Art, according to Bryusov, is valuable in itself. He worships the artistic gift, creativity as a deity: "Worship art, / Only him, undividedly, aimlessly."
The poet is only 23 years old, but the poem is perceived as a testament, an instruction to the next generations. As you can see, Bryusov, who sincerely considered himself a genius, outlined his own program in a poem, symbolically referring to himself.
About the period of the first collections, Bryusov later wrote in a mature poem: "We were impudent, there were children." ()
6. Dagger The poem was written in 1903.
It is a declaration revealing Bryusov's understanding of the essence and tasks of poetry. Both the title and the epigraph (“Or never in the voice of vengeance / You can’t tear your blade out of a golden scabbard ...”) refer the reader to the image of Lermontov’s lyrical hero. The lyrical hero of Bryusov is also proud, strong, self-confident: "I am a songwriter of struggle, / I echo the thunder from the sky."
Bryusov is a poet of an intellectual nature, in his work there is a lot of rationality, coming from the mind, and not from feeling. "Dagger" is a logical development of the thought, the thesis "The poet is always with people when a thunderstorm is noisy, / And the song with the storm is forever sisters." The second and third stanzas explain the departure of the lyrical hero from the "shamefully petty, ugly" life into historical exoticism. The hero opposes to petty-bourgeois obedience the struggle at the peak of his abilities. (
The nature of the musical ear
Varieties of musical ear
Among the numerous varieties of musical ear, distinguished by one or another feature, the following should be noted:
The development of musical ear
In the most direct way, the development of musical ear is engaged in a special musical and pedagogical discipline - solfeggio. However, musical ear develops most effectively in the process of active and versatile musical activity. For example, it is advisable to develop rhythmic ear, including through special movements, breathing exercises and dance.
The development of musical ear in children has a very important aesthetic and educational value. But in some cases, even children with good musical abilities do not show a great desire to develop their musical ear according to special educational programs. The task of parents and teachers in such cases is to provide musically gifted children with the appropriate conditions and opportunities for the development of their musical ear in some more free mode and in some more relaxed creative atmosphere.
Several have already been created computer programs("Ear Master Pro", "Musical Examiner", set "Musical Arcade", "Ukhogryz", etc.), which are intended for self-study on the development of musical ear. But these programs, of course, should be considered only as an additional aid to the classes on the development of musical ear, which are conducted under the supervision of experienced and qualified teachers.
see also
Notes
Literature
- Maikapar S. M., Ear for music, its meaning, nature, features and method proper development, M., 1900, P.,. 1915.
- Maltseva E., The main elements of auditory sensations, in the book: Collection of works of the physiological and psychological section of the HYMN, vol. 1, M., 1925.
- Teplov B., Psychology of musical abilities, M.-L., 1947.
- Nazaikinskiy E., About psychology musical perception, M., 1972.
- Garbuzov N., Zone nature of pitch hearing, M.-L., 1948.
- Karaseva, M. V. Solfeggio - psychotechnics for the development of musical ear. M., 1999 (2nd ed. 2002).
- Starcheus M.S. Musician's ear. - M.: Mosk. state Conservatory. P. I. Tchaikovsky, 2003.
- Kirnarskaya D.K. Musical ability. - M.: Talents-XXI century, 2004.
- Stumpf S., Die Anfänge der Musik, 1911 (Russian translation of The Origin of Music. L., 1927).
- Stumpf K., Tonpsychologie, 1883, Bd. 1, 1890, Bd. 2 (“Psychology of musical perceptions”).
- Meyer M.F., Contributions to a psychological theory of music (1901).
- Meyer M., The Musician's Arithmetic (1929).
- Meyer M., How we hear: How tones make music (1950).
Links
- "Types of musical ear" on the site "Musicians about classical music and jazz"
- "MusTeacH is a free online program for the development of musical abilities"
Categories:
- Music terms
- Musical education
- Acoustics
- Capabilities
- Musicology
- Psychology of perception
- Musical aesthetics
- Aesthetics
- Culturology
Wikimedia Foundation. 2010 .
