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8STUDYING AND USING MATERIAL SAMPLES OF WORLD MUSIC CLASSICS MASTERPIECES IN MOVIES: PEDAGOGICAL ASPECT WITHIN THE FRAMEWORK OF MUSIC-THEORETICAL DISCIPLINES
This article makes an attempt to clarify the possibility of using film materials w'th included works of world music classics as part of theoretical music disciplines and as part of music art additional education. The authors worked out a synchronic table, which is a collection of world music classics examples in movies. Existing classifications of quoting music in movies have been studied. Musical fragments in the worked out table are selected in accordance with the programs of theoretical disciplines of additional art education, some of the possible forms of work in musical and theoretical disciplines are listed, during which film materials wlh samples of world music classics may be used. The materials of the article may be interesting both to teachers of art education and to a wide circle of readers interested in the pedagogy of music education, cinema, to filmmakers, as well as to experts in the field of art and culture.
Keywords
methods of teaching musical and theoretical disciplines, film materials, reproduction of musical material, masterpieces of world music classics in cinema,
school program and film illustrations
AUTHORS
Svetlana S. Titova
Lecturer; History, Theory of Music and Composition Chair; Social, Humanitarian, Psychological and Pedagogical Disciplines Chair; Postgraduate Student, South Ural State Institute of Arts named after P.I.Tchaikovsky 41, st. Plekhanov, Chelyabinsk, 454091, Russia
Olga A. Figlovskaya
Educator, Children's School of Arts No.9, Chelyabinsk; Student, South Ural State Institute of Arts named after P.I.Tchaikovsky 41, st. Plekhanov, Chelyabinsk, 454091, Russia
1. Introduction
The urgency of the problem. In connection with the modern increased role of media content in the life of society, the use of media content samples, including reproduction of world classical music works in films, seems rather relevant to the authors of this work. The authors see it possible to expand the range of illustrations and the material used, taking into account the specifics of the educational process and the scope of the disciplines studied. With all the variety of cinema materials samples, including works of world classical music, we consider it necessary to study the peculiarities of the selection and use of cinema materials specific examples that meet the requirements of practical educational activities.
The purpose of the work is to analyze the existing samples of world music classics reproduction in movies and to offer methods of working with this material for use in additional art education within the frameworks of musical and theoretical disciplines.
The theoretical and methodological grounds of the research are the works of Russian and foreign scientists on the search, analysis and study of musical works samples reproduction in cinemas.
2. Methods of experiment
The study was conducted with the use of the methodological principles of the systemic and comparative approaches. In the aggregate, this was implemented through the use of such scientific methods as analysis and synthesis, induction and deduction, theoretical and empirical generalizations, statistical groupings, index, computational-constructive, functional and structural analysis, and analytical constructions. All methods were applied meeting the requirements of the essential reliability of theoretical conclusions and sufficient validity of the practical suggestions of the research.
The study was conducted in three stages. At the first stage, theoretical works on selected topics were studied, and a preliminary search and study of existing samples of world music classics reproduction in cinemas was conducted.
In addition, within the framework of this first stage, the authors of this article studied related issues, wrote scientific articles on selected relevant topics.
The key issues of the authors' scientific publications were: designing electronic textbooks with the use of various audio and video materials (Titova S.S., Figlovskaya O.A., 2019); use of video advertising and quotation of world music classics (Titova S.S., 2018); use of world music classics in music design (Titova S.S., Figlovskaya O.A., 2018); design of emotions by means of multi-media resources (Titova S.S., Figlovskaya O.A, 2018); multimedia information systems in the field of culture and art (Titova S.S., Figlovskaya O.A., 2018); music literature in the Arts school for children with the use of modern information resources and technologies (Titova S.S., 2012); visualization of a musical work: educational opportunities and software products (Titova S.S., 2017); methods of developing musical perception and musical imagery ideas in students (Titova S.S., 2017); studying biographical themes and the works of composers by referring to film versions (Stravinsky's opera "Nightingale" (Figlovskaya O.A., 2018).
Learning under the program of professional retraining: Titova S.S. "Applied Informatics" (642407195433 reg. No. 2018 / 230-1290 of August 15, 2018); Titova S.S. under the program of professional retraining "Design" (Final certification work: "Design of emotions by means of multi-media resources" 642407798962 reg. No. 2018 / 206-8143 of July 31, 2018); Titova S.S. under the program of professional retraining "Teacher of Psychological Disciplines" (beginning of training March, 2019); Titova S.S. upgrade training courses "Opportunities of using photography and cinema materials in the practice of psychological counseling" (Institute of Practical Psychology "Imaton", 2016, Certificate No. 381/05/2016); Titova S.S. "Methods of color diagnostics and psychotherapy by means of works of art" (Institute of Practical Psychology "Imaton" St. Petersburg, 2017, Titova S.S. Certificate No. 147/05/2017); Titova S.S. "Education quality management. The art of creating a fund of evaluation means" (" Training and Consulting Center ", Yoshkar-Ola, certificate 24 ch.122405206440 reg. No. 10410-0976-17of September 22, 2017).
Education in the SUSIA named after P.I. Tchaikovsky (2009-2014 Titova S.S., specialty "Musicology"), (Figlovskaya O.A. entered it in 2015 and is still a student); Titova S.S. is taking a postgraduate course at SUSIA named after P.I. Tchaikovsky (area of training -"Education and Pedagogical Sciences").
Development of disciplines programs: Figlovskaya O.A. "Musical computer technology" (Arts school for children № 9, Chelyabinsk", 2019); Titova S.S. "Multi-media technology and composition" (Children's center for educational development "Sintay", Chelyabinsk, 2019).
In our opinion, the methodological aspect of the application and reproduction of world music masterpieces in cinema materials at the theoretical cycle classes of additional art education programs is not described in a separate special study, as it deserves to be.
At the second stage, analysis of world music classics samples reproduction in cinemas was made; the problem of classification of reproduction musical material methods in cinemas and theoretical works in this area was studied.
At the third stage, the authors summarized the results of comparing samples of world music classics reproduction in movies, compiled a synchronic summary table, formulated conclusions and recommendations on the use of considered cinema fragments in relation to the musical-theoretical disciplines of art education.
The scientific works, which are the starting point for the study of this aspect, were the following works on the quoting of musical works in movies: Shak T.F. "Music in the structure of media text" (T.F. Shak, 2012); Rychkov K.N. "Classical music in Hollywood cinema" (K.N. Rychkov, 2012), "Music in modern commercial cinema of the USA: problems of history and theory" (K.N. Rychkov, 2013); loffe B.L. "To the question of "mastering someone else's" in music; proposal for the classification of musical quotations "(B.L. loffe, 2014), Uvarov S.A. "Music directed by Alexander Sokurov" (S.A. Uvarov, 2014); Volkova, PS "Music in modern cinema: on the issue of reinterpretation" and "Reinterpretation of a literary text (using the example of XX century art" (P.S. Volkova, 2009). These scientists present classifications of replaying, give cinema genres classification and examples of quotation (up to 2014).
