Presentation on the topic "Rhythm" in fine arts in powerpoint format. This presentation for schoolchildren in a playful and understandable way tells what rhythm is, gives examples of rhythm. Presentation author: Bogolapova Natalya Viktorovna, teacher of fine arts.
Fragments from the presentation
“Rhythm” is anything that repeats!
The music has
Musical rhythm.
Lives in dance
Dance rhythm.
In music, sounds
Dance is movement.
We watch and listen
Rhythm with pleasure!
woodpecker in the forest
Scattered the rhythm sound
Beak on wood:
Knock, knock, knock, knock!
Rhythm clap your hands:
Clap-clap-clap!
We stomp the rhythm with our feet:
Top-top-top!
Rhythm on the spot jumping:
One two Three!
And the heart beats out
The rhythm is in our chest.
Rhythm exists in nature
Take a closer look:
Here they sat on a branch
A flock of bullfinches.
red lights
Their breasts are on fire
Like lanterns
Lined up in a row!
In berries on a branch
There is also rhythm.
You and I can
Delicious rhythm to eat!
In drops of rain
In the threads of cobwebs
Everywhere repetition
Rhythm reflection.
Mom's stones
The beads repeat
And on the neck with a snake
Wriggle in rhythm.
Impossible without rhythm
create patterns,
After all, you need elements
Repeat in the drawing.
Artists use
Rhythm repetition,
To the pictures
Send movement.
If you want to
Rhythm to depict
Don't forget in the drawing
Something to repeat
If there is no strict order in the rhythm, then it is called “disordered”. For example, here in the picture birch trees are repeated at different intervals.
But sometimes the rhythm is needed strict order. For example, ornamental elements should be the same and repeated at regular intervals. Otherwise, the ornament will not work! Such a rhythm is called "ordered". An ordered rhythm is created by man himself, in nature such a rhythm does not exist.
Questions and task:
- What is rhythm?
- What rhythm is called "ordered"?
- Why is there no orderly rhythm in nature?
- What is the difference between a pattern on a strip and a pattern on a circle?
- Draw your pattern on the strip and on the circle. Think about what elements you want to repeat at regular intervals.
- It can be geometric figures(circle, oval, triangle), or plant elements (berries, mushrooms, leaves).
Kryuklya Oksana Vladimirovna
Composition. 1st class of the art department (students 10-11 years old.)
Topic. Rhythm as a means of composition.
In this lesson, we continue our acquaintance with the techniques and means of composition.
The explanation of the new material takes place with a presentation (see Appendix No. 1), which increases the efficiency of the educational process due to the simultaneous presentation of theoretical information by the teacher and the display of demonstration material with a high degree visibility.
Independent creative work of students on the computer occurs at the stage of consolidating the studied material. Since the students of the 1st grade of the art department of the Children's School of Art do not yet have a sufficient level of graphic skills and the image of the same repeating elements in the composition causes difficulty and slows down the process of working on creating a composition, where the main task is to compose a rhythmic or metric series, then completing the task using a computer (graphic editor Paint.)makes it possible to save timeallows you to completely eliminate one of the most important causes of failure - failure. All children, including the weakest, are not afraid to make mistakes, work with interest, are active. Complexes, stiffness, fear of the result disappear. Perseverance, attentiveness, accuracy are developed. The compositions become more expressive and varied. Creative possibilities are realized in a new kind of visual activity. The use of a computer creates an emotional mood in the lesson, which has a positive effect on the development of artistic creativity, increasing motivation.And the use of variable material in tasks and various ways work contributes to the individualization of learning.Based on the individual characteristics and learning abilities of students,the class is divided into three groups, and the students of each subgroup are given tasks different levels and various ways of implementation are offered. For each task, an algorithm is developed that is given to children in printed or in electronic format. Before the beginning independent work examples of the execution of these tasks are shown.
Lesson goals. To teach children to make a rhythmic pattern in the composition;formation of the ability to use techniques, means of composition. Andusing the graphic editor "Paint" as a tool for artistic activity.
