musical genres. Music theory: the history of the development of musical genres, musical style Musical genres and their definitions

Continuing the series of articles on music theory, we would like to tell you about how genres in music were formed and developed. After this article, you will never again confuse a musical genre with a musical style.

So, first, let's look at how the concepts of “genre” and “style” differ. Genre- This is a type of work that has developed historically. It implies the form, content and purpose of music. Musical genres began their formation at an early stage in the development of music, in the structure of primitive communities. Then music accompanied every step of human activity: life, work, speech, and so on. Thus, the main genre principles were formed, which we will analyze further.

Style means the sum of materials (harmony, melody, rhythm, polyphony), the way they were used in a piece of music. Usually the style is based on the trend of a certain era or is classified by composer. In other words, style is a set of means musical expressiveness, which defines the image and idea of ​​music. It may depend on the individuality of the composer, his worldview and tastes, approach to music. Also, the style determines the currents in music, such as jazz, pop, rock, folk styles and so on.

Now back to genres of music. There are five main genre beginnings, which, as we said, originated in primitive communities:

• Motority
• Declamation
• chant
• signaling
• Sound imaging

It was they who became the basis of all subsequent genres that appeared with the development of music.

Quite soon after the formation of the main genre principles, the genre and style began to intertwine into a single system. Such genre and style systems were formed depending on the occasion for which the music was created. This is how genre-style systems appeared, which were used in certain ancient cults, for ancient rituals and in everyday life. The genre had a more applied character, which formed a certain image, style and compositional features of ancient music.

On the walls of the Egyptian pyramids and in the surviving ancient papyri, lines of ritual and religious hymns were found, which most often spoke about the ancient Egyptian gods.

It is believed that ancient music received its highest point of development in ancient Greece. It was in ancient Greek music that certain patterns were discovered on which its structure was based.

As society evolved, so did music. IN medieval culture new vocal and vocal instrumental genres have already been formed. During this era, genres such as:

• Organum is the earliest form of polyphonic music in Europe. This genre was used in churches, and it flourished in the Paris school of Notre Dame.
• Opera is a musical and dramatic work.
• Choral - liturgical Catholic or Protestant singing.
• Motet is a vocal genre that was used both in church and at social events. His style depended on the text.
• Conduct is a medieval song, the text of which was most often spiritual and moralizing. Until now, they cannot accurately decipher the medieval notes of conducts, since they did not have a definite rhythm.
• Mass is a liturgical service in Catholic churches. Requiem is also included in this genre.
• Madrigal is a short work on lyrical and love themes. This genre originated in Italy.
• Chanson - this genre appeared in France, and initially choral peasant songs belonged to it.
• Pavane is a smooth dance that opened the holidays in Italy
• Galliard - a cheerful and rhythmic dance also comes from Italy
• Allemanda is a procession dance that originated in Germany.

IN XVII-XVIII For centuries, rural music - country music - has developed quite actively in North America. The genre has been heavily influenced by Irish and Scottish folk music. The lyrics of such songs often talked about love, rural life and cowboy life.

IN late XIX century and at the beginning of the twentieth century, folklore developed quite actively in Latin America and Africa. In the African American community, the blues is born, which was originally a "work song" that accompanied work in the field. The blues was also based on ballads and religious chants. The blues formed the basis of a new genre - jazz, which is the result of a mixture of African and European cultures. Jazz has become quite widespread and universally recognized.

Based on jazz and blues, at the end of the 40s, rhythm and blues (R'n'B), a song and dance genre, appeared. He was quite popular among the youth. Subsequently, funk and soul appeared within this genre.

Curiously, along with these African-American genres, the genre of pop music appeared in the 1920s. The roots of this genre are found in folk music, street romances and ballads. Pop music has always mixed with other genres, forming quite interesting musical styles. In the 1970s, the “disco” style appeared within pop music, which became the most popular dance music at that time, relegating rock and roll to the background.

In the 50s, rock bursts into the ranks of already existing genres, the origins of which are in blues, folk and country. It quickly gained wild popularity and grew into many different styles, mixing with other genres.

Ten years later, the reggae genre was formed in Jamaica, which became widespread in the 70s. The basis of reggae is mento - a genre of Jamaican folk music.

In the 1970s, rap appeared, which was “exported” by Jamaican DJs to the Bronx. The founder of rap is DJ Kool Herc. Initially, rap was read for pleasure, to throw out their emotions. The basis of this genre is the beat that sets the rhythm for recitative.

In the second half of the 20th century, electronic music established itself as a genre. It is strange that it did not receive recognition at the beginning of the 20th century, when the first electronic instruments appeared. This genre involves the creation of music using electronic musical instruments, technology and computer programs.

Genres formed in the 20th century have many styles. For example:

Jazz:

• new orleans jazz
• Dixieland
• Swing
• Western swing
• Bop
• hard bop
• Boogie Woogie
• Cool or cool jazz
• modal or modal jazz
• avant-garde jazz
• soul jazz
• free jazz
• bossa nova or latin jazz
• Symphonic Jazz
• progressive
• Fusion or jazz rock
• electric jazz
• acid jazz
• crossover
• smooth jazz

• Cabaret
• minstrel show
• music hall
• Musical
• Ragtime
• lounge
• Classic crossover
• Psychedelic pop
• italo disco
• Eurodisco
• Hi-energy
• Nu-disco
• space disco
• Ye-ye
• K-pop
• europop
• Arabic pop music
• Russian pop music
• Rigsar
• Laika
• Latin American pop
• J-pop

• Rock'n'roll
• Big Beat
• rockabilly
• psychobilly
• neo-rocabilly
• skiffle
• doo wop
• Twist
• Alternative Rock (Indie Rock/College Rock)
• Mat rock
• Madchester
• grunge
• shoegazing
• Britpop
• noise rock
• noise pop
• Post-grunge
• lo-fi
• indie pop
• Twee pop
• Art rock (Progressive rock)
• jazz rock
• kraut rock
• garage rock
• Freakbeat
• Glam rock
• country rock
• Merseybit
• Metal (Hard rock)
• avant-garde metal
• Alternative metal
• black metal
• Melodic black metal
• Symphonic black metal
• true black metal
• viking metal
• gothic metal
• Doom metal
• death metal
• Melodic death metal
• Metalcore
• New metal
• power metal
• progressive metal
• speed metal
• stoner rock
• Thrash metal
• folk metal
• Heavy metal
• New wave
• Russian rock
• pub rock
• Punk rock
• ska punk
• pop punk
• crust punk
• hardcore
• crossover
• Riot folk
• pop rock
• Postpunk
• Gothic rock
• no wave
• Postrock
• Psychedelic rock
• soft rock
• folk rock
• techno rock

As you can see, there are many styles. For enumeration complete list It will take a lot of time, so we will not do this. The main thing is that you now know how modern popular genres appeared and you will definitely no longer confuse genre and style.

Genre(fr. genre) - This general concept, which surrounds the most essential properties and connections of the phenomena of the world of art, the totality of the formal and content features of the work. All existing works reflect certain conditions, while participating in the creation of the definition of the concept of genre.

Arioso- a small aria with a melodious declamatory or song character.

Aria- a completed episode in an opera, operetta, oratorio or cantata, performed by a soloist accompanied by an orchestra.

Ballad- solo vocal compositions using the texts of poetic works and preserving their main features; instrumental compositions.

Ballet- a type of stage art, the content of which is revealed in dance and musical images.

Blues- a jazz song of sad, lyrical content.

Bylina- Russian folk epic song-tale.

Vaudeville- a cheerful theatrical play with musical numbers. 1) a type of sitcom with couplet songs, romances, dances; 2) the final couplet song in the vaudeville play.

Hymn- solemn song

Jazz- a kind of improvisational, dance music.

Disco- a musical style with a simplified melody and a hard rhythm.

