Open music lesson plan for grade 2 “Intonation”

Open music lesson plan for grade 2 “Intonation”

Lesson plan for music in 2nd grade teacher Kudakova B.M.

Topic: "Intonation"

Goals and objectives:

1. Expanding the horizons of students by attracting additional information from the field of musical art.
2. Using the example of the powerful personality L.V. Beethoven - education of moral qualities: hard work, mutual assistance, a sense of pure active friendship, optimism, honesty, decency, conscientiousness, goodwill, selflessness.
3. Using the example of the versatile creativity of L. V. Beethoven, instilling a sense of patriotism and pride in Russia, which has given the world many talents.

Methods:

• stimulation and motivation of educational and cognitive activities,
• organization and implementation of educational and cognitive activities.

Visual aids and TSO:

• portrait of composer L.V. Beethoven,
• video of the dance “Wax Museum”,
• presentation showing,
• phonogram,
• display of tools,
• Handout.

Handout:

• colour pencils,
• paints,
• markers,
• riddles - musical instruments.

Lesson Plan

1) Greeting, roll call,

2) Emotional attunement;

3) Providing students with visual aids and handouts;

4) Information about the topic and objectives of the lesson.

During the classes

Greetings in musical language.

Repetition: questions from the field of music......

Teacher - we continue our acquaintance and journey around the city “Intonation”

We know the streets:

• "Speech intonation"
• "Musical intonation"
• "Sad intonation"
• "Joyful intonation"

And today we take a look at the street of “Persistence and Determination”

So what is intonation?

Guys' answers.....

The teacher summarizes:

Intonation is the basis of music. The brightness of the music and its character depend on the brightness of intonation. The word intonation comes from the Latin word, which when translated means “pronounce loudly.”

What kind of residents do you think live on Perseverance and Determination Street?

Video of the dance “Wax Museum” performed by the group “Todes”

Listening to a fragment of Symphony No. 5 by L. Beethoven.

What can you say about this work? (persistent, decisive, anxious)

Guys' answers......

Teacher:

Just as plants grow from grains, so from musical “seeds” grow a phrase, a melody, an entire work. The main thing in the “grain” is the character of the music.

By listening to a short passage where the “grain” of intonation is hidden, you can learn everything about the work.

The great German composer L.V. Beethoven in his work portrayed a courageous, brave man confronting the difficulties of life, preached the fight against evil. His works are stormy, passionate, impetuous, heroic and at the same time inspired.

Listening to "Für Eliza".

Re-listening to Symphony No. 5.

Questions and analysis of works….

Teacher:

What can you depict or draw while listening to a symphonic piece?

What can we say about this music (calm, soft, lyrical, and at the same time, somewhere suddenly alarming)…..

Dynamic pause "Pinocchio"

Chanting.

Winter is coming to us, with its fun fun with snow, sleds, snowballs, slides, ice skating, and most importantly, winter holidays.

Which ones?

• Merry Christmas
• New Year
• New Year's tree.

Let's get ready for them

Let's sit upright and remember the rules of singing.

Learning the song “Song of the Winter Forest”

Homework chosen by the teacher.

Lesson summary. Lesson grade.

LiveInternetLiveInternet

Barucaba

all posts by the author

Intonation (from Latin intono - I pronounce it loudly).

I. The most important musical-theoretical and aesthetic concept, which has three interrelated meanings: 1) High-altitude organization (correlation and connection) of musical tones horizontally.
In sounding music, it really exists only in unity with the temporal organization of tones - ri (B.V. Asafiev). The unity of intonation and rhythm forms a melody (in its broad sense), in which intonation, as its high-pitched aspect, can be isolated only theoretically, in abstraction. Beethoven.
Sonata for cello and piano in F major, op. 5 No. 1 Musical intonation is related in origin and in many ways similar to speech intonation, understood as changes in the sound (“tone”) of the voice and, above all, its pitch (“melody of speech”). Intonation in music is similar to the intonation of speech (if we keep in mind the pitch side of the latter) in its content function (although in speech the main carrier of content is the word) and in some structural features, representing, like speech intonation, a process of pitch changes in sounds, expressing emotions and regulated in speech and vocal music by the patterns of breathing and muscular activity of the vocal cords. The dependence of musical intonation on these patterns is already reflected in the construction of the pitch, melodic line (the presence of reference sounds similar to the same sounds in speech intonation; the location of the main one in the lower part of the vocal range: alternation of ascents and descents; descending, as a rule, direction of the pitch line in the final phase of movement, etc.), it is also reflected in the division of musical intonation (the presence of caesuras of varying depths, etc.), in some general prerequisites for its expressiveness (increasing emotional tension when moving up and release when moving down, in speech and vocal music associated with increased effort of the vocal apparatus muscles and muscle relaxation).