Information about films, which use quotations and the music from the world's classical musical heritage, may be found in the following sources: "Masterpieces of Classical Music" (2012) - this is a series of periodicals about the work of composers with DVD, CD supplements. These are also a series of books about composers by "Komsomolskaya Pravda" publishing house (2010), a series of 85 issues of DeAGOSTINI's "Great Composers" (2006-2009), a series of the television encyclopedia "Absolute Pitch" (2009-2019) and "Keys to the Orchestra with Jean -Franzua Zichel "(2012), "Academy of Entertaining Sciences" of 64 issues (2009), "The scores do not burn" of 147 issues (2002), a series of lectures on music by Valentin Smolyaninov (2016), a series of programs "Compulsory music lessons" by Alexandra Simonova (2018), "Muzium blog" (2014-2019).
The following works are devoted to the questions of media content analysis methods: Sarna A.Ya. "Content analysis in new media research" (A.Ya. Sarna, 2014); A.V.Fedorov "Comparative analysis of secular and theological media education" (A.V. Fedorov, 2013); Shilina M.G. "Internet communication and theoretical aspects of mass media research" (M.G. Shilina, 2011); V.I. Kuznetsova, A.M. Dorozhkin "Media and medial: socio-philosophical analysis" (V.I. Kuznetsova, A.M. Dorozhkin, 2008), Savchuk V.V. "Russian domain of media philosophy" (V.V. Savchuk, 2009), Schetinina S.V. "Modern multimedia technologies for the presentation of works of art" (S.V. Schetinina, 2016).
In our opinion, the same musical material used ("reproduced, replayed" according to the term from the Civil Code of the Russian Federation, Part 4, Article 1263) in the widest and most diverse material and in a different contextual field will have a completely different semantic coloring. Moreover, with the ordinary figurative type of thinking, all samples using the same material may seem semantically related. However, in our opinion, the same musical material, with a scientific approach, can demonstrate various significant informational messages, in combination with the nuances of its edged material, which contains its own plot, its own signs system, sometimes affecting the transformation of the musical material in timbre plan, in its variation and so on.
The term "reproduction" turns out to be broader in its semantic meaning, denoting in this case replaying of a piece of music. The term "reinterpretation" (the term was used in the works of Y.G. Kon "Notes on the form "Fugues for 13 instruments" by V.
Lutoslavsky: reinterpretation of the genre" (Yu.G. Kon, 1994), Volkova P.S. "Music in modern cinema: on the question of reinterpretation" (P.S. Volkova, 2009) is used to indicate changes and transformations of the original object during rotation and reproduction.
Reproduction (in the broad sense of using the original source) of musical material may be represented in several ways. In our opinion, there are at least three such options:
1. fragmentary quotation in an unrelated film;
2. using music as the basis for the entire film on the same plot:
a) borrowing a musical composition by the composer and skillfully refracting it, combine several fragments into a single plot;
b) original composition of musical content for the entire film (S.S. Prokofyev, D.D. Shostakovich, A.I. Khachaturian, S.-C. Saint-Saens, examples are given below in this work);
3. synthesizing several fragments from different works (most often biographical films about the composer's life).
According to the classification of Shak T.F., music can perform the following functions in the media text: the background which is not related to the content of the scene; the semantic background (emotional atmosphere, color of the era, the funny side of the situation); characterization of the personage; the role of the leitmotif; part of the film drama (T.F. Shak, 2014).
Quoting, according to the following researcher - Joffe B.L., may be a method of working with the material and be expressed in five types: target, text, style, genre, hidden quoting (B.L. Ioffe, 2014).
According to the classification of Uvarov S.A., the music in the movie is expressed as follows: leitmotif, musical mosaic, musical vacuum, musical mist (S. A. Uvarov, 2014).
According to the classification of K.N. Rychkov: screenplay, soundtrack, media text component and concert arrangements (E.N. Rychkov, 2013).
According to P.S. Volkova, the cultural dialogue with modern cinema contributes to visual thinking (figurative), as opposed to scientific (conceptual, logical). It is important in the framework of the so-called "ontology of visual" in the term of F. Jameson (A. Gornykh, 2007). They mean the social practice of communication, in which artistic (fiction) cinema acts as one of the most potentially informative sources, being a "cast" of its time, it retains in a "conserved" way the ideas about norms and ideals embodied in images (P.S. Volkova, 2009).
There are various patterns of musical material in the film according to the form of expression: from authentic (preservation of timbre) to experiments in this field. An example of this: a piano-box with a monkey in the film "The Branch of Lilac" (2007); a combination of piano with the piercing timbre of a violin (piano Sonata No. 14 by L.V. Beethoven) in the film "Chapaev" (1934); the method "frame in frame", when the music is played in a black and white TV-set with the action of the whole film in color display ("Ivan Vasilyevich Changes His Profession" (1973); timbre variation of the melody with the improvisation of the theme from the opera "Le Nozze di Figaro" in the film "Amadeus" (whistling the theme of the march and switching to the aria on the harpsichord "Frisky boy ..."); playing by means of an audio tape recorder in the authentic sound of the orchestra, with comic elements along the plot line (the theme of Scheherazade from the symphonic picture of the same name by N.A. Rimsky-Korsakov - the main heroine captive, eating exotic oriental fruits and sweets, appears on the background of music in the comic image of Scheherazade, and her captors in the image of comic servants ("The Caucasian Captive" (1966).
Another interesting example of the original source variation is the film "Paper Birds" (2010), which is dedicated to the lives of actors. Throughout this film, we observe two
vivid stage episodes that use material from world music classics: playing the same cello with three bows "Dance with sabers" from the ballet "Gayane" by A.I. Khachaturian and the singing of the phrases "How can I miss you if you do not leave". The second episode is a street performance called "Farewell Life", during which actors play Waltz of Musetta by J.A. Puccini - from the opera "La Boheme" with bottles in a humorous way - this is a peculiar device of the "scene in the scene" (performance in the cinema).
The following example of the "scene in scene" device use is shown in the movie "Night Watch" (2004). In this film, we hear a fragment of the ballet "Spartacus" by A. I. Khachaturian.
