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Summary of the history of pop art. The origin of Russian pop

Word "stage" ( from latin strata) means - flooring, platform, hill, platform.

Most precise definition variety art as an art that combines various genres is given in the dictionary of D.N. Ushakov: " Stage- this is the art of small forms, the area of spectacular and musical performances on an open stage. Its specificity lies in its easy adaptation to different conditions public demonstration and short duration of action, in artistic and expressive means, art that contributes to the vivid identification creative individuality performer, in the topicality, acute socio-political relevance of the topics covered, in the predominance of elements of humor, satire, journalism.

The Soviet Encyclopedia defines pop music as derived from the French estrade- a form of art that includes small forms of dramatic and vocal art, music, choreography, circus, pantomime, etc. In concerts - separate finished numbers, united by an entertainer, a plot. As an independent art, it was formed at the end of the 19th century.

There is also such a definition of stage:

A stage area, permanent or temporary, for an artist's concert performances.

Variety art has its roots in the distant past, traceable in art ancient egypt and Ancient Greece. Although the stage closely interacts with other arts, such as music, drama theater, choreography, literature, cinema, circus, pantomime, it is an independent and specific art form. The basis of pop art is - "His Majesty the number" - as N. Smirnov-Sokolsky said 1 .

Number - little performance, one or more artists, with its own plot, climax and denouement. The specificity of the performance is the direct communication of the artist with the public, on his own behalf or on behalf of the character.

In the medieval art of wandering artists, farce theaters in Germany, buffoons in Rus', mask theater in Italy, etc. already there was a direct appeal of the artist to the audience, which allowed the subsequent one to become a direct participant in the action. The short duration of the performance (no more than 15-20 minutes) requires the utmost concentration of expressive means, conciseness, and dynamics. Variety performances are classified according to their characteristics into four groups. The first species group should include colloquial (or speech) numbers. Then come musical, plastic-choreographic, mixed, "original" numbers.

The art of comedy was built on open contact with the public. del arte (masque) XVI-PPXVII century.

Performances were usually improvised based on typical story scenes. musical sound as interludes (inserts): songs, dances, instrumental or vocal numbers - was a direct source of pop numbers.

In the 18th century there are comic opera And vaudeville. Vaudeville was a fascinating performance with music and jokes. Their main heroes - ordinary people - have always defeated stupid and vicious aristocrats.

A to mid-nineteenth century, a genre is born operetta(literally small opera): view theatrical art, which combined vocal and instrumental music, dance, ballet, elements of pop art, dialogues. As an independent genre, operetta appeared in France in 1850. The "father" of the French operetta, and operetta in general, was Jacques Offenbach(1819-1880). Later, the genre develops in the Italian "comedy of masks".

Variety is closely connected with everyday life, with folklore, with traditions. Moreover, they are rethought, modernized, "estradized". Various forms of pop creativity are used as an entertaining pastime.

This is no coincidence. In England pubs(public public institutions) arose in the 18th century, became the prototypes of music halls ( music hall). Pubs have become a place of entertainment for the broad democratic sections of the population. Unlike aristocratic salons, where classical music was predominantly played, in pubs, songs, dances were performed, comedians, mimes, acrobats performed, scenes from popular performances consisting of imitations and parodies were shown in pubs, accompanied by a piano. Somewhat later, in the first half of the 19th century, cafe-concerts, which were originally literary and artistic cafes, where poets, musicians, and actors performed with their improvisations. In various modifications, they spread throughout Europe and became known as cabaret(zucchini). Entertainment does not exclude the factor of spirituality; a civic position is especially important for a variety artist.

The easy adaptability of variety art to the audience conceals the danger of flirting with the public, concessions to bad taste. In order not to fall into the abyss of vulgarity and vulgarity, the artist needs true talent, taste and flair. From individual pop numbers, the director formed a program, which was also a strong expressive means. Free field connection of small shapes, separated from various types artistic creativity and healed on its own, which led to the birth of colorful art variety show. The art of variety show is closely connected with the theater, the circus, but unlike the theater, it does not need an organized dramatic action. The conventionality of the plot, the lack of development of the action (the main drama) are also characteristic of a large performance. revue(from fr. - review). Separate parts of the review are connected by a common performing and social idea. As a musical dramatic genre, the revue combines elements of cabaret, ballet and variety show. The revue performance is dominated by music, singing, and dancing. The variety show has its own modifications:

- variety show from individual numbers

- variety show

- dance cabaret

- revue

In the 20th century, the revue turned into a magnificent entertainment performance. There were varieties of revue in the United States, called show.

The musical stage included different genres of light music: songs, excerpts from operettas, musicals, variety shows in variety arrangements of instrumental works. In the 20th century, the stage was enriched by jazz and popular music.

Thus, pop art has come a long way, and today we can observe this genre in a different form and performance, which suggests that its development does not stand still.

The roots of the stage go back to the distant past, traced in the art of Egypt, Greece, Rome; its elements are present in the performances of itinerant comedians-buffoons (Russia), shpilmans (Germany), jugglers (France), dandies (Poland), mascarabozes (Central Asia), etc.

Satire on urban life and customs, sharp jokes on political topics, a critical attitude to power, couplets, comic skits, jokes, games, clown pantomime, juggling, musical eccentricity were the beginnings of future pop genres that were born in the noise of carnival and public entertainment.

Barkers, who, with the help of jokes, witticisms, funny couplets, sold any product in the squares and markets, later became the forerunners of the entertainer. All this was of a massive and intelligible nature, which was an indispensable condition for the existence of all pop genres. All medieval carnival artists did not play performances.

In Russia, the origins of pop genres manifested themselves in buffoons, fun and mass creativity of folk festivals. Their representatives are raus grandfathers-jokers with an indispensable beard, who amused and beckoned the audience from the upper platform of the booth-raus, parsley, raeshniks, leaders of "learned" bears, actors-buffoons, playing "sketch" and "reprise" among the crowd, playing the pipes , harp, snot and amusing the people.

Variety art is characterized by such qualities as openness, conciseness, improvisation, festivity, originality, entertainment.

Developing as an art of festive leisure, pop music has always strived for unusualness and diversity. The very feeling of festivity was created due to external entertainment, the play of light, the change of picturesque scenery, the change in the shape of the stage, etc. Despite the fact that the variety of forms and genres is characteristic of the stage, it can be divided into three groups:

- concert stage (previously called "divertissement") combines all types of performances in variety concerts;
- theatrical stage (chamber performances of the theater of miniatures, cabaret theatres, cafe-theaters or a large-scale concert revue, music hall, with a large performing staff and first-class stage equipment);
- festive stage (folk festivals, holidays at stadiums, saturated with sports and concert numbers, as well as balls, carnivals, masquerades, festivals, etc.).

There are also these:

1. Variety theaters
2. Music halls

If the basis of a variety performance is a finished number, then the review, like any dramatic action, required the subordination of everything that happens on the stage to the plot. This, as a rule, did not organically combine and led to the weakening of one of the components of the presentation: either the performance, or the characters, or the plot. This happened during the production of "Miracles of the 20th Century" - the play broke up into a number of independent, weakly related episodes. Only the ballet ensemble and several first-class variety and circus performances had success with the audience. The ballet ensemble staged by Goleizovsky performed three numbers: "Hey, let's go!", "Moscow in the rain" and "30 English girls". Particularly spectacular was the performance of "The Snake". Among the circus numbers the best were: Tea Alba and "Australian Lumberjacks" Jackson and Laurer. Alba wrote with chalk on two boards at the same time with her right and left hands. different words. The lumberjacks at the end of the race were chopping two thick logs. An excellent balance number on the wire was shown by the German Strodi. He performed somersaults on a wire. Of the Soviet artists, as always, Smirnov-Sokolsky and the ditties V. Glebova and M. Darskaya had great success. Among the circus numbers, the number of Zoya and Martha Koch stood out on two parallel wires.

In September 1928, the opening of the Leningrad Music Hall took place.

