Business speech and verbal picture. Musical works about nature: a selection of good music with a story about it

04.04.2019

When business people discuss the future of a company or the benefits of a product, they give special meaning ideals and ideology - such concepts as “increasing sales”, “quality service” or “sustainable development” are heard. And given that the employees of an organization, like its clients, are often people with different views and temperaments, it may seem that such abstract constructions are quite appropriate, since they create a common understanding.

But such theorizing undermines one of the fundamental principles of communication: it does not provide clarity. Managers must talk about development strategies in such a way that subordinates have a clear picture in their heads. Instead of philosophical phrases, the most effective salespeople communicate their ideas using clear, clear image-based words.

What are verbal images?

In short, these are phrases that describe objects with distinct properties (such as children) and easily recognizable actions (such as smiling and laughing). Images convey sensory information and thereby paint a vivid picture in the imagination - it is very easy for listeners to imagine what the speaker is talking about. We can say that the vision that is conveyed through verbal images is closest to the literal meaning of the word “vision” itself.

A speech rich in images is much more effective than a report through which the speaker tries to explain abstract concepts to listeners. Andrew Carton, along with Chad Murphy of the University of Oregon and Jonathan Clark of Penn State, found that hospital patients respond better to medical workers who use images in their work and communication with patients than about doctors who resort to the help of abstract ideas.

Another study, in which teams were asked to develop a prototype of a children's toy, found that discussions using emotional images ("our toys... will make the child laugh and his parents smile") received much better response than neutral expressions ("our toys... will like to all buyers").

The verbal imagery and colorful metaphors literally bring your listeners to life—they are inspired by a crystal-clear understanding of your ideas.

Inspiring images of the future

It is worth mentioning another study that confirmed the benefits of using verbal images. Thus, Cynthia Emrich from Purdue University and her colleagues found that US presidents who used vivid metaphors were and are considered more charismatic compared to presidents who spoke more abstractly.

Surely you have heard about similar studies and opinions. What all inspiring speeches delivered at the most critical moments in history have in common is that the speakers appealed to the imagination of their listeners. From Winston Churchill, who vividly envisioned a near future where the Allies would “fight in the fields and the streets,” and John Kennedy, who wanted to “put a man on the moon,” to Martin Luther King, with his dream of a time when “the sons of slaves and the sons of slaveholders could sit at the same table."

Verbal images were also actively used by business revolutionaries. Think of Bill Gates and his “computer on every desk in every home,” or Henry Ford’s dream of a car “big enough for the whole family.” More recently, I remember the British chemist Paul Thomas and his speech that “the day will come when we will be able to detect a tumor in the lung if we simply ask a person to blow into a tube.”

More specifics

In their book Made to Stick: Why Some Ideas Survive and Others Die, the Heath brothers (Chip and Dan Heath) argue that people tend to trust concrete images because life itself is concrete. The days of our lives are filled with visual symbols, sounds and smells - accordingly, verbal images perfectly convey reality.

Especially these images are the best option when it comes to the long term, because the future is often vague. When the event has not yet occurred, people respond better not to constructs like “maximizing share price” or “providing excellent service,” but to expressions that convey the essence through metaphors, sensations, or even sounds.

At the same time, people themselves are not inclined to paint vivid pictures in their imagination when it comes to the future. Nira Liberman of Tel Aviv University and Jacob Troup of New York University found that the more distant an event is, the more general a person's thinking becomes.

For example, when subjects were asked to imagine the process of reading a book, they were much more likely to describe it as “gaining knowledge” rather than “following the printed lines”—if they were talking about reading “next year” rather than “tomorrow.” It is this trend that explains the fact that more than 90% of managers communicate with subordinates without using bright images.

Those people who do try to reverse the trend described above and talk about the distant future in more concrete terms often resort to numbers to illustrate the goal - for example, talk about stock price, market share or ROI. And this is understandable: such analysis is mandatory for any business. We also use specific data in order to organize the chaos around us, to drive a complex reality into a certain framework. We carry out diagnostics to track changes.

Research has shown that setting goals with specific numbers increases employee motivation, largely because expectations become much clearer. The importance of quantifying reality has only increased in the digital age. However, verbal images have advantages that reports, even with exact numbers, cannot boast.

2 main advantages

Another study confirmed that presentations using verbal images have two undeniable advantages. First, messages with numbers and statistics risk remaining misunderstood if there is no interesting story behind them, which is almost always present in messages with an abundance of images. Second, Deborah A. Small and her colleagues found that a story about a starving 7-year-old girl in Malawi motivated people to give twice as much. more money, than reporting “a famine in Malawi affecting more than three million children.”

Both principles described are easy to illustrate with examples.

In the first case, we are talking about accessibility of perception. For example, the company aims to increase its use of renewable energy by 25%. To do this, she will have to make sure that people know everything about this form of energy and understand how its use can be increased. But the phrase: “Cities with solar panels on every roof, biofuels in every car and wind turbines on every hill” is understandable to all listeners - regardless of their education and savvy in technical matters.

To demonstrate the second principle (emotional impact), we can take the New York City municipal program, the goal of which was to reduce the annual number of pedestrians killed from 200 to 0. From the point of view of the program's compilers, zero certainly seems to be an effective target. But bright and memorable words could better show what would change after achieving the goal - for example, how every year 200 people would receive the gift of life and the happiness of meeting sunrises and seeing off sunsets with loved ones.

Although numbers are more specific than general expressions like “maximizing stock price,” it is easy to be fooled into believing that they will make the brain think faster or activate the imagination.