Another example is the "Incredible Adventures of Italians in Russia" directed by Eldar Ryazanov and Franco Prosperi (1973), an interesting and remarkable film in which the quoted material of the musical work is accompanied with a visual hint indicating the musical work itself and its author. In this film, the Song of Varlaam "As in the city was in Kazan" from 1 a. 2 to the Opera "Boris Godunov" by M. P. Mussorgsky is replayed against the background of frames showing the repertoire of the theater; the Overture of their Opera "The Marriage of Figaro" by V.A. Mozart sounds in the film when showing a portrait of the composer, which is carried by an Opera house musician running out of the theater. In addition to classical works, the native Russian melodies are represented in this film by two examples - "In the field the birch stood" with a video of large dolls that run from the lion and the melody "Hey, Uhnem!" in the scene on the river embankment, when one of the Italian characters conducts a crane, and the second character lowers a telephone booth into the river with this crane, while the first character makes the sign of the cross and a fragment from the piano Sonata b moll No. 2 by F. Chopin sounds (known as the "Funeral March" 1840).
A textbook example of the "scene in the scene" device using is the film by M. Forman "Amadeus" (1984). In this film, the main character (Mozart) playing the theme of a march begins to whistle and easily compose the theme of Cherubino's Aria "Boy frisky, curly, in love" from the Opera 'The Marriage of Figaro", but he imagines his mother - in-law, who swears at him in a raised tone in the guise of the of his Singspiel "Magic Flute" heroine -queen of the night "my heart longs for bloody vengeance". And the plot switches with ease to the scene from the work being composed with the full entourage of the opera performance.
In the film "The Wizard of Oz" (1939) at the beginning of the plot, when the witch turns the air, creating a tornado, carrying away the house of the main character Ellie, background music based on "The Night on the Bald Mountain" by M.P. Mussorgsky sounds, thereby emphasizing the terrifying atmosphere of rampant evil forces. The music sounds in its usual symphonic representation as a voice-over background.
The new film from "Walt Disney" - "The Nutcracker and the Four Realms" (2018) shows a beautiful story about the four realms - The Land of Sweets (Sugar Plum Fairy), The Land of Snowflakes (king - Shiver), The Land of Flowers (king Hawthorne) and The Land of Amusements (Mother Ginger). There are quotations of music from the ballet of the same name by P.I. Tchaikovsky, including not only the use of music for cinema scoring, but also the use of "scene in the scene" device, demonstrating the excerpts from the ballet.
A striking example of opposing styles in music when quoting in cinema is the film "1 + 1" (2011). According to the story, the symphony orchestra performs the masterpieces of world musical heritage by A.L.Vivaldi and N.A. Rimsky-Korsakov on the birthday of the main character, who is chained to a wheelchair. Meanwhile this classical music is set off by quoted modern music put on an mp3 player by an assistant to the main character, who believes that real music can only be dance music.
At the same time, according to the plot of this film, the assistant to the main character makes very sarcastically colored remarks when he hears classical music
comparing music: Bach suites with coffee advertisements, not pointing to the composer, but emphasizing its popularity precisely from advertising. He also compares the performance of A.L. Vivaldi's composition "The Seasons" by a string ensemble with the usual background of a telephone call from the support service, and the music of "The Flight of the Bumblebee" from "The Tale of Tsar Saltan" by N.A. Rimsky-Korsakov with the cartoon "Tom and Jerry", with their eternal pursuit of a cat and mouse. Thus, the film "1 + 1" is a vivid example of the present state of everyday music perception by a mass listener, the situation when people do not know the real composers of a particular musical work, but they can only remember at the philistine level where they heard this music and are happy to point to ads and cartoons.
In our opinion, film directors often use classical music in their films as a bright antithesis, comparing it with everyday images of everyday reality, aggravating its flaws in contrast to the blessed and elevated atmosphere of harmony reigning in the figurative structure of a musical work of world classics. These are examples of horror movies, with the images of Draculas, murders, tortures, evil creatures. For example, "The Happening" (2008, music of the piano concert No. 21 in C dur K467 by V.A. Mozart), "Gremlins -2 New Party" (1984, music by G. Gershwin "Rhapsody in Blues Tones"), "American Werewolf" (music by M. Ravel from the ballet "Daphnis and Chloe"), "Brute Force" (1947, Music by R. Wagner from the opera "Tannhauser"), "The Silence of the Lambs" (1990, music by J.S. Bach "Goldberg Variations") , "Pet Cemetery" (2019, music by E. Grieg, from the suite "Peer Gynt" - "In the Cave of the Mountain King"), etc.
The real task of the vocational education and additional art education teacher is to demonstrate to students an unacceptable perception of music, divorced from the authentic context regarding the composer, the title of the work included in the school program of additional art education.
The opposite example of quoting, not the works of world music classics, but the works of mass musical culture, is the film "Gentlemen of Fortune" (1971), in which the quotation of mass musical culture sample - "Dog Waltz" was introduced as a parody. This quotation emphasizes the funny side and parody of the situation of a forced and quick "fostering culture" (playing the piano, studying architecture magazines, painting, and learning a foreign language). Another film that uses quotations from the same work is the cartoon "Prince Ivan and the Gray Wolf 3" (2015) - the funny side is in a deliberate emphasis on the waltz rhythm in the style of Chopin.
After carrying out research and comparing a number of reproduction samples of world music classics works in films, a synchronic summary table was compiled.
The authors admit the existence possibility of other samples of world music classics works reproduction in films, but at the present time examples known to us have come to the study field and we do not exclude the existence of other samples.
Based on the above comparative synchronic table, we have done the following conclusions in the course of our study: the works of foreign, Russian, domestic and modern composers are equally subject to quotation. There are at least 157 examples that would serve as illustrations for the study of material from theoretical disciplines in the programs of additional art education, based on the results of our research (these are only definite samples that are known to us in the course of this study, not excluding the existence of many others). Examples can serve for the study of the composer, review topic (genres, means of expression, instruments and types of orchestras, orchestra, means of shaping, program music). There are both domestic and foreign film studios which produced films with the use of world music plots samples: Mosfilm, Lenfilm, Partner-Film, Gorky Studio, Production Theme, Gemini entertainment "," Tabaak "," Baselevs-production "," France 2 Cinema "," CLG Films "," Governor Productions "," Les Films Ariane "," Sovereign Pictures "," Amblin Entertainment "," Touchstone Pictures "and" Amblin Entertainment "," Walt Disney ".