3. Theater of Miniatures - a theater group that works mainly on small forms: small plays, sketches, sketches, operas, operettas along with variety numbers (monologues, couplets, parodies, dances, songs). The repertoire is dominated by humor, satire, irony, and lyrics are not excluded. The troupe is small, the theater of one actor, two actors is possible. The performances, laconic in design, are designed for a relatively small audience; they represent a kind of mosaic canvas.
4. Conversational genres on the stage - a symbol of genres associated mainly with the word: entertainer, interlude, skit, sketch, story, monologue, feuilleton, microminiature (staged anecdote), burime.

Entertainer - entertainer can be paired, single, mass. A colloquial genre built according to the laws of "unity and struggle of opposites", that is, the transition from quantity to quality according to the satirical principle.

A pop monologue can be satirical, lyrical, humorous.

An interlude is a comic scene or a play of humorous content, which is performed as an independent number.

A sketch is a small scene where intrigue is rapidly developing, where the simplest plot is built on unexpected funny, sharp situations, turns, allowing a whole series of absurdities to arise in the course of action, but where everything, as a rule, ends in a happy denouement. 1-2 actors (but no more than three).

Miniature - in the stage it is the most popular colloquial genre. On the stage today, a popular anecdote (not published, not printed - from Greek) is a short topical oral story with an unexpected witty ending.

A pun is a joke based on the comical use of similar-sounding but different-sounding words to play on the sound similarity of equivalent words or combinations.

Reprise is the most common short colloquial genre.

Couplets are one of the most intelligible and popular varieties of the colloquial genre. The coupletist seeks to ridicule this or that phenomenon and express their attitude towards it. Must have a sense of humor

The musical and colloquial genres include a couplet, a ditty, a chansonette, a musical feuilleton.

A parody common on the stage can be "colloquial", vocal, musical, dance. At one time, recitations, melodeclamations, literary montages, "Artistic reading" adjoined speech genres.

It is impossible to give a precisely fixed list of speech genres: unexpected syntheses of the word with music, dance, original genres (transformation, ventrology, etc.) give rise to new genre formations. Live practice continuously supplies all sorts of varieties, it is not by chance that on old posters it was customary to add "in his genre" to the name of an actor.

Each of the above speech genres has its own characteristics, its own history, structure. The development of society, social conditions dictated the emergence of one or another genre to the forefront. Actually, only the entertainer born in the cabaret can be considered a "variety" genre. The rest came from the booth, the theater, from the pages of humorous and satirical magazines. Speech genres, unlike others, inclined to master foreign innovations, developed in line with the national tradition, in close connection with the theater, with humorous literature.

The development of speech genres is associated with the level of literature. Behind the actor stands the author, who "dies" in the performer. And yet, the intrinsic value of acting does not detract from the importance of the author, who largely determines the success of the performance. The authors often became the artists themselves. The traditions of I. Gorbunov were picked up by pop storytellers - Smirnov-Sokolsky, Afonin, Nabatov and others created their own repertoire. Actors who did not have literary talent turned to authors for help, who wrote based on oral performance, taking into account the mask of the performer. These authors, as a rule, remained "nameless". For many years, the question has been discussed in the press whether a work written for performance on the stage can be considered literature. In the early 80s, the All-Union and then the All-Russian Association of Variety Authors were created, which helped to legalize this type literary activity. The author's "anonymity" is a thing of the past; moreover, the authors themselves took to the stage. At the end of the 70s, the program "Behind the Scenes of Laughter" was released, compiled according to the type of a concert, but exclusively from the performances of pop authors. If in previous years only individual writers(Averchenko, Ardov, Laskin), now this phenomenon has become widespread. The phenomenon of M. Zhvanetsky contributed a lot to the success. Having started in the 60s as the author of the Leningrad Theater of Miniatures, he, bypassing censorship, began to read his short monologues and dialogues at closed evenings in the Houses of the Creative Intelligentsia, which, like Vysotsky's songs, were distributed throughout the country.

5. Jazz on stage

The term "jazz" is commonly understood as: 1) a type of musical art based on improvisation and a special rhythmic intensity, 2) orchestras and ensembles that perform this music. The terms "jazz band", "jazz ensemble" are also used to designate groups (sometimes indicating the number of performers - jazz trio, jazz quartet, jazz orchestra, big band).

6. Song on the stage

Vocal (vocal-instrumental) miniature, widely used in concert practice. On the stage, it is often solved as a stage "game" miniature with the help of plasticity, costume, light, mise-en-scenes ("song theater"); great importance acquires the personality, features of the talent and skill of the performer, who in some cases becomes a "co-author" of the composer.

The genres and forms of the song are varied: romance, ballad, folk song, couplet, ditty, chansonette, etc.; the methods of performance are also varied: solo, ensemble (duets, choirs, wok-instr. ensembles).

There is also a group of composers among pop musicians. These are Antonov, Pugacheva, Gazmanov, Loza, Kuzmin, Dobrynin, Kornelyuk and others.

Many styles, manners and trends coexist - from sentimental kitsch and urban romance to punk rock and rap. Thus, today's song is a multi-colored and multi-style panel, which includes dozens of directions, from domestic folklore imitations to inoculations of African-American, European and Asian cultures.

7. Dance on the stage

This is a short dance number, solo or group, presented in group variety concerts, variety shows, music halls, theaters of miniatures; accompanies and complements the program of vocalists, numbers of original and even speech genres. It was formed on the basis of folk, everyday (ballroom) dance, classical ballet, modern dance, gymnastics, acrobatics, on the crossing of various foreign influences and national traditions. The nature of dance plasticity is dictated by modern rhythms, formed under the influence of related arts: music, theater, painting, circus, pantomime.

Folk dances were originally included in the performances of the capital's troupes. The repertoire included theatrical divertissement performances of rural, urban and military life, vocal and dance suites from Russian folk songs and dances.

In the 1990s, dance on the stage sharply polarized, as if returning to the situation of the 1920s. Dance groups Those employed in show business, such as "Erotic Dance" and others, rely on erotica - performances in nightclubs dictate their own laws.

8. Puppets on the stage

Since ancient times, handicrafts have been valued in Russia, they loved toys, respected fun game with a doll. Petrushka dealt with a soldier, a policeman, a priest, and even with death itself, bravely brandished a club, laid down on the spot those whom the people did not like, overthrew evil, affirmed people's morality.

Petrushechniks wandered alone, sometimes together: a puppeteer and a musician, they themselves composed plays, they themselves were actors, directors themselves - they tried to preserve the movements of the puppets, mise-en-scenes, puppet tricks. Puppeteers were persecuted.

There were other spectacles in which puppets acted. On the roads of Russia one could meet vans loaded with puppets on strings - puppets. And sometimes boxes with slots inside, along which the dolls were moved from below. Such boxes were called nativity scenes. Puppeteers mastered the art of imitation. They liked to portray singers, copied acrobats, gymnasts, clowns.

9. Parody on stage

This is a number or performance based on ironic imitation (imitation) of both the individual manner, style, characteristic features and stereotypes of the original, as well as entire trends and genres in art. The amplitude of the comic: from sharply satirical (degrading) to humorous (friendly caricature) - is determined by the attitude of the parodist to the original. Parody has its roots in ancient art, in Russia it has long been present in buffoon games, farce performances.

10. Theaters of small forms

Creation of cabaret theaters in Russia " Bat"," Crooked Mirror ", etc.

Both "Crooked Mirror" and "The Bat" were professionally strong acting groups, the level of theatrical culture of which was undoubtedly higher than in numerous theaters of miniatures (Petrovsky stood out more than others from Moscow, directed by D.G. Gutman , Mamonovsky, cultivating decadent art, where Alexander Vertinsky made his debut during the First World War, Nikolsky - artist and director A.P. Petrovsky. Among St. Petersburg - Troitsky A.M. Fokina - director V.R. Rappoport, where with ditties and how V. O. Toporkov, later an artist of the art theater, successfully performed as an entertainer.

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Stage art. Prerequisites for the emergence and history of the development of variety art………………………………………………………… 3
Circus. The specifics of circus art………………………………………………………16

List of used literature………………………………………..20

Stage art. Prerequisites for the emergence and history of the development of pop art variety art genre director

The roots of the stage go back to the distant past, being traced in the art of Egypt and Greece. The roots of the stage go back to the distant past, traced in the art of Egypt, Greece, Rome; its elements are present in the performances of itinerant comedians-buffoons (Russia), shpilmans (Germany), jugglers (France), dandies (Poland), mascarabozes (Central Asia), etc.

