About the musical image. Musical image Musical image from the point of view of the performer

Musical image

Music like living art is born and lives as a result of the unity of all types of activity. Communication between them takes place through musical images. In the mind of the composer, under the influence of musical impressions and creative imagination, a musical image arises, which is then embodied in a piece of music. Listening to a musical image, i.e. life content, embodied in musical sounds, determines all other facets of musical perception.

in other words, a musical image is an image embodied in music (feelings, experiences, thoughts, reflections, actions of one or several people; any manifestation of nature, an event in the life of a person, nation, humanity ... etc.)

A musical image is taken together the character, musical and expressive means, the socio-historical conditions of creation, the peculiarities of the construction, the style of the composer.

Musical images are:

Lyric - images of feelings, sensations;-epic - description;-dramatic - images of conflicts, collisions;-fabulous- images-fairy tales, unreal;-comic- funnyetc.

Using the richest possibilities of the musical language, the composer creates a musical image in whichembodies certain creative ideas, this or that life content.

Lyrically images

The word lyric poetry comes from the word "lyre" - it is an ancient instrument, which was played by singers (rhapsodists), telling about various events and experienced emotions.

The lyrics are a monologue of the hero, in which he tells about his experiences.

The lyrical image reveals the individual spiritual world the creator. There are no events in a lyric work, unlike drama and epic - only the confession of the lyric hero, his personal perception of various phenomena..

Here are the main properties of the lyrics:-feeling-mood- lack of action.Works that reflect the lyrical image:

1. Beethoven "Sonata No. 14" ("Moonlight")2. Schubert "Serenade"3. Chopin "Prelude"4. Rachmaninov "Vocalise"5. Tchaikovsky "Melody"

Dramatic imagery

Drama (Greek Δρα'μα - action) is one of the types of literature (along with lyrics, epics, and also lyrical epics) that conveys events through the dialogues of characters. Since ancient times, it has existed in folklore or literary form among different peoples.

Drama is a work depicting the process of action.Human passions in their most striking manifestations became the main subject of dramatic art.

The main properties of the drama:

A person is in a difficult, difficult situation that seems hopeless to him

He is looking for a way out of this situation.

He enters into a fight - either with his enemies or with the situation itself

Thus, the dramatic hero, in contrast to the lyric, acts, fights, as a result of this struggle either wins or dies - most often.

In drama, the foreground is not feelings, but actions. But these actions can be caused precisely by feelings, and very strong feelings- passions. The hero, under the control of these feelings, commits active actions.

Almost all Shakespearean heroes belong to dramatic characters: Hamlet, Othello, Macbeth.

They are all overwhelmed by strong passions, they are all in a difficult situation.

Hamlet is tormented by hatred of his father's murderers and a desire for revenge;

Othello suffers from jealousy;

Macbeth is very ambitious, his main problem is the lust for power, because of which he decides to kill the king.

Drama is unthinkable without a dramatic hero: he is her nerve, focus, source. Life swirls around him, like water seething under the action of a ship's propeller. Even if the hero is inactive (like Hamlet), then this is an explosive inaction. "The hero is looking for a catastrophe. Without a catastrophe, the hero is impossible." Who is he - a dramatic hero? Slave to passion. He is not looking for, but she is dragging him to disaster.Works embodying dramatic images:1. Tchaikovsky "The Queen of Spades"
The Queen of Spades is an opera based on the story of the same name by Alexander Pushkin.

Opera plot:

The main character of the opera is officer Hermann, a German by birth, poor and dreaming of quick and easy enrichment. He is a gambler at heart, but he never played cards, although he always dreamed about it.

At the beginning of the opera, Herman is in love with the old countess' rich heiress - Lisa. But he is poor, and he has no chance of marriage. That is, immediately there is a hopeless one, dramatic situation: poverty and, as a result of this poverty, the inability to achieve a beloved girl.

And then by chance Herman learns that the old countess, the patroness of Lisa, knows the secret of 3 cards. If you bet on each of these cards 3 times in a row, you can win a fortune. And Herman sets himself the goal of recognizing these 3 cards. This dream becomes his strongest passion, for her sake he even sacrifices his love: he uses Lisa as a way to get into the Countess's house and find out the secret. He appoints Lisa a date at the countess's house, but does not go to the girl, but to the old woman and at gunpoint demands to tell him 3 cards. The old woman dies without naming them to him, but the next night her ghost appears to him and says: "Three, seven, ace."

The next day, Herman confesses to Lisa that he was the culprit in the death of the Countess, Lisa, unable to withstand such a blow, drowns in the river, and Herman goes to the gambling house, bets one after the other three, seven, wins, then bets an ace on all the money won, but at the last moment, instead of an ace, he is holding a queen of spades. And Herman fancies an old countess in the face of this lady of spades. Whatever he won, he loses and commits suicide.

Herman in Tchaikovsky's opera is not at all the same as in Pushkin's.

Pushkin's German is cold and calculating, Liza for him is only a means on the path to enrichment - such a character could not captivate Tchaikovsky, who always needed to love his hero. Much in the opera does not correspond to Pushkin's story: the timing of the action, the characters of the heroes.

Tchaikovsky's German is ardent, romantic hero with strong passions and fiery imagination; he loves Lisa, and only gradually the mystery of the three cards displaces her image from Herman's consciousness.

2. Beethoven "Symphony No. 5"All Beethoven's work can be described as dramatic. His personal life becomes a confirmation of these words. Struggle is the meaning of his whole life. Fight against poverty, fight against social foundations, fight against disease. About the work "Symphony No. 5" the author himself said: "So fate is knocking at the door!"

3. Schubert "The Forest King"It shows the struggle between two worlds - the real and the fantastic. Since Schubert himself is a romantic composer, and romanticism is characterized by a fascination with mysticism, the clash of these worlds is very clearly expressed in this work. The real world is presented in the image of a father, he tries to calmly and sensibly look at the world, he does not see the Forest King. The world is fantastic - Forest king, his daughters. And the baby is at the junction of these worlds. He sees the Forest King, this world scares and beckons him, and at the same time he belongs to the real world, he asks for protection from his father. But in the end, the fantastic world wins, despite all the efforts of his father."The rider drives, the rider gallops,In his hands was a dead baby "

in this work, images of the fantastic and the dramatic are intertwined. From the dramatic image, we observe a fierce, irreconcilable struggle, from the fantastic, a mystical look.

Epic images EPOS, [Greek. epos - word]An epic is usually a poem that tells about the heroic. deeds.