Invention- a short piece of music, in which any original find in the field of melodic development, shaping is essential.

Sideshow- a piece of music played between parts of a piece.

Intermezzo- a small free-form play, as well as an independent episode in an opera or other piece of music.

Cantata- big vocal instrumental work solemn nature, usually for soloists, choir and orchestra.

Cantilena- melodious, smooth melody.

chamber music- (literally "room"). chamber works- these are either pieces for solo instruments: songs without words, variations, sonatas, suites, preludes, impromptu, musical moments, nocturnes, or various instrumental ensembles: trio, quartet, quintet, etc., where three, four, five instruments respectively participate and all parties are equally important, require careful finishing from the performers and the composer.

capriccio- a virtuoso instrumental piece of an improvisational warehouse with an unexpected change of images, moods.

Concert- a work for one or (rarely) several solo instruments and an orchestra, as well as a public performance of musical works.

Madrigal- a small musical and poetic work of love and lyrical content in the 14th-16th centuries.

March- a piece of music with a measured tempo, a clear rhythm, usually accompanying a collective procession.

Musical- a piece of music that combines elements of opera, operetta; ballet, pop music.

Nocturne— in xviii — early xix V. a multi-part instrumental piece, mostly for wind instruments, usually performed outdoors in the evening or at night, from the 19th century. a small lyrical instrumental piece.

Oh yeah- a solemn piece of music dedicated to some significant event or person.

Opera- a musical and dramatic work based on the synthesis of words, stage action and music.

Operetta- a musical stage comedy work, including vocal and dance scenes, orchestral accompaniment and conversational episodes.

Oratorio- a work for soloists, choir and orchestra, intended for concert performance.

House is style and movement in electronic music. house is a descendant of the dance styles of the early post-disco era (electro, high energy, soul, funk, etc.) the main difference between house music is a repeated rhythm beat, usually in 4/4 time, and sampling - work with sound inserts, which are repeated from time to time in music, partially coinciding with its rhythm. one of the most important contemporary sub-styles of house is progressive house.

choir - a work for a large singing group. choral compositions are divided into two large groups - with or without instrumental (or orchestral) accompaniment (a cappella).

Song — poetic work designed for singing. her musical form usually couplet or strophic.

potpourri- a play composed of excerpts from several popular melodies.

Play- a finished musical work of small size.

Rhapsody- a musical (instrumental) work on the themes of folk songs and epic tales, as if reproducing the performance of a rhapsod.

Requiem- mourning choral work (funeral mass).

Romance — lyrical work for voice with musical accompaniment.

R&B (Rhythm-N-Blues, English Rhythm & Blues)- This is a musical style of song and dance genre. originally, a generalized name for mass music based on the blues and jazz trends of the 1930s and 1940s. currently, the abbreviated abbreviation of rhythm and blues (English r&b) is used to refer to modern rhythm and blues.

Rondo- a piece of music in which the main part is repeated several times.

Serenade- a lyrical song to the accompaniment of a lute, mandolin or guitar, performed in honor of the beloved.

Symphony- a piece of music for orchestra, written in sonata cyclic form, the highest form instrumental music.

Symphonic Music- unlike the chamber one, it is performed in large rooms and is intended for a symphony orchestra. symphonic works are characterized by depth and versatility of content, often grandiosity of scale and, at the same time, accessibility of the musical language.

Consonance- a combination in the simultaneous sounding of several sounds of different heights.

Sonata- a musical work of three or four parts of different tempo and character.

Sonatina- little sonata

Suite- a work for one or two instruments from several heterogeneous pieces connected by a common idea.

Symphonic Poem- a genre of symphonic music expressing the romantic idea of ​​the synthesis of arts. a symphonic poem is a one-part orchestral work that allows for various program sources (literature and painting, less often philosophy or history; pictures of nature).

Toccata- a virtuoso piece of music for a keyboard instrument in fast movement and a clear tempo.

Tone- a sound of a certain pitch.

tush- a short musical greeting.

Overture is an orchestral piece designed to serve as an introduction to opera, ballet, drama. in their imagery and form, many classical overtures are close to the first movements of symphonies.

Fantasy is a free-form piece of music.

Elegy- a piece of music of a sad nature.

Etude- a piece of music based on virtuoso passages.

GENRES OF MUSICAL ART

Students must

Know: classifications of genres, vocal genres, instrumental genres. Large forms of vocal-instrumental, instrumental and choral music. Symphonic music. Opera, ballet. Modern directions in music.

Lecture

Chamber music

In the old days, when there were no concert halls, philharmonics, instrumental music and small vocal works performed b in the homes of music lovers. Sonatas, trios, quartets sounded, someone sang to the accompaniment of a harpsichord or other instruments. Among the listeners there were usually only a few relatives and friends.

Thus, they played music both in modest houses of artisans and in aristocratic salons. Hence the expression - chamber music, that is, the music is intended to be performed in the room, the music is home.

vocal music

Music for voice, for singing - the most ancient view musical art, the same age as human speech. The fact that a lingering, long sound is more beautiful and expressive than a short, jerky one has long been understood by man. Obviously, praying, conjuring invisible spirits about something, he tried to draw a sound, tried to make his sound melodious. So it was, or otherwise - it is not known, however, the most ancient songs that we know are just such spells of spirits. It is even difficult to call them songs, their melodies are very simple and primitive, but still these were already the first songs. Of course, there were other songs associated with everyday life. Many songs are dedicated to the most important thing in human life - work, work. Many of them are designed to be sung while working. Their melodies, rhythms are adapted to the movements of a person during this or that labor.

A man walks across the field, slowly, unhurriedly, scoops up grain from a basket and scatters it over the plowed land with a wide, smooth gesture - he sings a song to the rhythm of the step.

Grasses have poured in the meadows, it's time to mow. Mowers go one after another: in unison, at once, they wave their scythes and it is obvious that the song should be more energetic, clearer.

Ripe rye. Women with sickles went out into the fields - new song; they thresh rye on the current - they also sing.

Winter has come - and here you can not do without a song for a long time winter evenings behind a spindle or spinning wheel.

Singing without instrumental accompaniment is called - a cappella.

(learning and analysis of folk songs at the choice of the teacher)

vocal music, performed by human voices, is a combination of two types of art: music and poetry

Almost all vocal works have words. That is why their melodies are to some extent connected not only with the language of words, but also with the expressive intonations of human speech. In every vocal work the leading role belongs to the melody, in which the main idea works, the essence of the musical image is expressed.

Getting to know people musical creativity different countries, you can check amazing wealth song genres: labor, game, ritual, round dance, dance, laudatory, lyrical, heroic-epic, comic, satirical. Family and everyday songs include lullabies, wedding, funeral, lamentations. And all these types of songs were formed in close connection with the social life of this or that people, its labor activity and family and household way of life.

control test

1. What is vocalization?

A) a song with accompaniment;

B) singing with the name of the notes;

IN) play without words.

2. What is a ballad?

A) a song without words;

B) narrative song;

C) a song with a sensual, lyrical character.

3. What do they have in common folk song and romance? (Where is the wrong answer?)

C) were created by amateur singers;

G) created by composers.

4. What is "a cappella"?

A) singing with instrumental accompaniment;

B) singing in chorus;

IN) singing without instrumental accompaniment.

Instrumental genres

Students must

Know :

varieties of instrumental genre;

characteristic features of these works;

the names of several works and the composers who created them.

method of perception of a musical work.

Be able to:

identify by ear instrumental works of different genres;

draw up a plan for analyzing a musical work;

conduct with students an analysis of a piece of music on a given topic;

select tasks for students for active perception of a piece of music;

come up with tasks for associative perception of music;

compose rhythmic movements for plastic intonation;

think over and write down a rhythmic score for playing DMI (children's musical instruments);

conduct various types of musical activities with students, activating the perception of instrumental music of different genres and styles.