Lesson objectives: Educational: introduce students to the concept of rhythm in composition. Consolidation of skills in the graphic editor Paint: (brush and pencil, eraser, tools for drawing geometric shapes, spray, fill, color palette).Educational: develop cognitive interest, promote the formation of creative imagination, develop taste and sense of composition. Rdevelopment of logical thinking, memory, attentiveness, ability to work on a computer.Educational: to cultivate interest in art, love for nature.
Lesson type : learning new material.Lesson with computer support - multiple computers computer class), all students work on them at the same time.Form of student activity : individual.
General didactic principles used in the lesson:
1. The principle of consciousness and activity of students:learning is effective when the student is cognitively active, is the subject educational activities. The computer contributes to the development of cognitive activity and the formation of the student as a subject of educational activity.2.Principle of visualization of teaching.3.Principle of systematicity and consistency: reliance on previously acquired knowledge of students and their skills.4.Principle of accessibility: taking into account the age and individual characteristics of students.
Teaching methods and techniques used in the lesson:
1. Methods of organization and implementation of educational activities of students: methods of verbal transmission and auditory perception of information (verbal methods): elements of a story-introduction; elements of a frontal conversation; methods of visual transmission and visual perception of information (visual methods): demonstration method; methods of transmitting information using practical activities - creative work. 2.Methods of stimulation and motivation of students.
Lesson equipment: for the teacher: PC (Microsoft Office Power Point program), projector, screen. For students: PC, on computers must be installed graphics editor paint. (The editor allows you to create quite complex and visually attractive drawings. The user has at his disposal various means and tools for "artistic" creativity - a palette of colors, a brush, an aerosol can, erasers for erasing, ready-made geometric shapes (lines, rectangles, ellipses, polygons). hard disk folder "Pictures" Sheets (files) with the task and the algorithm.
The amount of knowledge required for the lesson:
students should know:
safety regulations; the concepts of "information", "computer", "program", "menu", "desktop", "icon", "graphic editor"; that the input devices are the keyboard and mouse; basic text editor tools; main tools of the graphic editor. Students should be able to: use the alphabetic and numeric keyboard blocks; use the "mouse" manipulator; work with commands, open and close the file menu;be able to draw with the help of the graphic editor Paint. (be able to select a tool in a graphical editor, know which tool is selected, know the purpose of the tool settings panel, be able to select a color using a palette, be able to copy and move an element, be able to use the "Undo" command, be able to open drawings saved on the hard disk.)
Lesson plan.
| The content of the stages of the lesson | Duration | Types of work |
| Organizing time. | 1 minute. | Greeting, checking the presence of students in the lesson, the readiness of the workplace. Safety. |
| motivational stage. | 1 minute. | Setting the goal of the lesson. |
| Explanation of new material. | 10 min. | Conversation with a demonstration of the presentation "Rhythm as a means of compositional structure." |
| Fizkultminutka. | 3 min. | The game |
| 25 min. | Completing a task on a computer. |
|
| Summarizing. | 5 minutes. | |
During the classes.
1. Organizational moment. Definition of absent; checking the readiness of students for the lesson; rules for safe work when working on a computer.
2. Motivational stage . Today in the lesson we will get acquainted with an important concept in composition - “rhythm” and learn how to draw up a rhythmic pattern in composition. practical work on new topic you will perform on your computer using the Paint editor. Guys, what do you think is the advantage of working with computer graphics over working with a regular drawing? (Student answers) ...
3. Explanation of new material
(slide 2) You have two drawings. What do these drawings have in common? What is the difference? Which drawing do you like best? Why?
That's right, in the second figure, the elements are arranged in a certain order, evenly.
Rhythm - uniform alternation of any elements
(Slide 3) Rhythm accompanies us all our life.Rhythm is, first of all, one of the main compositional principles in nature, it is present in many areas of reality: in cosmic phenomena, in organic and inorganic nature (crystal edges, sea surf), in the frequency of cycles of the seasons, in flora, in the human body (rhythms of metabolism, respiration, heartbeat, etc.).
Give more examples of rhythm that are found in nature.