The origins of epic poetry are rooted in prehistoric tales of gods and other supernatural beings.

The epic is the past, because narrates about past events in the life of the people, about its history and exploits;

^ The lyrics are real, because its object is feelings and moods;

Drama is the future, because the main thing in it is the action with the help of which the heroes try to decide their fate, their future.

First and simple scheme division of the arts associated with the word, suggested by Aristotle, according to which the epic is a story about an event, the drama presents it in persons, the lyrics respond with a song of the soul.

The place and time of action of epic heroes remind real story and geography (which makes the epic radically different from fairy tales and myths, which are completely unrealistic). However, the epic is not entirely realistic, although it is based on real events. In him, much is idealized, mythologized.

This is the property of our memory: we always embellish our past a little, especially when it comes to our great past, our history, our heroes. And sometimes on the contrary: some historical events and characters seem to us worse than they really were. Epic properties:

Heroism

The unity of the hero with his people, in whose name he performs feats

Historicity

Fabulousness (sometimes the epic hero fights not only with real enemies, but also with mythical creatures)

Evaluation (heroes of the epic are either good or bad, for example, heroes in epics - and their enemies, all sorts of monsters)

Relative objectivity (the epic describes real historical events, and the hero may have his weaknesses)Epic images in music are images of not only heroes, but also events, stories, it can also be images of nature, depicting the Motherland in a certain historical era.

This is the difference between the epic and the lyrics and drama: in the first place is not the hero with his personal problems, but the story.Epic works:1. Borodin "Heroic Symphony"2. Borodin "Prince Igor"

Borodin Alexander Porfirevich (1833-1887), one of the composers of The Mighty Handful.

All his work is permeated with the theme of the greatness of the Russian people, love for the motherland, love of freedom.

About this - and "Heroic Symphony", which captures the image of the mighty heroic homeland, and the opera "Prince Igor", created based on the Russian epic "The Lay of Igor's Campaign."

3. Mussorgsky "Heroic Gates"

Fabulous images

The name itself suggests the storyline of these works. These images are most vividly embodied in the work of N.A. Rimsky-Korsakov. This and symphonic suite"Scheherazade" based on the tales "1001 nights", and his famous operas - fairy tales "The Snow Maiden", "The Tale of Tsar Saltan", "The Golden Cockerel", etc. In close unity with nature, they perform fabulous in Rimsky-Korsakov's music, fantastic images... Most often they personify, as in the works folk art, certain elemental forces and natural phenomena (Frost, Leshy, Sea Princess, etc.). Fantastic images include, along with musical-picturesque, fairy-tale-fantastic elements, also features of appearance and character real people... Such versatility (it will be discussed in more detail when analyzing the works) gives Korsakov's musical fiction a special originality and poetic depth.

Rimsky-Korsakov's melodies of an instrumental type, complex in melodic-rhythmic structure, mobile and virtuoso, are distinguished by great originality, which are used by the composer in the musical depiction of fantastic characters.

Fantastic images in music can also be mentioned here.

fantastic music
some thoughts

No one now has any doubts that fantastic works published in huge circulations every year, and fantastic films, which are also shot a lot, especially in the United States, are very popular. What about "fantastic music" (or, if you prefer, "music fiction")?

First of all, if you think about it, "fantastic music" has appeared quite a long time ago. Is it not this direction that can be attributed to ancient songs and ballads (folklore), which added different nations all over the Earth in order to praise legendary heroes and various events (including fabulous - mythological)? And since about the 17th century, operas, ballets and various symphonic works based on different fairy tales and legends. The penetration of fiction into musical culture began in the era of romanticism. But we can easily find elements of her "invasion" in the works of musical romantics such as Mozart, Gluck, Beethoven. However, the most clearly fantastic motives sound in the music of the German composers R. Wagner, E.T.A. Hoffmann, K. Weber, F. Mendelssohn. Their works are filled with Gothic intonations, motives of the fantastic and fantastic elements, closely intertwined with the theme of the confrontation between man and the surrounding reality. One cannot but recall the Norwegian composer Edvard Grieg, famous for his musical canvases based on the folk epic, and the works of Henrik Ibsen "Procession of the Dwarfs", "In the Cave of the Mountain King", Dance of the Elves "
, as well as the Frenchman Hector Berlioz, in whose work the theme of the elements of the forces of nature is clearly expressed. Romanticism manifested itself distinctively in Russian musical culture... The works of Mussorgsky "Pictures at an Exhibition" and "Night on Bald Mountain", which depict the witches' Sabbath on the night of Ivan Kupala, which had a tremendous influence on modern rock culture, are filled with fantastic imagery. Musorgsky also belongs to the musical interpretation of the story "Sorochinskaya Yarmarka" by Nikolai Gogol. By the way, the penetration of literary fiction into musical culture is most clearly noticeable precisely in the work of Russian composers: "The Queen of Spades" by Tchaikovsky, "Rusalka" and "The Stone Guest" by Dargomyzhsky, "Ruslan and Lyudmila" by Glinka, "The Golden Cockerel" by Rimsky-Korsakov, "The Demon" by Rubinstein, etc. At the beginning of the twentieth century, a bold experimenter Scriabin, an apologist for synthetic art, who was at the origins of light and music, made a real revolution in music. In the symphonic score, he wrote the part for the light in a separate line. His works such as The Divine Poem (3rd Symphony, 1904), The Poem of Fire (Prometheus, 1910), The Poem of Ecstasy (1907) are filled with fantastic imagery. And even such recognized "realists" as Shostakovich and Kabalevsky used the technique of fantasy in their musical works. But, perhaps, the real heyday of "fantastic music" (music in science fiction) begins in the 70s of our century, with the development of computer technology and the appearance of the famous films "A Space Odyssey of 2001" by S. Kubrik (where, by the way, they were very successfully used classical works R. Strauss and I. Strauss) and A. Tarkovsky's "Solaris" (who in his film together with the composer E. Artemiev, one of the first Russian "synthesizers", created a simply wonderful sound "background", combining mysterious cosmic sounds with brilliant music I.-S. Bach). Is it possible to imagine the famous "trilogy" by J. Lucas " star Wars"and even" Indiana Jones "(which was directed by Steven Spielberg - but the idea was Lucas!) without the incendiary and romantic music of J. Williams performed by the symphony orchestra.