TABLE - SAMPLES OF WORLD MUSIC CLASSICS WORKS REPRODUCTION IN FILMS
Numb er Composer Topics of musical disciplines to which the use of the film fragment corresponds The name of the musical work, its part, theme The name of the film in which the musical work is quoted, the film genre Film director Year of production, film studio, country
1. Jean-Baptiste Lully (16321687)) Music genres, dance suite Old dances "The King Dances"; (drama, historical) Gerard Corbier 2000; Channel + in cooperatio n with France 2 cinema; France
2. Henry Purcell (16591695) Opera music Opera "Dido and Aeneas"(1689) "Russian ark" (fantasy, drama, detective, historical) Alexander Sokurov 2002, Russia
3. Tomaso Giovanni Instrumenta «Adagio» g-moll «Robert. Happy Life» 1996, Russia
4. Albinoni (16711757) l music "Mother and Son" (film game, drama) 1997, Russia, Germany
5. Antonio Vivaldi Program "The Princess and the Pea" (fairy tale) Boris Rytsarev 1977, M. Gorky film Studio. Third creative Association , Russia
6. (16781741) music The Seasons (1723) "Vivaldi, the Red Priest" (biographic) Liana Marabini 2009, Italy
7. "1 + 1" (drama, comedy, biographical) Olivier Nakash, Eric Toledano 2011, France
8. "The Fault in Our Stars" (drama, romance) Josh Boone 2014, USA
9. Georg Philipp Telemann (16811767) Vocal and instrumenta l music Matthäus-Passion "Russian ark" (fantasy, drama, detective, historical) Alexander Sokurov 2002, Russia
10. Instrumenta l music Clavier and organ music "32 short films about Glen Gould" François Girard 1959, Image
Johann Sebastian Bach (16851750) (biographic, art film) Entertainm ent
11. Organ chorale f-moll (BWV 639 from the "Little Organ Book») "Solaris" (fiction, detective) Andrei Tarkovsky 1971, Russia
12. Matthäus-Passion (1736) (final chorus «Wir setzen uns») "Mirrors" (biographic, drama) 1974, Russia
13. Sonata a-moll for solo flute BWV 1013 (Allemanda) "Sonata for Hitler" (documentary) Alexander Sokurov 1989, Russia
14. "Goldberg variations" (1741) "Silence of the Lambs" (horror, crime, detective) Jonathan Demme 1991, USA, Metro Goldwyn Mayer
"Dinner in four hands" (musical, drama, historical) Mikhail Kozakov 1999, "Partner Films", Russia
15. George Friedrich Handel (16851759) Biography of the composer Oratorio "Messiah" (HWV 56, 1741) "The great Mr. Handel" (drama, biographic) Norman Walker 1942, Great Britain
16. Musical form Suites "Dinner in four hands" (musical, drama, historical) Mikhail Kozakov 1999, "Partner Films", Russia
17. Christoph Willibald Gluck (17141787) Opera Opera "Orpheus and Eurydice" (1762) "Madame Suzacka" (drama) John Schlesinger 1988, Great Britain, Canada
18. Franz Josef Haydn (17321809) Symphonic music String quartet №5 f-moll Star Trek: Rise (Fiction, Action, Thriller, Adventure) Jonathan Fraix 1998, USA
19. Piano music Minuet of the 33rd Sonata "Runaway Bride" (continuation of the famous film "Pretty Woman", melodrama, comedy). Garry Marshall 1999, USA
20. Symphonic music String Quartet Haydn op 1 No.3 D-dur Sherlock Holmes (thriller, drama, comedy, detective, adventure) Guy Ritchie 2009, USA, Germany
21. Vocal music Vocal works "In Search of Haydn" (documentary, biographic) Phil Grabski 2012, Great Britain
22. Symphonic music 3-d part of string quartet No.76 "The Emperor" (drama, military, historical) Peter Webber 2012, Japan, USA
23. String quartet d-moll op.103 (1803 unfinished) "Shut In" (18+) (horrors, thriller, drama) Adam Schindler 2015, USA
24. Opera "Marriage of Figaro" (1786) Aria of Cherubino, Singspiel "The Magic Flute" Aria of the Queen of the Night (1791) "Amadeus" (drama, biographic, historical) Milos Forman 1984, USA, France, Checkoslov akia
25. Opera music Opera "Marriage of Figaro" (1786) (overture) "The Incredible Adventures of Italians in Russia", a joint Soviet-Italian comedy-adventure film Eldar Ryazanov and Franco Prosperi 1973, Russia, "Mosfilm"
26. Wolfgang Amadeus "Madame Suzacka" (drama) John Schlesinger 1988, Great Britain, Canada
27. Mozart (17561791) Concerto for piano and orchestra №23 ("Andante" fis-moll) "Stone" (fantasy, drama) Alexander 1992, Russia
28. Instrumenta l music "Robert. Happy Life" Sokurov 1996, Russia
29. Piano Concerto №21 in C dur K467 (1785) "The Happening" M. Night Shyamalan 2008
30. Opera music Opera "Marriage of Figaro" (1786) "Mozart's Sister" (drama, romance, biographic) Rene Feret 2010, France
31. «Conduction» (documentary) Alexei Loginov 2015, Russia
32. Sonata "Pathetic" №8 (1799) "Appassionata" f-moll №23 (1807) "Madame Suzacka" (drama) John Schlesinger 1988, Great Britain, Canada
33. Ludwig van Beethoven (17701827) Piano and symphonic music Sonatas №14, "Pathetic" №8 (1799); Symphony "Heroic" №3 (1804), №5 (1808), "Pastoral" №6 (1808), №7 (1812), №9 (1824) "Immortal Beloved" (drama, melodrama, biographic) Bernard Rose 1994, Great Britain, USA
34. Sonata №32, Symphony №9 (1824) "Rewriting Beethoven" (drama, biographic) Agnieska Holland 2006, USA, Germany, Hungary
35. Sonata "Pathetic" №8 (1799) "Wall Street: Money does not sleep" (drama) Oliver Stone 2010, USA
36. Sonata C-dur No.3 (1795) "Byzantium" (horrors, fantasy, thriller, drama) Neil Jordan 2012, Great Britain, USA, Ireland
37. Symphony №9 (1824) "The Magic of the Moonlight" (romance, comedy) Woody Allen 2014, USA, France
38. The composition "To Eliza" a-moll (1810) "Before I Disappear" (drama) Sean Christensen 2014, USA, Great Britan
39. Piano Sonata №14 cis-moll "Moonlight" (1801) "Chapaev" George and Sergey Vasilyev (brothers) 1934, Russia
40. "The Last Witch Hunter" (fantasy, action, adventure) Steve Jablonski 2015, USA, China, Canada