(Slide 4) Rhythm - meter (a special case of rhythm), regular rhythm, free rhythm.Rhythmically built compositions are very expressive. Rhythm is present in almost any easel composition more or less clearly. Rhythmic patterns are characteristic not only for fine arts. Music, architecture are built on them, they are also important in other types of art.
(Slide 5) Meter- The order in the composition, in which its elements are strictly repeated.The meter organizes the alternation of equal-sized elements at regular intervals
(Slide 6, 7)
The expressiveness and, accordingly, the complexity of the rhythm increase if the intervals between elements are constantly changing.
In this case, the options are:regular rhythm- alternation, repetition of elements naturally accelerates or slows down;
free rhythm- the distances between the elements are not of a naturally regular nature, but are stretched or narrowed without an explicit metric.
( Slide 8 ) Sunflower flower. Petals on the edge of a sunflower - is that?(metric series)
Are sunflower seeds?(regular rhythmic series)
Fizkultminutka. Game "Rhythm", where the "elements of the composition" are the students themselves. The “Master of Composition” manages the game, he must make up his own version of the exercises from these “elements”. The simplest thing is that the guys stand in a row in height, after one they squat, every fourth raises his hands up, etc. This is a simple metric series. Then a more complex rhythm? Every second takes a step forward or backward, the guys can clasp their hands in different ways, then chairs come into play - someone will sit on them, etc.
5. Consolidation of the studied material.
Tasks:
1 group. Using the Paint graphic editor, perform a composition of geometric shapes based on a metric series
Open
Using the tool "rectangle" or "ellipse", "polygon", "line" create 1-2 different elements of the composition.
Using the "fill" or "brush" tool, decorate the elements.
ATSelect the shape, select the "copy" command from the context menu, and then "paste"(as many times as you need for the intended composition)
We compose the elements of the composition, placing them at regular intervals
2 group. Using the Paint graphic editor, perform a composition of geometric shapes based on a regular rhythm
Opengraphic editor Paint (start - all programs - standard - Paint)
Using the tool "rectangle" or "ellipse", "polygon", "line" we create a composition element.
Select the figure, select the “copy” command from the context menu, and then “paste” (To copy fragment and its subsequent inserts it is necessary: to select a fragment; execute commands Edit - Copy, Edit - Paste; or perform such actions through the context menu, calling it by pressing the right mouse button)
Copy the second shape, paste it and again reduce or increase
It is possible to additionally use the pictures that are in the "My Pictures" folder (start - my pictures - select the desired picture - select "copy" in the context menu - return to the graphics editor - select "paste" in the context menu)
We compose a rhythmic series with a gradual increase or decrease in figures or the distance between figures.
Saving a drawing. (submenu “File”. - “Save as” - assign a name)
3rd group.Compose a plot or abstract composition based on free rhythm.
For the third group, it is possible to use the tools "pencil", "brush".
6. Summarizing. View finished works, discussing common mistakes, grading.
7. Homework . Pick up on the Internet photos of wildlife, architecture, as examples of rhythm and meter.
In art, the role of rhythm is great and varied. Rhythm is orderliness, the alternation of any elements that occurs with a certain sequence, frequency.
The word rhythm (Greek rhythmos - movement, beat), comes from rhein - to flow. In music, poetry, this concept conveys the "fluidity", melody of a melody, speech. Rhythm is one of the main elements of the expressiveness of a melody. Some rhythms are typical, for example, for marches, others for lullabies, etc.
Rhythm is also the basis of the organization of verse. Its role in creating the mood expressed in a poetic work is significant.
Take, for example, lines from A. S. Pushkin's poem "Demons":
Clouds are rushing, clouds are winding;
Invisible moon
Illuminates the flying snow;
The sky is cloudy, the night is cloudy.
This rhythm is called the four-foot trochee. It creates an energetic pace of speech. In this poem, he intensifies the mood of anxiety.
Now compare the rhythm of "Songs about the Prophetic Oleg" by A. S. Pushkin with the chorea:
How the prophetic Oleg is now going
Take revenge on the unreasonable Khazars:
Their villages and fields for a violent raid
He doomed swords and fires...