The troubadour movement in France (at the end of the 11th century) became the bearer of a new social idea. His peculiarity was the writing of music to order, the genre variety of songs from the plots of love lyrics to the glorification of the military exploits of military leaders. Hired singers and wandering artists spread musical creativity. The roots of the stage go back to the distant past, traced in the art of Egypt, Greece, Rome; its elements are present in the performances of itinerant comedians-buffoons (Russia), shpilmans (Germany), jugglers (France), dandies (Poland), mascarabozes (Central Asia), etc.

Satire on urban life and customs, sharp jokes on political topics, a critical attitude towards power, couplets, comic skits, jokes, games, musical eccentricity were the beginnings of future pop genres that were born in the noise of carnival and public entertainment. Barkers, who, with the help of jokes, witticisms, and cheerful couplets, sold any product in the squares and markets, later became the forerunners of the entertainer. All this was of a massive and intelligible nature, which was an indispensable condition for the existence of all pop genres. All medieval carnival artists did not play performances. The basis of the performance was a miniature, which distinguished them from the theater, the main feature of which is the elements that bind the action together. These artists did not portray characters, but always spoke on their own behalf, directly communicating with the audience. This is now the main, distinctive feature of modern show business.

Somewhat later (the middle and the end of the 18th century), various entertainment establishments appeared in foreign countries - music halls, variety shows, cabarets, ministerial shows, which combined all the experience of fairground and carnival performances and were the forerunners of modern entertainment organizations. With the transition of many street genres to closed spaces, a special level of performing art began to form, as new conditions required a more focused perception on the part of the viewer. Formed in the second half of the 19th century, the activity of cafes - chantans, cafes - concerts, designed for a small number of visitors, allowed the development of such chamber genres as lyrical singing, entertainer, solo dance, eccentricity. The success of such cafes caused the emergence of larger, spectacular enterprises - cafe-concerts, such as "Ambassador", "Eldorado" and others.

This form of showing performances was characterized by such qualities as openness, conciseness, improvisation, festivity, originality, entertainment. At this time, France acquires the status of a cultural and entertainment center. "Teatre Montasier" (variety show) - combined musical, theatrical and circus art. In 1792, the Vaudeville Theater became very popular. The theater's repertoire consists of comedy plays, in which dialogues alternate with couplets, songs and dances. Cabaret (an entertainment establishment that combines the song and dance genre of an entertaining nature) and operetta were very popular.

Developing as an art of festive leisure, pop music has always strived for unusualness and diversity. The self-feeling of festivity was created due to external entertainment, the play of light, the change of picturesque scenery, the change in the shape of the stage.

Since the 20s of the last century, pop music has been in the center of attention of cultural and art workers, researchers in various fields of knowledge, acting as a subject of controversy on the pages of the periodical press and disputes in scientific circles. Throughout the history of Russian pop art, the attitude towards it has repeatedly changed. "In domestic science, a tradition has developed to consider pop art, and in this context, jazz, and then rock music, as manifestations of mass culture, which became the object of research in the framework of sociology, social psychology and other social sciences. The interest of culturologists and political scientists in the problems of modern pop music and the socio-cultural phenomena generated by it does not weaken even today.

The development of cinematography produced a stunning effect around the world, subsequently becoming a direct attribute of any society. Since the late 1880s and early 1900s, it has been closely adjacent to the emerging domestic stage, as an institution and as a spectacle it is a direct continuation of the booth. The tapes were transported from city to city by entrepreneurs in vans along with projection equipment. The lack of electricity hampered the development of cinema in a large area of the country. Given this fact, entrepreneurs are acquiring small portable power stations, which have greatly expanded the possibilities of film distribution.

In Russia, the origins of pop genres were manifested in buffoons, fun and mass creativity of folk festivals. Their representatives are raus grandfathers-jokers with an indispensable beard, who amused and beckoned the audience from the upper platform of the booth-raus, parsley, raeshniks, leaders of "learned" bears, actors-buffoons, playing "sketch" and "reprise" among the crowd, playing the pipes , harp, snot and amusing the people.

Variety art is characterized by such qualities as openness, conciseness, improvisation, festivity, originality, entertainment.

Variety, as a synthesized art, has absorbed various genres - instrumental music and vocals, dance and cinema, poetry and painting, theater and circus. All this, mixed up like an amalgam, began to live its own independent life, turning into clear, finished genre forms that do not get tired of synthesizing and, to this day, giving birth to something new that did not have a place to be. Variety art is like a huge tree with a great many branches - genres that, growing up, getting stronger, sprout new shoots-styles.

“Variety art combines various genres, the commonality of which lies in easy adaptability to various actions of public demonstration, in the short duration of the action, in the concentration of its artistic expressive means, which contributes to the vivid identification of the creative individuality of the performer, and in the field of genres associated with the living word, in topicality , acute social and political relevance of the topics covered, in the predominance of elements of humor, satire and journalism. This quality is especially valuable and at the same time specific to the stage.

Despite the fact that the variety of forms and genres is characteristic of the stage, it can be divided into three groups:

The concert stage (previously called "divertissement") combines all types of performances in variety concerts;

Theatrical stage (chamber performances of the theater of miniatures, cabaret theatres, cafe-theaters or a large-scale concert revue, music hall, with numerous performing staff and first-class stage equipment);

Festive stage (folk festivals, holidays at stadiums, full of sports and concert numbers, as well as balls, carnivals, masquerades, festivals, etc.).

There are also these:

1. Variety theaters

2. Music halls

If the basis of a variety performance is a finished number, then the review, like any dramatic action, required the subordination of everything that happens on the stage to the plot. This, as a rule, did not organically combine and led to the weakening of one of the components of the presentation: either the performance, or the characters, or the plot. This happened during the production of "Miracles of the 20th Century" - the play broke up into a number of independent, loosely connected episodes. Only the ballet ensemble and several first-class variety and circus performances had success with the audience. The ballet ensemble staged by Goleizovsky performed three numbers: "Hey, let's go!", "Moscow in the rain" and "30 English girls". Particularly spectacular was the performance of "The Snake". Among the circus numbers the best were: Tea Alba and "Australian Lumberjacks" Jackson and Laurer. Alba simultaneously wrote different words with chalk on two boards with her right and left hands. The lumberjacks at the end of the race were chopping two thick logs. An excellent balance number on the wire was shown by the German Strodi. He performed somersaults on a wire. Of the Soviet artists, as always, Smirnov-Sokolsky and the ditties V. Glebova and M. Darskaya had great success. Among the circus numbers, the number of Zoya and Martha Koch stood out on two parallel wires.

In September 1928, the opening of the Leningrad Music Hall took place.

3. Theater of Miniatures - a theater group that works mainly on small forms: small plays, sketches, sketches, operas, operettas along with variety numbers (monologues, couplets, parodies, dances, songs). The repertoire is dominated by humor, satire, irony, and lyrics are not excluded. The troupe is small, the theater of one actor, two actors is possible. The performances, laconic in design, are designed for a relatively small audience; they represent a kind of mosaic canvas.

4. Conversational genres on the stage - a symbol of genres associated mainly with the word: entertainer, interlude, skit, sketch, story, monologue, feuilleton, microminiature (staged anecdote), burime.

A pop monologue can be satirical, lyrical, humorous.

An interlude is a comic scene or musical piece of playful content, which is performed as an independent number.

Miniature is the most popular colloquial genre in pop music. On the stage today, a popular anecdote (not published, not printed - from Greek) is a short topical oral story with an unexpected witty ending.

A pun is a joke based on the comical use of similar-sounding but different-sounding words to play on the sound similarity of equivalent words or combinations.

Reprise is the most common short colloquial genre.

The musical and colloquial genres include a couplet, a ditty, a chansonette, a musical feuilleton.

A parody common on the stage can be "colloquial", vocal, musical, dance. At one time, recitations, melodeclamations, literary montages, "Artistic reading" adjoined speech genres.

