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Music of France. What is the musical instrument in France at the end

Wind instruments are the oldest type of musical instruments that came to the Middle Ages from antiquity. However, in the process of development and formation of medieval Western civilization, the scope of wind instruments is greatly expanded: some, like, for example, oliphant, belong to the courts of noble seigneurs, others - flutes - are used both in the folk environment and among professional musicians, and still others, such as the trumpet become exclusively military musical instruments.

The most ancient representative of wind instruments in France must probably be considered a fretel (fretel), or "Pan's flute". A similar instrument can be seen on a miniature from an 11th-century manuscript. in the National Library of Paris (Fig. I). This is a multi-barreled flute, consisting of a set of pipes (reed, reed or wood) of different lengths, with one end open and the other closed. Fretel is often mentioned along with other types of flutes in the novels of the XI-XII centuries. However, already in the XIV century. the fretel is spoken of only as a musical instrument played at village holidays, it becomes an instrument of the common people.

The flute (fluûte), on the contrary, is experiencing a "rise": from a common folk instrument to a court one. The most ancient flutes were found on the territory of France in the Gallo-Roman cultural layer (I-II centuries AD). Most of them are bone. Until the 13th century the flute is usually double, as in a miniature from a 10th century manuscript. from the National Library of Paris (Fig. 3), and the tubes can be either the same or different lengths. The number of holes on the flute's barrel may have varied (from four to six, seven). Flutes were usually played by minstrels, jugglers, and often their play preceded the appearance of a solemn procession or some high-ranking person.

The minstrels also played a double flute with trumpets of different lengths. Such a flute is shown on a vignette from a 13th-century manuscript. (Fig. 2). In the miniature picture, you can see an orchestra of three minstrels: one plays the viol; the second on a similar flute similar to the modern clarinet; the third strikes a square tambourine made of leather stretched over a frame. The fourth character pours wine for the musicians to refresh them. Similar orchestras of flute, drum and violin existed in the villages of France until the beginning of the 19th century.

In the XV century. flutes made of boiled leather began to appear. Moreover, the flute itself could be both round and octagonal in cross section, and not only straight, but also wavy. A similar instrument has been preserved in Mr. Fo's private collection (Fig. 4). Its length is 60 cm, at its widest point the diameter is 35 mm. The body is made of black boiled leather, the decorative head is painted. Such a flute served as a prototype for the creation of the serpan pipe. Serpan flutes were used both during divine services in churches and at secular festivities. Transverse flutes, as well as flageolets, are first mentioned in texts of the 14th century.

Another type of wind musical instruments are bagpipes. There were also several types of them in medieval France. This is a chevrette - a wind instrument consisting of a goat skin bag, an air tube and a duda. A musician playing this instrument (Fig. 6) is depicted in a 14th-century manuscript. "The Romance of the Rose", from the National Library of Paris. Some sources separate the chevret and the bagpipe, while others simply refer to the chevret as "little bagpipes". The tool, which in its appearance is very reminiscent of a chevret, back in the 19th century. met in the villages of the French provinces of Burgundy and Limousin.

Another type of bagpipe was the horo or horum (choro). According to a description found in a manuscript from the abbey of St. Blaise (IX century), this is a wind instrument with a pipe for supplying air and a pipe, and both pipes are located in the same plane (they are, as it were, a continuation of each other). In the middle part of the horo there is a reservoir for air, made of dressed leather, and with a perfect spherical shape. Since the skin of the “bag” began to vibrate when the musician blew into the horo, the sound was somewhat rattling and sharp (Fig. 6).

Bagpipe (coniemuese), the French name for this instrument comes from the Latin corniculans (horned) and is found in manuscripts only from the 14th century. Neither its appearance nor its use in medieval France differed from the traditional Scottish bagpipes known to us, as can be seen from an image from a 14th-century manuscript. (Fig. 9).

Horns and horns (corne). All these wind instruments, including the great oliphant horn, differ little from each other in design and use. They were made of wood, boiled leather, ivory, horn and metal. They were usually worn on the belt. The range of sounding horns is not wide, but the hunters of the XIV century. simple melodies composed of certain signals were played on them. Hunting horns, as we have already said, were worn first at the waist, then, until the 16th century, on a sling over the shoulder; a similar pendant is often found in images, in particular in Gaston Phoebe's Book on Hunting (Fig. 8). The hunting horn of a noble lord is a precious thing; so, Siegfried in the "Song of the Nibelungs" carried with him a golden horn of fine workmanship with him to hunt.