Vincenzo Bellini. “Oh! "quante volte"

The differences between the two indicated types of intonation, both in their content and in form, are also significant. If in speech intonation the sounds are not differentiated and do not have a height fixed at least with relative accuracy, then in music intonation is created by musical tones - sounds that are more or less strictly differentiated in pitch due to the constancy of the oscillation frequency that characterizes each of them (although here too the fixed height is not absolute). Musical tones, unlike speech sounds, in each case belong to some historically established musical-sound system, form constant pitch relationships (intervals) that are established in practice, and are mutually interconnected on the basis of a certain system of functional-logical relations and connections (lada). Thanks to this, musical intonation is qualitatively different from speech - it is more independent, developed and has immeasurably greater expressive capabilities.

Handel. Concerto grosso no. 4 (Op. 3) in Fmajor, HWV 315

Intonation (as a high-pitched organization of tones) serves as a constructive and expressive-semantic basis for music. Without intonation (as well as without inextricably linked rhythm and dynamics, as well as timbre), music cannot exist. Thus, music as a whole has an intonational nature. The fundamental and dominant role of intonation in music is due to several factors:

a) pitch relationships of tones, being very mobile and flexible, are also very diverse; certain psycho-physiological prerequisites determine their leading role in expressing the changeable, finely differentiated and infinitely rich world of human mental movements through the means of music;

b) pitch relations of tones, due to the fixed height of each of them, are, as a rule, easily remembered and reproduced and therefore are able to ensure the functioning of music as a means of communication between people;

c) the possibility of relatively accurate correlation of tones by their height and the establishment between them on this basis of clear and strong functional-logical connections has made it possible to develop various melodic and harmonic methods in music. and polyphonic development, the expressive possibilities of which far exceed those of, say, rhythmic, dynamic or timbral development alone.

Saint-Saens. Romance, op. 36

2) The manner (“structure”, “warehouse”, “tone”) of a musical statement, “the quality of meaningful pronunciation” (B.V. Asafiev) in music. It consists in a complex of characteristic features of a musical form (pitch, rhythmic, timbre, articulation, etc.), which determine its semantics, i.e., emotional, semantic and other meanings for those who perceive it. Intonation is one of the deepest layers of form in music, closest to the content, most directly and fully expressing it. This understanding of musical intonation is similar to the understanding of speech intonation as the expressive tone of speech, the emotional coloring of its sound, depending on the speech situation and expressing the speaker’s attitude to the subject of the statement, as well as features of his individuality, national and social affiliation. Intonation in music, as in speech, can have expressive (emotional), logical-semantic, characteristic and genre meanings. The expressive meaning of musical intonation is determined by the feelings, moods and volitional aspirations of the composer and performer expressed in it. In this sense, they speak, for example, about the intonations of appeal, anger, jubilation, anxiety, triumph, determination, “affection, sympathy, participation, maternal or loving greetings, compassion, friendly support” heard in a given piece of music (or any section of it). "(B.V. Asafiev about Tchaikovsky's music), etc. The logical and semantic meaning of intonation is determined by whether it expresses a statement, a question, the completion of a thought, etc. Finally, intonation can be different in its characteristic meaning, including national (Russian, Georgian, German, French) and social (Russian peasant, mixed-urban, etc.), as well as by genre meaning (song, ariot, recitative; narrative, scherzo, meditative; everyday, oratorical, etc.) P.).

Franz Lehar. Dance from the opera "Tatyana"

Intonation values ​​are determined by numerous factors. An important, although not the only one, is the often occurring more or less mediated and transformed reproduction in music of speech intonation of the corresponding meaning. The transformation of speech intonation (diverse in many respects and historically changing) into musical intonation occurs continuously throughout the development of musical art and largely determines the ability of music to embody various emotions, thoughts, volitional aspirations and character traits, transmit them to listeners and influence the latter. The sources of expressiveness of musical intonation are also the associations with other sounds (both musical and extra-musical) conditioned by auditory experience and the prerequisites for direct physiological impact on the emotional sphere of a person contained in tones and their combinations.

This or that intonation of a musical statement is decisively predetermined by the composer. The musical sounds he creates have a potential meaning that depends on their physical properties and associative connections. The performer, by his means (dynamic, agogic, coloristic, and in singing and playing instruments without a fixed pitch of sounds - also by varying the pitch within the zone) reveals the author's intonation and interprets it in accordance with his individual and social positions. The identification by the performer (who may also be the author) of the composer's intonation, i.e. intonation, is the real existence of music. This existence, however, acquires its fullness and social significance only if the music is perceived by the listener. The listener perceives, reproduces in his consciousness, experiences and assimilates the composer's intonation (in its performing interpretation) also individually, on the basis of his own musical experience, which, however, is included in social experience and is conditioned by it. Thus, “the phenomenon of intonation binds musical creativity, performance and listening into unity” (B.V. Asafiev).