41. Symphony №5 c-moll (1808) "The Walk" (thriller, drama, adventure, biographic) Robert Zemeckis 2015, USA
42. The composition "To Eliza" a-moll (1810) "The Wedding Ringer " (18+) (comedy) Jeremy Garelik 2015, USA
43. Sonata for piano "Pathetique" No. 8 (1799) "William Turner" (drama, biographic, historical) Mike Lee 2016, Great Britain, France, Germany
44. Niccoló Paganini (17821840) Musical instruments "24 Caprices for Solo "Paganini" (drama, biographic, historical) Klaus Kinsky 1989, France, Italy
45. Violin", Op.1 (18021817) "Paganini: The Devil's Violinist" (romance, drama) Bernard Rose 2013, Germany, Italy
46. Gioacchino Antonio Rossini (17921868) Opera music Opera "The Barber of Seville" (1773) The Barber of Seville (comedy) Jean-Pierre Ponnel, Ernst Wild 1973, Germany
47. Romances and songs "Flowering time" (musical, melodrama) Paul L. Stein 1934, Great Britain
48. Franz Peter Schubert (17971828) Vocal music "Serenade" from the collection "Swan Song" (1828) "Unfinished Symphony" (drama) Alexander Gladyshev 1968, Russia
49. Piano music Expromt No. 4 (D899) As-dur, fantasy for piano four hands f-moll "Madame Suzacka" (drama) John Schlesinger 1988, Great Britain, Canada
50. "Night and dreams" op. 43 "Byzantium" (horrors, fantasy, thriller, drama) Neil Jordan 2012, Great Britain, USA, Ireland
51. Hector Berlioz (18031869) Musical instruments Fantastic Symphony (1830) "The Crow" (thriller, detective story) James MacTig 2012, USA, Spain, Hungary, Serbia
52. Romance "I'm here, Inesilla" (1838) "Big School- Break" (melodrama, comedy) Alexei Korneev 1973, Russia
53. Vocal music "Lullaby" from the collection "Farewell to St. Petersburg" (1840) "Most earthly cares" (documentary) 1974, Россия
54. Mikhail Ivanovich Glinka (18041857) Composer biography Romance "The Lark", orchestral version of the choir "Glorify" from the opera "Ivan Susanin" (1836), a fragment of the nocturne "Separation" (1839), canon "What a wonderful moment!" from the opera "Ruslan and Lyudmila" (1842) "And Nothing More" (documentary, historical) Alexander Sokurov 1988, Russia
55. Nocturne "Robert. Happy Life" 1996, Russia
56. "Separation" (1839) "Mother and Son" (film game, drama) 1997, Russia, Germany
57. Nocturne "Separation" (1839), opera "Ivan Susanin" (1836, act 2 mazurka) Russian Ark (fantasy, drama, detective, historical) 2002, Russia, Germany, Japan, Canada, Finland, Denmark
58. "Songs without Words" (op. 67) (1843-45) "Madame Suzacka" (drama) John Schlesinger 1988, Great Britain, Canada
59. Felix Mendelsohn (18091847) Piano music "Lewis" (drama, detective) Bill Anderson, Dan Reed, Nicholas Renton 2010, Great Britain
60. Symphonic music "A Midsummer Night's Dream" (1842) ("Wedding March") "The Mentalist" (thriller, drama, detective story) Simon Baker, David Paymer, Paris 2013, USA
Barclay, Bruno Heller, Darnell Martin, Leslie Linka Glatter, Stephen Gillenhaul, Chris Long, David Nutter, Adam Kane
61. Nocturne number 2 es-dur (Or. 9), prelude number 20 c-moll "A Song for Memory" (drama, biographical) Charles Widor 1945, USA
62. piano sonata b moll №2 ("Mourning March" 1840) "The Incredible Adventures of Italians in Russia" Eldar Ryazanov and Franco Prosperi 1973, Russia, "Mosfilm"
63. Prelude c-moll op.28 (1839), Polonaise As-dur (1842) "Madame Suzacka" (drama) John Schlesinger 1988, Great Britain, Canada
64. Frederic Chopin (18101849) Piano music Impromptu (18341842) "Improvisation", (melodrama, comedy) James Lepin 1991, C.L.G. Films, Governor Productions , Les Films Ariane, Sovereign Pictures, Great Britan, France
65. Prelude number 7 A-dur (1836-1839) "The Stone" (fantasy, drama) Alexander Sokurov 1992, Russia
66. "The Great Brilliant Polonaise" op.22 Es-dur (1832), Ballad №1 oh. 23 g-moll (1835) "The Truman Show" (fiction, drama, comedy) Peter Weir 1998, USA
67. Waltz a-moll (1843) "Chopin. Desire for Love "(drama, romance) Jerzy Antchak 2002, Poland
68. Etude No. 9. op. 25 ges-moll (1831-1836) "The Branch of Lilac" (drama) Pavel Lungin 2007, Theme Production Film Studio, Gemini Entertainm ent Company, Russia, Luxembour g
69. "Carnival" (1835) "Spring Symphony" (biographic) Peter Chamonix 1983, Germany
70. Robert Schumann (18101856) Romance number 2 Fis-dur from "Of the Three Romances", Op. 28 (1839) "Days of Eclipse" (fiction, drama) Alexander Sokurov 1988, Russia
71. Piano music "Carnival" (1835), "Scenes From Childhood", a concert for piano and orchestra a-moll op. 54 (1845) "Madame Suzacka" (drama) John Schlesinger 1988, Great Britain, Canada
72. "Carnival" (1835) "White Countess" (drama, romance, military, historical) James Ivory 2006, Great Britain, Germany, China, USA
73. Etudes, transcendental mastery ("Campanella" etudes on the caprices of N. Paganini) (1851) "Unfinished Song" (drama, biographical) Charles Widor, George Cukor 1960, USA
74. Ferenc Piano music "Dreams of Love" (1850) "Franz Liszt -Dreams of love" (drama, melodrama, biographic, historical) Marton Keleti 1970, "Lenfilm", Hungary, Russia
75. Liszt (18111886) "Glitter" (drama, romance, biographic) Scott Hicks 1996, Australia
76. Hungarian Rhapsody "Majestic" (drama, romance) Frank Darabont 2001, USA
77. №2 cis-moll (1847) "Who Framed Roger Rabbit?" (Comedy feature film) Robert Zemeckis 1988, «Touchston e Pictures» and «Amblin Entertainm ent», USA
78. Alexander Sergeevich Dargomyzhs ky (18131869) Opera "The Stone Guest" (1869) "The Stone Guest" 1966, Russia
79. Opera music Opera "Rusalka" (1856) "Rusalka" Vladimir Gorikker 1971, Russia