Comic images

The fate of the comic in music has developed dramatically. Many art critics do not mention the comic in music at all. Others either deny the existence of musical comedy, or consider its possibilities to be minimal. The most widespread point of view was well formulated by M. Kagan: “The possibilities of creating a comic image in music are minimal. (...) Perhaps it was only in the XX century that music began to actively seek its own, purely musical means to create comic images. (...) And yet, despite the important artistic discoveries made by musicians of the 20th century, the comic has not won in musical creativity and, apparently, will never win such a place as it has long occupied in literature, drama theater, fine arts, cinema ".

So the comic is funny and has widespread significance. The task is "correction with laughter" Smile and laughter become "companions" of the comic only when they express a feeling of satisfaction, which causes a spiritual victory in a person over what is contrary to his ideals, what is incompatible with them, what is hostile to him, because to expose what is what is contrary to the ideal, to realize its contradiction means to overcome the bad, to get rid of it. Consequently, as the leading Russian esthetician M.S.Kagan wrote, the clash of the real and the ideal lies at the heart of the comic. It should be remembered that the comic, in contrast to the tragic, arises under the condition that it does not cause suffering for others and is not dangerous for a person.

Shades of the comic - humor and satire. Humor is a good-natured, non-malicious mockery of individual shortcomings, weaknesses of a generally positive phenomenon. Humor is a friendly, harmless laugh, although not toothless.

Satire is the second type of comic. Unlike humor, satirical laughter is a formidable, cruel, sizzling laugh. In order to hurt evil, social deformities, vulgarity, immorality and the like as much as possible, the phenomenon is often deliberately exaggerated and exaggerated.

All forms of art are capable of creating comedic images. There is no need to talk about literature, theater, cinema, painting - it is so obvious. Scherzo, some images in operas (for example, Farlaf, Dodon) - bring the comic into music. Or recall the finale of the first movement of Tchaikovsky's Second Symphony, written on the theme of the humorous Ukrainian song "Zhuravel". It is music that makes the listener smile. Pictures at an Exhibition by Mussorgsky are full of humor (for example, The Ballet of Unhatched Chicks). Rimsky-Korsakov's The Golden Cockerel and many musical images of the second movement of Shostakovich's Tenth Symphony are sharply satirical.

Architecture is the only art form that lacks a sense of humor. The comic in architecture would be a disaster for the viewer, and for the inhabitant, and for the visitor of a building or structure. An amazing paradox: architecture has enormous potential for embodying the beautiful, the sublime, the tragic for expressing and affirming the aesthetic ideals of society - and is fundamentally deprived of the opportunity to create a comic image.

In music, comedy as a contradiction is revealed through artistic, specially organized algorithms and inconsistencies, which always contain an element of surprise. For example, the combination of various melodies is a musical and comedic means. This principle is the basis for Dodon's aria in Rimsky-Korsakov's The Golden Cockerel, where the combination of primitiveness and sophistication creates a grotesque effect (the intonations of the song "Chizhik-Pyzhik" are heard in Dodon's lips).
In musical genres associated with stage action or having literary program, the contradiction of the comic is grasped and is clear. However, instrumental music can express the comic and without resorting to "extra-musical" means. R. Schumann, having played Beethoven's Rondo for the first time, in his own words, began to laugh, as this work seemed to him the funniest joke in the world. his astonishment when he subsequently discovered in the Beethoven papers that this rondo was entitled "Fury over a lost penny, poured out in the form of a rondo." About the finale of Beethoven's Second Symphony, the same Schumann wrote that this is the greatest example of humor in instrumental music... And in F. Schubert's musical moments he heard the tailor's unpaid bills - such an obvious everyday annoyance sounded in them.

Suddenness is often used to create a comic effect in music. Thus, in one of Haydn's London symphonies, there is a joke: the sudden blow of the timpani shakes the audience, pulling it out of dreamy absent-mindedness. In Waltz with I. Strauss's surprise, the smooth flow of the melody is unexpectedly broken by the clap of a pistol shot. It always elicits a cheerful reaction from the audience. In "Seminarist" by MP Mussorgsky, mundane thoughts, conveyed by the smooth movement of the melody, are suddenly disturbed by a tongue twister, personifying the memorization of Latin texts.

The aesthetic foundation of all these musical and comedic means is the effect of surprise.

Comic marches

Comic marches are joke marches. Any joke is built on funny absurdities, funny inconsistencies. This is what we need to look for in the music of comic marches. There were also comic elements in the March of Chernomor. The solemnity of the chords in the first section (from the fifth measure) did not correspond to the small, “flickering” durations of these chords. It turned out to be a funny musical absurdity that very figuratively painted a "portrait" of an evil dwarf.

Therefore, the March of Chernomor is also partly comic. But only in part, because there is a lot of other things in it. But Prokofiev's March from the collection "Children's Music" is sustained from beginning to end in the spirit of a comic march.

In general, speaking about the comic image in music, the following pieces of music immediately come to mind:

Wolfgang Amadeus Mozart "The Marriage of Figaro", where already in the overture (introduction to the opera), notes of laughter and humor are heard. And the plot of the opera itself tells the story of the stupid and ridiculous master of the count and the cheerful and intelligent servant Figaro, who managed to outwit the count and put him in a stupid position.

It is not for nothing that Mozart's music was used in the film "Trading Places" with Eddie Murphy.

In general, in the work of Mozart there are many examples of the comic, and Mozart himself was called "sunny": so much sun, lightness and laughter can be heard in his music.

I would also like to draw your attention to Mikhail Ivanovich Glinka's opera Ruslan and Lyudmila. Two images of Farlaf and Chernomor were written by the composer not without humor. Fat clumsy Farlaf, dreaming of an easy victory (meeting with the sorceress Naina, who promises him:

But don't be afraid of me:
I am supportive to you;
Go home and wait for me.
We'll take Lyudmila away secretly,
And Svetozar for your feat
Will give her to you as a spouse.) Farlaf is so happy that this feeling overwhelms him. Glinka is for musical characteristics Farlafa chooses the form of rondo, built on multiple returns to the same thought (one thought owns it), and even the bass (a low male voice) makes him sing at a very fast pace, almost patter, which gives a comic effect (he seemed out of breath).

A musical image is taken together the character, musical and expressive means, the socio-historical conditions of creation, the peculiarities of the construction, the style of the composer. Musical images are:

Lyrical images of feelings, sensations;

Epic Description;

Dramatic-images-conflicts, collisions;

Fairy-tale images, unreal;

Comic-funny, etc. Using the richest possibilities of the musical language, the composer creates a musical image in which

embodies certain creative ideas, this or that life content.