In fact, everything is exactly the opposite - numbers reduce the listener’s ability to perceive figurative information. To verify the correctness of this argument, let us turn to research in the field of brain anatomy.

According to Seymour Epstein and his colleagues, one thinks logically (analytical, or “rational self”), and the second perceives sensory information from the world around us (empirical, or “sensory self”). Numbers are processed in an analytical system and do not contribute to the formation of the overall picture. And verbal images enter the empirical system and are instantly transformed into a specific “vision”.

It is very difficult to operate both cognitive systems at the same time. When one is working, the other is resting. As quantitative information (data, statistics, metrics, etc.) activates the analytical system, another part of the brain responsible for creating vivid images waits its turn. Numbers are literally the mortal enemy of imagination.

A bit of a strange title for this lesson, isn't it? Usually pictures are drawn with paints or pencils. Well, as a last resort, you can create a verbal picture: describe in words the beauty of nature or an event, in other words, talk about it colorfully. Everything is correct. But today you will learn that you can depict with the help of sounds.

By the way, we have already looked at one example of a musical picture: in lesson 2, you and I listened to D. Kabalevsky’s play “Clowns” performed by the little pianist Georgy Dorodnov. Using sounds, the composer created the image of funny clowns who perform in the circus and amuse children, while they can sing, dance, and tumble...

And in lesson 3 we listened to Sher’s play “Butterfly” performed by a little violinist. Image light butterfly create violin sounds when the bow only lightly touches the strings.

Of course, a musical picture is more difficult to understand than, for example, a painted one. In an ordinary picture, everything is immediately visible. And to understand a musical picture, you need to be able to do a lot: be able to listen carefully to the music, have at least a little imagination and fantasy, understand the tempo of the music (fast or slow), pay attention to the title of the piece... Let's try to understand the musical image?

Again we listen to plays from the “Children's Album” by P.I. Tchaikovsky. The names of the plays attract attention: “Baba Yaga”, “New Doll”, “The Doll’s Disease”, “March of the Wooden Soldiers”, etc. How was the composer able to draw such pictures using music?

But let's listen.

“The Doll’s Disease” from Tchaikovsky’s “Children’s Album.” What do you think: if we are talking about illness, then what kind of music should be - happy or sad?

The doll is sick

Doll Masha got sick.
The doctor said it was bad.
Masha is in pain, Masha is in pain.
You can't help her, poor thing.
Masha will leave us soon.
This is woe, this is woe, woe,
woe, woe, woe, woe...

You already know what sounds can be high and low. The high-pitched sounds in the play convey the groans of a sick doll, its cries. Then the music gradually becomes quieter and quieter - the sick doll falls asleep. And although Tchaikovsky wrote the pieces on this album for small piano players, there are also arrangements for orchestra. And it is the sounds of the violin that convey the groans and cries of the sick doll more naturally. Let's watch and listen.

The Transcarpathian wedding song “Oh, Vasily, Vasilyochka” will help you take a break from a serious lesson: move to the beat of the music, come up with some of your own movements, observing the rhythm of the music.

Now let's continue the conversation about musical films.

Pyotr Ilyich Tchaikovsky in “Children's Album” not only showed through sounds pictures of the ordinary life of a child of that time, but also went on a trip with the children. Please note that many plays bear the names of different countries: “Italian Song”, “Old French Song”, “German Song”, “Neapolitan Song”. He wanted children to learn to understand the culture not only of their own country, but also of other peoples. In addition, the album contains folk dances: “Mazurka” is a Polish dance; “Kamarinskaya” – Russian folk dance song; "Polka" - Czech folk dance.

You see how much you can tell through music!

Let's listen to the "Neapolitan Song" from Tchaikovsky's "Children's Album". The composer was in Italy, fell in love with Italian music and used some of this music in his works. For example, he included Neapolitan dance in his ballet Swan Lake.

Listen to how the little pianist performs it.

Answer the questions:

What instrument does the girl play?

In what other performance have we heard this play?

Which performance did you like best?

And here's another one music picture: play by German composer Robert Schumann "The Bold Rider". Let's listen to it, and then talk about what sounds the composer used to describe the brave rider.

The sounds of this piece jerky, quite fast- they seem to illustrate (that is, repeat, show) the horse’s easy running. The boy emphasizes (highlights) with play individual sounds, emphasizing the rhythm. And you can repeat this rhythm with a pencil, as we have already done. Most likely, the horse is small, and there is a small, brave rider on it, because Schumann also wrote this play for children and for children’s performance. You can even draw a picture of a brave rider as he appeared to you while listening to music.

Brave Rider

Review questions

1) Remember the names of all the plays you listened to today and their authors (composers).

2) Now it’s clear that with the help of sounds you can depict all a person’s feelings: sadness, joy, cheerful mood, and even draw a musical image?

3) What are the sounds? Complete the characteristics of sounds you know with those we learned today.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Kartius created with the help of sounds

musical creative student perception

· Teach students to listen and analyze musical works

· Attach to in a variety of ways musical activity

· Develop musical thinking And creative perception students

During the classes

Children enter the classroom to the music. Say hello ( musical greeting"Hello guys").

Guys, let's remember what we learned in the last lesson?