Separately, it should be said about the alifant - a huge horn with metal rings made specifically so that the oliphant can be hung on the right side of its owner. They made oliphants from elephant tusks. Used in hunting and during military operations to signal the approach of the enemy. A distinctive feature of the oliphant is that it could only belong to the sovereign seigneur, in whose subordination are the barons. The honorary nature of this musical instrument is confirmed by the sculpture of the 12th century. from the abbey church in Vaselles, where an angel is depicted with an oliphant on its side, announcing the Nativity of the Savior (Fig. 13).

Hunting horns were different from those used by minstrels. The latter used an instrument of a more advanced design. On the capital of a column from the same abbey church in Vazelle, a minstrel (Fig. 12) is depicted playing a horn, on which holes were made not only along the pipe, but also on the bell, which made it possible to modulate the sound, giving it a greater or lesser volume.

Pipes were represented by the actual pipe (trompe) and curved pipes more than a meter long - busine. Elderberries were made from wood, boiled leather, but most often from brass, as can be seen in a miniature from a 13th-century manuscript. (Fig. 9). Their sound was sharp and loud. And since it was heard far away, the elders were used in the army for the morning wake-up call, they gave signals to remove the camp, to sail the ships. They also announced the arrival of royalty. So, in 1414, the entry into Paris of Charles VI was announced with the sounds of elders. Due to the special loudness of the sound in the Middle Ages, it was believed that by playing the elderberry, the angels would announce the beginning of the Day of Judgment.

The trumpet was exclusively a military musical instrument. She served to raise morale in the army, to gather troops. The pipe is smaller than elderberry and is a metal pipe (straight or several times bent) with a socket at the end. The term itself appeared by the end of the 15th century, but an instrument of this type (straight pipes) had been used in the army since the 13th century. By the end of the XIV century. the shape of the pipe changes (its body bends), and the pipe itself is necessarily decorated with a pennant with a coat of arms (Fig. 7).

A special type of pipe - a serpan (serpent) - served as a prototype for many modern wind instruments. In the collection of Mr. Fo there is a sickle (Fig. 10), made of boiled leather, its height is 0.8 m, and the total length is 2.5 m. The musician held the instrument with both hands, while the left hand held the curving part (A), and the fingers of the right hand went over the holes made on the upper section of the sickle. The sound of the serpan was powerful, this wind instrument was used both in military bands and in church services.

The organ (orgue) stands somewhat apart in the family of wind instruments. This keyboard-pedal instrument with a set of several dozen pipes (registers) set into sound by blown air by bellows is currently associated only with large stationary organs - church and concert (Fig. 14). However, in the Middle Ages, perhaps, another type of this instrument, the hand organ (orgue de main), was more widespread. It is based on the "Pan's flute", which is set into sound with the help of compressed air, which enters the pipes from a tank with openings closed by valves. However, already in antiquity, in Asia, Ancient Greece and Rome, large organs with hydraulic control were known. In the West, these instruments appeared only in the 8th century, and even then as gifts presented to Western monarchs from the Byzantine emperors (Konstantin V Copronymus sent such an organ as a gift to Pepin the Short, and Konstantin Curopolat to Charlemagne and Louis the Good).

Images of hand organs appear in France only in the 10th century. With his right hand, the musician sorts through the keys, and with his left he presses the bellows that pump air. The instrument itself is usually located on the musician's chest or stomach. In manual organs, there are usually eight pipes and, accordingly, eight keys. During the 13th-14th centuries, hand organs practically did not change, but the number of pipes could vary. Only in the 15th century did a second row of pipes and a double keyboard (four registers) appear in manual organs. Pipes have always been metal. Manual organ of German work of the 15th century. available in the Munich Pinotek (Fig. 15).

Hand organs became widespread among itinerant musicians who could sing along with accompanying themselves on the instrument. They sounded in city squares, at village holidays, but never in churches.

Organs, smaller than church ones, but more than manual ones, at one time were placed in castles (at the court of Charles V, for example) or could be installed on street platforms during solemn ceremonies. So, several similar organs sounded in Paris, when Isabella of Bavaria made her solemn entry into the city.