Lyrical images

The word lyric poetry comes from the word "lyre" - it is an ancient instrument, which was played by singers (rhapsodists), telling about various events and experienced emotions.

The lyrics are a monologue of the hero, in which he tells about his experiences.

The lyrical image reveals the individual spiritual world of the creator. There are no events in a lyric work, unlike drama and epic - only the confession of the lyric hero, his personal perception of various phenomena. Here are the main properties of the lyrics:

Mood

Lack of action. Dramatic / .. images

Drama is a work depicting the process of action.

Human passions in their most striking manifestations became the main subject of dramatic art.

The main properties of the drama:

A person is in a difficult, difficult situation that seems hopeless to him

He / is looking for / exit / from / this / situation

He enters into a struggle - either with his enemies, or with the situation itself. Thus, the dramatic hero, in contrast to the lyric, acts, fights, as a result of this struggle either wins or dies — most ... of all.

In drama, the foreground is not feelings, but actions. But these actions can be caused precisely by feelings, and very strong feelings - passions. The hero, under the control of these feelings, commits active actions.

Almost all Shakespearean heroes belong to dramatic characters: Hamlet, Othello, Macbeth.

They are all overwhelmed by strong passions, they are all in a difficult situation.

Hamlet is tormented by hatred of his father's murderers and a desire for revenge;

Othello suffers from jealousy;

Macbeth is very ambitious, his main problem is the lust for power, because of which he decides to kill the king.

Works embodying dramatic images: 1. Tchaikovsky "The Queen of Spades"

The Queen of Spades is an opera based on the story of the same name by Alexander Pushkin. Epic images

EPOS, [Greek. epos - word]

An epic is usually a poem that tells about the heroic. deeds.

The origins of epic poetry are rooted in prehistoric tales of gods and other supernatural beings.

The epic is the past, because narrates about past events in the life of the people, about its history and exploits;

The lyrics are real, because its object is feelings and moods;

Drama is the future, because the main thing in it is the action with the help of which the heroes try to decide their fate, their future.

The first and simple scheme for dividing the arts associated with the word was proposed by Aristotle, according to which the epic is a story about an event, the drama presents it in persons, the lyrics respond with a song of the soul.

The place and time of action of the epic heroes resemble real history and geography (which makes the epic radically different from fairy tales and myths, which are completely unrealistic). However, the epic is not entirely realistic, although it is based on real events. In him, much is idealized, mythologized.

The unity of the hero with his people, in whose name he performs feats

Historicity

Fabulous (sometimes the epic hero fights not only with real enemies, but also with mythical creatures)

Evaluation (heroes of the epic are either good or bad, for example, heroes in epics - and their enemies, all sorts of monsters)

Relative objectivity (the epic describes real historical events, and the hero may have his weaknesses)

Epic images in music are images of not only heroes, but also events, stories, it can also be images of nature, depicting the Motherland in a certain historical era.

This is the difference between the epic and the lyrics and drama: in the first place is not the hero with his personal problems, but the story.

Epic works:

1.Borodin "Heroic // Symphony"

2. Borodin "Prince // Igor"

Borodin Alexander Porfirevich (1833-1887), one of the composers of The Mighty Handful. All his work is permeated with the theme of the greatness of the Russian people, love for the motherland, love of freedom.

About this - and "Heroic Symphony", which captures the image of the mighty heroic homeland, and the opera "Prince Igor", created based on the Russian epic "The Lay of Igor's Campaign."

"The Word about Igor's Regiment" ("The Word about Igor's campaign, Igor, the son of Svyatoslavov, the grandson of Olegov, is the most famous (considered the greatest) monument of medieval Russian literature. The plot is based on the unsuccessful campaign of 1185 of the Russian princes against the Polovtsy, led by Prince Igor Svyatoslavich. Fabulous ..images The name itself suggests the storyline of these works. These images are most vividly embodied in the work of N.A. Rimsky-Korsakov. This is the symphonic suite "Scheherazade" based on the fairy tales "1001 nights", and his famous fairy-tale operas "The Snow Maiden", "The Tale of Tsar Saltan", "The Golden Cockerel", etc. In close unity with nature, fabulous, fantastic images appear in Rimsky-Korsakov's music. natural phenomena (Moroz, Leshy, Sea Princess, etc.). Fantastic images contain, along with musical-picturesque, fantastic-fantastic elements, also features of the external appearance and character of p real people. Such versatility (it will be discussed in more detail when analyzing the works) gives Korsakov's musical fiction a special originality and poetic depth. Rimsky-Korsakov's melodies of the instrumental type, complex in melodic-rhythmic structure, mobile and virtuoso, which are used by the composer in musical depiction, are of great originality. fantastic characters. Here you can also mention fantastic images in music. Fantastic // music // some // reflections

First of all, if you think about it, "fantastic music" has appeared quite a long time ago. Is it not to this direction that ancient songs and ballads (folklore) can be attributed, which were put together by different peoples all over the Earth in order to praise legendary heroes and various events (including fabulous - mythological)? And since about the 17th century, operas, ballets and various symphonic works based on various fairy tales and legends have already appeared. The penetration of fiction into musical culture began in the era of romanticism. But we can easily find elements of her "invasion" in the works of musical romantics such as Mozart, Gluck, Beethoven. However, the most clearly fantastic motives sound in the music of the German composers R. Wagner, E.T.A. Hoffmann, K. Weber, F. Mendelssohn. Their works are filled with Gothic intonations, motives of the fantastic and fantastic elements, closely intertwined with the theme of the confrontation between man and the surrounding reality. One cannot but recall the Norwegian composer Edvard Grieg, famous for his musical canvases based on the folk epic, and the works of Henrik Ibsen "Procession of the Dwarfs", "In the Cave of the Mountain King", Dance of the Elves, also the Frenchman Hector Berlioz, in whose work the theme of the elements of the forces of nature pronounced. Romanticism manifested itself distinctively in Russian musical culture. The works of Mussorgsky "Pictures at an Exhibition" and "Night on Bald Mountain", which depict the witches' Sabbath on the night of Ivan Kupala, which had a tremendous influence on modern rock culture, are filled with fantastic imagery. Musorgsky also belongs to the musical interpretation of the story "Sorochinskaya Yarmarka" by Nikolai Gogol. By the way, the penetration of literary fiction into musical culture is most clearly noticeable precisely in the work of Russian composers: "The Queen of Spades" by Tchaikovsky, "Rusalka" and "The Stone Guest" by Dargomyzhsky, "Ruslan and Lyudmila" by Glinka "The Golden Cockerel" by Rimsky-Korsakov, "The Demon "Rubinstein and others. At the beginning of the twentieth century, a true revolution in music was made by the brave experimenter Scriabin, an apologist for synthetic art, who stood at the origins of light and music. In the symphonic score, he wrote the part for the light in a separate line. His works such as The Divine Poem (3rd Symphony, 1904), The Poem of Fire (Prometheus, 1910), The Poem of Ecstasy (1907) are filled with fantastic imagery. And even such recognized "realists" as Shostakovich and Kabalevsky used the technique of fantasy in their musical works. But, perhaps, the real heyday of "fantastic music" (music in science fiction) begins in the 70s of our century, with the development of computer technology and the appearance of the famous films "A Space Odyssey of 2001" by S. Kubrik (where, by the way, classical works by R. Strauss and I. Strauss) and "Solaris" by A. Tarkovsky (who in his film together with the composer E. Artemiev, one of the first Russian "synthesizers" music by I.-S. Bach). Is it possible to imagine the famous "trilogy" by J. Lucas "Star Wars" and even "Indiana Jones" (which was filmed by Steven Spielberg - but it was Lucas's idea!) Without the incendiary and romantic music of J. Williams performed by the symphony orchestra.