1. What sounds are there? (noise and music)

2. What your name might sound like, clap it for me.

It turns out that with the help of music we can depict many different objects and events. And in today's lesson we will learn how to draw with the help of music. Guests came to our lesson, guess who they are (showing soft toys: a cat and a bear). I want to tell you about one of them interesting story(reading “The Tale of a Cat” p. 21)

1. Tell me, who is this fairy tale about?

2. How did the cat behave?

4. What kind of music can you come up with for this fairy tale? (loud, quiet, cheerful, sad)

5. Is the music for our fairy tale the same or different? (various)

Now let's meet another of our guests (showing the bear). Please tell me what kind of voice the bear has? (rude, low). The bear can growl. Let's imagine that our bear is walking somewhere far in the forest. How he will growl (quietly). I will show you with my hand how a bear growls (I draw a small circle in the air with my hand). Let's repeat with me (children draw a small circle with their hands). And now the bear is approaching our school and its voice is getting louder and louder (I draw larger circles. Children repeat). And finally. He came to our class (The children growl very loudly and draw the largest circle with their hands).

Well done. And now we will listen to how, using musical sounds you can draw any picture. Listening to “Flight of the Bumblebee” by N.I. Rimsky-Korsakov. A picture of a bumblebee is shown.

· What sounds does the composer use to paint us a picture of flight?

· What mood does this music make us feel?

· What picture can you draw while listening to this passage?

Guys, you're probably tired, let's dance a little

"Dance of the Ducklings"

4. Chanting: “Cockerels” Repetition: “ Cheerful musician" Working on diction.

Learning new material. “Rain” (p. 105) We show the movement of the melody with our hand.

5. Lesson summary.

· What new did you learn in the lesson?

· How do you feel at the end of the lesson?

· What song did we learn?

Posted on Allbest.ru

...

Toccata and Fugue in D minor

Johann Sebastian Bach

Saint Cecilia plays the organ. Miniature from the antiphonary. Netherlands, 1510 Free Library of Philadelphia

The organ was one of the main instruments in church music of the Baroque era (XVII - first half of the 18th century). And even more than just an instrument: organs were not made, but built as majestic architectural structures. Several rows of keys for the hands, a row of pedals for the feet and hundreds of sparkling pipes - the power of the sound of the organ resembles a huge orchestra: changing timbres, it can imitate a flute, oboe, trumpet, trombone... Bach loved the organ so much for this variety. You touch the organ keys (“tocca-ta” - from Italian toccare, “touch”), and a powerful exclamation shakes everything around - the sound of the toccata is sometimes compared to the voice of God.

Performed by: Karl Richter

Prelude in C major from the cycle “The Well-Tempered Clavier”, volume 1

Johann Sebastian Bach

Annunciation. Painting by Fra Beato Angelico. Florence, around 1426 Museo del Prado / Wikimedia Commons

Prelude is an introduction before something important. The musician seems to be trying out an instrument: he plucks the strings of a lute, harp, guitar, harpsichord, piano, and grand piano. This is how music is born. Experts in the symbolism of early music associate the Prelude in C major and say that Bach depicted the flapping of an angel’s wings in it. More precisely, the Archangel Gabriel, who descends to earth to inform the young Virgin Mary that she will become the mother of Christ.

Performed by: Ton Kopman

"Cuckoo"

Louis Claude Daquin

Family at the harpsichord. Painting by Cornelis Trost. 1739 Rijksmuseum

One of best examples onomatopoeia in music. The composer himself gave this play a title and thus suggested what it depicts: the noise of the forest, the voice of a cuckoo in the distance. In addition, in “Cuckoo” you can also hear echoes of the time when the composition was created. The first half of the 18th century in France is the Rococo era (rocaille is a decorative element in the form of a shell curl). At royal receptions It is known that Louis Claude Daquin, as a boy of six years old, performed in front of Louis XIV himself - the “Sun King”., in the living rooms, decorated according to the tastes of the era (swirls of ornaments on the walls, elegant furniture on bent legs), a harpsichord sounded - a lacy melody with the same abundance of decorations. Competing with delicious dishes and entertaining conversation, the musician tried to attract the attention of listeners with funny inventions. “The Cuckoo” by Daquin, like the plays of other great French harpsichordists (“ Butterflies" And " Small windmills"François Couperin, " Tambourine"Jean-Philippe Rameau), corresponded to the atmosphere of "luxury and cheerful beauty."

Performed by: Robert Aldwinkle (harpsichord)

Concerto No. 4 in F minor (“Winter”) from the cycle “The Seasons”

Antonio Vivaldi

Winter landscape. Painting unknown artist. Italy, XVIII century Mondadori Portfolio / Getty Images

Italian composer Antonio Vivaldi wrote more than 500 concertos Concert - a piece of music, usually for a solo instrument with an orchestra.. About half of them are for string orchestra with solo violin. It is not surprising: after all, he himself was a brilliant, very temperamental virtuoso violinist. The most popular were four concerts, for which, presumably, the composer himself wrote poetic comments in the form of sonnets. From sonnets we learn that music depicts pictures of nature and scenes from people's lives corresponding to the four seasons Sonnet for the concert “Winter”:
Numb over the fresh snow,
Under the sharp wind blowing in the pipe,
Run, stamping your boots,
And shivering and shivering in the cold.

And still find the saving flame
And, having warmed up, forget the trouble.
And again hurry with uncertain steps, Slide until you fall on the ice.

Flounder, get up and fall again
On the plane of the ice cover,
And everyone strives for the hearth, home.