80. Richard Wilhelm Wagner (18131883) Opera Opera "Lohengrin" (Wedding Choir) (1850) "Gone With the Wind" (drama, romance, military, historical) George Cukor, Victor Fleming, Sam Wood 1939, USA
81. music Opera "Tristan and Isolde" (love theme) (1865) Humoresque (drama, romance) Jean Negulesco 1946, USA
82. Opera "Tannhauser" (1845) "Brute Force" (film-noir, thriller) Jules Dassin 1947, USA
83. From the tetralogy of "The Ring of the Nibelungs" (Flight of the Valkyries) (1876) "Apocalypse Now" (drama, military) Francis Ford Coppola 1979, USA
84. Opera "The Death of the Gods" (1876) "Eastern Elegy" (documentary) Alexander Sokurov 1996, Russia
85. Opera "The Valkyrie" from the tetralogy "The Ring of the Nibelungs" (1876) Grand Tour (comedy) Brian Klein, Keith Lynch Robinson, Phil Churchill, Gavin Whitehead 2017, Great Britain, USA
86. Opera "Aida" (1871) "Aida" (musical) Clemente Fracassi 1953, Italy
87. Opera music Operas "Life of Giuseppe Verdi" (drama, melodrama, biographic) Renato Castellani 1982, Italy, France
88. Symphonic music "Requiem" (1868) "Nostalgia" (drama) Andrey Tarkovsky 1983, Russia
89. Giuseppe Verdi (1813- Opera "La Traviata" (1 act, " Libiamo ne' lieti calici" (1853) "Mournful Unconcern" (drama) Alexander Sokurov 1986, Russia
90. 1901) "Analyze This" (comedy) Harold Ramis 1999, USA, Australia
91. Opera music Opera "Rigoletto" (aria ("song", canzone) of the Duke of Mantua " La donna e mobile" "Rigoletto in Mantua" (drama) Pierre Cavassilas 2010, Italy, Great Britain, France, Japan, USA, Germany
92. Alexander Porfirievich Borodin (18331887) Opera music Opera "Prince Igor" (Polovtsian Dances) (1890) "Pennies from Heaven" (musical, drama, comedy) Norman McLeod 1938, USA
93. Symphonic music Symphony No. 1 op 68 c-moll (1876), No. 3 op. 90 F-dur (1883) "Goodbye Again" (drama, romance) Anatole Litvak 1961, France, USA
94. Johannes Brahms (18331897) Concert №1 d-moll op. 15 (1858), a-moll op. String quartet. 51 (final) "Madame Suzacka" (drama) John Schlesinger 1988, Great Britain, Canada
95. The Truman Show (fiction, drama, comedy) Peter Weir 1998, USA
96. Piano music "Lullaby" №4 op. 49 (1886) Mind Hunters (horror, thriller, detective) Renny Harlin 2004, Netherland s, Great britain, Finland, USA
97. Symphonic music Hungarian Dance number 5 g-moll (1869) " Art School Confidential " (drama, comedy) Terry Zwigoff 2006, USA
98. Opera music Opera Samson and Delilah (1877) (Delilah's aria) "My Happy Life" (drama, comedy, biographical) Hugh Hudson 1999, Great Britain, USA
99. "Mona Lisa Smile" (drama) Mike Newell 2003, USA
100. "Hugo" (drama, detective, adventure) Martin Scorsese 2011, USA
101. Charles Camille Saint-Saens (18351921) Music genres. Suites The Carnival of the Animals (1886) "Tales of Halloween" (horrors, comedy) Axel Carolyn, Darren Lynn Bousman, Lucky McKee, Neil Marshall, Paul Solet, Adam Girach, Mike Mendez, Dave Parker, John Skipp, Ryan Schifrin 2015, USA
102. "The Newest Testament" (fantasy, comedy) Jaco van Dormel 2015, Belgium, France, Luxembour g
103. Mily Alekseevich Balakirev (18361910) Piano music Oriental fantasia "Islamey" (1869) "Vitus" (drama) Fredy M. Murer 2006, Sweden
104. Georges Bizet (18381875) Opera music Opera "Carmen" (1874) "Carmen Jones" (drama, romance) Otto Preminger 1954, USA
105. Modest Petrovich Mussorgsky (18391881) Symphonic music Symphonic picture "The Night on Bald Mountain" (1867) The Wizard of Oz (fantasy, adventure) Victor Fleming, George Cukor, King Widor, Norman Thorog, Mervyn LeRoy" 1939, USA
106. Opera music Opera "Boris Godunov" (prologue 2 scene)(1869) "Ivan Vasilyevich: Back to the Future" (fiction, comedy, adventure) Leonid Gaidai" 1973, Russia
107. Opera "Boris Godunov" (1 action 2 scene)(1869) "The Incredible Adventures of Italians in Russia" Eldar Ryazanov and Franco Prosperi 1973, Russia, "Mosfilm"
108. Symphonic music Symphonic picture "The Night on Bald Mountain" (1867) "Lolita" (drama, romance) Adrian Line 1997, USA, France
109. The ballets "The Nutcracker" Ballet (1892) "The Nutcracker and the Four Realms" (fantasy) Lasse Hallstrom and Joe Johnston 2018, «Walt Disney»
110. Symphonic music Symphony №6 (1893) "The Kid" (drama, comedy) Charles Chaplin 1921, USA
111. Piano music "The Funeral of the Doll" from the "Children's Album" (1878) "Mournful Unconcern" (drama) 1986, Russia
112. Peter Ilyich Tchaikovsk y (18401893) Opera music Opera"Eugene Onegin" (1879) (introduction and duet "Olga and Tatiana" from the first picture ") "The Stone" (fantasy, drama) Alexander 1992, Russia
113. Symphonic music The Seasons (Barcarol) op. 37 (1876) "Oriental Elegy" (documentary) Sokurov 1996, Russia
114. "Old French Song" "Robert. Happy Life" 1996, Russia
115. Piano music from "Children's Album" (1878) "Russian Ark" (fantasy, drama, detective, historical) 2002, Russia
116. "The Birth of a Nation" (drama, military, historical) David Wark Griffith 1915, USA
117. Edward Symphonic music Suite "Peer Gynt" ("In the Cave of the Mountain King") (1888) "Knight of Cups" (drama, romance) Terrence Malik 2015, USA
118. Hagerup Grieg (18431907) "Pet Cemetery" (horror film) Kevin Kolsh and Dennis Widmeyer 2019, USA
119. Piano and symphonic music "Lyrical Pieces", suite "Peer Gynt" (1888) "Espen in the Troll Kingdom" (adventures) Mikkel Brenne Sandemuse 2017, Norway
120. Nikolai Andreevich Rimsky- Symphonic music Symphonic Suite "Scheherazade" (1888) "The Caucasian Captive, or the New Adventures of Shurik" Leonid Gaidai" 1966, Russia
121. Korsakov (18441908) Nizhinsky (drama, melodrama, biographic) Herbert Ross 1980, USA
122.