Lecture

What kind of music developed earlier, vocal or instrumental?

European instrumental music developed later than vocal music, retained an applied character for a long time, accompanying solemn and mourning processions, city and court balls, and hunting trips.

At home, songs and dances were played on plucked stringed instruments - the multi-stringed LUTE - the forerunner of the guitar and mondolin. In the 16th century, keyboard instruments became widespread in domestic life: harpsichord, clavichord, clavichembalo, in England, virginal.

Household urban dances of the 16th - 18th centuries were diverse in the nature of movement and in rhythm. Among them there were smooth dances - processions (Italian pavane, German alemanda, Spanish sarabande), lively, sliding (French chimes and minuet), fast jumping and skipping (bure, gavotte jig).

From the alternation and juxtaposition of various dances arose the old suite.

Suite(from French Suite - “series”, “sequence”) - a piece of music from several diverse pieces, united by a single idea. For example, "Carnival" by R. Schumann is a cycle of diverse piano miniatures. Or "Pictures at an Exhibition" by M.P. Mussorgsky is a collection of plays that convey the composer's impression of the exhibition of the artist V.A. Hartmann. Often suites are composed of music for theatrical performances, films, ballet and opera excerpts. Such, for example, are the suites "Peer Gynt" by E. Grieg, "Carmen" by R. Shchedrin.

The suite is characterized by pictorial depiction, a close connection with song and dance. The suite is distinguished from the sonata and symphony by the greater independence of the parts, not by such strictness and the regularity of their correlation.

In Germany, at the end of the 17th century, an exact sequence of parts was formed: . for example, G. F. Handel, J. B. Luly, J. S. Bach.

The suites of the 17th-18th centuries were dance suites; orchestral non-dance suites appeared in the 19th century; the most famous - "Scheherazade" by N. A. Rimsky-Korsakov, "Pictures at an Exhibition" by M. P. Mussorgsky

Along with suites for clavier and organ music characteristic two-part cycles, consisting of preludes and fugues or toccatas and fugues.

Toccata(Italian - touch, touch) - the name of a piece of virtuoso character, based on a fast and rhythmically even movement without melodious lyrical episodes.

Prelude(lat. prae ... - before and lat. ludus - game) - a short piece of music that does not have a strict form. In its inception, the prelude always preceded the longer, more complex and rigorous work (hence the name), but subsequently composers began to write preludes as independent works as well.

J.S. Bach wrote The Well-Tempered Clavier

consisting of preludes and fugues and influenced almost all significant composers of subsequent eras. Many of them wrote their own cycles of 12 or 24 preludes, which, like those of Bach, were arranged according to the keys. Frederic Chopin wrote a cycle of 24 preludes without fugues, thus freeing the prelude from its original purpose - an introductory piece. Since then, many composers have written preludes as independent works. The two volumes of Claude Debussy's Impressionist Preludes had a particularly great influence on subsequent composers.

Notable prelude cycles

J.S. Bach - two volumes of the Well-Tempered Clavier, Each volume contains 24 preludes and fugues in 12 major major and 12 minor keys, a prelude and fugue for each piano key.

F. Chopin - 24 preludes,

C. Debussy - two volumes of 12 preludes each. At the end of each prelude is its name, while it is preceded by only a Roman numeral indicating its number.

S. V. Rachmaninov - 24 preludes, among them the world-famous prelude in C-sharp minor.

A. N. Scriabin - 24 preludes

P. Hindemith - Ludus Tonalis, prelude, 11 interludes

D. D. Shostakovich - a cycle of 24 preludes and fugues, and an earlier cycle of 24 preludes for piano.

Test.

B).musical exercises with virtuoso passages;

C) a short musical greeting.

2. March is:

A) a piece with a measured, clear rhythm;

B) a piece of music in which the main part is repeated several times;

C) a virtuoso piece.

A) a virtuoso piece of whimsical character;

B) a play of a sad nature;

C) a jazz piece.

4. Fugue is:

A) a free-form play;

B) a piece in fast movement with a clear rhythm;

5. Concert is:

A) public speaking

B) a work for a symphony orchestra, consisting of four parts;

C) a piece for solo instrument and orchestra.

Sonata

If we compare the sonata with literary genre, then a comparison with novel or story. Likewise, the imsonata is divided into several parts. Usually there are three or four. Like a novel, the sonata is populated with various "heroes" of musical themes.

Topics do not just follow one another, but interact, influence each other, and sometimes come into conflict.

The greatest tension and sharpness is the 1st part of the sonata. Therefore, it developed its own, special sonata form.

First, the composer introduces the main characters - musical themes. It's like the beginning of a drama. Then the action develops, escalates, reaches the top, after which the denouement comes. Thus, the sonata form consists of 3 sections.

1st. exposition, in which the main themes appear in different keys, the action itself - 2 - development and result 3 -reprise. In the reprise, what was in the exposition is repeated, but with changes caused by development events. All musical themes in the reprise appear in the same basic key, sometimes completing the first part of the sonata of the move. It contains excerpts from the most important topics parts, the main tonality is affirmed,

II part composed, as a rule, in slow motion. Music conveys a leisurely flow of thought, sings of the beauty of feelings, draws sublime landscapes.

III part (final) usually kept in fast pace sometimes even in rapid motion. This is the conclusion, the conclusions from the previous parts: it can be optimistic, life-affirming, but sometimes it can be dramatic and even tragic.

Classical sonatas arose at the same time as symphonies, in the second half of the 18th century. The term "sonata" originated earlier in the 16th century from the Italian word for sound. Initially, this was the name of any instrumental piece of music.

Sounds part III

What associations have emerged?

Sounds like a storm sweeping away everything in its path. Four waves of sounds rolling with great pressure. Each wave ends with two sharp blows - the elements are raging. But here comes the second theme. Her upper voice is wide, melodious: complains, protests. The state of extreme agitation is maintained thanks to the accompaniment - in the same movement as with rough start 3 parts. Sometimes it seems that complete exhaustion sets in, but the person rises again to overcome suffering.

This is the main part of the sonata and its natural conclusion dramatic events. Everything here is like in the lives of many people, for whom to live means to fight, to overcome suffering.

"Pathetic Sonata " № 8

The sonata was written by L. Beethoven in 1798. The title belongs to the composer himself. From the Greek word "pathos" - with an elevated, elevated mood. This name refers to all three parts of the sonata, although this "elevation" is expressed in each part in different ways.

I part written in a fast tempo in sonata allegro form. Unusually the beginning of the sonata "The slow introduction sounds gloomy and at the same time solemn. Heavy chords, from the lower register the sound avalanche gradually moves upwards. Formidable questions sound more and more insistent. They are answered by a gentle, melodious melody with a touch of prayer against the background of calm chords.

After the introduction, a swift sonata allegro begins.

Main party reminiscent of surging waves. Against the background of a restless bass, the melody of the upper voice anxiously runs up and down.

Linking party gradually calms the excitement of the main theme, and leads to a melodic and melodious side party.

Contrary to the established rules in the sonatas of the Viennese classics, the side part of the "Pathétique Sonata" sounds not in the parallel major, but in the minor of the same name.

Control

1. In what year was L, Beethoven born?

A). 1670,

B). 1870

IN). 1770.

2. Where was Beethoven born?

A). in Bonn,

B). In Paris,

IN). In Bergen.

3. Who was Beethoven's teacher?

A). Gendel G.F.

B). Nefe K. G.

IN). Mozart W.

4. At what age did Beethoven write the Moonlight Sonata?

A). At 50.

B). At 41.

IN). At 21.

5 . Just right for what woman did Beethoven write Moonlight Sonata?

A). Juliet Guichardi.

B) Juliet Capulet.
IN). Josephine Dame.

6. Which poet gave the name to the sonata No. 14 "Lunar"?

A) and Schiller.

B). L. Relshtab.

IN). I. Shenk.