And hear there, warming your soul in comfort,
Like Boreans flying from iron gates...
There is still joy in winter!
(translated by David Samoilov). Since each concert has three movements (fast, slow, fast again), Vivaldi depicted twelve such scenes in total. On the one hand, this music can be perceived as pure expression, an expression of emotions. But it is interesting that the composer assumed a more specific content and, in addition to the sonnets, accompanied the notes with remarks. Thus, in the first part of the “Winter” concert it is directly stated: your teeth are chattering from the cold, but you are stamping your feet to warm up. The second part is warmth cozy home, fire in the fireplace and drifting off to sleep. The third part - cold and warm winds push each other in the sky.

Performed by: Berlin Philharmonic Orchestra, Nigel Kennedy (violin)

Flute solo from the opera "Orpheus and Eurydice"

Christoph Willibald Gluck

Orpheus and Eurydice. Painting by Edward John Poynter. England, 1862 Wikimedia Commons

The myth of Orpheus and Eurydice is not only about the power of love trying to defeat death, but also about the powerful power of music. The rulers of the kingdom of the dead are captivated by the enchanting beauty of Orpheus' voice and the sounds of his lyre and allow him the incredible - to take his young wife, who died from a snake bite, back to the world of the living. The most tender melody for the flute sounds at the moment when the entrance to Elysium finally opens before Orpheus - the ancient paradise, where the disembodied shadow of the beautiful Eurydice grieves in separation from her beloved. Unlike the myth, the opera has a happy ending, which is typical for the era of classicism.

Performed by: Chamber Orchestra of the Leningrad Philharmonic, conductor Viktor Fedotov

Symphony No. 40 in G minor, part 1

Wolfgang Amadeus Mozart

What is the secret of this music, so memorable and popular? In many melodies you can hear the intonations of human speech, here it is the speech of an excited person. This is how we speak - hesitantly, repeatingly - when we are overwhelmed with feelings. And this symphony begins amazingly. Without an introduction, without preparation, without loud chords calling for attention, but immediately, suddenly - with the trust and sincerity characteristic of children and lovers (it is no coincidence that this melody is close to the aria of Cherubino - the young page in love from Mozart’s opera “The Marriage of Figaro”).

Overture from the opera “The Marriage of Figaro”

Wolfgang Amadeus Mozart

Scene from The Marriage of Figaro. Drawing by Thomas Charles Naudet. Late 18th century Bibliothèque nationale de France

The overture is an orchestral introduction to the opera; it sets us up for the upcoming performance. In opera buffa Opera buffa ( Italian opera buffa - “comic opera”) is the Italian designation for comic opera.“The Marriage of Figaro” overture sets the atmosphere of joyful bustle and anticipation of the holiday. There are many heroes in it, each with their own character and their own intentions - romantic or mercantile. The plot is complicated, but it develops rapidly - just as the overture is fast-paced. This music also reflects the character of the main character, who persistently and impatiently pushes the action to bring it to a happy ending.

Performed by: English Baroque Soloists, conducted by John Eliot Gardiner

Symphony No. 5 in C minor, part 1

Ludwig van Beethoven

Ludwig van Beethoven. Painting by Joseph Karl Stieler. 1820 Beethoven-Haus / Wikimedia Commons

Performed by: Claudio Arrau

Mazurka in A minor, op. 68, No. 2

Frederic Chopin

Mazurka. Color lithography. Germany, 1850s New York Public Library

Mazurka is a Polish folk dance, fast, energetic, with twirling and jumping. In the 19th century it began to be performed at all European balls. As a child, living in Poland, Chopin more than once observed how the mazurka was danced during rural holidays to the sounds of a small village orchestra. The composer’s fate was such that he spent his entire adult life separated from his homeland and missed it very much. Remembering Poland, he composed more and more mazurkas; There are about 60 of them in total, and they are very different in character - sometimes they imitate an ensemble of village instruments, sometimes a ballroom orchestra. But many of Chopin's mazurkas are deeply sad, such as the Mazurka in A minor. This is no longer so much a dance as a lyrical memory of it.

Performed by: Grigory Sokolov

Overture "A Midsummer Night's Dream" based on the comedy by William Shakespeare

Felix Mendelssohn

Oberon, Titania and Puck with dancing fairies. Engraving by William Blake. England, around 1786 CC-BY-NC-ND 3.0 / Tate

The overture was conceived as a finished work. Small in size, it accommodates all the variety of contents Shakespearean play and conveys its flavor. The first chords of the overture are the beginning of a fairy tale, the expectation of a miracle. The action takes place in a magical night forest, full of mysterious rustles. Is the wind rustling in the leaves? No, these are little elves circling, their transparent wings flashing - their movement conveys main topic The overture sets the tone for the entire work. Here are their majestic rulers - the forest king Oberon and his wife Titania. There are also lyrical images in the overture: two pairs of young lovers got lost in a thicket - and, it seems, they were also confused in their relationships. Lyrics give way to comedy: clumsy commoners, dancing, rehearsing a performance for the morning performance in the night forest. For some reason, one of them has the head of a donkey and screams like a donkey - this is the forest spirit Puck, a famous naughty man and prankster, who has fooled everyone with his witchcraft; his laughter can be guessed in the music. Never mind, in the end he will fix everything - this will be the end of the fairy tale and the overture.