- Gait
- Bass, Anetta Yakovlevna
See what "Music ear" is in other dictionaries:
EAR FOR MUSIC- (English music hearing) pitch hearing, that is, the ability to perceive and reproduce the pitch of musical sounds and their sequences. Distinguish absolute pitch - the ability to recognize and reproduce the pitch of sounds without comparing ...
musical ear- the ability of a person to perceive the individual qualities of musical sounds, to feel the functional connections between them. Types of musical ear: absolute ability to determine the absolute height of musical sounds; relative definition ... ... encyclopedic Dictionary
hearing- n., m., use. often Morphology: (no) what? hearing and hearing, what? hearing, (seeing) what? hearing what? hearing about what? about hearing; pl. what? rumors, (no) what? rumors for what? rumors, (see) what? rumors what? rumors about what? about rumors perception by organs ... ... Dictionary Dmitrieva
hearing- hearing, m. 1. only units. One of the five external senses, giving the ability to perceive sounds, the ability to hear. The ear is the organ of hearing. Acute hearing. A hoarse cry reached his ears. Turgenev. “I wish glory, so that your hearing will be amazed by my name ... Explanatory Dictionary of Ushakov
hearing- the ability to perceive sounds and navigate them in the external environment through an auditory analyzer. Reflection of processes outside world in the auditory system occurs in the form of a sound image, in which three parameters can be distinguished: 1) ... ... Great Psychological Encyclopedia
HEARING- Perhaps you know that the great Beethoven suffered from a disease of the hearing organs, and by the end of his life he heard absolutely nothing. Nor could he hear the performance of his latest compositions. How is that, you ask. After all, everyone knows that hearing is important for ... ... Music dictionary
Hearing- I (auditus) function that provides the perception of human and animal sound signals. The mechanism of auditory sensation is determined by the activity of the auditory analyzer. The peripheral part of the analyzer includes the outer, middle and inner ear ... Medical Encyclopedia
Hearing music- the ability of a person to fully perceive music, a necessary prerequisite for composing and performing activities. S. m. the basis of music. thinking and music. appraisal activity. The typology of S. m. has not yet fully developed. Can… … Music Encyclopedia
musical- adj., use comp. often Morphology: musical, musical, musical, musical; more musical; nar. musical 1. Musical is that which has to do with music. School of Music. | musical evening. | There are many on TV... Dictionary of Dmitriev
Musical dictation- practiced while studying the musical discipline of solfeggio. A musical dictation is a recording of notes by ear: the teacher plays a musical fragment several times (one-voice, two-voice or polyphonic), after which ... ... Wikipedia
Books
- Musical ear, its meaning, nature and features and method of proper development. Issue No. 24, Maykapar S.M. , Readers are invited to the book of the famous Soviet pianist, composer and teacher S. M. Maykapar (1867-1938). The author explores the phenomenon of musical hearing, its nature and ... Series:
Our friends who teach singing - including those who are "not at all capable" - do not get tired of explaining that this label is ridiculous and stupid. And it is the insults received from those who shouted to you "shut up" that most of all interfere with singing, and not some natural reasons.
The ability to sing
a). not be afraid to sound at all
b). control the pitch
- it is quite developed by exercises, quite simple.
Original taken from Lyosia in
A wonderful article about voice control and video of one of the works from Alexey Kolyada's training "Opening the Voice". I am happy to share:
Original taken from araviya I don't have a "ear for music"! What does this mean and how to deal with it?
As a child, I sang a lot. At the age of 7-8 I sang in the studio folk art, at 9 I tirelessly spun at the mirror, inventing dances and memorizing pop hits and more and more new songs. And then someone kind told me that I sing badly, and that in general I don't have a voice. No, of course there is, but not for singing. They told me this insistently, and I myself heard that I don’t always sing the way a voice from a tape recorder sings. And a little later I learned that in order to sing beautifully and accurately, you need to have an ear for music, which I also lack along with the voice. I heard it many times - at school in music lessons, in the family, among friends and acquaintances. By the age of 15, I clearly knew that I shouldn’t sing, because by doing this I darken the mood of others. Moreover, I still don’t understand when exactly that same notorious bear did his vile deed with my ear and left me without singing, because I sang and I liked it! Apparently, the collective opinion of others about my singing abilities and my own defeats had a devastating effect on me. And then I stopped singing and just sounding for a long time.