Drums

Perhaps there is no civilization that has not invented a musical instrument similar to the drum. A dried skin stretched over a pot, or a hollowed out log - that's already a drum. However, although drums have been known since ancient Egypt, they were little used in the early Middle Ages. Only from the time of the Crusades did the mention of drums (tambour) become regular, and starting from the 12th century. under this name there are instruments of a wide variety of forms: long, double, tambourines, etc. By the end of the 12th century. this instrument, which sounds on the battlefield and in the banquet hall, already attracts the attention of musicians. At the same time, it is so widespread that in the 13th century. Trouvers, who claim to preserve ancient traditions in their art, complain about the "dominance" of drums and tambourines, which are replacing "more noble" instruments.

Tambourines and drums accompany not only singing, performances of trouveurs, they are also picked up by wandering dancers, actors, jugglers; women dance, accompanying their dances with playing the tambourines. At the same time, the tambourine (tambour, bosquei) is held in one hand, and the other, free, rhythmically strikes it. Sometimes minstrels, playing the flute, accompanied themselves on a tambourine or drum, which they fastened on their left shoulder with a strap. The minstrel played the flute, accompanying its singing with rhythmic blows to the tambourine, which he made with his head, as can be seen on the sculpture of the 13th century. from the facade of the House of Musicians in Reims (Fig. 17).

According to the sculpture of the House of Musicians, Saracen, or double, drums are also known (Fig. 18). In the era of the Crusades, they found distribution in the army, as they were easily installed on both sides of the saddle.

Another type of percussion musical instrument, common in the Middle Ages in France, was timbre (tymbre, cembel) - two hemispheres, and later - plates, made of copper and other alloys, used to beat the beat, rhythmic accompaniment of dances. In a Limoges manuscript of the 12th century. from the National Library of Paris, the dancer is depicted with this instrument (Fig. 14). By the 15th century refers to a fragment of sculpture from the altar from the abbey church in O, on which the timbre is used in the orchestra (Fig. 19).

Timbre should include a cymbal (cymbalum) - an instrument that was a ring with bronze tubes soldered to it, at the ends of which bells ring when shaken, the image of this instrument is known from a manuscript of the 13th century. from the Abbey of Saint Blaise (Fig. 20). The cymbal was common in France during the early Middle Ages and was used both in secular life and in churches - they were given a sign to start worship.

Bells (chochettes) also belong to medieval percussion instruments. They were very widespread, bells sounded during concerts, they were sewn to clothes, hung from the ceiling in dwellings - not to mention the use of bells in the church ... Dances were also accompanied by bells, and there are examples of this - images on miniatures, dating back to the beginning of the 10th century! In Chartres, Sens, Paris, on the portals of the cathedrals, you can find bas-reliefs on which a woman striking the hanging bells symbolizes music in the Liberal Arts family. King David was depicted as playing the bells. As can be seen in the miniature from the Bible of the 13th century, he plays them with the help of mallets (Fig. 21). The number of bells could vary - usually from five to ten or more.

Turkish bells - a military musical instrument - were also born in the Middle Ages (some people call Turkish bells cymbals).

In the XII century. the fashion for bells or bells sewn to clothes became widespread. They were used by both ladies and men. Moreover, the latter did not part with this fashion for a long time, until the XIV century. Then it was customary to decorate clothes with thick gold chains, and men often hung bells from them. This fashion was a sign of belonging to the high feudal nobility (Fig. 8 and 22) - the petty nobility and the bourgeoisie were forbidden to wear bells. But already in the XV century. bells remain only on jesters' clothes. The orchestral life of this percussion instrument continues to this day; and he hasn't changed much since then.

Bowed strings

Of all the medieval bowed stringed instruments, the viola (vièle) is the noblest and most difficult to perform. According to the description of the Dominican monk Jerome of Moravia, in the XIII century. the viol had five strings, but earlier miniatures show both three- and four-stringed instruments (Fig. 12 and 23, 23a). At the same time, the strings are pulled both on the “horse” and directly on the deck. Judging by the descriptions, the viola sounded not loud, but very melodic.

The sculpture from the façade of the House of Musicians is interesting; it shows a life-size musician (Fig. 24) playing a three-stringed viola. Since the strings are stretched in the same plane, the bow, extracting sound from one string, could touch the others. The “modernized” for the middle of the 13th century deserves special attention. bow shape.

By the middle of the XIV century. in France, the shape of the viola approaches the modern guitar, which probably made it easier to play it with a bow (Fig. 25).

In the XV century. large violas appear - viola de gamba. They were played with the instrument between their knees. By the end of the fifteenth century, the viola de gamba becomes a seven-string. Later, the viola de gamba will be replaced by the cello. All types of violas were very widespread in medieval France, playing them accompanied both festivities and intimate evenings.