Performed by: Boston Symphony Orchestra, conducted by Seiji Ozawa

Plays "Pierrot" and "Harlequin" from the cycle "Carnival"

Robert Schumann

Pierrot and Harlequin. Painting by Paul Cezanne. France, 1888-1890 State Museum Fine Arts named after. A. S. Pushkina

Schumann - master of creation musical portraits. In the cycle of piano miniatures Thumbnail - a short one-part play.“Carnival” he presented a whole series of characters, whose characters are expressed, among other things, through their manner of movement. Here comes Pierrot - he is so thoughtful and sad that he does not notice how he trips over his long sleeves again and again. But Harlequin is agile, fast, and flashes here and there, managing to somersault as he runs. Real people coexist with the masked characters. The cycle contains the plays “Chopin” and “Paganini”, in which Schumann conveyed the images of his outstanding contemporaries, imitating their musical style.

Performed by: Evgeny Kisin

Overture to the opera "Carmen"

Georges Bizet

Set design for the opera "Carmen". Drawing by Alexander Golovin. 1908 State Russian Museum / DIOMEDIA

Blinding light of the midday sun, Spain. The well-dressed crowd gathered for the bullfight is noisy in anticipation of the main participant in the events. And here he comes - a handsome bullfighter, a hero and a favorite of the public: already in the first, fast part of the overture, the famous theme of his march is stated. The celebration of life is felt even more acutely when it borders on mortal risk - the second, slow part marks the invasion of tragedy.

Performed by: Vienna Symphony Orchestra, conductor Herbert von Karajan

The play “In the Cave of the Mountain King” from the suite “Peer Gynt” based on the drama by Henrik Ibsen

Edvard Grieg

Illustration by Arthur Rackham for Henrik Ibsen's play Peer Gynt. England, 1936 Wikimedia Commons

Trolls and mountain spirits are the main characters in the folklore of Norway, the homeland of the composer Edvard Grieg. Trolls are ferocious, cruel, stubborn and hostile to humans. This is exactly how they appear in the composer’s most famous orchestral work, “In the Cave of the Mountain King.”

The Troll Lord marches, surrounded by his retinue, to his throne. The procession moves from afar. Along the way, more and more trolls join her, they appear from every crevice, from behind every rock ledge. In the darkness of the cave, the flame of torches flares up. And now this is no longer a procession, but a frantic dance. The trolls praise their king with wild cries. It’s creepy... But how simply it’s done: the melody is repeated invariably, but the number of instruments is added, the volume increases, and the tempo accelerates.

The play "Clouds" from the cycle "Nocturnes"

Claude Debussy

Meadow. Painting by Alfred Sisley. France, 1875 National Gallery of Art, Washington

Debussy wrote a short literary program for this small orchestral piece Program(V instrumental music) — verbal presentation of the content of a musical work.. It has no plot and characters, nothing is said about human experiences: ““Clouds” is a motionless image of the sky with slowly and melancholy floating and melting gray clouds; moving away, they go out, gently shaded by white light.” Debussy was looking for a way to convey in music the change of color, the difference in lighting, he tried to bring music closer to the paintings of the Impressionists. You should not look for beautiful extended melodies in the play (after all, the melody expresses human feelings, but there is no person here). Short motives-calls are like the voices of nature itself. The impressionistic sound arises due to colorful combinations of chords and the peculiar distribution of instrument timbres: strings act in an unusual background role, short motives are assigned to woodwinds and French horns. The flute and harp unison in the middle of the piece stands out like a white cloud.

Performed by: Boston Symphony Orchestra, conductor Claudio Abbado

March of Chernomor from the opera “Ruslan and Lyudmila”

Mikhail Glinka

Costume design for Chernomor for the opera “Ruslan and Lyudmila”. Drawing by Victor Hartmann. 1871 State Museum of A. S. Pushkin / DIOMEDIA

Chernomor's march in the opera "Ruslan and Lyudmila" accompanies the ceremonial entrance of the evil dwarf wizard (and the removal of his miraculous beard!). Pushkin's fantastic image was perfectly embodied in Glinka's music. In the march happen amazing transformations: the exaggeratedly menacing suddenly turns into small and funny, and again menacing, and again funny. The powerful sound of the entire orchestra is responsible for the horror ( tutti- from Italian. “everything”) and trumpet fanfares, for the magical - bells, and for the comical - “that” chords of high woodwinds and the squeak of a piccolo flute. To be afraid or not to be afraid - that is the question!

Performed by: Bolshoi Theater Orchestra, conductor Yuri Simonov

“Polovtsian Dances” from the opera “Prince Igor”

Alexander Borodin

"Polovtsian Dances" staged by the Bolshoi Theater. Moscow, 1964 Leon Dubilt / RIA Novosti

“Polovtsian Dances” is a scene from the opera “Prince Igor”, which is often performed separately as a concert work. According to the plot, Khan Konchak organizes a holiday in honor of the captured Prince Igor in order to end hostility with Russia. Night. The summer heat gradually subsides, and an action of unprecedented beauty and luxury unfolds before the Russian prince. The seductively languid dance of the slaves with smooth, flexible movements gives way to the frantic dance of men, demonstrating their unbridled strength (the author himself called this dance “wild”), and then even more rapid, light Kim dance boys. The dancers replace each other again and again, eventually uniting in a common dance with cries of praise to the khan. Of the series of world-famous melodies of this fragment, the first one that accompanies the dance of the slaves especially stands out - an example of a unique combination of styles. A sad tune with an abundance of flexible turns could be Russian folk song(which is consistent with the plot - after all, it is not Polovtsian beauties who are dancing, but captives: in the opera the dance is accompanied by singing women's choir with the words “Fly away on the wings of the wind to your native land, our native song...”). However, the accompaniment with a syncopated rhythm Syncope - shifting the emphasis from a strong beat to a weak beat. and spicy sounds are designed in a distinctly oriental style.