Robert Schumann. "Echoes of the Theater"

3) Each of the smallest specific pairings of tones in a musical statement, which has a relatively independent expressive meaning; semantic unit in music. Usually consists of 2-3 or more sounds in monophony or consonances; in exceptional cases, it may consist of one sound or consonance, isolated in its position in the musical context and in its expressiveness.

Since the main expressive means in music is melody, intonation is mostly understood as a brief study of tones in monophony, as a particle of melody, a sing-song. However, in cases where certain harmonic, rhythmic, and timbral elements acquire relatively independent expressive meaning in a musical work, we can speak, respectively, about harmonic, rhythmic, and even timbral intonations, or about complex intonations: melodic-harmonic, harmonious-timbral, etc. But and in other cases, with the subordinate role of these elements, rhythm, timbre and harmony (to a lesser extent, dynamics) still have an impact on the perception of melodic intonations, giving them this or that illumination, certain shades of expressiveness. The meaning of each given intonation largely depends on its surroundings, on the musical context in which it is included, as well as on its performing interpretation.

I. Raff. Cavatina

The relatively independent emotional-figurative meaning of an individual intonation depends not only on its own properties and place in the context, but also on the listener’s perception. Therefore, the division of a musical flow into intonations and the determination of their meaning is determined by both objective and subjective factors, including musical auditory education and the experience of the listener. However, as certain sound conjugations (more precisely, types of sound conjugations), due to their repeated use in musical creativity and assimilation by social practice, become familiar and customary to the ear, their isolation and comprehension as independent intonations begins to depend not only on the individual listener , but also on the skills, musical and aesthetic tastes and views of entire social groups.

Intonation can coincide with a motive, a melodic or harmonic turn, or a thematic cell (grain). The difference, however, is that the definition of a sound conjugation as a motive, phrase, cell, etc., is based on its objective characteristics (the presence of an accent that unites a group of sounds, and a caesura that separates this group from the neighboring one, the nature of melodic and harmonic functional connections between tones or chords, the role of a given complex in the construction of a theme and in its development, etc.), while when highlighting intonation, they proceed from the expressive meaning of the meaning of sound conjugations, from their semantics, thereby inevitably introducing a subjective element.

J.B. Accolai. Concerto for violin and orchestra in A minor

Intonation is sometimes metaphorically called a musical “word” (B.V. Asafiev). The likening of musical intonation to a word in a language is partly justified by the features of their similarity in content, form and function. Intonation is similar to a word as a short sound conjugation that has a certain meaning, arose in the process of communication between people and represents a semantic unit that can be isolated from the sound stream. The similarity lies in the fact that intonations, like words, are elements of a complex, developed system that functions in certain social conditions. By analogy with verbal (natural) language, the system of intonations (more precisely, their types) found in the work of a composer, a group of composers, in the musical culture of a nation, etc., can be conditionally called “intonation language” this composer, group, culture.

The difference between musical intonation and a word is that it is a combination of qualitatively different sounds - musical tones, which expresses a special, artistic content, arises on the basis of other sound properties and relationships, and, as a rule, does not have a stable, repeatedly reproduced form (more or less only types of intonation are less stable) and therefore is created anew by each author in each utterance (albeit with an orientation towards a certain intonation type); intonation is fundamentally ambiguous in content. Only in exceptional cases does it express a specific concept, and even then its meaning cannot be accurately and unambiguously conveyed in words. Intonation, much more than a word, depends in its meaning on the context. At the same time, the content of a specific intonation (emotion, etc.) is inextricably linked with a given material form (sound), i.e., can only be expressed by it, so the connection between content and form in intonation is, as a rule, much less mediated than in a word, not arbitrary and not conditional, due to which the elements of one “intonation language” do not need to be translated into another “language” and do not allow such translation. Perception of the meaning of intonation, i.e., its “understanding,” to a much lesser extent requires prior knowledge of the corresponding “language,” since it is carried out mainly on the basis of the associations it evokes with other sounds, as well as the prerequisites for the psychophysiological impact contained in it. The intonations included in this “intonation language” are not connected within this system by any stable and mandatory rules for their formation and connection. Therefore, it seems reasonable to believe that, unlike a word, intonation cannot be called a sign, and “intonation language” cannot be called a sign system. In order to be understood by listeners, a composer in his work cannot help but rely on musical and non-musical sound connections already known to the surrounding social environment and assimilated by it. Among musical ones, a special role as a source and prototype for composer’s creativity is played by the intonations of folk and everyday (non-folklore) music, widespread in a particular social group and being part of its life, a direct (natural) spontaneous sound manifestation of the attitude of its members to reality. Of the non-musical sound conjugations, a similar role is played by the stable intonation patterns (intonemes) available in each national language, everyday reproduced in speech practice, which have for everyone who uses this language a more or less constant, definite, partly already conditional meaning (intonemes of a question, exclamation, statements, surprise, doubt, various emotional states and motives, etc.).