Meanwhile (by the beginning of the 70s) the development of computer technology reaches a certain level - musical synthesizers appear. This new technique opens up brilliant prospects for musicians: it has finally become possible to give free rein to imagination and to model, create amazing, downright magical sounds, weave them into music, "sculpt" sound, like a sculptor! .. Perhaps this is already a real fantasy in music. So, from this moment a new era begins, a galaxy of the first masters-synthesizers, authors-performers of their works, appears. Comic images The fate of the comic in music has developed dramatically. Many art critics do not mention the comic in music at all. Others either deny the existence of musical comedy, or consider its possibilities to be minimal. The most widespread point of view was well formulated by M. Kagan: “The possibilities of creating a comic image in music are minimal. (...) Perhaps, only in the XX century, music began to actively seek its own, purely musical means for creating comic images. (...) And yet, despite the important artistic discoveries made by musicians of the 20th century, the comic has not won in musical creativity and, apparently, will never win the place that it has long occupied in literature, drama theater, fine arts, cinema " So, the comic is funny and has widespread significance. The task is "correction with laughter" Smile and laughter become "companions" of the comic only when they express a feeling of satisfaction, which causes a spiritual victory in a person over what is contrary to his ideals, what is incompatible with them, what is hostile to him, because to expose what is what is contrary to the ideal, to realize its contradiction means to overcome the bad, to get rid of it. Consequently, as the leading Russian esthetician M.S.Kagan wrote, the clash of the real and the ideal lies at the heart of the comic. It should be remembered that the comic, in contrast to the tragic, arises under the condition that it does not cause suffering for others and is not dangerous for a person.

Shades of the comic - humor and satire. Humor is a good-natured, non-malicious mockery of individual shortcomings, weaknesses of a generally positive phenomenon. Humor is laughter that is friendly, good-natured, though not toothless. Satire is the second type of comic. Unlike humor, satirical laughter is a formidable, cruel, sizzling laugh. In order to hurt evil, social deformities, vulgarity, immorality and the like as much as possible, the phenomenon is often deliberately exaggerated and exaggerated. All forms of art are capable of creating comedic images. There is no need to talk about literature, theater, cinema, painting - it is so obvious. Scherzo, some images in operas (for example, Farlaf, Dodon) - bring the comic into music. Or recall the finale of the first movement of Tchaikovsky's Second Symphony, written on the theme of the humorous Ukrainian song "Zhuravel". It is music that makes the listener smile. Pictures at an Exhibition by Mussorgsky are full of humor (for example, The Ballet of Unhatched Chicks). Rimsky-Korsakov's The Golden Cockerel and many musical images of the second movement of Shostakovich's Tenth Symphony are sharply satirical.

11.Concepts

A song or song is the simplest but most common form of vocal music, combining poetic text with melody. Sometimes accompanied by orchestics (also facial expressions). A song in a broad sense includes everything that is sung, provided that the word and melody are combined at the same time; in a narrow sense - a small poetic lyric genre that exists among all peoples and is characterized by the simplicity of musical and verbal construction. Songs differ in genres, style, forms of performance and other characteristics. The song can be sung by one singer or by a choir. The songs are sung with or without instrumental accompaniment (a cappella).

Lesson number 6 Grade 7 I quarter

According to the textbook of T.I. Naumenko, V.V. Aleeva

Theme: "What is a musical image"

The purpose of the lesson:- the formation of means of expression different types arts (literary, musical and visual) in the creation of a unified image on the example of the ballad "The Forest Tsar" by F. Schubert

Lesson Objectives: educational - to acquaint with the concept of "musical ballad", with the biography of F. Schubert, to define the musical image in the ballad "Forest Tsar";

Developing- to develop communication skills, skills in independent work with information, the ability to analyze and synthesize the information received;

Learning Techniques Used:

explanation;

practical tasks;

problem situation;

analysis and synthesis;

comparison and comparison.

Forms of organizing cognitive activity:

individual;

pair - group;

collective;

frontal. educational - fostering a personal attitude to music, aesthetic taste.

Portraits of Franz Schubert, Johann Goethe Illustrations Forecasted result: concepts: ballad modes of action: working with cards, listening to music. judgments: personal attitude to music.

Lesson type: Learning new material.

Equipment: computer, screen, presentation on the topic: "Dramatic image".

Interdisciplinary connections: literature, history.

During the classes

1 .Organizing time

Everyone got up, caught up, prepared for the lesson, hello, sit down. The fragment "Ave Maria" by F. Schubert sounds. (I read in the background)

Epigraph:

“Music is one of the most amazing human wonders. Is it not a miracle that a small song is capable of causing great joy in a huge mass of people or throwing them into a state of great sorrow, raising the fighting spirit of soldiers. Literature, painting, choreography, and acting are combined with music ...

Isn't it a miracle - beautiful and amazing? "

. 2 ... Setting the goals and objectives of the lesson.