This rhythm, a four-foot amphibrach, is suitable for conveying solemn narrative speech and is often used by poets in ballads. In this rhythm, "Three Palms" by M. Yu. Lermontov, "Vasily Shibanov" by A. K. Tolstoy, "Ivan Susanin" by Ryleev and others were written.
And in architecture, rhythm is a means of influencing our feelings. For example, the enfilade, with its rhythmic repetition of openings, symmetrically located along one axis, gives a feeling of the infinity of space, the vastness of the building. And the rhythm of the size of the openings, as if shrinking and expanding, low and high, contributes to the creation of either a sense of grandeur or intimacy of the room behind the opening, gives dynamics to the enfilade. Long stairs going up, the rhythm of the steps, contribute to the creation of a feeling of infinity, grandeur, harmony, remind of overcoming obstacles, steps on the way to achieving a great goal. Therefore, this rhythm is often used in the creation of memorials. An example of this is the huge staircase of the memorial to the memory of the Russian-Turkish war of liberation, built in Bulgaria on Shipka. The rhythm of Gothic churches is the rhythm of a multitude of elongated, aspiring upwards, to the sky, architectural forms: spiers, Gothic vaults, etc. Here, the rhythm serves to express the desire for heavenly, higher, creates a prayerful mood.
In painting, rhythm also plays a huge role. It is not always immediately noticeable to the viewer, but it quickly and strongly affects him, setting him in the right mood. Rhythm can be conveyed by any of the basic elements of painting: the geometry of forms, the technique of applying a paint layer, color, light, space. It can carry a semantic load in the picture, serve to create the general mood of the picture, be one of the means of characterizing a person.
In Velasquez's painting "Surrender of Breda" rhythm is one of the main means of expressing the author's ideological intent. The picture uses the principle of antithesis: two troops are opposed to each other - the Dutch and the Spanish. The moment of handing over the key to the city of Breda by the Dutch commander Justino Nassau to the Spanish commander Ambrosio Spinola on June 2, 1625 is depicted. Velasquez respectfully portrays the Dutch warriors who showed stamina and courage during the long defense of their fortress. The Dutch won the right to leave the city with weapons in their hands and banners unfurled. Out of respect for the courage and valor of the enemy, Spinola dismounted, took off his hat and, holding out his hand, did not allow Nassau to kneel.
Velasquez sees the main reason for the victory of the Spanish troops in the organization and discipline of the professional Spanish army. The idea of the superiority of the organized Spanish army over the Dutch militia is clearly expressed by the rhythm of the picture, manifested in the repetition of clothes, poses, faces, weapons, etc. Spanish commanders in armor, warriors in similar clothes, almost in uniform. The Spaniards have similar hairstyles, mustaches, facial expressions. They form an organized system, standing closely, as a single cohesive mass.
The disorganization and spontaneity of the Dutch militia is conveyed by the variety of clothes and postures of the Dutch. Every Dutchman is different. Despite the significance of the moment, the regulated procedure for handing over the keys, the Dutch do not observe the military order: one stands with his back to the viewer, the other sideways, a young man in white is talking with a comrade in arms, putting a hat on his musket. Yes, and other Dutch hold weapons arbitrarily.
On the contrary, the solidity, discipline of the Spanish army, its orderly system is emphasized by the harmonious, majestic rhythm of the spears shot up. No wonder the old name of the painting is "Spears".
There is another rhythm in the picture - the rhythm of symmetrical groups. On the left is the Dutch army, on the right is the Spanish, in the center is an empty space, a pause. With a symmetrical construction of the picture, the attention of all actors is usually drawn to what is happening in the center, which emphasizes its significance. Therefore, such a rhythm is often used if they want to convey the solemnity of the moment. Here, this rhythm emphasizes the solemnity of the event of the transfer of the key from Breda, depicted just in the center of the picture. The bowed figures of the generals in the center resemble a triumphal arch symbolizing victory.
Artists of different eras often used the strict, harmonious rhythm characteristic of regular troops.