The development of speech genres is associated with the level of literature. Behind the actor stands the author, who "dies" in the performer. And yet, the intrinsic value of acting does not detract from the importance of the author, who largely determines the success of the performance. The authors often became the artists themselves. The traditions of I. Gorbunov were picked up by pop storytellers - Smirnov-Sokolsky, Afonin, Nabatov and others created their own repertoire. Actors who did not have literary talent turned to authors for help, who wrote based on oral performance, taking into account the mask of the performer. These authors, as a rule, remained "nameless". For many years, the question has been discussed in the press whether a work written for performance on the stage can be considered literature. In the early 1980s, the All-Union, and then the All-Russian Association of Variety Authors were created, which helped legitimize this type of literary activity. The author's "anonymity" is a thing of the past; moreover, the authors themselves took to the stage. At the end of the 70s, the program "Behind the Scenes of Laughter" was released, compiled according to the type of a concert, but exclusively from the performances of pop authors. If in previous years only individual writers (Averchenko, Ardov, Laskin) came up with their own programs, now this phenomenon has become widespread. The phenomenon of M. Zhvanetsky contributed a lot to the success. Having started in the 60s as the author of the Leningrad Theater of Miniatures, he, bypassing censorship, began to read his short monologues and dialogues at closed evenings in the Houses of the Creative Intelligentsia, which, like Vysotsky's songs, were distributed throughout the country.

5. Jazz on stage

6. Song on the stage

Vocal (vocal-instrumental) miniature, widely used in concert practice. On the stage, it is often solved as a stage "game" miniature with the help of plasticity, costume, light, mise-en-scenes ("song theater"); Of great importance is the personality, features of the talent and skill of the performer, who in some cases becomes a "co-author" of the composer.

Short description

Stage- view performing arts which implies both a separate genre and a synthesis of genres: singing, dancing, original performance, circus art, illusions.

Pop music- a kind of entertaining musical art, addressed to the widest audience.

This type of music was most developed in the 20th century. It usually includes dance music, various songs, works for pop and symphony orchestras and vocal and instrumental ensembles.

Often, pop music is identified with the prevailing concept of "light music", that is, easy to perceive, publicly available. In historical terms, light music can be attributed to classical works that are simple in content and have gained universal popularity, for example, plays by F. Schubert and J. Brahms, F. Lehar and J. Offenbach, waltzes by J. Strauss and A. K. Glazunov, “Little Night serenade” by W. A. Mozart.

In this vast, as well as extremely heterogeneous in character and aesthetic level, area musical creativity on the one hand, the same expressive means are used as in serious music, on the other hand, their own, specific ones.

The term "variety orchestra" was proposed by L. O. Utyosov in the late 40s, which made it possible to separate two concepts:
pop and jazz music.

Modern pop music and jazz have whole line common features: the presence of a constant rhythmic pulsation carried out by the rhythm section; predominantly dance character of works performed by pop and jazz groups. But if jazz music is characterized by improvisation, a special rhythmic property is swing, and the forms of modern jazz are sometimes quite difficult to perceive, then pop music is accessible musical language, melody and extreme rhythmic simplicity.

One of the most common types of pop instrumental compositions is the pop symphony orchestra (ESO), or symphojazz. In our country, the formation and development of the ESO is associated with the names of V. N. Knushevitsky, N. G. Minkh, Yu. V. Silantiev. The repertoire of variety and symphony orchestras is extremely extensive: from original orchestral pieces and fantasies to notable themes to the accompaniment of songs and operettas.

In addition to the indispensable rhythm section and the full brass composition of the big band (saxophone group and brass group), the ESO includes traditional groups symphony orchestra instruments - woodwinds, horns and strings (violins, violas, cellos). The ratio of groups in the ESO approaches that of a symphony orchestra: the string group dominates, which is due to the predominantly melodic nature of the music for the ESO; wood plays an important role wind instruments; the principle of orchestration itself is very close to that adopted in symphony orchestra, although the presence of a constantly pulsing rhythm section and the more active role of the brass group (and sometimes saxophones) is reminiscent of the sound of a jazz band at times. An important coloristic role in the ESO is played by the harp, vibraphone, timpani.

ESOs are very popular in our country. Their performances are broadcast on radio and television, they most often perform film music, participate in large variety concerts and festivals. Many Soviet composers write music specifically for the ESO. These are A. Ya. Eshpay, I. V. Yakushenko, V. N. Ludvikovsky, O. N. Khromushin, R. M. Ledenev, Yu. S. Saulsky, M. M. Kazhlaev, V. E. Ter -letsky, A. S. Mazhukov, V. G. Rubashevsky, A. V. Kalvarsky and others.

The pop music genre includes different kinds pop songs: traditional romance, modern lyric song, song in dance rhythms with advanced instrumental accompaniment. The main thing that unites numerous species pop song, - the desire of their authors for the ultimate accessibility, memorability of the melody. The roots of such democracy are in the old romance and in modern urban folklore.

Pop song is not just pure entertainment. So, in Soviet pop songs, the themes of citizenship, patriotism, the struggle for peace, etc. sound. F. Tukhmanov and other Soviet composers are loved not only in our country, but also far beyond its borders. Solovyov-Sedoy's song " Moscow Nights". In the XX century. different types of dance music succeeded each other. So, tango, rumba, foxtrot was replaced by rock and roll, twist and shake came to replace it, samba and bossa nova rhythms were very popular. For a number of years, the disco style has been widespread in pop and dance music. It arose from an alloy of Negro instrumental music with elements of singing and plasticity, typical for pop singers from Latin America, in particular from the island of Jamaica. Closely associated in Western Europe and the United States with the recording industry and the practice of discos, disco style music turned out to be one of the fast-moving trends in pop and dance music of the 2nd half of the 20th century.

Among the Soviet composers who laid down domestic traditions in the genre of dance music are A. N. Tsfasman, A. V. Varlamov, A. M. Polonsky and others.

Contemporary rock music can be attributed to the field of pop music. In the musical culture of Western Europe and the USA, this is a trend that is very colorful in terms of ideological and artistic level and aesthetic principles. It is represented both by works expressing protest against social injustice, militarism, war, and by works preaching anarchism, immorality, and violence. The musical style of the ensembles representing this trend is equally diverse. They have, however, common ground, some distinguishing features.

One of these features is the use of singing, solo and ensemble, and, consequently, the text, which carries an independent content, and the human voice as a special timbre coloring. Members of ensembles or groups often combine the functions of instrumentalists and vocalists. The leading instruments are guitars, as well as various keyboards, less often wind instruments. The sound of instruments is amplified by various sound converters, electronic amplifiers. From jazz music rock music is distinguished by a more fractional metro-rhythmic structure.

In our country, elements of rock music are reflected in the work of vocal and instrumental ensembles (VIA).

Soviet pop music, due to its mass character and wide popularity, played a significant role in aesthetic education the rising generation.

Topic 6. Panorama of the main directions in the field of world stage

Theme 7 Pop music in the 90s and early 21st century

Control lesson

SECTION III. rock culture
Topic 1. Rock music as a phenomenon of the musical culture of the twentieth century.

Topic 2. US rock music in the 1950s.

Topic 4. Review of the directions of rock music in the 1970s-1980s.

Topic 5. Overview of rock music trends in the 1990s.

Topic 6. Overview of the directions of rock music of the XXI century.

Topic 7. Rock music in the USSR

Topic 8. Panorama of the main directions of modern domestic rock

Section IV Mass genres musical theater

Subject

Topic 4. Rock musical

Topic 5. Rock opera

Student reports

Differentiated offset

TOTAL:

3. CONDITIONS FOR THE IMPLEMENTATION OF THE DISCIPLINE PROGRAM

3.1. Minimum Logistics Requirements

An educational institution implementing a program for training mid-level specialists in the specialty of secondary vocational education must have a material and technical base that ensures the conduct of all types of practical classes, disciplinary, interdisciplinary and modular training, educational practice provided for by the curriculum of the educational institution. The implementation of the discipline program requires the presence of a study room for group classes.

Classroom equipment: tables, chairs (according to the number of students), demonstration board, video and audio equipment (TV, DVD player, vinyl and CD player, projector, laptop, piano)

Teaching aids: TV, DVD player, vinyl and CD player, projector, laptop (Internet access)

3.2. Information support of training
Bibliography

Konen V. The Birth of Jazz.-M., 1984.
Menshikov V. Encyclopedia of rock music. – Tashkent, 1992.
Sargent W. Jazz.-M., 1987.
Feofanov O. Rock music yesterday and today.-M., 1978.
Schneerson G. American song.-M., 1977.
Erisman Guy. French song.-M., 1974.