Topic: "Dramatic Image in Music... “(Slide 1)

Read the topic of the lesson and make assumptions about what will be discussed in the lesson. Guys. What is an image? The musical image is a particle of life. The composer creates these or those ideas, this or that content. Make a guess what is drama? Drama (Greek Δρα'μα - action. The main properties of drama (slide show)

The dramatic hero, in contrast to the lyric, acts, fights, as a result of this struggle either wins or dies. In today's lesson, we will get acquainted with a very famous work of the composer Franz Schubert, define the features of the dramatic image, get acquainted with a new genre of vocal music and try, together with music and its creators, to experience and compare several simple and accessible feelings, feelings of struggle and victory, a cry from the heart

To accurately determine the genre of this work, I suggest you solve a crossword puzzle. And a consultant will help me.

Its key word will be the answer to this question.

(A poster on a chalkboard with a crossword puzzle.)

1. German composer, whose surname sounds short, reminiscent of a shot. (Bach)

4. An art form, the content of which is conveyed in stage musical and choreographic images. (Ballet)

5. Quiet performance. (Piano)

6. When performed by two, it is called ... (duet)

Output: The genre we are getting to know today is called a ballad.

3 ... Updating basic knowledge Are you familiar with this genre?

Then describe it to me. And in music, a vocal ballad is a song that has free development. The plot of the ballad is acutely dramatic; reality and fantasy, epic and lyrics are intertwined in it. Slide (2)

Output: As you can see, the definition musical genre not much different from the literary definition.

4 . Hearing a ballad"The Forest Tsar" by F. Schubert on German... - F. Schubert was fascinated by the poetry of the German poet W. Goethe. (portrait of the poet). She excited, captivated the imagination, mind, soul of the young composer. Schubert composed the ballad "The Forest Tsar" when he was only 18 years old.

- Now you will listen to one of the most famous works Schubert and reveal the means musical expressiveness Slide (3,4,5) you listened to the piece

Where does the ballad begin?

What feelings does music express?

What image did the composer convey in his music?

Who is performing this piece of music?

- What is the name of this work?

What dramatic events are conveyed in this work?

- This is a solo narrative song with fantasy elements. In it, the composer created a vivid picture in which the subtlest shades of human feelings are revealed.

- What did you hear in the accompaniment?

Can you see it? (A swift, dramatically tense movement.)

Is the music expressive or pictorial? (Both expressive and pictorial.)

Re-listening to a piece.

The piano plays a special role in Schubert's songs. It fills the song with new colors, helps to reveal its content deeper.

Output: As you can see, a large dramatic picture is drawn in poetry and in music, a scene with the participation of several actors... But even if we hear their individual intonations, the whole scene merges in our minds into a single dramatic image, united by a swift movement; not only by the movement of a horse flying through the forest; but also by the movement (development) of the feelings of the main characters.

5 .Lesson summary.

At the end of the lesson, students may choose to sing previously learned songs.

Introduction. Imagery as the basis of musical art.

Chapter 1. The concept of artistic image in musical art.

Chapter 2. Imagery as the basis of composers' creativity.

§ 1 The figurative structure of S. Rachmaninoff's music.

§ 2. The figurative structure of F. Liszt's music.

§ 3. The figurative structure of D. Shostakovich's music.

Chapter 3. Generalized ideas about the ways of comprehending the musical image.

Chapter 4. Disclosure of the topic "Musical image" in music lessons in the 7th grade of a comprehensive school.

Musical lessons on new program aimed at developing the musical culture of students. The most important component of musical culture is the perception of music. There is no music outside of perception, because it is the main link and necessary condition for the study and knowledge of music. Composer, performing, listening, teaching and musicological activities are based on it.

Music as a living art is born and lives as a result of the unity of all types of activity. Communication between them takes place through musical images, tk. outside of images, music (as an art form) does not exist. In the mind of the composer, under the influence of musical impressions and creative imagination, a musical image arises, which is then embodied in a piece of music.

Listening to a musical image, i.e. life content, embodied in musical sounds, determines all other facets of musical perception.

Perception is a subjective image of an object, phenomenon or process that directly affects the analyzer or the system of analyzers.

Sometimes the term perception also denotes a system of actions aimed at acquaintance with an object that affects the senses, i.e. sensory research activity of observation. As an image, perception is a direct reflection of an object in the totality of its properties, in an objective integrity. This distinguishes perception from sensation, which is also a direct sensory reflection, but only of individual properties of objects and phenomena affecting the analyzers.

An image is a subjective phenomenon that arises as a result of object-practical, sensory-perceptual, mental activity, which is a holistic integral reflection of reality, in which the main categories (space, movement, color, shape, texture, etc.) are simultaneously presented. In terms of information, an image is an unusually capacious form of representation of the surrounding reality.

Figurative thinking is one of the main types of thinking, distinguished along with visual-effective and verbal-logical thinking. Images-representations act as an important product of figurative thinking and as one of its functioning.

Figurative thinking is both involuntary and voluntary. The first technique is dreams, dreams. "-2nd is widely represented in creative activity person.

The functions of figurative thinking are associated with the representation of situations and changes in them that a person wants to cause as a result of his activity, transforming the situation, with the concretization of general provisions.

With the help of figurative thinking, the whole variety of different factual characteristics of the object is more fully recreated. In the image, the simultaneous vision of an object from several points of view can be recorded. Highly important feature figurative thinking - the establishment of unusual, "incredible" combinations of objects and their properties.

Various techniques are used in figurative thinking. These include: an increase or decrease in an object or its parts, agglutination (the creation of new representations by attaching parts or properties of one object in a figurative plan, etc.), the inclusion of existing images in a new synopsis, generalization.

Figurative thinking is not only a genetically early stage in development in relation to verbal-logical thinking, but also constitutes an independent type of thinking in an adult, receiving special development in technical and artistic creation.

Individual differences in imaginative thinking are associated with the dominant type of representations and the degree of development of techniques for representing situations and their transformations.

In psychology, figurative thinking is sometimes described as a special function - imagination.

Imagination is a psychological process that consists in creating new images (representations) by processing the material of perceptions and ideas obtained in previous experience. Imagination is inherent only in man. Imagination is necessary in any kind of human activity, especially in the perception of music and "musical image".

Distinguish between voluntary (active) and involuntary (passive) imagination, as well as recreational and creative imagination. Recreational imagination is the process of creating an image of an object from its description, drawing or drawing. The independent creation of new images is called creative imagination. It requires the selection of materials necessary to build an image in accordance with its own design.

A special form of imagination is a dream. It is also an independent creation of images, but a dream is the creation of an image of the desired and more or less distant, i.e. does not directly and immediately provide an objective product.