The viol was distinguished from the crouth by the double fastening of the strings on the soundboard. No matter how many strings there are on this medieval instrument (on the oldest circles there are three strings), they are always attached to the “horse”. In addition, the soundboard itself has two holes along the strings. These holes are through and serve to pass through them the left hand, the fingers of which alternately press the strings to the deck, then release them. The performer usually held a bow in his right hand. One of the oldest depictions of the kroot is found on a manuscript of the 11th century. from the Limoges abbey of St. Martial (Fig. 26). However, it must be emphasized that the krut is predominantly an English and Saxon instrument. The number of strings on a circle increases with time. And although it is considered the progenitor of all bowed stringed instruments, the krut never took root in France. Much more common after the 11th century. ruber or gigue is found here.

Gigue (gigue, gigle), apparently, was invented by the Germans, it resembles a viol in shape, but does not have an interception on the deck. The jig is a minstrel's favorite instrument. The performance capabilities of this instrument were significantly poorer than those of the viola, but it also required less skill in performance. Judging by the images, the musicians played the jig (Fig. 27) like a violin, putting the era to their shoulder, which can be seen on the vignette from the manuscript "The Book of the Wonders of the World", dating from the beginning of the 15th century.

Ruber (rubère) - stringed bowed instrument, reminiscent of the Arabic rebab. Similar in shape to a lute, the ruber has only one string stretched on a “ridge” (Fig. 29), as it is depicted in a miniature in a manuscript from the abbey of St. Blaise (IX century). According to Jerome Moravsky, in the XII - XIII centuries. the rubert is already a two-stringed instrument, it is used in ensemble playing, and always leads the “lower” bass part. Zhig, respectively, - "upper". Thus, it turns out that the monocord (monocorde) - a bowed string instrument that served to some extent as the progenitor of the double bass - is also a kind of ruber, since it was also used in the ensemble as an instrument that sets the bass tone. Sometimes it was possible to play the monochord without a bow, as can be seen in the sculpture from the facade of the abbey church in Vaselles (Fig. 28).

Despite widespread use and numerous varieties, the ruber was not considered an instrument equal to the viola. His sphere - rather, the street, folk holidays. It is not entirely clear, however, what the sound of the ruber actually was, since some researchers (Jerome Moravsky) talk about low octaves, while others (Aymeric de Peyrac) claim that the sound of the ruber is sharp and “loud”, similar to “female screech." Perhaps, however, we are talking about instruments of different times, for example, the XIV or XVI century ...

Stringed plucked

Probably, arguments about which instrument is ancient should be recognized as irrelevant, since the string instrument, the lyre, has become the emblem of music, with which we will begin the story of stringed plucked instruments.

The ancient lyre is a stringed instrument with three to seven strings stretched vertically between two posts mounted on a wooden soundboard. The strings of the lyre were either fingered or played with the help of a plectrum resonator. On a miniature from a manuscript of the X-XI centuries. (Fig. 30), stored in the National Library of Paris, you can see a lyre with twelve strings, collected in groups of three and stretched at different heights (Fig. 30a.) Such lyres usually have beautiful sculpted handles on both sides, for which it was possible to fasten the belt, which obviously made it easier for the musician to play.

The lyre was confused in the Middle Ages with the sitar (cithare), which also appeared in ancient Greece. Originally it is a six-stringed plucked instrument. According to Jerome of Moravia, the sitar in the Middle Ages was triangular in shape (more precisely, it had the shape of the letter "delta" of the Greek alphabet) and the number of strings on it varied from twelve to twenty-four. A sitar of this type (9th century) is depicted in a manuscript from the abbey of St. Vlasia (Fig. 31). However, the shape of the instrument could vary; an image of an irregularly rounded sitar with a handle is known to expose the game (Fig. 32). However, the main difference between the sitar and the psalterion (see below) and other stringed plucked instruments is that the strings are simply pulled on the frame, and not on some kind of “sounding container”.