7. Which work does not belong to the work of Beethoven?

A). "Pathetic Sonata".

B). "Heroic Symphony".

IN),."Revolutionary Etude".

8. How many symphonies did Beethoven write?

Exercise 1.

Listen to two works, determine by style which of them is L. Beethoven, explain your opinion.

Sounds: “Prelude No. 7” by F. Chopin and “Sonata” No. 14, 3rd part of L. Beethoven.

Symphony

Symphony(from the Greek συμφωνία - “consonance”) - a genre of symphonic instrumental music of a many-part form of fundamental worldview content.

Due to the similarity in structure with sonata, sonata and symphony are united under the general title " sonata-symphonic cycle ". In a classical symphony (in the form in which it is presented in the works of the Viennese classics - Haydn, Mozart and Beethoven) there are usually four parts.

the 1st part, at a fast pace, is written in sonata form;

2nd, in slow motion, is written in the form of variations, rondo, rondo sonata, complex three-part

3rd - scherzo or minuet - in three-part form

4th movement, at a fast pace - in sonata form, in the form of a rondo or a rondo sonata.

A program symphony is one that is associated with known content set out in the program and expressed, for example, in the title or epigraph, - “ Pastoral symphony» Beethoven, «Fantastic Symphony» by Berlioz, Symphony No. 1 «Winter Dreams» by Tchaikovsky, etc.

Tasks for students

Listening and analysis of fragments from symphonies by program Kritskaya E. D. "Music".

In Mozart Symphony No. 40, exposition.

1. Sing the main melody of solfeggio, vocalization, to a text invented by yourself.

2. Listen and draw the melodic line of the main theme.

3. In the process of listening, draw an artistic image that has arisen.

4. Compose a rhythmic score for DMI.

5. Learn the proposed rhythmic movements and compose rhythmic improvisations.

A. P. Borodin Symphony No. 2 "Bogatyrskaya"

1. The main theme: sing, play the metallophones, the piano.

2. Compare the musical image with the artistic one - A. Vasnetsov "Heroes".

P. Tchaikovsky symphony No. 4 final

1. Sing the main theme with pauses to the words of the song "There was a birch in the field."

2. Perform rhythmic accompaniment on noise musical instruments.

Theater.

Opera.

Students must:

know:

What is opera;

Types of opera: (heroic, lyrical, fabulous, comic, folk drama).

What is the basis of the opera; (aria, cavatina, arioso, ensembles - duets, trios, quartets, quintets; recitatives, overture, choir)

Most famous operas Russian and foreign composers;

musical fragments from various operas.

Be able to:

Prepare a story for younger students about opera, about composers, about everything that makes up an opera.

Have a conversation with students about this genre.

Prepare a story about any opera with listening and analysis of fragments.

Play and sing some popular themes from operas;

Learn with students fragments of opera arias; choirs.

Lecture

Opera– this is a big and complex muses a performance in which singing, symphonic music, dramatic action, ballet, and painting are organically intertwined. The action of the opera, like any theatrical performance, takes place on the stage. The audience sees the heroes of the work, their actions, follow the unfolding of events. scenery and costumes give an idea of ​​the era, determine the place of action and the appearance of each character. However, the leading place in the opera belongs to music. It is the main expressive means: it reveals the characters of the characters, their relationships, conveys the tension of the action. The opera has a rich historical past. She was born about 400 years ago in Italian city Florence. And all this time, the debate about what is the main thing in it is music or text. There was a period in the history of opera when a poet, librettist was considered its author, and the composer - a minor person - had to obey the authors of the text and singers.

There was also a time when the content stopped paying attention. The opera has become a "concert" in costume. In the 18th-19th centuries, the opera genre was finally formed in the form we know and love it now.

The main thing in the opera- after all music

Born in Italy in the 16th century, the opera went through a large and complex spread to other countries of Europe and the world. Arising as a mythological work - on the plot ancient Greek myth about the struggle of the god Apollo with the serpent Python - now it is surprisingly rich in plots.

In the 19th century in different countries national opera schools were formed. Their most striking representatives in Italy are Rossini's "The Wedding of Figaro", "The Barber of Seville", Verdi's "Rigaletto", "La Traviata", Puccini's "Cio-Cio-San".

In Russia, operatic art has reached the highest heights in the works of Glinka "Ivan Susanin", "Ruslan and Lyudmila", Dargomyzhsky's "Mermaid", Borodin's "Prince Igor", Mussorgsky "Boris Godunov", Rimsky-Kopsky's "The Snow Maiden", Tchaikovsky's "Eugene Onegin" , " Queen of Spades».

The composer writes an opera based on some kind of plot, content, i.e. libretto.

Libretto- This full text musical stage composition, those. opera, operetta, ballet. As a rule, librettos are composed by authors who specialize in this - librettists. Often a literary or dramatic work serves as the primary source of the libretto. For example, popular works"Eugene Onegin", "The Queen of Spades", "La Traviata", "Rigaletto", "Carmen", "The Snow Maiden", "Boris Godunov", "War and Peace" ... these are Russian, foreign and Soviet operas based on famous works Pushkin, Tolstoy, Ostrovsky, Merimee, Hugo, Dumas son. However, these works have been greatly changed, because the opera genre has its own specifics. The text of the opera should be very concise: after all, the sung word sounds much longer than the spoken one. In addition, the basis dramatic play – dialogue. In the opera, there should be arias, ensembles, choirs. All this also requires processing. The libretto is independent, not based on a literary work. Sometimes the composer himself becomes the author of the libretto. A.P. Borodin - "Prince Igor", M.P. Mussorgsky - "Boris Godunov", "Khovanshchina"

A. Dargomyzhsky for the opera "The Stone Guest" chooses a dramatic work by A.S. Pushkin, without changing a single word in it. The opera has arias.

1.Aria - This is the main characteristic of the actor, musical portrait hero. The aria contains the main musical thematic material that characterizes the hero. From the point of view of the development of the plot and stage action, the aria most often coincides with an important moment in the life of the hero. The structure of the aria is varied - two-part, three-part, rondo and others. In most cases, there are two different musical material(For complete characteristics hero). The aria is obligatory in the parts of the main characters.

2. Arioso - differs from the aria in content and size. This is a partial characterization of the actor in connection with an event. Here the attitude of the hero towards another character or his reaction to an event is conveyed. The form is most often three-part.

3. Arietta - Italian small aria, small in size, reminiscent of an arioso, but differs in a simpler, song-like melody Form - one-part, simple two- and three-part.

4. Ballad associated with the narrative nature of the presentation (couplet or through form).

5. romance, serenade most often they convey the lyrical experiences of the hero (the form is simple three-part, rondo, couplet, couplet-variation).

6. Cavatina - a small lyric aria. From the end of the 18th century, the exit aria in the opera. For example, Figaro's sparkling cavatina from Rossini's The Barber of Seville, Lyudmila from Glinka's Ruslan and Lyudmila, Antonida in Ivan Susanin.

7. Ensembles- duets, trios, quartets, quintets and so on are of great importance in opera. Among them, the most common are the duets "agreement" and "disagreement". In the first case, both characters react in the same way to events, and this is reflected in the melody of their statements, which is similar in nature. In the second, the characters have different attitudes towards the same phenomenon, as a result of which their melodic material is contrasting and independent.

choir in opera, it is most often associated with mass scenes, and characterizes a group of people. The form of the choirs is diverse and depends on the content and plot meaning.

TO orchestral Music in opera includes the following genres: overture, introduction, introduction, prelude - these are introductory pieces to the opera; intermission - entry into the following actions or pictures; intermezzo - within the action.

In addition, in a number of cases in the opera there are ballet numbers.

Sometimes in the opera there are short phrases separated by stops. This singing, but very similar to recitation, is called recitative- from the Latin word - read aloud, pronounce loudly. The recitative is the basis for the development of the action in the opera. After all, when complete musical numbers sound - arias, ensembles - the action usually stops.