Charles Beriot. "Ballet Scenes"

The composer can reproduce existing sound conjugations in an exact or modified form or create new, original intonations, one way or another focusing on the types of these sound conjugations. At the same time, in the work of each author, among the many reproduced and original pairings of tones, one can distinguish typical intonations, of which all the others are variants. The totality of such typical intonations, characteristic of a given composer and forming the basis, the material of his “intonation language”, forms his “intonation dictionary” (the term of B.V. Asafiev). The totality of typical intonations that exist in the social practice of a given era, which are in the ear of a nation or many nations during this historical period, forms, respectively, a national or international “intonation dictionary of the era,” which includes as a basis the intonation of folk and everyday music, as well as the intonation professional musical creativity, assimilated by the public consciousness.

Due to the above-mentioned serious differences between intonation and words, the “intonation dictionary” represents a completely different phenomenon compared to the lexical fund of verbal (verbal) language and should be understood in many ways as a conditional, metaphorical term. Folk and everyday intonations are characteristic elements of the corresponding genres of musical folklore and everyday music. Therefore, the “intonation vocabulary of an era” is closely related to the genres existing in a given era, its “genre fund”. Reliance on this fund (and thereby on the “intonation vocabulary of the era”) and the generalized embodiment of its typical features in creativity, i.e. “generalization through genre” (A. A. Alshvang), largely determines the intelligibility and understandability of music for listeners of this society.

Chaikovsky. Symphony No. 4. Finale

Turning to the “intonation vocabulary of the era,” the composer reflects it in his work with varying degrees of independence and activity. This activity can manifest itself in the selection of intonations, their modification while maintaining the same expressive meaning, their generalization, their rethinking (reintonation), i.e., such a change that gives them a new meaning, and, finally, in the synthesis of various intonations and entire intonation spheres National and international “intonation dictionaries” are constantly developing and updating as a result of the death of some intonations, changes in others, and the emergence of others. In some periods - usually marked by major changes in social life - the intensity of this process increases sharply. Significant and rapid updating of the “intonation vocabulary” in such periods (for example, in the 2nd half of the 18th century in France, in the 50-60s of the 19th century in Russia, in the first years after the October Revolution) B.V. Asafiev called “intonation crises.” But in general, the “intonation vocabulary” of any national musical culture is very stable, evolves gradually, and even during “intonation crises” it experiences not a radical breakdown, but only a partial, albeit intense, renewal.

Dmitri Shostakovich, Concertino in A minor for two pianos, Op. 94 (1953)

The “intonation dictionary” of each composer is also gradually updated due to the inclusion of new intonations and the emergence of new variants of standard intonation forms that form the basis of this “dictionary”. The means of transforming intonations are mainly changes in intervals and modal structure, rhythm and genre character (and in complex intonations, also harmony). In addition, the expressive meaning of intonation is affected by changes in tempo, timbre, and register. Depending on the depth of the transformation, we can talk about the appearance of either a variant of the same intonation, or a new intonation as another variant of the same standard form, or a new intonation as one of the variants of another standard form. Auditory perception plays a decisive role in determining this.

Intonations can be transformed within the same piece of music. Here it is possible to vary, create a new version or qualitatively develop any one intonation. The concept of intonation development is also associated with the combination of different intonations horizontally (smooth transition or comparison by contrast) and vertically (intonation counterpoint); “intonation modulation” (transition from one sphere of intonation to another); intonation conflict and struggle; the displacement of some intonations by others or the formation of synthetic intonations, etc. The relative arrangement and relationship of intonations in a work constitutes its intonation structure, and the internal figurative and semantic connections of intonations in direct study or at a distance (“intonation arches”), their development and all kinds of transformations constitute intonational dramaturgy, which is the primary aspect of musical dramaturgy in general, the most important means of revealing the content of a musical work.

