on musical and artistic expression, used by the composer and artist.

Teacher.

We have become acquainted with another portrait, directly opposite to Varlaam. Kutuzov's aria from the opera by S.S. was performed. Prokofiev’s “War and Peace” and before us is a painting by Roman Maksimovich Volkov “Kutuzov”.

Who is Kutuzov?

Students.

The commander who defeated Napoleon in the War of 1812.

Teacher.

Which character traits of the hero are emphasized by the composer, and which by the artist?

Students.

The composer emphasizes majesty, strength, nobility, and concern for the Motherland. The artist emphasizes his services to the Motherland, nobility, and intelligence.

Teacher.

How do both the composer and the artist feel about this hero?

Students.

They respect him and are proud that he is their compatriot.

Teacher.

Students.

Certainly

Teacher.

Which previously studied piece of music is this aria close in spirit to?

Listening to or performing an excerpt from an aria.

Students.

To “The Heroic Symphony” by A.P. Borodin.

Teacher.

Listening to the aria and looking at the picture, can Kutuzov be called a hero? Justify your answer.

Students.

Yes, because he combines all three qualities - Strength, Intelligence, Goodness.

Teacher.

Can Varlaam be called a hero?

Students.

No, he has Strength, Intelligence, but no Good.

(Both portraits are on the board)

Teacher.

And why were the portrait of Kutuzov created by Prokofiev and Volkov and Borodin’s “Heroes” symphony and Vasnetsov’s painting “Bogatyrs”?

Students.

Because such people, heroes, actually existed.

Teacher.

Today we will learn a song whose heroes have Strength, Intelligence, and Goodness. And their main strength is friendship. Song from the movie “Midshipmen, forward!” “Song of Friendship.”

Learning a song.

Conclusion:

1. What portraits and their authors did we meet in class?
2. How are the same characters portrayed in music and painting?
3. What does this “kinship” between music and painting give us to understand?

Date: 12/09/2017 Date: 12/13/2017 Date: 12/23/2017

Class: 6 "B" Class: 6 "A" Class: 6 "B"

Topic: "Musical portrait"

Lesson type: deepening the topic, developing, problematic

Objective of the lesson: Expand and deepen students’ understanding of the multifaceted connections between music and painting.

Lesson objectives:

Educational:

To form an idea of ​​the genre of musical portrait;

To introduce the creative community of composers " Mighty bunch»;

Teach children to feel poetry, musicality and picturesqueness artistic images.

Educational:

Development of research skills;

Development of inner hearing and inner vision as the basis for development creative imagination

Deepening students' understanding of the visual properties of music with the help of comparative analysis music - “Songs of Varlaam” by M. Mussorgsky and fine art - paintings by I. Repin “Protodeacon”;

Developing the ability to reveal the properties of “pictorial music” through the masterful use of paints by composers and performers musical speech(register, timbre, dynamic, tempo-rhythmic).

Educators:

- nurturing a sense of beauty using the example of works of world music and artistic culture;

Formation of aesthetic taste of students;

Nurturing moral and patriotic qualities in students through history home country, the musical heritage of the native people.

Educational technologies used in the lesson: problem-based learning technology, information and communication technologies, technology critical thinking, group technology

Knowledge, abilities, and skills that students will update, acquire, and consolidate during the lesson: During the lesson, students acquire knowledge about the genre of musical portrait, the ability to analyze works of music and painting, the skills of comparing works of musical and fine art, research activities, working with modern electronic learning tools.

Equipment: computer, speakers, screen, presentation about the composers of the “Mighty Handful”.

Lesson progress

I. Organizational moment.

Hello guys! I am glad to see you all healthy and beautiful. In what mood did you come to my lesson? (...) I hope that after the lesson it will become even better. So, we continue our journey through the musical art gallery.

II. Repeating what has been covered and posing a new problem.

Guys, before moving on to the new section, let's remember theme III quarters.

(Sl. 1. “Can we see the music?”)

What is the purpose of the lessons this quarter? What should we find out?

(The connection between music and fine arts)

Guys, in what ways, in what examples and themes have we already traced this connection?

(Music can depict movement, various life images)

That's right, guys. And in these lessons we were convinced that music and fine arts They can depict movement and all kinds of images using different means of expressiveness, complementing each other.

And the topic of our lesson today is “Musical Portrait”. (Sl.2)

Guys, tell me, what is the meaning of the concept of “portrait” in fine art?

(Display of the visual characteristics of the model; this is a repetition in the lines and colors of a living face, where through visual image the artist reveals inner world person)

Based on the topic of our lesson, do you think that today we will find out what the purpose of this lesson is?