In the first half of the 19th century, the output aria, i.e. the first aria in the course of action, the one with which the hero went on stage, was called

choir- (Greek - crowd, assembly) - a work for a fairly large group of singers, as well as the name of the singing group, mass scenes in the opera.

Choirs are homogeneous (children's, women's, men's) and mixed monophonic and polyphonic. A singing group without instrumental accompaniment is called not a choir, but a chapel. All members of the choir are divided into several groups, most often into four.

In a mixed choir, all the main voices are present: soprano alto, tenor, bass.

The peculiarity of choral music lies in the fact that it makes it possible to vividly embody the ideas and experiences of large masses of people.

Overture -(French ouyerture - beginning, opening) instrumental introduction to a major work - opera, ballet, oratorio, theatrical performance, gives an idea of ​​the nature of the upcoming action, and its content. It is built on musical themes that are later found in the work and play an important role there. Many overtures of a new type have actually become concert pieces, such as Glinka's Jota of Aragon and Tchaikovsky's Romeo and Juliet.

Notable musical theaters:

Moscow - Bolshoi Theater

Saint Petersburg - Mariinskii Opera House

Paris - Grant Opera

Odessa Opera and Ballet Theater

Milan (Italy) – La Scala

Notable opera singers:

F. Chaliapin, I Kozlovsky L. Lemeshev, B. Shtokolov E Obraztsova, G. Vishnevskaya, Borisenko, Firsova, L. Kazarnovskaya.

Questions and tasks for students

control test

1.Opera is:

A) stage action, where music, dance, painting are organically intertwined;

B) stage action, where music, singing, choreography, painting are organically intertwined;

C) a major piece of music for a symphony orchestra and choir and soloists

2. Libretto is:

A) the full text of the musical stage work;

B) introduction to the opera;

C) a literary work that served as the basis for the creation of the opera.

3. Overture is:

A) instrumental intermission between acts;

B) solo number in the opera;

IN) introduction to the opera.

4. Aria is:

A) a work for a large number of singers;

B) declamatory singing;

IN) solo number in the opera characterizing the hero.

A) tenor;

B) baritone;

B) mezzo soprano

D) soprano;

.ON THE. Rimsky-Korsakov

(1844-1908)

Tikhvin, where N.A. was born and spent his childhood. Rimsky-Korsakov is a city of the free Russian North. Here, Tsar Ivan the Terrible built the Bogoroditsky Monastery, where the sovereign governors did not have access - there were few of them in Rus'. Here, the Old Believers, colorful rites, poetic customs spread in a wide wave, and the people were independent, lively in their language and quick to reprisal.

Father of Nikolai Andreevich - a man of rare decency and kindness, modest, unmercenary, prone to reading books and philosophical reflections. He helped the Decembrists with money when they traveled to Siberian exile.

Rimsky-Korsakov's house stood on the high bank of the Tikhvinka opposite the monastery. Behind the large garden began the fields. You didn't have to go far to hear the lark's song by day, the nightingale's trilling at night. Everything attracted the attention of the boy. The walls of the Vvedensky Monastery, where the fourth wife of Ivan the Terrible, forcibly tonsured as a nun, languished for 52 years.

Nika's older brother, Voin Andreevich, is already sailing in the seas of the Far East. His engaging writings about China, Japan, Sakhalin ignite children's imaginations. He takes music lessons. At the age of 9 he tries to compose, at the age of 12 the boy breaks up with Tikhvin.

All his life he will remember the singing of birds, bells, northern forests and lakes, Tikhvin customs and traditions.

In the meantime, military-bureaucratic Petersburg, naval cadet corps where Nika was assigned. But there was something else that helped the teenager not to lose himself and not become depersonalized in the conditions of drill, cruelty, humiliation. That something was music. Knowing nothing about music theory, he tries to compose, not knowing the technique of stringed and wind instruments, he tries to "orchestrate". This musical chaos begins to clear up from the moment when Nika meets the understanding of a real musician, pianist-teacher F.A. Canille. General musical development Nicky has taken a huge step forward. He recognized Schumann. Bach, Beethoven, Glinka's new compositions.

When Rimsky-Korsakov was 17 years old, Kanille brought him to a musician who was to play an exceptional role in the life of N.A. - it was Mily Alekseevich Balakirev.

Questions and tasks for students

control test

1. Where was Rimsky Korsakov born and spent his childhood?

A) in the village of Novospasskoye;

B) in Votkinsk;

IN) in Tikhvin.

2. Where does he go to study at the age of 12 future composer?

A) in the school of law;

B) in the naval military corps;

C) to the school of guard ensigns.

3. Who influenced the formation of Rimsky-Korsakov as a professional composer?

A) Borodin;

B) Balakirev;.

C) Mussorgsky.

Listening and analysis of a piece of music

Opera "Snow Maiden"

The creation of the "Snow Maiden" strikes with extreme swiftness. A huge work of rare beauty and originality was written in two and a half months. The passion for the content, the images of the "spring tale" and the fact that creatively, technically, emotionally the composer was fully prepared for this work also had an effect. Having created only the first sketches, Rimsky-Korsakov postponed the composition until the summer: together with his family, he spent it in exceptionally favorable conditions at the Stelyovo estate near Luga. The composer described this happy time for him in this way - work on "The Snow Maiden".

"For the first time in my life I had a chance to spend the summer in a real Russian village. I liked everything here, admired everything. A beautiful location, lovely groves, a huge forest, fields of rye, buckwheat, oats, flax, many scattered villages, a small river where we swam , the proximity of a large lake.

Off-road, desolation - everything delighted me. Some thick and clumsy bough or stump, overgrown with moss, seemed to me a goblin or his dwelling. A triple echo, heard from our balcony, as if by the voices of goblin and other monsters.

Starting work on May 30, the composer completed the outline of the entire opera by mid-August. "Not a single composition was given to me with such ease and speed as" The Snow Maiden ".

The composer spent six months on the instrumentation of the opera, and on January 29, 1882, it premiered in St. Petersburg at the Mariinsky Theatre. The successful stage life of the "Snegurochka" continues to this day.

Prologue

1.ved.- Orchestral introduction paints a picture of the last winter night. In the dense snow-covered forest, the master Frost rules; his gloomy harsh theme reigns in the orchestra.

(Listen to a fragment).

But flocks of birds are already flying from the south, Spring-Krasna herself is flying with the birds. Its soft deep theme is becoming clearer. The faithful servant of Frost Leshy proclaims the approach of Spring. And the birds keep flying and the whole orchestra is filled with chirping. But it’s sad in a gloomy forest.” “The forests stand silent, thick paws of fir trees are lowered under the snows. And everything is just light and cold shine - and there is no heat.

Spring admits her guilt: “It is my own fault that it is cold for me and for Spring and for you. Sixteen years ago, when for a joke and amusing my fickle temper, changeable and whimsical, I began to flirt with Frost, and since that time I have been in captivity with the old one! Leave the gray-haired, but that's the trouble: we have an old daughter with a Snegurochka. I love the Snow Maiden, pitying her in her unfortunate lot with the old, I'm afraid to quarrel. And he is glad of that: he is shivering, freezing me, Vesna and Berendey. The jealous sun looks at us angrily and frowns at everyone, and this is the reason for cruel winters and cold springs.

The birds are cold, and Spring advises them: “You poor things, tremble! dance, warm up! I saw more than once that people warmed up by dancing! And the birds dance more and more cheerfully and carelessly.

Sounds like Fragment " Songs and dances of birds»

2.ved- Frost is ready to go to the North. But what about their daughter Snegurochka?