Let us recall, for example, Goya's famous painting "The Execution of the Rebels on the Night of May 3, 1808", one of the greatest and most innovative paintings of the 19th century.
In this painting, Goya, with the help of rhythm, characterizes the power of power as a soulless machine of violence that crushes any resistance to it.
The painting depicts the execution of the Spanish rebels by the occupying troops of Napoleon. The French soldiers of Murat's army stand as tightly as a wall, they are depicted almost from the back, we do not see their faces - this is a faceless, soulless machine. The rhythm of the positions of the legs, the bowed poses of the French soldiers, aiming at the rebels; the rhythm of high shakos, sabers, knapsacks on the backs of soldiers; the rhythm of bristling gun barrels with bayonets creates tension, emphasizes the organization, aggressiveness and ruthlessness of the Napoleonic army. French soldiers stand in the shadows, in the dusk of the night - they are representatives of dark, hostile forces.
The rebels are brightly illuminated by the light of a lantern placed on the ground. These are the light forces of freedom and justice. They stand at the hill, symbolizing the height of their spirit. The rebel, who raised his hands to the sky, is wearing a white shirt, which symbolizes both the purity of his ideals and the proximity to death, death. The color of his bright yellow pants is also symbolic: this is the color of the sun, the divine essence. The insurgent covers several other people being shot with his body. On his hands are stigmata, traces of the Savior's agony for all people, the directions of the arms and legs form the shape of the St. Andrew's cross, on which the Apostle Andrew was crucified. Goya thereby raised this image to biblical heights, sanctified the struggle of his people for liberation from the foreign yoke.
This uprising was the beginning of popular resistance to the French occupation, from May 1808 a liberation guerrilla war, the so-called guerrilla, began throughout Spain, ending in February 1814 with the expulsion of the French from Spain.
In many respects, Surikov's painting "Morning of the Streltsy Execution" is similar in thought and composition. Like Goya, the right side of the picture depicts the forces of power that suppress popular resistance. It is here that the ordered rhythm of the walls and towers of the Kremlin, the gallows, the orderly ranks of the soldiers of the Preobrazhensky Regiment, the royal retinue dominates. On the left - archers preparing for execution and people sympathizing with them. They are depicted against the backdrop of the decapitated St. Basil's Cathedral. This is also a hint that Peter I cast cannons from church bells, depriving the church of its language, and that the execution of archers is similar to the beheading of the forces of old Russia, which resisted the pro-Western reforms of Peter I (foreigners, standing next to the tsar, are also watching execution). The patterned architecture of St. Basil's Cathedral, the colored domes, echo the motley, smartly and variously dressed crowd of people. The picture is asymmetrical. The people occupy most of its space. On the archers, as well as on the rebel Goya, white, clean shirts of suicide bombers. Burning candles in their hands. Surikov clearly sympathizes with the people, the archers. Therefore, Peter I, the gallows and the Preobrazhensky Regiment are relegated to the background, to the right corner of the picture.
Significant role of rhythm in the painting by Caravaggio "The Entombment". The poses of the actors, the gestures of their hands are subject to the rhythm of the open fan. Numerous lines of rhythm diverge as the radii of a quarter circle, the center of which is located just below the feet of Christ on the right edge of the picture. They begin with the almost vertically raised left hand of Mary Cleopova and continue with lines formed by the inclined head of Mary Magdalene and the right hand of Mary Cleopova, the foot of Christ and the head of the Mother of God, the other foot of Christ and the head of Nicodemus, the bowed head of John, the body of Christ. As if "falling" lines of rhythm create a feeling of falling, collapse. Together with mournful facial expressions, the fan-shaped rhythm creates an acute tragic feeling of hopeless grief from the death of the Savior.
A similar fan-shaped rhythm is used by O. A. Kiprensky in the "Portrait of E. S. Avdulina". Avdulina's leaning forward posture is echoed by an inclined crumbling branch of hyacinth, a window sill line, and a rolled fan lowered down. This "falling" rhythm emphasizes the idea of the extinction of vitality.