(How music can paint a musical portrait)

Yes, guys. Today we will try to answer the question: can a musical portrait exist? ( problematic issue) (Sl.3)

And we will consider this concept using the example of the music of the Russian classical composer Modest Petrovich Mussorgsky.

IV. Bottom line.

Guys, can “The Song of Varlaam” be called a musical portrait?

What did the music portray to us?

(The character of a person, his inner world.)

So what is a musical portrait?

(A musical portrait is a portrait of the hero’s character.)

That's right, guys. In music, unlike painting, the image of the character and mood of the hero comes to the fore, and appearance can be imagined through imagination and fantasy. In a pictorial portrait, the opposite is true. So, a musical portrait is a portrait of the character of the hero. (Sl. 26)

Are music and visual arts really so closely related to each other?

- Does music have imagery?

- Can we see the music?

V. Creative activity students.

Guys, now let's try to become creators ourselves. Try to understand your inner state, hear the music of your soul and write a syncwine on the topic of our lesson. In it, try to reflect your attitude to what you saw and heard in the lesson. Let's remember the syncwine scheme. (Sl. 27)

(They compose a syncwine to M. Mussorgsky’s “Walk.”)

Well, now read to us all what you came up with.

(Reading your syncwines.)

Now let’s try to paint with our performance a musical portrait of the hero of the song that we learned in the last lesson, “Song about the Little Trumpeter.”

(Performance of “Song about the Little Trumpeter” by S. Nikitin)

VI. Reflection.

Guys, did you feel like creators today?

So you were able to express your feelings, emotions, fantasies?

What did you like and remember most about the lesson?

Guys, you have emoticons on your desks. When leaving the classroom, display your mood on the board.

(Students leave the class, attaching emoticons to the board.)

It turns out that a person can sound... In notes, musical phrases, melodies, his character is revealed and his “face” is depicted. It is known that a portrait painted by an artist is able to convey the essence of a person, leaving a certain secret. Every part of the face, every curve of the body on the canvas resurrects us as a person, while preserving something intimate.

Music, like any other form of art, brings something beautiful to life. It conveys the mood, charging a person with positivity. Very often we look for ourselves in the lines of songs, trying to catch any note and compare it with our personality.

Imagine these two greatest of the species art together - painting and music! Portrait of a man in music. Interesting?

A musical portrait is...

First of all, this is art that reveals your soul, musically conveys the emotions and character of a person. It is yours, personal, unique, like the person himself. With the help of a musical portrait, you look at yourself from different sides, revealing ever deeper facets of your inner world. A melody, actually copied from your “I”, helps to improve your spiritual state - you can’t argue with that! After all, listening to certain music, you experience emotions. What if this is the music of your soul? Did you have to look at it from the outside? This is an indelible impression - reality takes on different shapes: love, beauty, limitlessness...

How do you create a musical portrait?

Have you ever wondered what peace is? Sometimes, at some moments, you feel some peace of mind. Nothing worries you, you walk along endless paths, there, deep inside. When thoughts are lost and you are immersed in something more that cannot be described. This something rises deep from within, from the most secret chambers of the heart.

How many people can read unknown world?
A musical portrait can only be created by a genius, a genius of the soul. He can not only read, but also reproduce it into music, feel, understand your thinking, consciousness, open your will. Play the music that plays inside you.

The fullness of the art of creating a musical portrait lives in the unique environment of the intuitive world. In order to create it, the composer needs personal contact with a person or a personal photograph or video recording. When all the information about the person is collected, the musician records the portrait in the studio, providing the melody with high-quality sound. It has also happened in practice that a composer writes a musical portrait in the presence of the person he is writing about. But in any case, with or without a personal meeting, the quality will not change. In any case, this will be what is called - musical image inner world.

Do you want to hear what a musical portrait sounds like?

A musical portrait has two types of creation:

1) Improvisation (impromptu) is the recreation of the author’s feelings directly into the recording

2) A written piece is a complex, meticulously developed composition in notes. This kind of composition can later be arranged. This melody has the form of a piece that needs to be worked on for a certain time.

Musical portrait - historical heritage and an exclusive gift

It’s very hard to surprise a modern person, isn’t it? Imagine that you receive yourself as a gift - your inner world, feelings and experiences that have long been familiar and dear to you?.. Only expressed in the language of music. This is not only relevant and new for our world, it seems incredible and unimaginable!

By ordering a musical portrait, you can give a gift to your loved one. After all, the author can write a musical portrait of you personally or, for example, express your feelings for a loved one - portray him the way you see him! A musician can paint a portrait about love, friendship, etc. In a musical portrait you can embody all the versatility of your personality!

You can learn about the service and order a musical portrait