“The sweetest thing in the world for a girl is freedom!” - Mother Spring thinks so, but Frost is afraid of this will: “Listen! I know that the sun is going to destroy the Snow Maiden! He is just waiting to ignite the fire of love in her heart with his beam! Then there is no salvation for the Snow Maiden! As long as her soul is pure as a child, he has no power to harm the Snow Maiden!

Reluctantly, the parents decide to send the Snow Maiden to the Berendey village.

And now their daughter, a snowy beauty, comes out of the forest. Oh, she will gladly go to people!

The aria sounds “With girlfriends to walk on berries…»

That's all for now what a half-child, half-girl dreams of.

But Frost is also alarmed by this confession:

“And Lelya, how did you find out? And the Snow Maiden, worried, describes to her parents the shepherd's singing:

Mom! I heard, I heard

And larks singing ...

I also heard the loud peals of nightingales,

Your favorite singers

Lelya's songs are dearer to me!

And I'm ready to listen day and night

His shepherd songs

And you listen and melt...

But the word "melt" alarmed the frost. “A terrible meaning lurks in this word!” Mother Spring promises the Snow Maiden her help - let her just come to Yarilina Valley, to the lake and call her mother!

The Snow Maiden goes to the Berendey settlement, Bobyl and Bobylikhe take her to their house

First action

Shepherd Lel sings songs to the Snow Maiden. The first sad about "Strawberry Berry" - brings the girl to tears. Then Lel sings a cheerful dance song "Like a forest rustles through the forest." The Snow Maiden had hardly had time to have fun, as the shepherd leaves her! Other girls beckon him, and throwing the flower given by the Snow Maiden, Lel is already running towards them.

"How painful it is here! How heavy the heart has become!

Heavy resentment, like a stone,

A flower crumpled by Lelem fell on my heart.

The shepherd runs to others, they are sweeter,

Their laughter is louder, their speech is warmer.

Aya stand and cry with grief,

That Lel left me...

Father Frost, you offended the Snow Maiden!

But I will take from my mother - Spring

A little warmth of the heart

To make your heart warm a little.

3.ved.- As if to irritate the grief of the Snow Maiden even more, Kupava's girlfriend runs to her and talks about her happiness, about meeting with Mizgir, about her love for him, about the wedding, which will take place on Yarilin's day.

Mizgir comes, the girls start Kupava's wedding song. Unable to take his eyes off the wonderful girl, Mizgir, without hesitation, refuses Kupava - he no longer loves her! He stays with the Snow Maiden!

Passionately addressing the Snow Maiden, Mizgir promises her priceless gifts and his life in

ADAGIO- 1) slow pace; 2) the title of a work or part of a cyclic composition in adagio tempo; 3) slow solo or duet dance in classical ballet.
ACCOMPANIMENT - musical accompaniment soloist, ensemble, orchestra or choir.
CHORD- a combination of several (at least 3) sounds of different heights, perceived as a sound unity; sounds in a chord are arranged in thirds.
ACCENT- stronger, percussive extraction of any one sound compared to others.
ALLEGRO- 1) pace corresponding to a very fast step; 2) the title of a piece or part of a sonata cycle in allegro tempo.
ALLEGRETTO- 1) tempo, slower than allegro, but faster than moderato; 2) the title of a play or part of a work in allegretto tempo.
alteration- raising and lowering the degree of the modal scale without changing its name. Accidentals - sharp, flat, double-sharp, double-flat; the sign of its cancellation is bekar.
ANDANTE- 1) a moderate pace, corresponding to a calm step; 2) the title of the work and part of the sonata cycle in andante tempo.
ANDANTINO- 1) pace, more lively than andante; 2) the title of a work or part of a sonata cycle in andantino tempo.
ENSEMBLE- a group of performers acting as a single artistic group.
ARRANGEMENT- processing of a piece of music for performance on another instrument or other composition of instruments, voices.
ARPEGGIO- the performance of sounds sequentially, usually starting with a lower tone.
BASS- 1) the lowest male voice; 2) musical instruments of low register (tuba, double bass); 3) the lower sound of the chord.
BELCANTO- a vocal style that arose in Italy in the 17th century, distinguished by the beauty and ease of sound, the perfection of the cantilena, the virtuosity of the coloratura.
VARIATIONS- a piece of music in which the theme is stated several times with changes in texture, tonality, melody, etc.
VIRTUOSO- a performer who is fluent in voice or the art of playing a musical instrument.
VOCALYSIS- a piece of music for singing without words to a vowel sound; usually an exercise to develop vocal technique. Vocalises for concert performance are known.
VOCAL MUSIC - works for one, several or many voices (with or without instrumental accompaniment), with few exceptions associated with a poetic text.
HEIGHT SOUND - the quality of sound, determined by a person subjectively and associated mainly with its frequency.
GAMMA- the succession of all sounds of the mode, located from the main tone in ascending or descending order, has the volume of an octave, can be continued into neighboring octaves.
HARMONY- expressive means of music, based on the combination of tones into consonances, on the connection of consonances in their sequential movement. It is built according to the laws of mode in polyphonic music. The elements of harmony are cadences and modulations. The doctrine of harmony is one of the main sections of music theory.
VOICE- a set of sounds of different height, strength and timbre, resulting from the vibration of elastic vocal cords.
RANGE- sound volume (interval between the lowest and highest sounds) of a singing voice, a musical instrument.
DYNAMICS- differences in the degree of sound strength, loudness and their changes.
CONDUCTING- management of a musical and performing group during learning and public performance musical composition. It is carried out by the conductor (bandmaster, choirmaster) with the help of special gestures and facial expressions.
TREBLE- 1) a form of medieval two-part singing; 2) a high children's (boy's) voice, as well as the part he performs in a choir or vocal ensemble.
DISSONANCE- unfused, tense simultaneous sounding of various tones.
DURATION- the time occupied by the sound or pause.
DOMINANT- one of the tonal functions in major and minor, which has an intense attraction to the tonic.
WIND INSTRUMENTS - a group of instruments whose sound source is vibrations of an air column in the bore (tube).
GENRE- a historically established unit, type of work in the unity of its form and content. They differ in the method of performance (vocal, vocal-instrumental, solo), purpose (applied, etc.), content (lyrical, epic, dramatic), place and conditions of performance (theatrical, concert, chamber, film music, etc.).
ZAPEV- the introductory part of a choral song or epic.
SOUND- characterized by a certain pitch and loudness.
IMITATION- in polyphonic musical works, the exact or modified repetition in any voice of a melody that was previously sounded in another voice.
IMPROVISATION- composing music during its performance, without preparation.
INSTRUMENTAL MUSIC - intended for performance on instruments: solo, ensemble, orchestral.
INSTRUMENTATION- presentation of music in the form of a score for a chamber ensemble or orchestra.
INTERVAL- the ratio of two sounds in height. It happens melodic (sounds are taken alternately) and harmonic (sounds are taken simultaneously).
INTRODUCTION- 1) a brief introduction to the first part or finale of a cyclic instrumental piece of music; 2) a kind of short overture to an opera or ballet, an introduction to a separate act of the opera; 3) a choir or vocal ensemble following the overture and opening the action of the opera.
CADENCE- 1) harmonic or melodic turn, completing the musical structure and giving it more or less completeness; 2) a virtuoso solo episode in an instrumental concerto.
CHAMBER MUSIC - instrumental or vocal music for a small group of performers.
FORK- a special device that emits a sound of a certain frequency. This sound serves as a standard for tuning musical instruments and singing.
CLAVIERE- 1) common name of strings keyboard instruments in the XVII-XVIII centuries; 2) an abbreviation of the word klaviraustsug - an arrangement of the score of an opera, oratorio, etc. for singing with a piano, as well as for one piano.
COLORATURA- fast, technically difficult, virtuoso passages in singing.
COMPOSITION- 1) construction of the work; 2) the title of the work; 3) composing music; 4) a subject in musical educational institutions.
CONSONANCE- continuous, coordinated simultaneous sounding of various tones, one of the most important elements of harmony.
CONTRALTO- low female voice.
CULMINATION- the moment of the highest tension in a musical construction, a section of a musical work, a whole work.
LAD- the most important aesthetic category of music: a system of pitch connections united by a central sound (consonance), the relationship of sounds.
keynote- a musical turnover that is repeated in a work as a characteristic or symbol of a character, object, phenomenon, idea, emotion.
LIBRETTO - literary text, which is taken as the basis for the creation of any piece of music.
MELODY- monophonically expressed musical thought, the main element of music; a series of sounds organized in a modal-intonational and rhythmic manner, forming a certain structure.
METER- the order of alternation of strong and weak beats, the rhythm organization system.
METRONOME- a tool that helps to determine the correct tempo of performance.
MEZZO SOPRANO- female voice, middle between soprano and contralto.
POLYPHONY- a warehouse of music based on the simultaneous combination of several voices.
MODERATO- moderate tempo, average between andantino and allegretto.
MODULATION- transition to a new tone.
MUSICAL FORM - 1) complex means of expression embodying a certain ideological and artistic content in a musical work.
NOTICE LETTER- a system of graphic signs for recording music, as well as its recording itself. In modern musical writing, the following are used: a 5-line musical staff, notes (signs denoting sounds), a key (determines the height of notes), etc.
OVERTONS- overtones (partial tones), sound higher or weaker than the main tone, merge with it. The presence and strength of each of them determine the timbre of the sound.
ORCHESTRATION- Arrangement of a piece of music for orchestra.
ORNAMENT- ways to decorate vocal and instrumental melodies. Small melodic embellishments are called melismas.
OSTINATO- repeated repetition of a melodic rhythmic figure.
SCORE- a musical notation of a polyphonic musical work, in which one above the other is given in certain order parties of all votes.
THE CONSIGNMENT - component a polyphonic work designed to be performed by one voice or on a specific musical instrument, as well as by a group of homogeneous voices and instruments.
PASSAGE- the succession of sounds in rapid movement, often difficult to perform.
PAUSE- a break in the sound of one, several or all voices in a piece of music; a sign in musical notation indicating this break.
PIZZICATO- reception of sound extraction on bowed instruments(pinch), gives a jerky sound, quieter than when playing with a bow.
PLECTRUM(mediator) - a device for sound extraction on stringed, mainly plucked, musical instruments.
UNDER VOICE- V folk song the voice accompanying the main one, sounding simultaneously with it.
PRELUDE- a short piece, as well as the introductory part of a piece of music.
SOFTWARE MUSIC - musical works that the composer provided with a verbal program that concretizes perception.
REPRISE- repetition of the motive of a musical work, as well as a musical sign of repetition.
RHYTHM- alternating sounds of different duration and strength.
SYMPHONISM- disclosure of the artistic conception with the help of consistent and purposeful musical development, including confrontation and transformation of themes and thematic elements.
SYMPHONY MUSIC - musical works intended for performance by a symphony orchestra (large, monumental works, small pieces).
SCHERZO- 1) in the XV1-XVII centuries. designation of vocal-instrumental works for humorous texts, as well as instrumental pieces; 2) part of the suite; 3) part of the sonata-symphony cycle; 4) from the 19th century. independent instrumental work, close to capriccio.
HEARING MUSICAL- the ability of a person to perceive individual qualities musical sounds feel the functional connections between them.
SOLFEGIO- vocal exercises to develop ear and music reading skills.
SOPRANO- 1) the highest singing voice(mainly female or children's) with a developed voice register; 2) the top part in the choir; 3) high register varieties of instruments.
STRINGS INSTRUMENTS - according to the method of sound production, they are divided into bow, plucked, percussion, percussion-keyboard, plucked-keyboard.
TACT- specific form and unit of musical meter.
SUBJECT- construction that forms the basis of a musical work or its sections.
TIMBRE- the color of sound characteristic of a voice or a musical instrument.
PACE- the speed of metric counting units. A metronome is used for accurate measurement.
TEMPERATION- alignment of interval ratios between the steps of the sound system.
TONIC- the main step of the fret.
TRANSCRIPTION- Arrangement or free, often virtuoso, processing of a musical work.
TRILL- iridescent sound, born from the rapid repetition of two neighboring tones.
OVERTURE- an orchestral piece performed before a theatrical performance.
DRUMS INSTRUMENTS - instruments with a leather membrane or made of a material that itself is capable of sounding.
UNISON- simultaneous sounding of several musical sounds of the same pitch.
TEXTURE- a specific sound image of the work.
FALSETTO- one of the registers of the male singing voice.
FERMATA- stopping the tempo, as a rule, at the end of a piece of music or between its sections; expressed as an increase in the duration of the sound or pause.
THE FINAL- the final part of a cyclic piece of music.
CHORAL- religious chants in Latin or native languages.
CHROMATISM- halftone interval system of two types (ancient Greek and new European).
HATCHES- ways to extract sound on bowed instruments, giving the sound different character and coloration.
EXPOSURE - 1) initial section sonata form, which outlines the main themes of the work; 2) the first part of the fugue.
STAGE- a type of musical performing art