The medieval guiterne (guiterne) also leads its origin from the sitar. The shape of these instruments is also varied, but usually resembles either a mandolin or a guitar (zither). Mentions of such instruments begin to be found from the 13th century, and they are played by both women and men. The gitern accompanied the performer's singing, but they played it either with the help of a resonator-plectrum, or without it. In the manuscript "The Romance of Troy" by Benoit de Saint-Maur (XIII century), the minstrel sings, playing the giter without a plectrum (Fig. 34) . In another case, in the novel "Tristan and Isolde" (mid-13th century), there is a miniature that depicts a minstrel accompanying the dance of his comrade by playing the hytern (Fig. 33). The strings on the hytern are stretched straight (without a filly), but there is a hole (rosette) on the body. A bone stick served as a mediator, which was held with the thumb and forefinger, which is clearly seen in the sculpture of a musician from the abbey church in O (Fig. 35).

Gitern, judging by the available images, could be an ensemble instrument. The lid of a casket from the collection of the Cluny Museum (XIV century) is known, where the sculptor carved a charming genre scene on ivory: two young men are playing in the garden, delighting the ear; one has a lute in his hands, the other has a hytern (Fig. 36).

Sometimes the guitern, like the sitar before, was called a company (rote) in medieval France, it had seventeen strings. The company was played in captivity by Richard the Lionheart.

In the XIV century. there is a mention of another instrument similar to the githeron - the lute (luth). By the 15th century its shape is already finally taking shape: a very convex, almost semicircular body, with a round hole on the soundboard. The "neck" is not long, the "head" is located at a right angle to it (Fig. 36). To the same group of instruments belong the mandolin, the mandora, which had in the 15th century. the most varied form.

The harp (harpe) can also boast of antiquity of its origin - its images are already found in ancient Egypt. Among the Greeks, the harp is just a variation of the sitar; among the Celts, it is called the sambuk. The shape of the harp is unchanged: it is an instrument on which strings of different lengths are stretched over a frame in the form of a more or less open angle. Ancient harps are thirteen-stringed, tuned in the diatonic scale. They played the harp either standing or sitting, with both hands and strengthening the instrument so that its vertical stand was at the performer's chest. In the XII century, harps of small sizes with a different number of strings also appeared. A characteristic type of harp is presented on a sculpture from the facade of the House of Musicians in Reims (Fig. 37). Jugglers in their performances used only them, and entire ensembles of harpists could be created. The Irish and Bretons were considered the best harpists. In the XVI century. the harp practically disappeared in France and appeared here only centuries later, in its modern form.

Special mention should be made of the two plucked medieval instruments. These are the psaltery and the siphon.

The ancient psalterion is a triangular-shaped stringed instrument that vaguely resembles our harp. In the Middle Ages, the form of the instrument changed - square psalterions are also represented in the miniatures. The player held it on his lap and played twenty-one strings with his fingers or a plectrum (the instrument's range was three octaves). The inventor of the psalterion is King David, who, according to legend, used a bird's beak as a plectrum. A miniature from the manuscript of Gerard of Landsberg in the Strasbourg Library depicts the biblical king playing on his offspring (Fig. 38).

In medieval French literature, psalterions begin to be mentioned from the beginning of the 12th century, the shape of the instruments could be very different (Fig. 39 and 40), they were played not only by minstrels, but also by women - noble ladies and their retinue. By the XIV century. the psalterion gradually leaves the stage, giving way to the harpsichord, but the harpsichord could not achieve the chromatic sound that was characteristic of double-stringed psalterions.

To some extent, another medieval instrument, which practically disappeared already in the 15th century, is similar to the plasterion. This is a siphonia (chifonie) - a Western version of the Russian wheel harp. However, in addition to a wheel with a wooden brush, which, when the handle is rotated, touches three straight strings, the siphon is also equipped with keys that also regulate its sound. There are seven keys on the siphon, and they are located at the end opposite to that on which the wheel rotates. Usually two people played the siphon, the sound of the instrument was, according to sources, harmonious and quiet. Drawing from a sculpture on the capital of one of the columns in Boshville (XII century) demonstrates a similar way of playing (Fig. 41). The most widespread siphon was in the XI-XII centuries. In the XV century. the small siphonia, played by one musician, was popular. In the manuscript "The Romance of Gerard de Nevers and the beautiful Ariane" from the National Library of Paris, there is a miniature depicting the protagonist disguised as a minstrel, with a similar instrument on his side (Fig. 42).

Answers: 8

Question to connoisseurs: What kind of muses existed. instruments in 17th century France and what kind of dances were there?