And a couple of years ago I suddenly found out that the lack of an ear for music, with which I am endowed, has nothing to do with hearing! The matter is quite different - the ability to accurately match the pitch of the sound an audible sequence of sounds (or remembered) and sounds that a person makes himself. Actually, it is the absence of this ability that is called "lack of musical ear."
In essence, the ability to sound at the right height, due to the lack of development of which many stop singing, is a simple muscle coordination task. Some people learn it quickly and easily in childhood. About them, the lucky ones, I was often told that they have an ear for music. To this, however, they added that this skill comes from nature. And since nature does not give it to everyone, you should not try to do anything with your voice. And, of course, I calmed down and did not rock the boat, because nature did not endow me with such wealth. And I took it for granted.
Of course, some simple advice"Don't sing - there is no hearing" is not enough. They show perseverance and sing. Although this desire, as experience shows, does not always lead to good consequences. After some time, without developing the ability to sound accurately, you can get a fair amount of grievances, complexes, despair and uncertainty- all that manifests itself in those cases when a person does not succeed in something, and others laugh at him. Or do something offensive.
Actually, with such baggage, it’s time to score on the ability to sound and sing, thinking that this is the lot of gifted people. However, do not forget that the so-called "ear of music" is an ability, which means that it can be developed. So they once told me, adding that in fact everyone has an ear for music, just not everyone has it developed.
In the video below, I filmed and successfully tested one of the possibilities of working with this ability - the ability to accurately correlate the sounds that a person hears and which he himself makes in terms of pitch. it simple exercise for everyone, once seemed to me simply impossible and terrible. Now I, once afraid to open my mouth and sing any melody, do it easily and simply. With this exercise a person learns to sound higher and lower, changing the pitch, which is precisely the necessary condition for the development of "ear of music".
When performing this exercise, difficulties may arise: for example, it turns out that in some places the voice becomes uncontrollable and seems to sound by itself, and not very accurately and not very beautifully. At the same time, it is noticed that in this case tensions appear in the human body, due to which it is not possible to accurately change the pitch of the sound. I'll tell you a secret, these bodily tensions, as it turned out, are the very accumulated grievances and other troubles that manifest themselves in any attempt to sing in an unfriendly environment. A little work and hunting to sound exactly– and these tensions will quickly go away. In the video, the guys do not show how to work with stresses, but they show and tell in detail how to master the ability to sound higher and lower. And work with stresses, I think, we will show later.
Good luck!
Anatoly Voronin
Most people love to sing or play musical instruments. However, not everyone is good at it. Very often, the lack of an ear for music interferes with the correct performance. Many believe that this ability is innate and cannot be perfected.
In fact, there are practical ways to develop an ear for music on your own, even at home. In this article we will tell you how you can easily develop an absolute ear for music, and what you need to do for this.
Types of musical ear
Musical ear is a rather complex and multifaceted concept.
Among its various types, the main ones can be distinguished:
- absolute pitch - the ability to accurately identify any note without comparing it with known sounds. It is believed that this skill can only be innate, although some scholars have a different opinion on this issue;
- interval or relative hearing - the ability to recognize the pitch of sounds by comparing them with the reference ones. It is the relative view that can be developed independently. And to do it so well that it will be impossible to distinguish it from the absolute;
- modal hearing - the ability to feel and hear the differences and relationships between sounds in a certain musical composition. The development of this species is especially important for those who are learning to play musical instruments;
- the pitch view helps determine if sounds differ in pitch, even if the difference is minimal;
- melodic ear allows you to hear and understand how the pitch of sounds changes as the melody is played. For those involved in vocals, it is this type that is most important;
- the harmonic view allows you to hear consonances, determine how many and what specific sounds a chord consists of;
- finally, rhythmic hearing determines the ability to feel the rhythm, that is, to distinguish the duration of the sound of notes in their sequence.
How to develop an ear for music at home?