K. P. Bryullov in the painting "The Last Day of Pompeii" with the help of intersecting rhythmic lines creates the impression of chaos, confusion reigning in a huge crowd. One rhythmic diagonal is made up of lines parallel to the lines of statues falling from the roof: the hand of the father stretched upward, carried by sons, a family group with a small child leaning to the left, a daughter leaning in the same direction in the group of mother with daughters in the left corner of the picture. Each of these lines is continued by the poses of other characters. This rhythm intersects another, counter him. It is created from the line of the girl's hand in the left corner of the picture and the upraised hand of the father from the family group with a small child, the father's pose in a green toga. The intersection of these rhythms is clearly visible in the group of Pliny the Younger and his mother in the right corner of the picture. The third rhythm, intersecting with the other two, is vertical. It is formed by the walls of buildings. It is this variety of intersecting rhythms that creates the impression of chaos, gives tension and dynamism to the whole action.
Rembrandt often used the rhythm of lighting with the alternation of dark or shaded figures on a light background with illuminated, light figures on a dark background. This rhythm creates a feeling of tension, gives dynamism to the action. This rhythm was also used by other caravagists; along with the geometric linear rhythm, it was also used by Karl Bryullov in The Last Day of Pompeii.
The rhythm of the stroke, the method of applying a layer of paint on the surface of the canvas is also able to convey the sensation required by the artist, to create the right mood. This special, sophisticated kind of rhythm was masterfully used by Frans Hals, Alessandro Magnasco, Francesco Guardi.
Consider, for example, the portrait of Frans Hals "The Merry Drunkard" from the Amsterdam Rijksmuseum. The rhythm created by strokes serves to characterize a person. The artist deliberately creates his own rhythm with strokes for every detail of clothing. The strokes on the white collar create the rhythm of an open fan. Energetic, of different lengths, rhythmically placed wide strokes of dark color on the sleeve make the contours of the clothes uneven, wavy. On the chest, from the collar to the waist, there are thin long strokes that create a vertical rhythm. All rhythms of clothing are multidirectional and create the impression of mobility, disorganization, which are characteristic of the character of this cheerful person. Hals' open, visible to the viewer and free manner of writing perfectly emphasizes the openness and love of freedom of his characters.
Styling and peculiarly distorting people and nature in his paintings, Magnasco showed how distorted and far from harmony was the life of a person in Italy of his time. Recall, for example, his "Bacchanalia" discussed in chapter II. One of the most important elements of the style of Magnasco's late work is the rhythm of relief, swirling, moving strokes. This rhythm makes his paintings agitated, restless. The Italians called this style "pittura di tocco" (literally - painting with "blows"). Magnasco's performance is "fast, bold, feverish". No wonder Magnasco is called the "Paganini of the brush", admiring the virtuosity of his manner. Magnasco's writing style very well expresses the restless spirit of his dramatic, full of tragic irony and grotesque creativity.
In the work of some masters, rhythm plays such a large and prominent role that it is, as it were, their "trade mark", without which it is impossible to imagine their paintings. For example, the work of Botticelli is generally impossible to imagine without the melodious rhythms of movements, folds of robes, as well as the deeply religious work of El Greco without the vertical rhythms of elongated figures striving towards the sky. The vertical rhythms of El Greco's painting, reminiscent of the architectural rhythms of Gothic churches, express thoughts about the lofty, divine, and evoke a prayerful mood.
In this book, the idea of the kinship of arts runs like a red thread, that the main artistic means by which the creator embodies his idea, such elements of composition as detail, symbol, allegory, hyperbole, antithesis, rhythm, are inherent in all types of art, not depend on the era, stylistic trends and genres.
Two of the considered elements of composition - antithesis and rhythm - have the deepest roots in nature itself. Rhythm, like antithesis, reflects the laws of the universe. Remember, for example, the rhythm of tree trunks, the rhythm of sea waves, mountain peaks, the rhythm of the sound of the surf, the rhythm of human speech, which is different for all peoples. Therefore, antithesis and rhythm are most deeply related different kinds arts.