Sincerely, YULCHIK

Best Answers

[link blocked by the decision of the project administration]
historicaldance.spb /index/articles/general/aid/2 is about dancing
The seventeenth century was the ancestor of the following dances: rigaudon, minuet, gavotte, anglaise, ecossaise, country dance, bourre, canary, sarabande. In addition to them, dances that became popular in the last century also remain in use: allemande, passacaglia, chaconne, chime, jig (or jig). At the end of the seventeenth century, paspier and square dance also appear.
.orpheusmusic /publ/322-1-0-28 - about percussion instruments
.orpheusmusic /publ/322-1-0-26 - about wind instruments
.orpheusmusic /publ/322-1-0-24 - about the lute
.orpheusmusic /publ/322-1-0-27 - about bowed strings
guitar of course

Claviers, organs, strings.

waiting for the tram

yes, almost everything that exists now, except for some wind instruments .. only slightly modernized versions, that was then ... and minuet dances, gavottes .. perhaps mazurkas (the brother of the king of France was the king of Poland) ... look at sites on the history of dance ..

Marina Belaya:

In France in the 17th century there were the same instruments as in other European countries: harpsichord, clavichord, violin, lute, flute, oboe, organ and many others.
And the famous French dances of that time are the minuet (dance with bows, the dance of the “small step”), gavotte, bourre, paspier, rigaudon, lur and many, many others.

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Expert answers

Viktorych:

Street organ.
And the history of its appearance and improvement is very interesting.

A few words about the device of this instrument. The hurdy-gurdy has a lot in common with the organ: sound occurs when air enters special sounding tubes. In addition to these tubes, air bellows are placed inside the barrel organ in a wooden or metal roller with pins. Rotating the handle, which was outside the instrument, the organ grinder opened the air to the tubes and at the same time actuated the bellows. The hurdy-gurdy appeared in France at the end of the 17th century, and initially it was used as an instrument for teaching songbirds to sing, and already in the 18th century it became an indispensable companion of wandering musicians. One of the first craftsmen involved in the manufacture of hurdy-gurdies was the Italian Giovanni Barberi (hence the French name for this instrument - orgue do Barbarie, literally "organ from the country of the barbarians", distorted orgue do Barbcri). The German and English names of this instrument also include the root morpheme "organ". Yes, and in Russian, "organ" often acts as a synonym for "hurdy-gurdy": "There was also an organ grinder in the room, with a small manual organ ... " (Dostoevsky. Crime and punishment).
In Holland, there is a whole national museum of hurdy-gurdy, jukeboxes in the city of Utrech. It's strange, in some non-scientific, but downright magical way, these ringing, rattling, sounding machines cheer up a person.
If you go to the museum, the first impression will be as if the hall is dedicated to the history of architecture - columns, balconies, stucco, bas-reliefs. But it turns out that all these are decorations of very large hurdy-gurdies, and they are called dance organs.
Unfortunately, the hurdy-gurdy played the same melody, and it began to bother. And a certain J. Gavioli invented punched cards for musical devices. They were collected in books, only the book was not flipped, but folded or rolled up into a tube. Such books enabled the apparatus to become an instrument that played many melodies. These were waltzes, polkas, foxtrots, etc.
Later, this principle was improved, because people always lacked music. Metal discs for jukeboxes were born. The principle is the same, pinch.
And then the Italian Barberi (not to be confused with the Burberry brand), came up with another type of hurdy-gurdy. And it was not a plucked instrument, but a wind instrument, a kind of small organ. They were very popular in Europe, remember, even Papa Carlo was an organ grinder.

The old hurdy-gurdy was spinning, the wheel of life was rolling.
I drank wine for your mercy and for the past for everything.
For the fact that in the past it did not happen to die on the battlefield,
And what crashed - it crashed, why ring with fragments?

The organ-grinder was in a shabby coat, he was somewhere in the music soared.
My palms, outstretched to you, he did not attach any importance.
I loved you, but I swore by the past, and he hugged the hurdy-gurdy,
My words, earthly and vulgar, listened to melancholy absent-mindedly.

That song flowed like a road, not rushing the last years.
All the sounds in her were from God - not a pitiful note from herself.
But miserable words fell, destroying live music:
There was only one thing from God, everything else - from himself.