Performed by: Berlin Philharmonic Orchestra, conductor Herbert von Karajan

“Walk”, “Gnome”, “Old Castle”, “Ballet of the Unhatched Chicks”, “Two Jews, Rich and Poor”, “Baba Yaga” and other plays from the “Pictures at an Exhibition” series

Modest Mussorgsky

Costume design for the ballet "Trilby". Drawing by Victor Hartmann. 1871 Wikimedia Commons

Mussorgsky wrote the piano cycle “Pictures at an Exhibition” after visiting the posthumous exhibition of one of his artist friends, Victor Hartmann. Hence the exceptional variety of content (portraits of fairy-tale characters alternate with sketches of real life, comic scenes with reflections on death, and from the Roman catacombs in Paris we are transported to the “Bogatyr Gate” of Kyiv). The cycle begins with a “Walk”, which is repeated after each subsequent piece: in this theme the composer depicted himself moving from picture to picture. If you listen carefully, you will notice that the character of the “Walk” changes depending on the author’s impressions of what he saw. Since painting captures frozen moments, and music unfolds in time, Mussorgsky makes scenes out of pictures. Baba Yaga forcefully pushes her mortar off the ground, accelerates, and flies. The dwarf hobbles with a limp. Under the walls of the old castle, the Troubadour sings a song. The chicks - or children dressed as chicks - are scurrying and chirping funny (in Hartmann's sketches for the children's ballet of the Bolshoi Theater Julius Gerber's ballet "Trilby" staged by Marius Petipa in Bolshoi Theater(1871).- costumes in the form of unopened shells). And in the play “Samuel Goldenberg and Shmuile” (in Soviet editions - “Two Jews, Rich and Poor”) Mussorgsky combined the two heroes of separate portraits of Hartmann: here you can hear the plaintive babble of the petitioner, interrupted by the rude rebuke of the rich man.

There are dozens of adaptations of “Pictures” for orchestras of various compositions, jazz bands and rock groups. The most famous one belongs to Maurice Ravel - created almost 50 years after the original, it was she who contributed to the worldwide popularity of Mussorgsky's work.

Performed by: Svyatoslav Richter

Symphony No. 1 (“Winter Dreams”), part 1

Pyotr Tchaikovsky

Winter road. Painting by Lev Kamenev. 1866 Wikimedia Commons

Tchaikovsky called his First Symphony “Winter Dreams”, and gave its first movement a slightly more detailed designation - “Dreams on a Winter Road”. Behind the image of “dreams” are personal memories and a whole series of “winter” poems by Russian poets Before listening, you can read “ winter road" and Pushkin's "Demons" - then Tchaikovsky's music will acquire the necessary subtext., folk songs and romances about endless snowy expanses, a troika rushing across them and an aching lyrical feeling into which the soul plunges under the quiet “tiring” ringing of a bell. The image of boundless space is conveyed by the bassoon and flute, duplicating each other with a distance of two octaves. The “heartfelt melancholy” of the initial melody gives way to blizzard harmonies: a caustic staccato motif invades the smooth movement Staccato- abrupt execution of sounds..

Dance of the Sugar Plum Fairy from the ballet “The Nutcracker”

Pyotr Tchaikovsky

Dance of the Sugar Plum Fairy from the ballet “The Nutcracker” staged by the New York City Ballet. 1974 Martha Swope/New York Public Library

The Dance of the Sugar Plum Fairy is one of the most famous fragments of the ballet; it has received a life separate from the performance and is heard in symphony concerts, cartoon films and television programs. The Sugar Plum Fairy is the mistress of the land of sweets, the mistress of the magical palace in Confiturenburg. From the first sounds of her dance we are transported into an enchanted fairy world, where there is no place for anything dark, gloomy and evil. The gentle crystal ringing of the celesta promises miracles and happiness (even the name of this instrument is from Italian celesta translated as “heavenly”). At the premiere of the ballet, the effect of the miracle was further enhanced by the fact that no one had heard the celesta in Russia before: Tchaikovsky brought this new instrument for that time from Paris and more than a year I asked my friends to keep the secret. Similar to a miniature piano, but with metal or glass plates inside, the celesta has taken root in the symphony orchestra. The sound, reminiscent of the ringing of bells, has become a symbol of the fabulously beautiful, unearthly.

Performed by: Philharmonic Orchestra, conductor John Lanchbury

Symphonic Suite “Scheherazade”, part 1

Nikolai Rimsky-Korsakov

Costume design for the Blue Sultana for the ballet "Scheherazade". Drawing by Lev Bakst. 1910 Wikimedia Commons

The literary prototype of an essay is a collection Arabian tales"Thousand and One Nights". It is curious that Rimsky-Korsakov first titled all four parts of the suite Suite - a musical work consisting of several independent parts, contrasting to each other, but united by a common concept., and then removed the titles, not wanting to deprive the listener of freedom of imagination. The composer left an introductory commentary, which briefly retells the story of Scheherazade and Sultan Shahriyar.

At the beginning and at the end of each movement, a recognizable melody of the solo violin sounds, reminiscent of the intricate patterns of luxurious oriental fabrics, the flexible movements of an oriental dancer, and the leisurely oriental speech decorated with numerous epithets - this is the leitmotif Leitmotif(from German Leitmotiv — “main, leading motive”) — a motive that returns repeatedly throughout the work in connection with the characteristics of a character, feeling, situation, object, etc. Scheherazade. Shahryar's leitmotif, menacing and commanding, opens the work. And he, calmed down, sounds at the very end - She-he-razada found how to pacify the angry temper of the Sultan.