Rachmaninov. Elegiac Trio No. 1 in G minor

By his own means, in accordance with the general interpretation of the work, the performer, who has a certain freedom in this regard, transforms and develops its intonation, but within the framework of identifying the intonation dramaturgy predetermined by the composer. The same condition limits the freedom to modify intonations in the process of their perception and mental reproduction by the listener; at the same time, such individualized reproduction (internal intonation) as a manifestation of listener activity is a necessary moment for the full perception of music.

Questions about the essence of musical intonation, the intonational nature of music, the relationship and difference between musical and speech intonations, etc. have long been developed by science, and most actively and fruitfully in those periods when the problem of the interaction of musical and speech intonations became especially relevant for musical creativity. They were partly set in the musical theory and aesthetics of antiquity (Aristotle, Dionysius of Halicarnassus), and then the Middle Ages (John Cotton) and the Renaissance (V. Galileo). A significant contribution to their development was made by French musicians of the 18th century who belonged to the Enlightenment (J. J. Rousseau, D. Diderot) or were directly under their influence. influence (A. Gretry, K.V. Gluck). During this period, in particular, the idea of ​​the correlation between “melody intonations” and “speech intonations” was formulated for the first time, that the singing voice “imitates the various expressions of the speaking voice, animated by feelings” (Rousseau). The works and statements of leading Russian composers and critics of the 19th century, especially A. S. Dargomyzhsky, A. N. Serov, M. P. Mussorgsky and V. V. Stasov, were of great importance for the development of the theory of intonation. Thus, Serov put forward provisions on music as a “special kind of poetic language” and, simultaneously with N. G. Chernyshevsky, on the primacy of vocal intonations in relation to instrumental ones; Mussorgsky pointed out the importance of speech intonations as the source and basis of “the melody created by human speech”; Stasov, speaking about the work of Mussorgsky, was the first to speak about the “truth of intonation.” A unique doctrine of intonation was developed in the beginning. 20th century B. L. Yavorsky, who called intonation “the smallest (by construction) single-voice sound form in time” and defined the intonation system as “one of the forms of social consciousness.” The ideas of Russian and foreign musicians about the intonational nature of music, about its connection with the intonations of speech, about the role of the existing intonations of the era, about the significance of the process of intonation as the real existence of music in society and many others are generalized and developed in the numerous works of B.V. Asafiev, who created a deep and extremely fruitful (albeit not fully clearly formulated and not without some gaps and internal contradictions) “intonation theory” of musical creativity, performance and perception and developed the principles of intonation analysis of music.

Arensky. Fantasy on themes by Ryabinin

II. In the “modal theory,” pure intonation (as opposed to false, “dirty”) is the coincidence of the actual pitch of the sounding tone with the necessary one, i.e., determined by its place in the musical sound system and mode, which is fixed by its designation (graphic, verbal, or some other way). or in any other way). As the Soviet acoustician N.A. Garbuzov showed, intonation can be perceived by the ear as correct even when the indicated coincidence is not absolutely exact (as is usually the case when music is performed by voice or instruments without a fixed pitch of each tone). The condition for such perception is the location of the sounding tone within a certain, limited area of ​​heights close to the required one. This area was called the zone by N.A. Garbuzov.

IV. In the zone theory of sound-pitch hearing by N. A. Garbuzov, the pitch difference between two intervals that are part of the same zone.

V. In the production and tuning of musical instruments with a fixed pitch of sounds - the evenness of all sections and points of the instrument’s scale in terms of volume and timbre. It is achieved through a special operation called intonation of the instrument.

Literature: 1) Asafiev B.V., Musical form as a process, book. 1-2, M., 1930-47, L., 1971; his, Speech intonation, M.-L., 1965; his, “Eugene Onegin” - lyrical scenes by P. I. Tchaikovsky. Experience in intonation analysis of style and musical dramaturgy, M.-L., 1944; Shakhnazarova N. G., Intonation “dictionary” and the problem of national music, M., 1966; Sokhor A.H., Music as an art form, M., 1961, 1970; Nazaykinsky E., Psychology of musical perception, M., 1972. 2) Yavorsky V.L., The structure of musical speech, M., 1908. 3) and 4) Garbuzov HA, Zone nature of pitch hearing, M., 1948; Pereverzev N.K., Problems of musical intonation, M., 1966.

A.H. Coxop

Musical offer

The work consists of a number of musical sentences. They are divided into phrases, motives, periods. Expressive intonation involves dynamic expression of the beginning, middle and end of a sentence.

Intonation begins with a less bright dynamic nuance. Then there is a gradual increase in the strength of the sound, followed by the achievement of a climax. The continuation is characterized by a slow decay of sound intensity, followed by an ending on a quiet nuance.