Bulat Shalvovich Okudzhava, 1979

rusmir.in /rus/247-poyavlenie-sharmanki-na-rusi
.liveinternet /users/anna_27/post112104116//
transantique /

Buka Vuka:

Organ is the name of various small automatic winding musical instruments. “Looking closer at the box in front of me, I realized that it contained in one corner a small organ, capable of playing some simple pieces of music. »
From the history of the opening of the Vitebsk railway station: “On October 30, 1837, the grand opening of the railway took place and it immediately became a landmark - crowds of people came to look at the arriving steam locomotive and frightenedly plugged their ears when they heard his whistle. Soon, signal whistles were replaced with small organ pipes, and pleasant melodies began to please the hearing of those who met. "

Daria:

Yes, this is Sharmanka.
You need to know all this.
All written from the Internet.
And I know this because it needs to be known.

Tatiana:

The harpsichord is the ancestor of the pianoforte. It has a piano keyboard. But this instrument is fundamentally different from the piano in terms of sound production and timbre. The first simple keyboard appeared in the first half of the 3rd century BC. e. - water organ. Its creator is an engineer from Alexandria Ctesibius.
As a result of the improvement of the hydraulic system - the replacement of the water device with furs - a pneumatic organ appeared. In the 14th century, the organ was improved: the keys became smaller.
In the 15th century, the keyboard was connected to strings. The earliest mention of a certain Hermann Poll constructing an instrument called the "clavicembalo" dates back to 1397. The familiar piano keyboard appeared in a musical instrument called the clavichord. The harpsichord appeared in the 16th century. Now it is impossible to say who created this instrument. It is only known that the first mention of it is found in documents and letters of 1511. His device was revolutionary for that time. It had strings of different lengths, and each corresponded to a specific key. When the key was pressed, the quill caught the string, and a jerky musical sound was heard. The sound was weak, and in order to amplify it, they began to use double and triple strings. Over time, a special device for plucking strings was invented - the plectrum.
At the turn of the XVII-XVIII centuries. in order to diversify the sound, they invented a harpsichord with two and three keyboards, or manuals (from lat. manus - “hand”). The "voice" of one manual was louder, the other - quieter. This instrument (and its varieties) was called the harpsichord in France. In Italy, it received a different name - cembalo, in England - virginel, in Germany - kilfugel, etc. Many composers of the late 17th-18th centuries wrote harpsichord music.
Externally, the harpsichord is very interesting, there were instruments of various shapes: square, pentagonal, in the shape of a bird's wing and rectangular. The lid and side panels could be decorated with carvings, painted by artists, inlaid with precious stones. For many years it was the most popular instrument in many countries of the world.

From the 16th to the 18th century, the harpsichord retained its popularity. Even after the invention of the piano, which was easier and more comfortable to play, musicians continued to use the harpsichord. It took about a hundred years for the musicians, forgetting about the harpsichord, to switch to the piano.
From the middle of the 18th century, the harpsichord began to lose popularity, and soon disappeared from the stages of concert halls altogether. It was only in the middle of the 19th century that musicians remembered him, and now many musical educational institutions have begun to train harpsichord players.
The harpsichord miraculously could combine the monumental ("organ") style with the graceful and graceful ("lute") style of miniatures. The synthesis of various sound qualities has allowed the harpsichord to become a solo, ensemble and orchestral instrument.

Lika:

The harpsichord is the ancestor of the pianoforte.

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French music is one of the most interesting and influential European musical cultures, which draws its origins from the folklore of the Celtic and Germanic tribes who lived in ancient times on the territory of present-day France. With the formation of France during the Middle Ages, folk musical traditions of numerous regions of the country merged in French music. French musical culture developed, interacting also with the musical cultures of other European nations, in particular Italian and German. Since the second half of the 20th century, the French music scene has been enriched by the musical traditions of Africans. She does not stay away from the world musical culture, absorbing new musical trends and giving a special French flavor to jazz, rock, hip-hop and electronic music.

French musical culture began to take shape on a rich layer of folk song. Although the oldest reliable recordings of songs that have survived to this day date back to the 15th century, literary and artistic materials indicate that since the time of the Roman Empire, music and singing have occupied a prominent place in people's daily lives. Church music came to French lands with Christianity. Originally Latin, it gradually changed under the influence of folk music. The church used material in worship that was understandable to the locals. One of the essential layers of French musical culture was church music, which became widespread along with Christianity. Hymns penetrated church music, their own singing customs developed, and local forms of liturgy appeared. french musical tradition composer

folk music

In the works of French folklorists, numerous genres of folk songs are considered: lyrical, love, complaint songs (complaintes), dance (rondes), satirical, craftsmen's songs (chansons de metiers), calendar, for example Christmas (Noel); labor, historical, military, etc.. Folklore also includes songs associated with Gallic and Celtic beliefs. Among the lyrical genres, a special place is occupied by pastorals (the idealization of rural life). The themes of unrequited love and parting predominate in the works of love content. Many songs are dedicated to children - lullabies, games, counting rhymes (fr. comptines). Labor (songs of reapers, plowmen, winegrowers, etc.), soldiers' and recruit's songs are varied. A special group is made up of ballads about the Crusades, songs exposing the cruelty of feudal lords, kings and courtiers, songs about peasant uprisings (researchers call this group of songs "the poetic epic of the history of France").