Today the names of the parts, known from the book of memoirs of Rimsky-Kor-sakov “Chronicle of my musical life", are almost always communicated to the listener, although the picturesque nature of the music makes it possible to do without explanations. The first part is the first fairy tale, “The Sea and Sinbad’s Ship.” The water element in it appears alive and changeable. The waves roll slowly and lazily, foam at the crest, scatter into small splashes sparkling in the sun, and the ship glides along the surface. But although seemingly gentle at first, the sea can show its formidable power at any moment - and now wave after wave rolls in and collapses. Rimsky-Korsakov, a former gar-demarin, depicted the sea like no other.

Performed by: State Academic Symphony Orchestra of the USSR, conductor Evgeny Svetlanov

Symphonic fairy tale “Kikimora”

Anatoly Lyadov

Kikimora. Drawing by Ivan Bilibin. 1934 Wikimedia Commons

Anatoly Lyadov was very fond of everything magical and fantastic. How whimsical was it? fairy tale character, the more he liked him. While entertaining his children, the composer himself even came up with and drew funny fairy-tale freaks. Inspired by the description of Kikimora from the book “Tales of the Russian People,” Lyadov decided to depict her in music Lyadov prefaced his orchestral piece with the following text, borrowed from “Tales of the Russian People” by Ivan Sakharov: “Kikimora lives and grows with a magician in the stone mountains. From morning to evening he amuses Kikimora cat Baiyun, says foreign tales. From evening until broad daylight, Kikimora is rocked in a crystal cradle. Exactly seven years later, Kikimora will grow up. She's a thin, dark-haired Kikimora, but her head is as small as a thimble, and her body can't be compared to a straw. Kikimora knocks and thunders from morning to evening; Kikimora whistles and hisses from evening until noon; from midnight to broad daylight he spins hemp tow, twists hemp yarn, and warps silk warp. Kikimora keeps evil on his mind for all honest people.”. In a small piece for orchestra, the composer told a whole biography fairy-tale creature. The slow initial section is Kikimora’s childhood. Gloomy Mountain landscape, where the sun almost never penetrates. The magical lullaby motif of the cat Bayun is a peace that seems to last forever. But baby Kiki-Mora is already making herself known: her piercing squeak (piccolo flute and go-boy) makes everything around her tremble... And freezes again. You can only hear the light ringing of the crystal cradle in which Kikimora is rocked (the same celes sounds as in the dance of Tchaikovsky’s Sugar Plum Fairy). The fast, impetuous music of the second section depicts a matured Kikimora. She scurries around the forest and plays pranks: knocks, rattles (here the composer uses a xylophone, rare for an orchestra), scares everyone who comes across her... And yet Lyadov’s Kiki-Mora is not evil. Just quirky and strange, just like the world she inhabits.

Version: Russian national orchestra, conductor Mikhail Pletnev

Music for the ballet "Petrushka"

Igor Stravinsky

Set design for the ballet "Petrushka". Drawing by Alexandre Benois. 1911 Wikimedia Commons

The ballet “Petrushka” is a unity of music by Stravinsky, scenography by Alec-Saint-dra Benois, choreography by Mikhail Fokine and performance by Vaslav Nijinsky. Although listening to music separately is no less interesting than watching a ballet, it is still advisable to know the plot. Petersburg at the beginning of the last century. The Maslenitsa celebration is an elegant, noisy, joyful crowd. There is a lot of entertainment on the spacious Champ de Mars square: barrel organs are playing, mechanical ballerinas are dancing, the cries of barkers are heard from different sides, trying to lure spectators into their booths - the color of the mass folk scenes is intended to highlight the dramatic essence of the work. The appearance of the Magician attracts everyone's attention, the colorful noise subsides, and mysterious music plays: the Magician brings his dolls to life, and the viewer finds himself in another story. A play within a play is enacted: Petrushka suffers from unrequited love for the Ballerina (his leitmotif sounds like a sad lyrical cry). The beautiful, insensitive doll prefers to him the elegant, albeit rude Arab. In the battle with Arab, Parsley dies. But it's just puppet show— the festivities continue. You can hear the strumming of an accordion and snatches of city songs (“Along along Piterskaya”, “Oh you, the canopy, my canopy”). A man plays the pipe, showing off a trained bear, a masked devil jokingly scares people walking, a merchant starts dancing with the gypsies. All this is visible and tangible. Do you still feel sorry for Petrushka? No need to worry! The magician takes away the broken doll, but Petrushka’s funny face appears in the crowd, thumbing his nose at everyone: the hero’s leitmotif completes the ballet.

Performed by: Columbia Symphony Orchestra. Conductor: Igor Stravinsky

March from the opera “The Love for Three Oranges”

Sergei Prokofiev

Cover of the theater magazine “The Love for Three Oranges.” 1915 Wikimedia Commons

This march best expresses the character of a fairy-tale comedy - defiantly bright, eccentric, uncontrollably cheerful, just like the character of one of its heroes - the never-dull jester Truffa the Iceman: according to the plot, he must certainly make the Prince laugh and stir up the mood. And indeed, the elastic rhythm of the march is such that it is impossible to sit still: the bold trumpet motif, the distinct beat of the snare drum - it is difficult to imagine more life-affirming music. She accurately reflected Sergei’s attitude Sergeevich Prokofiev

Children's room Arzamas

In other forms of art and its techniques

Implementation method literary works

Sh an incisive analysis of a literary work is built on the laws of not only scientific, but also artistic creativity. Here we will talk about creative techniques for translating a literary text into other forms of art. These techniques allow you to express the reader’s position, form and develop the ability for figurative concretization and figurative generalization, and therefore they are relevant for elementary school.