Topic 1. Jazz as a phenomenon of musical art

Jazz definition. Mixed nature of jazz culture. Historical, social and artistic prerequisites for the birth of jazz. Periodization of jazz history.

Communicative openness of jazz culture. Interaction with academic music ("Third Current"), with the folklore of the peoples of the world ("Fourth Current").

The use of expressive means and techniques of jazz by academic composers.

Topic 2. The origins of jazz

The mixed nature of the origins of jazz music.

Negro roots (improvisational music-making, a special rhythmic organization - swing, specific techniques of vocal - labile - intonation. Dirty tones, shout, groul, holler effects).

European traditions in jazz (tradition of concert music-making, performing compositions, tonal harmony, metro-rhythmic organization, squareness of compositional structures)

American household culture. Minstrel Theatre.

Topic 3. Genres of African American folklore

Common genre features are the responsor principle, labile intonation, the role of the rhythmic principle.

Spiritual genres - spirituals, gospel, ring-shout, jubilee.

Labor songs - work-song: street, field, plantation.

Theme 4 Blues: stages of genre development

Archaic (“rural”) blues is a folklore genre of an improvisational nature.

Classic blues - genre features (figurative content, blues form, blues harmony, blues intonation, blue area, blues square harmony). Blues performers - B. Smith, I. Cox, A. Hunter and others.

Blues in modern jazz. Instrumental blues; the development of the genre in various styles of modern jazz.

Topic 5. Ragtime

The origins of the genre; rag music, cake walk.

Genre features: "a syncopated melody against the background of a metronomically accurate movement of eighths in the accompaniment", "suite" principle of form organization. Features of performing technique.

Ragtime composers: Scott Joplin, Thomas Tarpen, James Scott and others.

Development of ragtime - genres Advanced, Novetly.

Ragtime opera. Trimonisha (S. Joplin)

Topic 6. Styles of early jazz

Migration of African Americans from the countryside to the cities, and the formation of the first jazz centers (New Orleans, Chicago, Kansas City, New York).

New Orleans style. Marching band, their role in the formation of the first jazz ensembles. Instrumental composition jazz orchestras, tool functions.

The work of D. R. Morton, S. Bechet, L. Armstrong.

The spread of jazz on the East Coast and the Midwest (Kansas City, Memphis, etc.)

Chicago style. Dixieland and its role in the development of jazz. Activities of the "Original Dixieland Jazz Band" (leader Jack Lane). Barrel house style. Boogie-woogie genre.

Topic 7. 1920-1930s. The rise of jazz. Swing era

The 1920s is the "jazz age" (F. S. Fitzgerald). Relocation of the jazz development center to New York.

Sympho-jazz as an example of the convergence of jazz with the traditions of academic music. Creativity J. Gershwin. Porgy and Bess is the first opera based on Negro folklore.

Sweet music is a direction of dance-entertaining jazz. Creativity of J. Kern, K. Porter and others.

The 1930s is the swing era. Expansion of the sphere of existence of jazz (dancing halls, restaurants, hotels; musical arrangement of shows, musicals, films). Dance and entertainment function of jazz music, as a result of its commercialization.

The dominant position of the big bands. Principles of sectional grouping of tools. Functions of arranger and improviser. "Standardized" musical language.

"Nominal" big bands (F. Henderson, K. Basie, D. Ellington, B. Goodman, G. Miller, V. Herman, etc.)

Topic 8. The beginning of the era of modern jazz. 1940s. Bebop style.

Socio-political reasons for the formation of bebop - the first style of modern jazz. Reorientation of jazz from the field of mass culture to the status of an elite art.

Orientation to chamber music-making, as a result of which the formation of small performing ensembles is a combo. Strengthening the role of improvisation.

The complication of the system of musical expressive means of jazz due to the "borrowing" of the achievements of modern academic music. Revival of the traditions of labile folklore intonation and their manifestation in the harmonic field of jazz.

Bebop luminaries - D. Gillespie, C. Parker, T. Monk.

Topic 9. 1950s. Cool style and other trends

Cool (cool) - as a reaction to hot-stile bebop. The development of the tendencies of the 1940s - the inclination towards chamber music, the renewal of the musical language, the strengthening of the improvisational beginning. Intellectualization of jazz, bringing it closer to the music of the academic tradition.

Representatives of the cool style are D. Brubeck, P. Desmond, B. Evans. "Modern jazz quartet".

Progressive style is a style of concert jazz based on the traditions of the swing big band. Orchestra leaders S. Kenton, V. Herman, B. Raeburn and others.

Topic 10. 1960s. avant-garde styles of jazz

Free jazz is the first avant-garde style of jazz. Social prerequisites for the emergence of style. The inclination to use modern complex means of the musical language with a free attitude to shaping, thematism, harmonic "grid", uniform metric pulsation.

"Modal" jazz, as a kind of free jazz. The main setting of the style is improvisation on the chosen scale.

Representatives of free jazz - O. Cowelman, J. Coltrane, C. Mingus, A. Shepp and others.

Topic 11. jazz styles 1960-1970s

The interaction of jazz with various musical cultures, in order to find sources of enrichment of the jazz language.

Ethno styles. Afrocuba and bossa nova - jazz music of Latin American flavor. Character traits- dance-genre rhythm, expansion of the drum group through the use of various exotic instruments.

Jazz-rock is a direction based on the synthesis of jazz with rock style. Enrichment of the jazz sound by attracting specific electric musical instruments. Jazz-rock in the music of M. Davis, C. Corea and others.

"Third Current" - a direction that combines academic musical traditions ("First Current") with jazz ("Second Current"). Set to write orchestral compositions in large forms, the departure of improvisation into the background. Representatives of the "third current" - G. Schuller, "Swingle Singers".

"The Fourth Current" or "world music" - new wave ethno jazz since the 1970s. It is based on the original national world folklore. Creativity of John McLaughlin, Jan Garbarek, John Zorn, San Ra.

Topic 18. Jazz in Soviet Russia

1920s in Russia - "jazz boom". Tours in the USSR of foreign jazz bands and jazz soloists. The first jazz bands: V. Parnakh's Eccentric Jazz Band (1922), A. Tsfasman's Orchestra (1926), L. Utyosov-Ya's Tea Jazz. Skomorovsky (1929). Popularization of jazz with the help of cinema (“Merry Fellows” by G. Aleksandrov, with the orchestra of L. Utesov). Creation of the State Jazz of the USSR (under the direction of M. Blanter and V. Knushevitsky) and the Jazz Orchestra of the All-Union Radio (under the direction of A. Varlamov, later - A. Tsfasman)

Variety and entertainment orientation of jazz music in the 1930s-1940s; rapprochement with the Soviet mass song. "Song Jazz" The activities of orchestras under the direction of O. Lundstrem, E. Rosner. Creativity of composers I. Dunayevsky, N. Bogoslovsky and others.

The 1940s-1950s were a time of sharp criticism and prohibition of jazz as a reflection of the ideology of the state and the foreign policy life of the USSR. Underground Jazz. Creativity of Yu. Saulsky.

1950-1960s - "Khrushchev thaw" - the time of the creation of jazz clubs, the organization of jazz festivals. Tours of foreign jazzmen. Participation of Soviet musicians in foreign jazz festivals.

Gradual legalization of jazz in the 1980s. The appearance of the first independent jazz club in Leningrad (1986), publications about jazz in the magazine " Music life”, the release of the film “We are from Jazz” (director K. Shakhnazarov) with the participation of the orchestra conducted by A. Kroll (1983).

Topic 19. Jazz in post-Soviet Russia

Domestic jazzmen who advanced in 1960-1980: A. Kuznetsov, A. Kozlov, G. Holstein, I. Bril, L. Chizhik, D. Kramer, V. Ganelin, V. Chekasin, A. Kondakov and others. Vocalists - L. Dolina, I. Otieva, V. Ponomareva.