"Spanish Capriccio" op. 34 (1887) "Brokeback Mountain" (drama, romance) Ang Lee 2005, USA, Canada
123. Opera music Opera "The Tale of Tsar Saltan" (1900) ("Flight of the Bumblebee") "1 + 1" (drama, comedy, biographical) Olivier Nakash, Eric Toledano 2011, France
124. Giacomo Puccini (18581924) Opera music Opera "La Boheme" (waltz "Musetta" (1896) "Paper Birds" (drama, comedy, historical) Emilio Aragon 2010, Spain
125. "Obligation" (documentary) 1988, Russia
126. Gustav Muller (18601911) Songs №1, №3 from "Quiet Pages" (drama) 1994, Russia, Germany
127. Vocal music the vocal cycle "Songs about the dead children" (1901-1904) "Oriental Elegy" (documentary) Alexander Sokurov 1996, Russia
128. "Mother and Son" (film game, drama) 1997, Russia, Germany
129. Elegy of Life (documentary) 2006, Russia
130. Claude Debussy (18621919) The Bergamas Suite (1905) "Rise of the Planet of the Apes" (fiction, thriller, drama) Rupert Wyatt 2011, USA
131. Piano music "Byzantium" (horrors, fantasy, thriller, drama) Neil Jordan 2012, Great Britain, USA Америки, Ирландия
132. Piano music Etude dis-moll №12 op. eight "Madame Suzacka" (drama) John Schlesinger 1988, Great Britain, Canada
133. Alexander Nikolaevich Scriabin (18711915) Preludes (1890s) "Thank You for Chocolate" (thriller, drama, detective story) Claude Chabrol 2000, France, Switzerland
134. Piano music Этюд dis-moll №12 ор. 8 (1894-95) "The Branch of Lilac" (drama) Pavel Lungin 2007, Theme Production Film Studio, Gemini Entertainm
ent Company, Russia, Luxembour g
135. Sergey Vasilyevich Rakhmanin ov (18731943) Symphonic music 20-th variation of the "Rhapsody on the theme of Paganini" (1934) "Taurus" (drama) Alexander Sokurov 2001, Russia
136. Composer biography Piano Concerto №2 c-moll op. 18 (1900), prelude cis-moll op. 3/2 (1903), 13 prelude op. 32 gis-moll (1903), Vocalise 14 op 32 (1912), rhapsody on the theme of Paganini op. 43 (18 variations) (1935). "The Branch of Lilac" (drama) Pavel Lungin 2007, Theme Production Film Studio, Gemini Entertainm ent Company, Russia, Luxembour g
137. Joseph Maurice Ravel (18751937) Symphonic music String Quartet F-dur (1903) "American Werewolf in Paris" (horrors, fantasy, thriller, romance, comedy) Anthony Waller 1997, Great Britain, Netherland s, Luxembour g, USA, France, Germany
138. Ballet Daphnis and Chloe (1969) "The Royal Tenenbaums " (drama, comedy) Wes Anderson 2001, USA
139. Piano music The cycle of miniatures "The Tales of My Mother Goose" (1908) "The Immigrant" (drama, romance) James Gray 2013, USA
140. Symphonic music "Bolero" (1928) "The Magic of the Moonlight" (romance, comedy) Woody Allen 2014, USA, France
141. Igor Fedorovich Stravinsky (18821971) Ballet The ballet "Petrushka" (1911) Petrushka (filmballet) Andris Liepa 2002
142. Ballet " Sacred Spring " (1913) Coco Chanel and Igor Stravinsky (drama, romance) Jan Kunen 2009, FRANCE, JAPAN, SWITZERL AND
143. Sergey Sergeevich Prokofiev (18911953) Vocal music Cantata "Alexander Nevsky", Op. 78 (1939) "Alexander Nevsky" (thriller, drama, military, history, biography) Sergey Eisenstein, Dmitry Vasilyev, Boris Ivanov 1938, Russia
144. Oratorio "Ivan the Terrible" (1942) Ivan the Terrible. Second tale: Boyar's plot (drama, biographical, historical) Sergey Eisenstein 1945, Russia
145.
Symphonic music Violin Concerto №2 g-moll, op. 63 (1935) "AnalyzeThis" (comedy) Harold Ramis 1999, USA, Australia
146. Arthur Onegger (18921955) Symphonic music "Pacific 231" (1923) "The car is gaining reliability" (documentary) Alexander Sokurov 1974, Gorky TV Studio, Russia
147. Symphonic " Blues Style "Gremlins 2: New Party" (horrors, fantasy, comedy) Joe Dante 1990, USA
148. George Gershwin (18981937) music Rhapsody" (1924) "The Great Getsby" (drama, romance) Baz Luhrmann 2013, USA, Australia
149. Opera music Opera "Porgy and Bess" (Clara's Lullaby) (1935) "Born to Be Sad" (drama, melodrama, biographic) Robert Boudreau 2015, Canada, Great Britain
150. Ballet "Spartak" (1956) Spartak (film ballet) Vadim Derbenyov, Yuri Grigorovich 1975, "Mosfilm" Russia
151. Aram Ilich Khachaturia n (19031978) Ballet Ballet "Spartak" (1956) "Night Watch" (horrors, fantasy, thriller, thriller) Timur Bekmambe tov 2004 Tabbak, Bazelevs Production, Russia
152. "Gayane" (Saber Dance)(1942) " Ghost Town" (fantasy, drama, romance, comedy) David Kepp 2008, USA
153. "Paper Birds" (drama, comedy, historical) Emilio Aragon 2010, Spain
154. Dmitry Dmitrievich Shostakovic h (19061975) Composer biography Sonata for viola op. 147 (1975), opera "The Nose" (1928), symphony No. 11 (1957), symphony No. 1 (part 2) (1925), opera "Katerina Izmailova" (wedding scene, chorus, Solo of the priest "Who is more beautiful than the sun in the sky ") (1966) "Alto Sonata. Dmitri Shostakovich "(documentary) Alexander Sokurov 1981, Russia
155. Piano music Prelude and Fugue amoll op. 87 No. 2 (1951) "Byzantium" (horrors, fantasy, thriller, drama) Neil Jordan 2012, Great Britain, USA, Ireland
156. Symphonic music Symphony No. 8 (beginning) (1943), No. 14 (11th part, final) (1969) "And Nothing More" (documentary, historical) Alexander 1988, Russia
157. Alfred Garrievich Schnittke (19341998) Instrumenta l music "Ball" from "Gogolsuite" (1978, interpretation 1981) "Summers of Maria Voinova" Sokurov Finished second edition of the film 1978-88, Russia
At the same time, musical compositions of several composers may be included in one film. For example, the director Lagutin P.F. used in his film "The Branch of Lilac" (2007) not only to the music of Rachmaninov S.V., but also the music of Chopin F.F. with the aim of translating the director's idea and illustration of little Rachmaninov's admission for study to Zverev N.S.; the film "The Desire to Love F. Chopin," which, by contrast, presents the music of two performances by F. Liszt and F. Chopin. Music can be used throughout the film as different semantic accents, and can be used fragmentarily, episodically. Examples of the first kind, in our opinion, are biographical films about the composers Glinka (1946), Mussorgsky (1950), Rimsky-Korsakov (1953), Amadeus (1984), Russian Five (2002) etc. Examples of the second type (episodic blotting), in our opinion, are the films - "Ivan Vasilyevich: Back to the Future" (1973), "Caucasian Captive" (1966), "Big School break" (1973).