Thus, active perception of a musical image suggests the unity of two principles - objective and subjective, i.e. what is inherent in fiction, and those interpretations, representations, associations that are born in the mind of the listener in connection with him. Obviously, the wider the circle of such subjective ideas, the richer and more complete the perception.

In practice, especially in children without sufficient experience communication with music, subjective ideas are not always adequate to the music itself. Therefore, it is so important to teach students to understand what is objectively contained in music, and what is introduced by them; what in this "own" is due to a piece of music, and what is arbitrary, far-fetched. If in the fading instrumental conclusion of "Sunset" by E. Grieg, the guys not only hear, but also see the picture of the sunset, then only visual association should be welcomed, tk. it flows from the music itself. But if the Third Song of Lelya from the opera "The Snow Maiden" by N.A. Rimsky-Korsakov's student noticed "raindrops", then in this and in similar cases it is important not just to say that this answer is wrong, unreasonably invented, but also to figure out why it is wrong, why unreasonable, together with the whole class, by confirming your thoughts evidence available to children at this stage of development of their perception.

The nature of fantasizing to music, apparently, is rooted in the contradiction between the natural desire of a person to hear its life content in music and the inability to do it. Therefore, the development of the perception of a musical image should be based on an ever more complete disclosure of the vital content of music in unity with the activation of students' associative thinking. The wider, the more multifaceted the connection between music and life will be revealed in the lesson, the deeper the students will penetrate into the author's intention, the more likely it becomes for them to have legitimate personal life associations. As a result, the process of interaction between the author's intention and listener's perception will be more full-blooded and effective.

Every beginner or professional choirmaster always faces the problem of correctly reading the choral score, adequately comprehending what the author wanted to express. This is a deep, very painstaking and rather lengthy independent work on the score. But the most difficult thing in this process is the creation of the future artistic image of the work: it is to be able to connect all the elements into a single art picture and embody this through expressive performance. In a certain sense, each choral work is a certain “sound plot”, which has a sound individuality and requires special creative decisions from the performers.

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The essence of the concept of a musical - artistic image

Artistic image - generalized artistic reflection reality, clothed in the form of a specific individual phenomenon.

Artistic image, a general category of artistic creativity inherent inarta form of reproduction, interpretation and development of life through the creation of aesthetically influencing objects. An image is often understood as an element or part of an artistic whole, usually a fragment that has, as it were, an independent life and content. But in a general sense artistic image- a way of existence of a work, taken from the side of its expressiveness, impressive energy and significance.

Any artistic image is not completely concrete, clearly fixed points of reference are clothed in it with the element of incomplete definiteness, half-manifestation.

Figurative thinking is one of the main types of thinking, distinguished along with visual-effective and verbal-logical thinking. It is not only a genetically early stage in development in relation to verbal-logical thinking, but also constitutes an independent type of thinking in an adult, receiving special development in technical and artistic creativity. In psychology, figurative thinking is sometimes described as a special function - imagination.

The musical image is characterized by the absence of concrete vital objectivity. Music does not depict anything, it creates a special objective world, the world of musical sounds, the perception of which is accompanied by deep feelings.

"As a special type of spiritual activity, aesthetics and philosophers distinguish the so-called artistic activity, which they understand as a practical spiritual activity of a person in the process of creating, reproducing and perceiving works of art."

The art of music, in spite of all its unique specificity, cannot be fruitfully mastered without the support of other types of art, since only in their organic unity can one cognize the integrity and unity of the world, the universality of the laws of its development in all the richness of sensory sensations, the variety of sounds, colors, movements.

The study of musical content is one of the "eternal" problems of musicology, performance, and pedagogy. Music is a procedural art; outside of performance, a piece of music cannot live a full life. A musical text is always a message (author - performer - listener), naturally suggesting a performing interpretation. The problem of "text - performer", resolved through interpretation, inevitably brings each musician to understanding the text as a complex formation in the unity of its two sides: the symbolic fixation of the author's intention (musical text) and a message filled with figurative and semantic content (musical text).

"Musical art, like any other art, requires that the one who does it, sacrifice to it all his thoughts, all feelings, all the time, his whole being," wrote Lev Aronovich Barenboim.

The musical work existing in the musical notation gets its real sound embodiment only in the process of musical performance, therefore the performer is a necessary mediator between the composer and the listener. Musical performance can be vocal, instrumental and mixed. The last variety also includes operatic art; however, in opera, solo singers are also actors, an important role is played by decorative arts... Depending on the number of performers, musical performance is divided into solo and collective. A collective performance can be a chamber ensemble with several relatively equal performers (for example, a trio, quartet, etc.) and a symphonic, choral performance, as a rule, under the guidance of a conductor (choirmaster), who, with the help of other musicians, realizes his performing plan. Many performance designations in notes (tempo, dynamics, etc.) are relative and, within certain limits, can be realized in different ways. Therefore, the task of Musical Performance is not just an accurate reproduction of the musical text, but also the fullest possible embodiment of the author's intentions. Of great importance for the performer is the study of the era in which the composer lived, his aesthetic views, etc. All this helps to better understand the content of the work. Each performer, revealing the author's concept of the composition, inevitably brings into the performance and individual traits, determined by both his personal qualities and the prevailing at a given time aesthetic views... Thus, any performance of a work is also its interpretation, interpretation.

L.V. Zhivov writes: “The performing artistic image, with which the audience's assessment of the work is largely connected, often acquires an independent meaning in our minds, since such values can be revealed in it that were not in the primary image. Nevertheless, the fundamental principle of any musical performance is the musical text of the work, without which the performing activity is impossible. Recorded in the musical notation, it requires not just a competent reading, but guessing, deciphering the author's intentions, as well as those aspects of his music that he might not have suspected. The point is that musical notation is just a sketch compared to the actual sound of the music. " ... Therefore, a special role in creating an image is played by the search for intonational meaning in the process of studying a work.According to B.V. Asafiev's concept, intonation is the main conductor of musical content, musical thought, and also a carrier of artistic information, emotional charge, and spiritual movement. However, an emotional reaction to intonation, penetration into its emotional essence is the starting point of the process of musical thinking, but not thinking itself. This is just a primary sensation, a perceptual response. Since thinking begins, as a rule, from an external or internal "impulse", the sensation of musical intonation is a kind of signal, an impulse to any musical and mental actions.