The variety of styles in the activities of Russian bands and soloists of the 1980s: Retro styles (Leningrad Dixieland), bebop (D. Goloshchekin), cool jazz (G. Lukyanov and his Kadans ensemble), free jazz (V. Gaivoronsky , V. Volkov).

The emergence of new figures in Russian jazz in the 1990s - A. Rostotsky, A. Shilkloper, V. Tolkachev, N. Kondakov, A. Podymkin and others.

Section 2

Topic 1. Genre of a popular song as a component of pop music

The song, as one of the most widespread pop genres. The origins of the popular song. Chronology of the development of the genre: ancient era(synthesis of poetry and music), Middle Ages (songs of troubadours, trouvers, minnesingers, minstrels, etc.), Renaissance (songs with instrumental accompaniment in professional art and everyday music making), second half of the 18th-20th centuries. - an offshoot of the song genre of the romance, XIX century. division of the song genre in two directions - pop (oriented to the mass listener) and "serious" (field of activity of academic composers).

The specific features of the genre are communicativeness, democracy, features of the text (“song poetry”). Variety of song genres:

By forms of existence (children's, student's, soldier's, city, etc.)

by genre guidelines (anthem, lament, anthem, etc.)

The Central Position of the Song Genre in Pop Music Culture

Topic 2. French chanson

Chanson's origins folk songs, in the work of troubadours and trouveurs. In the 15th-16th centuries. chanson is a polyphonic song that summarized the national song traditions of French music.

XVII century - the performance of urban songs by professional musicians - Gros Guillaume, Jean Solomon, etc.) Variety of topics.

XVIII century - the activity of "chansonnier theaters". Chanson performers - Jean Joseph Vade, Pierre-Jean-Gara and others.

XIX century - the work of the chansonnier. The variety of artistic masks - "country guy" (Chevalier), "dandy" (Frant), etc. The emphasis in the performing style is not so much on vocal art, how much on artistry.

The twentieth century is a chanson in the work of Jacques Brel, Gilbert Beco, Charles Aznavour, Edith Piaf, Yves Montana. Traditions of chanson in the work of Joe Dassin and Mireille Mathieu.

Topic 3. Soviet mass song

The role of the song genre in the Soviet musical art 1920-1930s.

Mass song as an example of social order; means of mass propaganda. Democracy of the genre, mass distribution. Cinema as a means of genre massification. "Film Songs" by I. Dunayevsky.

The meaning of mass song during the years of the Great Patriotic War and post-war period.

1950-1060s. Strengthening the influence of the song genre on the field of academic genres (song opera) and mass music (song jazz).

The work of Soviet songwriters - M. Blanter, S. Tulikov, V. Solovyov-Sedoy, Ya. Frenkel, A. Pakhmutova and others.

Topic 4. Pop song genre: stages of development in the national stage

The emergence of the genre at the turn of the XIX-XX centuries. The first genres of pop music in Russia were couplets, "cruel" and gypsy romance. Popular artists singers of the first half of the twentieth century - I. Yuryeva, A. Vyaltseva, P. Leshchenko and others.

The development of pop songs in Soviet Russia - in the work of L. Utesov, M. Bernes, M. Kristallinskaya, E. Piekha and other performers. Creativity VIA ("Earthlings", "Electroclub", "Merry Fellows"). Groups focused on the retro style ("Bravo", "Doctor Watson"), on the folklore specifics of the Union republics ("Yalla", "Pesnyary", "Mziuri").

Modern pop song performers - A. Pugacheva, S. Rotaru, L. Vaikule, F. Kirkorov, V. Leontiev and others. Defining setting in modern stage on the show, visual brightness and showiness, depreciation of vocal skills (singing to the soundtrack).

Author's song as an alternative to pop art. Chamber performance, maximum proximity to the listener. The performers of the author's song are Alexander Galich, Yuri Vizbor, Novella Matveeva, Sergey and Tatiana Nikitin, Alexander Dolsky, Yuli Kim and others.

Creativity of Bulat Okudzhava. "Theme of Moscow"; songs-memories, songs-stylizations.

originality songwriting Vladimir Vysotsky; extreme emotionality, vivid characterization of characters, satire. The "cyclicality" of songs - military, historical, everyday and others.

Topic 6. Panorama of the main directions in the field of domestic modern stage

The genre of the song, as dominant in the modern stage. The main orientation of songwriters to the hit; stereotyped, simplistic musical language. Changes in the genre specificity of the author's song under the influence of pop music (A. Rosenbaum, O. Mityaev), "Russian chanson" (M. Shufutinsky, A. Novikov). Modern pop song as a background part of everyday life.

An alternative way of pop song development is E. Kamburova's "song theater", in synthesis with folk-rock (I. Zhelannaya).

Section 3

Topic 1. Rock as a phenomenon of the musical culture of the twentieth century

Rock culture as a socio-cultural phenomenon; a form of contemporary urban folklore that provides an opportunity for self-expression. The specific means of rock music is reliance on models (country, blues, commercial music), but at the same time the content is problematic, striving for the depth of themes and images.

Electronic instruments as defining a specific rock sound.

Topic 2. US rock music of the 1950s

Explosion of rock and roll in the USA in the 1950s. Origins - rhythm and blues, country, western.

Rock and roll performers - B. Haley, J. Lewis, E. Presley. The specificity of the style is the timbre composition (three electric guitars and drums), dance orientation.

Topic 3. British beat of the 1960s

Beat music as one form of youth dance and entertainment music of the 1960s. Musical characteristics of beat music.

Varieties of beat music (hard beat, soft beat, mainstream beat and others). Distribution in the US and Europe.

Creativity of the Beatles. Formation of original performing style. Creative trends that determined the main directions of the development of rock.

Topic 4. Overview of the directions of rock music in the 1970s - 1980s

The end of the 1960-1970s is a mature period in the development of rock music. "Branching" of creative currents.

Psychedelic rock as a reflection of the hippie ideology. The meditativeness of the compositions, the complication of the musical language. Creativity of the Pink Floyd group.

Progressive rock is the theme of protest, against government policy, racism, war, unemployment. Album Pink Floyd

"The Wall".

Art rock is a direction characterized by the complication of the musical language due to rapprochement with the traditions of academic music and jazz. Creativity of the groups "Emerson, Lake & Palmer", "King Crimson".

"Hard rock" - amplification of electronic sound, rigidity of the rhythm, heaviness of the sound. Creativity groups "Uriah Heep" "Black Sabbath".

Glam rock is a direction of rock associated with increased entertainment, theatricalization of concert performances. Representatives of glam rock - Freddie Mercury, Frank Zappa.

Topic 5. Rock music in the USSR

The end of the 1960s was the time of the penetration of Western rock music into the USSR. The perception of rock as a form of protest against the official ideology of the state system.

"Legalized" rock performed by philharmonic VIA ("Merry Fellows", "Singing Guitars", "Pesnyary"); lyrical subject matter, dance and entertainment orientation of songs.

The opposition to "philharmonic rock" is the group "Time Machine".

Folklore direction in rock culture - "Pesnyary", "Syabry", "Yalla".

VIA and musical theater. "Singing Guitars" - "Orpheus and Eurydice" (music by A. Zhurbin), "Ariel" - "The Legend of Emelyan Pugachev" (music by V. Yarushin), "Araks" - "The Star and Death of Joaquin Murieta" (music by A. Rybnikov ), "Rock Studio" - "Juno and Avos" (music by A. Rybnikov).

Rock underground - clubs in Leningrad (groups "Aquarium", "Alisa", "Kino"), Moscow ("Sounds of Mu", "Brigada S"), Ufa "DDT" and other cities. Sverdlovsk is one of the centers of Russian rock (groups Urfin Juice, Nautilus Pompilius, Chaif, Agatha Christie, Sansara, Sahara, Semantic hallucinations and others).

Topic 6. Panorama of the main directions modern rock.

Branching directions of modern rock. Influence on the development of rock culture of computer technology. The standardization of the musical language, the leveling of the author's principle, the dominance of studio forms of music existence over concert ones.

Modern techno directions:

Hip-hop is a direction that combines murals - graffiti, dance break dance, musical direction - rap.

House is a trend based on the combination of techno music and disco. It is based on a mixture of embossed percussion basses (disco) and "heavy" electronic sound (bass, beats, various sound effects, etc.)