The most general characteristics genres, directly referring to their content, is already given in the names: lyrical, dramatic, epic music. This also includes program music.

For more specific genre characteristics, a lot of special names have historically been developed. Sonata, symphony, overture, suite, concerto, poem, fantasy, ballad - all these are genre names for more or less large works.

Opera, cantata, oratorio, symphony - here we mean not only performing means, but also the essence of these genres.

A more definite genre characteristic is given by the double titles. For example, lyrical-psychological, epic, opera or symphony; pastoral sonata or dramatic poem.

There are countless genre titles for works of a smaller scale. For example, songs without words by Mendelssohn; preludes, etudes, nocturnes, ballads by Chopin; rhapsodies in Liszt; etudes-paintings by Rachmaninoff, fairy tales by Medtner and Prokofiev.

Some of these titles are generic, while others are more specific to the genre. For example, French and English suites by Bach, Norwegian Dances by Grieg, Italian Capriccio by Tchaikovsky, Jota of Aragon by Glinka.

In the work of romantics there are a variety of software titles with a more individualized genre characteristic. Programming is a characteristic feature of the Romantic era. Appeal to programming is caused by the desire of romantic composers to directly express a specific idea, image, character in the language of music, to bring music closer to other arts, literature, painting. The complexity of the reflected phenomena, the novelty of means and forms - all this required the author's instructions that would direct attention and help to correctly understand the meaning of the work. Composers embodied this common desire in different ways. Berlioz himself wrote a detailed program for his symphonies, like an opera libretto. Liszt's works are inspired by the images of world literature and took their own names. For example, the symphonies "Faust" (each part has a name: "Faust", "Gretchen", "Mephistopheles"), "Dante" after Dante's "Divine Comedy"; symphonic poems"Orpheus" - ancient mythology, "Hamlet" by Shakespeare, "Battle of the Huns" by fresco German artist Katzlbach. Schumann came up with a title characteristic of a given play, indicating a specific content, or expressed in the title a general poetic idea, an idea. For example, the piano cycles "Butterflies", "Flowers". And sometimes, detailing the content, he gives each play of the cycle an individual title. This applies to the miniatures "Pierrot", " Pleasant meetings”, “Tender Confessions”, “Coquette”, etc., included in the piano cycle “Carnival”.

In non-programmed music, the names of dance genres are most definite. Chopin in his piano work was limited only to the definition of the genre of the work: nocturne, ballad, polonaise, mazurka, waltz.

Genre, as a generalization of musical and social practice, is an essential means of expressing an artistic image in musical literature. For example:

In the work of Beethoven and Schubert, the march acquired great importance. – a genre associated with the era of the French Revolution, the revolutionary movement of the masses, with the era of the Napoleonic wars;

Folk song and dance genres in the work of Russians composers XIX-XX centuries. For example: the dance "mazurka" - as a means of creating a national color - Glinka. Opera "Ivan Susanin", II act; ditties - as a means musical characteristic image in connection with the text in the song - Sviridov. Poem "In memory of S. Yesenin", VII part "Peasant guys".