Modeling an artistic musical image is one of the most complex psychological processes, which is based on the processes of musical perception, imagination, memory and musical thinking.

Perception - the mental process of reflection of objects and phenomena of reality in the aggregate of their various properties and parts with a direct impact on the sense organs. This distinguishes perception from sensation, which is also a direct sensory reflection, but only of individual properties of objects and phenomena that affect the analyzers. Scientists (E.V. Nazaikinsky) divide the very concept of "perception" into the concepts of "music perception" (the process of communication with music) and "musical perception". In pedagogy, musical perception is understood as a process of reflection, formation of a musical image in the human mind. Musical perception is a complex process, which is based on the ability to hear, experience musical content as an artistic and figurative reflection of reality. Music affects a complex of expressive means. This is a harmonic warehouse, timbre, tempo, dynamics, metro rhythm, they convey the mood, the main idea of the work, evoke associations with life phenomena, with human experiences.

Imagination - the activity of consciousness, as a result of which a person creates new representations, mental situations, ideas, relying on the images preserved in his memory from the past sensory experience, transforming them. Imagination is necessary in any human activity, especially in the perception of music and the "musical image". Distinguish between voluntary imagination (active) and involuntary (passive), as well as recreational and creative imagination. Recreational imagination is the process of creating an image of an object from its description, drawing or drawing. Creative imagination is the independent creation of new images in the process of creative activity. It requires the selection of materials, the combination of various elements in accordance with the task and the creative concept.

Musical thinkingas a process of purposeful and meaningful processing of musical and sound material is expressed in the ability to understand and analyze what is heard, mentally represent the elements of musical speech and operate with them, evaluating music. The process of forming an artistic musical image involves different kinds musical thinking: figurative, logical, creative and associative.

The musician-performer and the listener must operate in the process of musical perception with certain systems of ideas about intonations, the simplest expressive - pictorial means - everything that evokes certain moods, poetic memories, images, sensations, etc. At this level, musical-figurative thinking manifests itself, the measure and degree of development of which depend on what place it occupies. this aspect in the preparation of a musician.

Further forms of reflection of musical reality in human consciousness are associated with the understanding of the logical organization of sound material. The transformation of intonations into the language of musical art is possible only after a certain processing, their reduction into one or another structure. Outside of musical logic, outside of diverse integrative connections that reveal themselves through form, harmony, harmony, metro rhythm, etc. music will remain a chaotic set of sounds and will not rise to the level of art. Comprehension of the logic of the organization of various sound structures, the ability to musical material find similarities and differences, analyze and synthesize, establish relationships - the next function of musical thinking. This function is more complex in nature, since it is conditioned not only and not so much by perceptual, emotional-sensual, but mainly intellectual manifestations on the part of the individual, it presupposes a certain formation of his musical consciousness. It should be emphasized that with a certain autonomy of these two functions, the processes of musical-mental activity become full-fledged only with their organic combination and interaction.

Creative thinking is a special stage of musical thinking. Musical and intellectual processes at this level are characterized by the transition from reproductive actions to productive ones, from reproducing to creative ones. In this regard, the question of finding productive methods that form creative thinking is very relevant. One of the most effective methods that form the creative qualities of a person, the method of problem learning is recognized (M.I. Makhmutov, A.M. Matyushkin, M.M. Levina, V.I. Zagvyazinsky, etc.). It is widely used in general education schools and university practice. However, in musical pedagogy, it is used on an intuitive level, without specific methodological developments.

The development of musical thinking is inextricably linked with the ability to comprehend the logic of the musical language, the understanding of which is “based on a figurative comparison of the expressive means of music, which serve to convey its artistic content, with the means of verbal language, which serve to convey thoughts” (L.A. Mazel, 1979).

Without the development of creative abilities, it is impossible to prepare a high-class professional in any kind of activity, especially in the field of art, since musical activity both performing and pedagogical demands from a specialist non-standard, original thinking. There are many ways to develop creative abilities, one of which is problem learning, since it is the mental difficulties that arise in a problem situation that prompt the student to active search thinking.

The meaning of a musical image is a generalization that is built on the basis of experiencing the expressive function of the image. Musical images designate insofar as they express.

An image in musical art, if, of course, it is artistically consistent, is always filled with a certain emotional content, reflecting a person's sensual reaction to certain phenomena of reality.

To create the image of a choral work, pedagogical tasks are also required (teaching certain singing skills, correct intonation; expanding ideas about choral musical culture), psychological tasks (developing creative thinking, the creative imagination of the choir singers on the basis of choral music, the formation of artistic and emotional activity of students) and aesthetic tasks (the formation of ideas about the enduring value of domestic and foreign choral art, acquaintance with which is carried out during the entire training of choral singing, the development of aesthetic taste, aesthetic emotions).

In general, a conductor is a rather complex and multifaceted profession. “Conductor (French diriger - to manage) is a person who has received a special musical education, managing an orchestra, choir, opera performance, uniting the whole mass of performers in a single rhythm, giving the work its own interpretation. "

Vl. Sokolov writes: "A chorus is a collective that is sufficiently proficient in the technical and artistic and expressive means of choral performance, necessary to convey those thoughts and feelings, the ideological content that is inherent in the work."

P.G. Chesnokov in his book "The Choir and Its Management" writes that "a choir is such a collection of singers, in the sonority of which there is a strictly balanced ensemble, a precisely calibrated structure and artistic, distinctly developed nuances."

“The director of the choir is the conductor. He ensures ensemble harmony and technical perfection of performance, strives to convey to the team of performers his artistic intentions, his understanding of the work. For 50 years of successful work A. Anisimov became convinced that the art of choral singing entirely depends on the creative initiative, the special inclination of the choirmaster-conductor to choral work, from persistent systematic work, pedagogical, organizational, volitional qualities and, of course, the talent of the musician-interpreter. "

Emergence piece of music, learning and performance is inextricably linked with the perception of its integrity. The conductor presents the work as if instantly, in the form of a kind of integral image. W. A. Mozart said that as a result of intense inner work, he begins to survey the work “... spiritually with one glance, like a beautiful painting or handsome man… ”And to hear music“… in the imagination it is not at all one after another, as it will sound later, but as if all at once ”. The ability to present holistically is not a property only very much talented people, it is possessed with varying degrees of precision and strength by every musician.

Zhivov V.L. Choral performance: Theory. Methodology. Practice: Study guide. for stud. higher head M., Vlados. 2003. page 9.

About the musical image. Musical image Musical image from the point of view of the performer

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