Rave is a direction that represents a lifestyle in general. A rave party is a massive club disco. Rave is a kind of techno music, characterized by the dominance of rhythm over melody, maximum volume.

Section 4

Topic 1. Musical: history of origin, stages of development of the genre

The musical is one of the leading mass genres of musical theater. The origins of the genre are minstrel theatre, revues, vaudeville, music hall, musical scenes. The variety of genres of expressive means used in the musical (operetta, vaudeville, modern pop- and rock culture, choreography). The role of jazz art in the formation of genre specifics of the musical.

Stages of genre development (1920-1930s, 1930s-1960s, 1970s-1980s, contemporary musical).

Formation of the genre in the 1920s, as a reflection of the public's increased demand for entertainment culture. The features of mass art in the musical are the sketchiness of the plot, the spectacle, the “template” of the language, and the simplification of vocabulary.

Features of the dramaturgy of the classical musical on the example of the works of J. Gershwin ("Lady, please"), J. Kern ("Excellent, Eddie"), K. Porter "Kiss me, Kat"), I. Blakey and others.

Topic 3. The rise of the musical genre (1940-1960s)

New genre features

Topic expansion; "mastering" the plots of classical literary works - K. Porter "Kiss Me, Kate" (based on "The Taming of the Shrew" by W. Shakespeare, F. Lowe "My Fair Lady" (based on "Pygmalion B. Shaw"), L. Bernstein "West Side Story "(Based on "Romeo and Juliet" by W. Shakespeare), etc.

Strengthening the role of dance. Involvement in the production famous choreographers: B. Fossa in "Chicago" and "Cabaret", J. Robbins and P. Gennaro in "West Side Story"

Film musicals - transferring theatrical musical to the cinema, as well as creating a musical based on a film (Oliver!, My Fair Lady, The Man from La Mancha)

Topic 4. Rock opera

1960s-1070s - the emergence of rock opera. The tradition of combining compositions based on a single storyline album (The Wall by Pink Floyd).

Early rock operas - "Hair" by G. McDermot, "Salvation" by T. Lin, etc.

The Specificity of Rock Opera on the Example of "Jesus Christ Superstar" by E. L. Webber. Other rock operas of the composer are Evita, Cats, Phantom of the Opera.

Topic 5. Rock musicals

Rock musicals in Russia - "Orpheus and Eurydice" by A. Zhurbin, "The Star and Death of Joaquin Murieta", "Juno and Avos" by A. Rybnikov, "Giordano" by L. Quint and others.

Modern jazz and pop music is in constant development. It includes both established musical genres and forms, as well as new stylistic trends. Therefore, the specified course is constantly supplemented and updated according to the material. The program is divided into several sections. The first section is devoted to the development of jazz music. Students should get an idea about the main stages in the development of jazz music, understand the general patterns in the development of its styles, get acquainted with the best examples of foreign and domestic jazz classics, as well as with the work of composers, arrangers and outstanding jazz performers. The second part of the program is devoted to an overview of the main directions of pop song creativity. In the third section we will trace the development of rock music and the fourth and final rock opera and musical.

The objective of the course "History of Musical Variety Styles" in the secondary vocational educational institution is the expansion of the artistic horizons of students, as well as the development of their ability to navigate in various musical styles and directions in their artistic practice. Therefore, the main requirement for independent work student is to study the recommended literature and listen to the audio material for the lesson.

This subject complements the cycle of special and theoretical disciplines. Studying the courseHistory of musical stage styles” implies interdisciplinary connections with such disciplines as musical literature, specialty, ensemble, orchestra.

Mastering the subject contributes to the development of students' creative thinking. Planned, systematic homework will contribute to the disclosure of the student's creative abilities, broadening their horizons.

Questionnaire work.
Work with additional literature recommended by the teacher (involves note-taking).
Making abstracts.
Listening to music.

4. CONTROL AND EVALUATION OF THE RESULTS OF MASTERING THE DISCIPLINE

Control and evaluation of the results of mastering the discipline is carried out by the teacher in the process of conducting practical classes and laboratory work, testing, as well as the performance of individual tasks, projects, and research by students.

Learning Outcomes

(learned skills, acquired knowledge)

Forms and methods of monitoring and evaluating learning outcomes

Skills:

navigate the main stylistic varieties of pop music and jazz;
navigate the issues of philosophy and psychology of pop-jazz music;
distinguish jazz masters from their commercial counterparts.

Current control - implementation of abstracts

Knowledge:

main historical stages formation and development of pop music and jazz in the context of socio-economic, national-ethnic and artistic-aesthetic phenomena;
the main stylistic varieties of jazz that arose in the process of its development;
specific jazz techniques (improvisation, metro-rhythmic features, swing, articulation);
means of musical and performing expressiveness of pop-jazz music;
features of the development and style of Russian jazz;
the interaction of jazz with other types of musical art

Questionnaire surveys, quizzes, reports using additional literature and summarizing the material studied in the class

5. LIST OF BASIC AND FURTHER LITERATURE

Main literature

Ovchinnikov, E. History of jazz: a textbook. In 2 issues. / E. Ovchinnikov. - Moscow: Music, 1994. - Issue. 1.
Klitin, S. Variety art of the 19-20th century / S. Klitin. - St. Petersburg: SPbGATI, 2005.
Konen, V. The Birth of Jazz / V. Konen. - Moscow: Soviet composer, 1990.
Rock music in the USSR: the experience of a popular encyclopedia / comp. A. Troitsky. - Moscow: Book, 1990.

additional literature

Ayvazyan A. Rock 1953/1991.- St. Petersburg, 1992
Batashev A. Soviet Jazz.-M., 1972.
Benson Ross. Paul McCartney. Personality and myth. - M., 1993.
Bril I. A practical guide to jazz improvisation.-M., 1979.
Bychkov E. Pink Floyd (Legends of Rock).-Karaganda, 1991.
Vorobieva T. History of the Beatles Ensemble.-L., 1990.
Dmitriev Yu. Leonid Utesov.-M., 1983.
Davis Hunter. The Beatles. Authorized biography.-M., 1990.
Kozlov, A. Rock: history and development / A. Kozlov. - Moscow: Syncope, 2001.
Kokorev, A. Punk-rock from A to Z / A. Kokorev. - Moscow: Music, 1991.
Collier J. Louis Armstrong. M., 1987
Collier J. Formation of Jazz.-M., 1984.
Korolev, O. Brief Encyclopedic Dictionary of Jazz, Rock and Pop Music: Terms and Concepts / O. Korolev. - Moscow: Music, 2002 Collier J. Duke Ellington. M., 1989
Kurbanovsky A. Rock notebook. S.-Pb., 1991
Markhasev L. In the light genre.-L., 1984.
Menshikov V. Encyclopedia of rock music. – Tashkent, 1992
Moshkov, K. Blues. Introduction to history / K. Moshkov. - St. Petersburg: Lan, 2010
Moshkov, K. Jazz Industry in America / K. Moshkov. - St. Petersburg: Lan, 2008
Music of our days / ed. D. Volokhin - Moscow: Avanta+, 2002
Panasie South. The history of authentic jazz.-M., 1990
Pereverzev L. Essays on the history of jazz. // Musical life.-1966.-№3,5,9,12
Pereverzev L. Duke Ellington and his Orchestra // Musical Life.-1971.-№22.
Pereverzev L. Charlie Parker.// Musical life.-1984.-№10.
Pereverzev L. Orchestra of Oleg Lundstrem // Musical Life.-1973.-№12.
Let's talk about jazz: reflections of great musicians about life and music / transl. from English. Y. Vermenich. - Rostov-on-Don: Phoenix, 2009.
Sargent W. Jazz.-M., 1987.
Simonenko P. Jazz Melodies.-Kyiv, 1984
Sky Rick. Freddie Mercury.-M., 1993.
Soviet Jazz: Problems. Events. Masters.-M., 1987.
Troitsky A. youth music 80s // Musical life.-1980.-№12.
Fedorov E. Rock in several faces.-M., 1989.
Feizer L. A book about jazz. Translation by Y. Vermenich. Voronezh, 1971
Feofanov O. Music of rebellion.-M., 1975.
Feiertag, V. Jazz in Russia. Brief encyclopedic reference book / V. Feiertag. - St. Petersburg: SCIFIA, 2009.
Fischer, A. Bebop jazz style and its luminaries: study guide) / A. Fischer, L. Shabalina. - Tyumen: RIC TGAKIST, 2010.
Chugunov Yu. Harmony in Jazz.-M., 1980.
Schmidel G. The Beatles. Life and songs.-M., 1977.