For the development of relative hearing, a person needs only 30-40 minutes a day to perform the following exercises:
- Singing scales. On any musical instrument you need to play the scale do-re-mi-fa-sol-la-si-do and sing it with your voice at the same time. Then repeat the same without the tool. After a while, you can play the scale in the opposite direction and sing it with and without the instrument;
- Loss of intervals. An exercise similar to the previous one. Here you must first play any musical instrument interval in the forward and backward directions, and then sing it with your voice;
- Echo. This exercise is great even for a child, because it does not require any special skills. For adults, it is also extremely useful. Turn on your favorite song on the tape recorder or computer and listen to only the first line. Turn off the recording and sing it with your voice. Repeat this with each line at least 3-5 times until the song ends;
- At the beginning of the lessons, work in the middle range, without trying to hit very high or low notes. When you learn to identify sounds well, repeat all the above exercises, first as high as possible, and then in a low voice;
- Finally, the easiest way to develop this quality is simply by constantly making music. Listen to your favorite works, sing along to famous performers, try to play different musical instruments, dance. Try to compose at least a simple song. It is also very useful entertainment popular today - karaoke.
How can you quickly develop an ear for music in a child?
In addition to the Echo exercise described in the previous section, the following techniques can be used for children:
- Read to your child an excerpt from his favorite fairy tale. He must remember as much as
will be able. After a while, ask your child to repeat everything you read to him. The exercise must be done until the baby can accurately reproduce the passage; - Complicate the previous exercise - ask the child not only to repeat the text, but also try to pronounce it with your intonation. Read the story differently each time;
- The next activity is suitable for a group of children. Have all the children sit in a circle and blindfold one of them. Let the kids take turns saying certain words, and the one who is blindfolded tries to guess who said what;
- In the future, you can do the same exercises with children's songs. Sing an excerpt from your son's or daughter's favorite song and have your child repeat after you.
An ear for music is a set of abilities necessary for composing, performing and actively perceiving music. Musical ear implies a high subtlety of perception of both individual musical elements or qualities of musical sounds (pitch, volume, timbre), and functional relationships between them in piece of music(modal feeling, sense of rhythm).
There is a widespread opinion that an ear for music is something unique, a gift given to a person from birth. After all, he can sing, make music, and in general, he is, in a sense, the chosen one.
How many people experience a feeling of inferiority when it comes to music, stating: "I got a bear in my ear."
Among various kinds musical ear, distinguished by various features, the most important are:
Absolute pitch - the ability to determine the absolute height of musical sounds without comparing them with the standard;
Relative hearing - the ability to determine and reproduce pitch relationships in melody, chords, intervals, etc.;
Inner hearing - the ability to have a clear mental representation (for example, from musical notation or from memory) of individual sounds, melodic and harmonious constructions, entire pieces of music;
Intonation hearing is the ability to hear the expression of music, to reveal the structures of communication inherent in it.
The development of musical ear is engaged in a special discipline - solfeggio, however, actively musical ear develops primarily in the process of musical activity.
People hear music differently at different ages.
This is true. A child is able to distinguish sound with a frequency of up to 30,000 vibrations per second, but in a teenager (up to twenty years old) this figure is 20,000, and by the age of sixty it drops to 12,000. A good music center gives a signal with a frequency of up to 25,000 vibrations per second. That is, people over sixty will no longer be able to appreciate all its advantages, they simply will not hear the full range of sounds.
No matter what age you start training your ear
Wrong. American researchers have found that the highest percentage of people with absolute pitch is observed among those who began to study music between 4 and 5 years of age. And among those who started playing music after 8 years, there are almost no people with perfect pitch.
Men and women hear music the same way
In fact, women hear better than men. The frequency range perceived by the female ear is much wider than that of men. They more accurately perceive high-pitched sounds, better distinguish tonalities, intonations. In addition, women's hearing does not become dull until the age of 38, while in men this process begins as early as 32 years of age.
The presence of an ear for music does not depend on the language a person speaks
Wrong. This was proved by researchers at the University of California, comparing the data of 115 American and 88 Chinese music students. Chinese is tonal. This is the name of a group of languages in which, depending on intonation, the same word can acquire several (up to a dozen) meanings. English language- not tonal.