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ART PRESENTATION
lead children to the conclusion that rhythm is the basis of art
U. For several lessons, we have been studying works of oral folk art. We remembered several variants of the fairy tale "Teremok", counting rhymes, proverbs, sayings.
Let's now remember why folk art is called "oral"?
(slide number 2)
D. Because the work is passed on from mouth to mouth.
U. Oral folk art developed in those distant times, when people did not yet know how to write and transmitted what they composed, from one to another orally.
(slide number 3)
W. (slide number 4) Why are these oral works called "folk"?
D. Because someone composed them, invented them.
U. And what else can you call these works? (slide number 5)
D. Folk art. Folk art.
U. What is art? Artful? How do you understand these words?
Poems, fairy tales - what exists, lives in the word
Architecture
Handicrafts
D. Let's summarize our answers. What is art? (slide number 6)
Look at these items. What do you say about them, what feelings, emotions they evoke in you.
(slide number 7)
D……………
U. But from what is this beauty born? What unites all this beauty?
D……………
U. It is necessary to bring the children's answers to the fact that beauty is created by the repetition of a drawing, ornament, pattern. The guys check their discoveries on various items of folk craft.
D. It is necessary to alternate the drawing in a certain order so that it is beautiful.
U. So we discovered the "secret" of beauty. To make it beautiful, you need to alternate the elements of the picture in a certain order. This alternation of individual parts of something in a certain order is called “rhythm.” Guys, where can we clarify our knowledge about a new word?
D. Look in the explanatory dictionary.
U. Please keepers of dictionaries find us a definition.
D. Read the interpretation of the word from the dictionaries of S.I. Ozhegov and V.V. Repkin. (slide number 8)
U. What is the secret of beauty? (slide number 9)
If we depict the rhythm schematically, using dots and sticks. Which of these lines shows the rhythm pattern?
Why don't the other lines fit?
Conclusion. Rhythm is the basis of art.
U. Where does rhythm live? Find rhythm in architecture. (work in pairs).
(slide number 10)
D. Repetition of domes, windows, carved elements.
U. Is there a rhythm in music? (slide number 11)
(Folk melody sounds). In navigation, this is the left icon: "Peddlers"
D. There sounds are repeated.
U. Let's try to highlight a repeating group of sounds. (Try to sing with the children, and then “clap” the musical rhythm.)
U. So, we have seen that the rhythm of music is also based on repetition. We had a very simple melody, and we were able to pick out the main group of repetitive sounds quite easily. And if a complex melody. It will be difficult to do this (an excerpt from a piece of music sounds). (slide number 12) In navigation, this is the right slide icon: Tchaikovsky's "Swan Lake"
U. When we examined the ornament in handicrafts and architecture, did we see all the repeating figures?
U. Can you see the music?
D. No. We hear her.
U. We hear the whole melody at once, how do we see the ornament as a whole?
D. No, the sounds go one after another, sequentially.
U. Here we have discovered another "secret" of rhythm. In every art rhythm lives differently.
In architecture, in handicrafts, we see the rhythm with our eyes, which means that it lives in space. (Slide number 13)
In the art of music, rhythm is made up of sounds, and we hear them.
sequentially in time. (slide number 14) Mussorgsky's music "Pictures at an Exhibition" is set automatically and programmed in the parameters until the end of the slide.
U. What about the artist's paintings? (slide number 15)
D. We see everything that is depicted on them at once - in space.
U. And the dance? (slide number 16)
D. We see him - the dancer moves, and we hear the music.
U. But even though the dancer moves in space, and we can see him ourselves, his movements are not simultaneous, he does them sequentially. So they live both in space and in time.
Conclusion: the arts can be divided into three groups: living in time, in space and spatio-temporal arts. (slide number 17) Give examples of art forms.
U. And literature, in your opinion, what kind of art is it, to which group can it be attributed? (slide number 18)
D. (if there is time to give the children an opportunity to express their opinion)
U. At home, think, analyze, and in the next lesson we will listen to your assumptions.
This will be your homework.
Final (slide number 19)
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