Selected discography by course

"AVBA" s60-08353-54
Ensemble "Arsenal". Second wind s60-2369002
Anthology of Soviet Jazz. First steps М6045827006
Armstrong Louis. с60-05909-10
Basie Count and the Kansas City Seven c60-10279-80
Basie Count. When the sun goes down М60-47075-009
Basie Count. 14 golden melodies (2pl). c60-18653-4
The Beatles. A Taste of Honey. с60-26581-006
The Beatles. Hard day's Night. с60-23579-008
The Beatles. Love songs BTA 1141/42
Bril Igor, jazz ensemble. The orchestra arrived from 60-14065-66
Brubeck Dave in Moscow (2pl.) s60-301903007, s60-30195-001
Gershwin George. Popular ringtones s60-08625-26
Disco club-9. jazz compositions s60-19673-000
Goloshchekin David. Leningrad Jazz Ensemble. 15 years later. с60-20507-007
Goodman Benny. What can moonlight do. М6047507006
Davis Miles and the Giants of Contemporary Jazz М60-48821-006
James Harry and his orchestra. The person I love М60-49229-006
deep purple. In Rock П91-00221-2
John Elton. City tramp. с60-24123-002
John Elton. Your song c60-26003-002
John Elton. The one BL1027
Donegan Dorothy c60-20423-005
"Queen". Greatest Hits A60-00703-001
Credence Group. Wandering Orchestra. С60-27093-009
"Led Zeppelin" group. Stairway to Heaven с60-27501-005
Lundstrem Oleg and his orchestra. In memory of Duke Ellington с60-08473-74
Leningrad Dixieland 33CM02787-88
Lundstrem Oleg and his orchestra. In rich colors c60-1837-74
Lundstrem Oleg and his orchestra. Sun Valley Serenade c60-18651-52
Paul McCartney. Again in the USSR. А6000415006
Miller Glenn and his orchestra. In the mood М60-47094-002
A music shop. In memory of L. Utesov М6044997-001
Parker Charlie. M60-48457-007
Pink Floyd. Live А60 00543-007
Peterson Oscar and Dizzy Gillespie c60-10287-88
Peterson Oscar. O. Peterson Trio. c60-16679-80
Presley Elvis. Everything is in order М60-48919-003
Rolling Stones group. Playing with fire M60 48371 000
Rolling Stones group. Lady Jane s60 27411-006
Ross Diana c60-12387-8
Whiteman Paul, orchestra p/u M60 41643-44
Wonder StevieSun of my life C60 26825-009
Fitzgerald Ella С60-06017-18
Ella Fitzgerald Sings Duke Ellington C90 29749004
Fitzgerald Ella. Dancing in the Savoy. С6027469006
Hendrix Barbara. Negro spirituals A 1000185005
Tsfasman Alexander. Meetings and partings М6047455-008
Webber Andrew Lloyd. Jesus Christ Superstar P9100029
Winter Paul. Concert Earth c6024669003
Charles Ray. Selected songs. BTA 11890
Ellington Duke Dating Coleman Hawkins c60-10263-64
Ellington Duke and his orchestra. Concert (pl. 2) с6026783007

Appendix 2

Questionnaire

African American roots of jazz.
What is improvisation.
Periodization of the stylistic evolution of jazz.
Spirituals:

Time of occurrence;

Definition;

Early African-American Folklore:

2 groups;

Brief description of genres;

labor songs
Poetic images (texts) of spirituals.
Musical style or characteristic genre features spirituals.
Gospel:

A brief description of;

Difference from spirituals;

Performers of labor songs and spirituals.
Ragtime:

Definition;

Characteristic (occurrence, time);

"Sporting life":

Meaning of the word;

Scott Joplin
When was Maple Leaf Ragtime published?

Explain appearance.

The entertainment districts of New Orleans, Chicago,

New York.

Features of the minstrel (black) stage.
What dances ended the evolution of ragtime.
In what works classical music features of spiritual and ragtime appear.
List genres and titles of spirituals.
The meaning of the word "blues".
The timing of the early blues.
Varieties of blues (classification).
Famous representatives and performers of rural blues.
Characteristics of rural blues.
Characteristics of urban blues (time of occurrence).
The first blues singer.
"Kings" and "Queens" of the Blues.
Characteristics of the urban blues (time of occurrence).
The difference between blues and spiritual.
Blues genre.
Poetic images of the blues and its content.
Blues performers.
First printed blues. Composers. Names.
The name of the work of J. Gershwin, which uses blues themes.
Genre and stylistic modifications of the blues. Representatives.
Jazz is the meaning of the word. Origin.
The city is the Cradle of Jazz.
early jazz styles. Differences.
Euro-American type of jazz music. Dixieland. Representatives.
Marching bands and street bands of New Orleans.
New Generation Jazzmen (New Orleans, Chicago).
Street jazz:

Time of occurrence;

Characteristic;

representatives;

Appendix 3

List of terms for terminological dictation

SECTION I. Jazz Art

Archaic Blues, Archaic Jazz, African American Music, Barbershop Harmony, Barrel House Style, Big Beat, Big Band, Block Chords, Wandering Bass, Blues, Blues Scale, Brass Band, Break, Bridge, Boogie Woogie, Background , Harlem Jazz, Groul, Ground Beat, Dirty Tones, Jazzing, Jazz Form, Jungle Style, Dixieland, Cake Walk, Classic Blues, Corus, Minstrel Theatre, Off Beat, Off Pitch Tones, Riff , swing, symphojazz, stride style

Avant-garde jazz, Afro-Cuban jazz, baroque jazz, be-bop, vers, west coast jazz, combo, mainstream, progressive, scat, modern jazz, stop-time technique, "third stream", folk jazz, for- beat, free jazz, fusion, hard bop, oler, hot jazz, "fourth current", Chicago jazz, shuffle, electronic jazz, "jazz era".

SECTION II. Pop music

SECTION III. rock culture

Avant-garde rock, alternative rock, underground rock, art rock, beatnik, black metal, breakdance, hitter rock, glam rock, grunge, industrial rock, intellectual rock, mainstream rock, punk rock, progressive rock, rhythm and blues, rockabilly, rock and roll, reggae, rave, rap, symphonic rock, folk rock, hard rock, heavy metal,

Appendix 4

Approximate tickets for differentiated standings

Ticket number 1

1. The origins of jazz music

2. French chanson

Ticket number 2

1. Genres of African American folklore

2. Stages of development of pop songs in domestic and foreign pop music

Ticket number 3.

1. Ragtime

2. US rock music in the 1950s and 1960s

Ticket number 4

1. Blues: stages in the development of the genre

2. Soviet mass song

Ticket number 5

1. Classic jazz. swing style

2. Rock music in the USSR

Ticket number 6

1. Cool style and other jazz movements of the 1950s

Ticket number 7

1. Jazz styles 1960-1970

2. British Beat 1960s

Ticket number 8

1. Bebop style.

2. Rock opera and rock musical

Ticket number 9

1. Ways of development of jazz in post-Soviet Russia

2. Classical musical (1920-1930s)

Ticket number 10

1. Avant-garde styles of jazz. free jazz

2. Classical musical (1920-1930s)

Ticket number 11

1. Jazz in Soviet Russia

2. Genre of the musical: history of origin, stages of development

Appendix 5

Criteria for evaluating students' answers in the test:

An "excellent" rating is given if the answer is theoretical material informative, logically built, reveals the issue under discussion with a sufficient degree of detail, based on the correct interpretation of terminology, equipped with musical and illustrative examples.

The mark "good" is given if the answer on the theoretical material is not detailed enough, there are minor errors in the use of terminology.

The “satisfactory” rating is given if the theoretical answer is based on discretely presented information that does not create a complete picture of the issue under consideration, poor knowledge of terminology is revealed.

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