The subjects were tested for absolute pitch. They had to distinguish sounds that differed in frequency by only 6%. The results are impressive. With the absolute pitch test, 60% of the Chinese and only 14% of the Americans passed. The researcher explained this by the fact that the Chinese language is more melodic, and the Chinese from birth get used to distinguishing a larger number of sound frequencies. Thus, if a person's language is musical, with a high probability he will also have an absolute ear for music.
A melody heard at least once is stored in our memory for a lifetime.
This is true. American scientists have discovered the area of the cerebral cortex responsible for musical memories. This is the same auditory area of the cerebral cortex that is also responsible for the perception of music. It turns out that it is enough for us to hear a melody or a song at least once, as it is already stored in this auditory zone. After that, even if we do not hear the melody or song we listened to, the auditory zone is still able to extract it from its “archives” and play it in our brain “from memory”.
The only question is how deep this melody is hidden. Favorite and frequently heard songs are stored in short-term memory. And long-heard or rarely heard melodies are deposited in the "closets" of long-term memory. However, some event or sound sequence can suddenly force our memory to extract these forgotten melodies from its “bins” and play them in our brain.
Musical ear is inherited
This opinion has been around for a long time and is widespread. But only recently have scientists been able to scientifically substantiate it. Researchers have found that people without a musical ear have less white matter in the lower frontal gyrus of the right hemisphere than those who perceive and reproduce melodies well. It is possible that this physiological feature is genetically determined.
Animals have no musical ear
Not certainly in that way. They just hear music differently. Animals perceive much more sound frequencies. And if people are able to catch up to 30,000 vibrations per second, then dogs, for example, register sound having a frequency of 50,000 to 100,000 vibrations, that is, they even catch ultrasound.
Although animals have a sense of tact, our pets cannot perceive the melody. That is, they do not combine chord combinations of sounds into a certain sequence called a melody. Animals perceive music only as a set of sounds, and some of them are regarded as signals of the animal world.
An ear for music is a gift from birth and cannot be developed.
Wrong. Those who entered music school probably remember that they were asked not only to sing, but also to tap out a melody (for example, with a pencil on the table top). It is explained simply. The instructors wanted to assess whether the applicant had a sense of tact. It turns out that it is the sense of tact that is given (or not given) to us from birth, and it is impossible to develop it. And if a person does not have it, then music teachers will not be able to teach him anything.
By the way, the percentage of people who lack a sense of tact is very small. Everything else can be taught. Including developing an ear for music. There would be a desire.
Musical ear is a rarity
The one who claims so is mistaken. In fact, any person who is able to speak and perceive speech has it. After all, in order to talk, we must distinguish sounds by pitch, volume, timbre and intonation. It is these skills that are included in the concept of musical hearing. That is, almost all people have an ear for music. The only question is, what kind of musical ear do they have? Absolute or internal?
The highest stage of musical ear development is absolute pitch. It is revealed only as a result of music lessons (playing a musical instrument). For a long time it was believed that it was not amenable to development, but now methods for the development of absolute pitch are known.
The lowest level of hearing development is internal hearing, uncoordinated with the voice. A person with such hearing can distinguish melodies, reproduce them from memory, but not sing.
The lack of musical ear is called the clinical level of hearing development. Only 5% of people have it.
Those who have an ear for music can sing well
This is true, but only in part. To sing well, it is not enough to have an ear for music. You also need to be able to control your voice, vocal cords. And this is a skill that is acquired in the learning process.
Almost everyone can hear falseness in singing, but by no means everyone can sing cleanly. Moreover, it often seems to those who sing that they sing without falsehood, but all their mistakes are noticeable to those around them. This is explained by the fact that each person listens to himself with his inner ear and as a result hears something completely different from what others hear. So a novice performer may well not notice that he does not hit the notes.
In fact, in order to sing well, it is enough to have only a harmonic ear. This level of hearing development is considered one of the lowest. This is the name of the ability to hear a melody and reproduce it with a voice. And yet, its development is possible even in the initial absence of such ability. That is, 95% of people can make music and achieve results in this. Moreover, the more you engage in music, the more your musical ear will develop. Up to the absolute - there are no limits to perfection. The main thing is to have a desire and not doubt your abilities.