And although French music has been widely known since the time of Charlemagne, only in the Baroque era did composers of world significance appear: Jean-Philippe Rameau, Louis Couperin, Jean-Baptiste Lully.

Jean-Philippe Rameau. Having become famous only in his mature years, J.F. Rameau so rarely and sparingly recalled his childhood and youth that even his wife knew almost nothing about it. Only from documents and fragmentary memoirs of contemporaries can we reconstruct the path that led him to the Parisian Olympus. His date of birth is unknown, and he was baptized on September 25, 1683 in Dijon. Ramo's father worked as a church organist, and the boy received his first lessons from him. Music immediately became his only passion.

Jean-Batis Lully. This outstanding musician-composer, conductor, violinist, harpsichordist went through a life and creative path that was extremely original and in many respects characteristic of his time. At that time, unlimited royal power was still strong, but the economic and cultural ascent of the bourgeoisie that had already begun led to the emergence of people from the third estate as not only the "rulers of thoughts" of literature and art, but also influential figures in official-bureaucratic and even court circles.

Kupren. Francois Couperin - French composer and harpsichordist, as an unsurpassed master of playing the harpsichord, he was awarded the title "Le Grand" - "The Great" from his contemporaries. Born November 10, 1668 in Paris, in a hereditary musical family. His father was Charles Couperin, a church organist.

French classical music reached its peak in the 19th century. The era of romanticism in France is represented by the works of Hector Berlioz, primarily his symphonic music. In the middle of the 19th century, the works of composers such as Gabriel Fauré, Camille Saint-Saens, and César Franck become famous. And at the end of this century, a new direction in classical music appeared in France - impressionism, which is associated with the names of Claude Debussy, Eric Satiya Maurice, Ravel

In the 20s of the 20th century in France, jazz, whose outstanding representative was Stefan Grappelli.

In French pop music, the genre of chanson has developed, where the rhythm of the song repeats the rhythm of the French language, the emphasis is on both words and melody. Thanks to Mireille Mathieu, Edith Piaf and Charles Aznavour, French chanson music has become extremely popular and loved all over the world. I want to tell you about Edith Piaf December 19, 2014 marks exactly 99 years since the singer Edith Piaf was born in Paris. She was born in the hardest time, lived blind for several years and began to sing in the most vicious taverns. Gradually, thanks to her talent, Piaf conquered France, America, and then the whole world ...

Early 30s. Paris. From a small cinema on the outskirts of the city, after an evening screening, a strange creature comes out in a dirty sweater and shabby skirt. Lips unevenly smeared with bright red lipstick, round eyes defiantly look at men. She watched a movie with Marlene Dietrich. And she has hair exactly like a movie star! Swinging her skinny hips, a self-confident pigalika enters a smoky bar and orders two glasses of cheap wine - for herself and a young sailor, with whom she sat down at a table ... This vulgar street girl will soon become Edith Piaf.

In the second half of the 20th century, pop music became popular in France, the famous performers of which are Patricia Kaas, Joe Dassin, Dalida, Mylène Farmer. Patricia Kaams (fr. Patricia Kaas; born December 5, 1966, Forbach, Moselle Department, France) is a French pop singer and actress. Stylistically, the singer's music is a mixture of pop and jazz. Since the release of Kaas' debut album Mademoiselle Sings the Blues (French: Mademoiselle chante le blues) in 1988, more than 17 million recordings of her performances have been sold worldwide. Especially popular in Francophone and German-speaking countries, as well as in Russia. An essential part of her formula for success is constant touring: Kaas is on foreign tours almost all the time. She represented France in the 2009 Eurovision Song Contest and finished 8th.

One of the pioneers of electronic music was the French composer Jean-Michel Jarre, whose album Oxygene became a classic of electronic music. In the 90s of the 20th century, other genres of electronic music were developing in France, such as house, trip-hop, new age, and others.

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