Verbal drawing (oral and written) is a description of images or pictures that arose in the reader’s mind while reading a literary work. Word picture is called differently verbal illustration.

This technique is aimed primarily to develop the ability to concretize verbal images(imagination). In addition, the child’s speech and logical thinking develop. When drawing verbally, the reader must, based on the verbal images created by the writer, detail your own vision in a visual picture, which he reproduces and describes orally or in writing.

At the same time there appear two dangers: you can get lost on direct retelling the author's text, and with too active involuntary imagination “forget” about the author’s painting and start describing your own.

This reception requires a number of operations: read, imagine, specify, select exact words and expressions to describe, logically construct your statement. In addition, the technique involves a description in a static picture difficult relationships heroes.

This technique directs children's attention to the text: they re-read its individual fragments, since only semantic and visual stylistic details will help them clarify verbal images, clarify them, and present what the author describes in detail. The student gradually “enters” the world of the work and begins see it through the eyes of the author or one of the characters(depending on whose point of view the picture is being recreated), i.e. joins the action, which means he will be able to complement the author’s picture with his own details. Then the result of the work, which is based on the analysis of the text, will not be a retelling or a description divorced from the author’s intent, but a creative picture that is adequate to the author’s intent, but more detailed and necessarily emotionally evaluative.

Reception training leaks in several stages .

1. Looking at graphic illustrations. First, the teacher organizes observation of how the illustrator conveys the author's intention, which helps the artist create a mood and express his attitude towards the characters. In the process of this work, children become familiar with the concept of “picture composition”, with the meaning of colors, coloring, and line. This work can also be done in class. visual arts, and in class extracurricular reading.

2. Select from several illustration options most suitable for the episode of the work under consideration with the motivation for its decision.

3. Collective illustration using ready-made figures consists in the arrangement of characters (the composition of the picture), the choice of their poses, facial expressions.

4. Self-illustration the episode you liked and a verbal description of what you drew. This technique can be made more complex by asking children to describe illustrations made by their classmates.

5. Analysis of illustrations made with a clear deviation from the text of the work. Children are offered illustrations in which the arrangement of characters or other images of the work is disturbed, some author’s details are missing or they have been replaced by others, the coloring is disturbed, the poses and facial expressions of the characters are distorted, etc. After viewing, the children compare their perception of the text with the perception of the illustration.

6. Collective oral drawing of illustrations- genre scenes. At this stage, children choose the color scheme of the illustration.

7. Independent graphic drawing of a landscape and its oral description or the artist's description of the landscape.

8. Verbal oral drawing of a landscape in detail text.

9. Collective oral detailed description hero in a specific episode(how you see the hero: what is happening or happened, the hero’s mood, his feelings, posture, hair, facial expression (eyes, lips), clothes, if this is important, etc.) The teacher helps the children create a description with questions.

10. Collective and independent verbal oral drawing of the hero first in one specific situation, and later - in different ones.

11. Independent verbal oral illustration and comparison of the created oral illustration with graphic.

It is natural that to master the technique word drawing is possible only after mastering the basic skills of analyzing illustrations for a work. However, as a propaedeutic, already at the very first stages of studying literary works, it is advisable to ask children questions such as: “ What kind of hero do you imagine? ?», « How do you see the setting of the action?”, “What do you see when you read this text? " And so on.

Examples of organizing oral verbal drawing in the classroom:

Fragment of a lesson in 1st grade on a fairy tale « Porridge from an ax »

Stage of re-reading the text and its analysis

- Let's read the fairy tale to the end and observe how the soldier acted. Let's draw up a plan for his actions.

Children reread the fairy tale in parts, numbering the events with a pencil. Then the results of the work are discussed, and those written in advance on the board are opened. soldier's actions: noticed an axe; offered to cook porridge from an axe; asked to bring the cauldron; I washed the ax, put it in the cauldron, poured water and put it on the fire; stirred and tasted; complained that there was no salt; salted it, tasted it, complained that it would be nice to add some grains; added cereal, stirred, tasted, praised and complained that it would be nice to add oil; added oil; I started eating porridge. We combine small actions into larger ones: planned to deceive the old woman; prepares the ax for cooking and begins to cook it; stirring and tasting, one after another asks for salt, cereals and butter; eats porridge.

Now let's watch how the old woman behaved in every moment we have.

- Has her mood and behavior changed? What are the reasons for these changes?

We invite children to imagine what illustrations can be made for this fairy tale? and describe the soldier and the old woman at each moment of the action (oral word drawing).

We help with questions:

- What background does the action take place against?? (Hut, furnishings in the hut, stove, utensils, etc.)

- Where does the soldier stand, how does he stand, where does he look?(on the old woman, in the cauldron, to the side, etc. .), what is he doing at this moment? What's his mood? What is he thinking about? What is his facial expression?

We propose to describe the old woman from the fairy tale “Porridge from an Ax” at different moments of the action. We help with similar guiding questions.

Then discussing the illustration in the reader(Fig. 13 V.O. Anikin. “Porridge from an ax”).

- Is it possible to determine which moment of the fairy tale was depicted by the artist V.O. Anikin? What helps (or, conversely, hinders) this?