With the change in the content of social thought, the musical genres typical of this or that time also change - some die off (for example, Gregorian chant, richerkar) and others appear (author's song, rock opera).

A piece of music, like a piece of any other art form, is unity of content and form.

I option

Music content- display of reality in specific musical images. Artistic and incl. musical images arise in the creative imagination not by themselves, but as a result of perception reality. This perception does not automatically transfer the phenomena of reality into art (naturalism), but transforms them into artistic images through the creative processing of life impressions. Therefore, the artistic reflection of reality (even in the visual arts) is a reflection of the generalized attitude of the artist to reality, his worldview.

Musical images- the result of this kind of sensual generalization that takes place in the spiritual world of a person and creates the basis for both creative imagination composer, and for the ethical perception of the listener. Muses. the image is already born in a musical guise and is perceived as a phenomenon of a musical order. Therefore, musical images are not only a product of reality, but also a product of musical culture with all its historically developing musical expressive means that form the "musical language".

II option

Reality is reflected in art in the form artistic images. The main features of the artistic image are usually given at the beginning of the work, but the full artistic image is revealed in the process of developing the content. The initial presentation of the artistic image in music is called musical theme(construction, which serves as an occasion for the further process of development).

concept musical form has two meanings: broad, general aesthetic and narrow, technological.

In a broad sense- the form is an integral organized system of musical expressive means, with the help of which the content of the work is embodied (a set of musical expressive means that reveal the ideological and figurative content of the work). The components of the musical form in this sense are not only the structure (type of composition) of the work as a whole and its parts, but also texture - a way of presenting musical material - (melody, harmony, rhythm - in their unity), timbre and register means, dynamic shades, tempo, methods of sound extraction, etc.

In a narrow sense- the structure of the work (type of composition - the structure of a musical or other artwork arising on the basis of the relationship of its most important elements. The composition of the work is purposeful and helps to express the composer's intention); construction of a musical work, the ratio of its parts.

I option

Musical development in the work continuously. Continuity is maintained by internal dynamics that cause constant expectation further development until its final completion.

At the same time, music is articulation, dismemberment through cadences, stops at large durations, pauses. These musical punctuation marks, forming a roundness, completeness of individual constructions, are called caesuras (the moment of division between any parts of the form).

Due to the similarity in this respect with verbal speech (chapters, paragraphs, phrases and even words), musical development is called musical speech(phrases, sentences, period).

The main signs of caesura:

Stop on a continuous sound;

The repetition of melodic-rhythmic figures;

Changing dynamic shades, registers, etc.

The caesura is usually most clearly expressed in the main voice.

The part of the form delimited by caesuras is called building(regardless of duration - from bar to hundreds of bars). Parts of the form, i.e. constructions, separated from each other by caesuras, are at the same time in unity, thanks to which together they form musical whole.

The subdivision of a relatively complete musical thought into parts and their subordination to each other (unity) - musical syntax.

II option

Syntax(Greek - compilation) - this is an area in grammar devoted to the study of semantic relationships in verbal speech, the doctrine of phrases, sentences.

In music, there are also connections between the individual sounds that form musical phrases, between the phrases themselves. These connections arise on the basis of mode, metrorhythm, form of melodic movement, etc. - all this speaks of syntax of musical speech.

A piece of music can be compared to literary work. A story, a novel - has a plan, idea and content, which becomes apparent with a gradual presentation. Moreover, each thought is expressed in complete sentences, which are separated from each other by dots. In the sentence, its parts are separated by commas.

In a piece of music, the content is also not presented in a continuous stream of sounds. Listening to music, we perceive moments of articulation in it - caesuras. A caesura is the moment at which one structure separates from another. Caesuras have characteristics:

Change of registers, texture, melodic movement, tempo, timbre;

The emergence of new melodic material or its repetition;

Caesura between a construction and its literal or varied construction.

Just like in colloquial speech thought is expressed by sentences that consist of separate words, and in the melody sentences are divided into smaller structures - phrases And motives(component elements of musical forms, cells that form the basis of a melody).

motive – smallest part melodies, an indivisible cell of musical speech, which has a certain expressive meaning and which can be recognized when it appears.

Mozart. Symphony No. 40, ch.p.;

Tchaikovsky "German song" (d.a.);

Chaikovsky. May. "White Nights" (d.a.);

Haydn. Minuet;

Mozart. Minuet;

Purcell. Aria;

Mordasov. Old motive.

The sequences of 2-3 motifs form a relatively closed construction - musical phrase. The phrases, in turn, are combined, and the succession of 2 phrases constitutes an even larger construction, called offer. The succession of 2 sentences constitutes a complete section, which is called period is a simple one-part form.

Many small pieces represent a period. But for the most part, musical works consist of a chain of periods.

So the succession of two periods forms a simple two-part form (A + A 1, A + B). In vocal music, this form is called couplet.

- Chaikovsky. May. "White Nights" (d.a.) - A+B;

Maykapar. At kindergarten - A+B;

Schumann. March - A+B;

- Shulgin. October March - A + B;

- Handel. Minuet - A+A 1 ;

- Purcell. Aria - A+A 1 ;

- Bach. Aria - A+A 1

three-part form consists of three sections (most often - three periods): the 1st and 3rd sections are the same; middle - either continues the development of the thematic material of the 1st part, or builds on new, often contrasting material (A + A 1 + A, A + B + A).

Chaikovsky. "March of wooden soldiers" (d.a.) - A+A 1 +A;

Chaikovsky. "New Doll" (d.a.) - A+A 1 +A;

Chaikovsky. "Lark" (d.a.) - A+A 1 +A;

- Mozart. Minuet - A+A 1 +A;

Chaikovsky. "Sweet Dream" (d.a.) - A+B+A;

- Rubinstein. "Melody" - A+B+A;

- Mussorgsky. "Baba Yaga", "Ballet of Unhatched Chicks" ("Pictures at an Exhibition") - sl. 3-part with a contrasting middle;

Grieg. "Procession of the Dwarves" - sl. 3-part with a contrasting middle;

- Prokofiev. Dance of the Knights - sl. 3-part with a contrasting middle;

- Mozart. Symphony No. 40, 3rd part - sl. 3-part with trio

Variations- a musical form consisting of a theme and several repetitions of it in a modified form ( A + A 1 + A 2 + A 3 ...).

- Handel. Passacaglia g moll - 2957 (basso ostinato);

Mozart. Variations on a French Theme Songs. - 572;

Grieg. In the cave of the mountain king - 3641 (soprano ostinato);

Ravel. Bolero - 3139 (double variations);

Glinka. Kamarinskaya - 3578 (double variations)

Shostakovich. Symphony No. 7, part I, episode of the invasion - free variations on an unchanging theme

Rondo(fr. - round dance, walking in a circle) - a musical form consisting of repeated repetition of one theme - refrain(the topic is carried out at least 3 times), with which sections of a different content alternate - episodes. The rondo form begins and ends with a refrain, forming, as it were, vicious circle (A+B+A+C+D+A).

Couperin. Chaconne "Beloved" - 2874;

Mozart. Arioso Figaro "The frisky boy ...", I d. "The Wedding of Figaro" -

Glinka. Romance "Night Zephyr" -

Glinka. Rondo Farlaf, II d. "Ruslan and Lyudmila" -

Borodin. Lament of Yaroslavna, IV d. "Prince Igor" -

Prokofiev. "Juliet is a girl" -

Mussorgsky. "Pictures at an Exhibition" - a rondo with features of a suite.

Large works, consisting of separate parts, united by a common idea, belong to cyclic forms.