Among the composers who wrote musical accompaniment specifically for cinemas are the following: Schnitke A.G.- "Dead Souls" (1984) and "Little Tragedies" (1979) dir. M.A. Schweizer, "Farewell" and "Agony" (1981) dir. Klimov E.G., "Belorussky Station" (1971) dir. Smirnov A.S., "Uncle Vanya" (1970) dir. Konchalovsky A.S .; Sviridov G.V. "The Blizzard" (1964) dir. Basov V.P., Shostakovich D.D. "Katerina Izmaylova" (1966) dir. Shapiro M.G., "Moscow, Cheryomushki" (1962) dir. Rappaport G.M .; Prokofiev S.S. "Partisans in the Steppes of Ukraine" (1942) dir. I.B. Savchenko, "Kotovsky" (1942) dir. Fainzimmer A.M.
Music may be used as a basis for not only one film, but serve as the basis for a cycle of programs. For example, scientific and educational television programs: "Absolute Pitch" (2009-2019), "Opera houses of the world with Nikolai Tsiskaridze" 4 episodes (2010), "Museke" (2014-2019), "Encyclopedia channel" (2004-2009 ).
The authors do not exclude the existence of other reproduction samples of world music classics in movies, but, unfortunately, we have not yet studied them.
3. Results and conclusions
With the availability of material, the teacher of theoretical disciplines faces the task of qualitative and critical approach to the selection of material that could be used appropriately in accordance with the thematic plan and age characteristics within the framework of a particular theoretical discipline and the duration of the training session. Therefore, it is inappropriate to watch the entire film in connection with the sanitary
standards of staying in front of the screens of personal computers and interactive boards, and in connection with the methods of teaching theoretical disciplines that suggest a change in the forms of work and their synthesis.
When referring to illustrating of film materials, the teacher must explain the methodological purpose of the illustrations given to students at a particular lesson so that watching a film was not perceived by the students in the entertainment plan in order to form a logical association to a specific composer and image. A small test questionnaire, containing questions directly related to the understanding and interpretation of the cinema material being presented, may be composed as a possible option for illustrations based on cinema materials. If the timbre or the plot is changed, we can ask the relevant questions about comparing the interpretation of film material with the original source.
Such film fragments can be used as a basis for a cinema quiz (students need to specify the composer, the title of the work, the change in timbres from the original sound). If the element is used as a quiz, the teacher is recommended to make a questionnaire where students would write in their answers.
Cinema materials may be used as a basis for illustrating biographical and theoretical topics study in the following disciplines: musical literature and listening to music. This is the way to compile hearing thesaurus, to acquire the skills of practical comparison of the interpreted musical composition and timbre analysis. In this case, it is recommended to compile a list of questions related to the topic being studied (country, composer, instrument, style in music, means of expression, musical form, etc.)
Cinema materials can serve as an example of musical material processing method in the disciplines of computer music technology, "Multimedia technology and composition." In these disciplines, students, inspired by the examples of film material, can create their own presentations, arrangements based on the works of world classics.
Cinema material may be used in the form of tests. At solfeggio lessons, cinema material can serve as a means of enhancing interest to a musical composition. During the first listening, the teacher asks to define the composer, the composition. The students watch video material, and later, when playing the music with an instrument, they write a musical dictation (as one of the options, visualization of the musical work image may be achieved by viewing a particular imagery of the film material). You can sol-fa it, compose variations and variations-arrangements, as one of the options for working with musical material. It is possible to give semantic tasks for students on cinema material, and the correct answer does not always correspond exactly to the author of a musical composition; a musical work may be related to the period of the composer's life, his circle of communication, and the student can give the correct answer only if he has sufficient information about many composers. The film "The branch of lilac" (2007) is such an example, in which little S. Rachmaninov plays the composition of F.F. Chopin during the entrance exams.
In our opinion, when quoting the masterpieces of world music classics in the film, it is necessary to indicate the used compositions in the subtitles. At the same time, a number of foreign films provide very detailed information about the composer, composition, part, section, key, and the specific performer or cast. However, in some films, this information is missing in the subtitles, which complicates the process of analyzing film materials to prepare for their use in the pedagogical process, and increases the time required for verification and identification of quotations by watching the entire film.
After analyzing and examining a number of musical works reproduction samples in different environments and contexts of media text (in this case, in films), we think the aspect of critical perception of the surrounding information flow and culture of selectivity and verification of information consumed, the axiological aspect in relation to the information consumed to be relevant for consideration in the works of scientists.
The relevance and novelty of the result lies in generalization and comparison of data on samples of world music classics reproduction in cinema, in offering a number of the most functional, in the opinion of the authors, samples for practical use in teaching musical-theoretical disciplines of additional art education.
Specially arranged and pre-recorded fragments of cinema materials, in which the works of world music classics are quoted, may be used as didactic material for the disciplines of the music-theoretical cycle according to additional education programs.
The perspective and significance of the study lies in practical recommendations and generalization of information about the use of world music classics reproduction samples in cinema for musical and theoretical disciplines of additional art education and possible interest in research for the teachers of additional art education, teaching musical and theoretical disciplines.
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PEDAGOGICAL PHENOMENON OF SPORTS IN THE FORMATION OF MODERN SOCIETY'S VALUES
The article discusses the role of sport and physical activity of the individual in the development of socially important personality traits. Particular attention is paid to features and some aspects of life of people who are constantly engaged in sports. The authors considered in detail the concept of resilience, as well as its components. The information presented in the article shows that people involved in sports become ready to overcome difficult life situations.
Keywords
pedagogy, the process of education, psychological stress in training, public health, personality characteristics
