The use of choral works by M.V. Antseva for the female composition in the practice of working with a training choir
Main questions
1. Analysis of the score in the work of the conductor
2. Brief annotation of the choral score
3. Plan for a detailed analysis of the choral score
4. Methodical literature
a) Method of analysis
b) Exemplary analyzes of choral scores
Target: Determine the value of score analysis in the work of a choir conductor. Analyze all the points of the main questions of the analysis of the choral score. To identify all the performance difficulties in working on the choral score for the maximum disclosure of the musical image.
Analysis of the score in the work of the conductor
Conducting is a difficult and complex art that requires great knowledge, bright musical performance, strong-willed qualities, and outstanding organizational skills.
All the diverse activities of the conductor are ultimately concentrated around one goal - the work on the work. The work of a conductor on a choral work consists of three successive stages:
Independent study;
Rehearsal work with the choir;
Concert performance.
It is difficult to say which of the stages is more important - they are all interconnected. There is no doubt, however, that the basis of all the work of a conductor is the first stage, when not only a comprehensive study of the work takes place, but also the fundamentals of the performing idea are thought out. It is no coincidence that such great importance is attached to the independent work of students in the educational process.
Conductor-choral pedagogy has developed certain methods of independent work of the conductor on the piece, prior to learning and performing it with the choir. They are:
Piano performance;
Vocal and intonation development;
Conducting and technical development;
These methods - the result of the experience of the best choir conductors of the past - have now become accepted and unshakable. However, it is not uncommon for choir conductors (especially novice amateur choir directors) to neglect some of them, thereby significantly reducing the effectiveness of their work. With the main attention to the conductor's technical side, much less space is given, for example, to the independent vocal and intonation mastering of the work, and the analytical side sometimes simply falls out of the novice conductor's field of vision. This is largely facilitated by the insufficient methodological development of the analysis of choral scores.
Analysis of choral scores is one of the means of independent study of a choral work by a conductor.
The need to analyze a work as a prerequisite for preparing a conductor to work with a choir has developed in the process of many years of experience of the best Soviet conductors and teachers. Requirements for the analysis of choral scores, formulated by the luminaries of Russian and Soviet choral art P.G. Chesnokov (1877 - 1944) and N.M. Danilin (1878 - 1945), are also put forward in the well-known works of G.A. Dmitrevsky, A.A. Egorov, K.K. Pigrov, K.B. Birds, V.G. Sokolov, I.I. M.F. Svetozarova and others. Serious attention is paid to this issue in manuals devoted to the methodology of working with an amateur choir.
The significance of a deep and comprehensive analysis of the choral score for the education and work of a choral conductor basically boils down to the following:
Firstly, the analysis of the score contributes to a better assimilation by the conductor of the musical and literary text of the work, which, as you know, he must know perfectly (by heart). Conscious - on the basis of a comprehensive analysis - the study of the score is fundamentally different from the often used rote memorization, usually short-lived and much less effective in work.
Secondly, the analysis of the score is necessary to identify the technical, stylistic, vocal and other features of the work, to determine the difficulties that may arise in the process of learning and performing. When working with a group and being usually limited in time, the conductor must do everything possible in his independent preparation to take into account in advance the various details of his work with the choir.
Thirdly, on the basis of the analysis, the conductor establishes the performing main issues of the work and determines the specific expressive means for its creative embodiment.
Fourthly, work on the analysis of the score significantly enriches the conductor's knowledge in the field of music history, harmony, polyphony, musical form, choral studies, and conducting. The ability to be well versed in matters of general and musical culture contributes to his improvement as a performer and significantly increases his authority as a team leader. The constant accumulation of this knowledge is a necessary condition for the work of a conductor.
In addition, the work on the analysis of the work brings up the ability to correctly express one's thoughts, which is also important for the conductor, as the leader of the team.
Thus, the significance of the analysis of a choral work is not limited to the scientific and theoretical side - it is very important for practical conductor's work.
The study analysis of the choral score is done in writing. Depending on the tasks facing the student and the degree of his special training, there may be two type analysis: a brief annotation and a detailed analysis.
The purpose of creating brief annotation is the establishment of basic data about the work and the work of its author.
An annotation should be made for each piece studied in the conducting class (at least 5 pieces per semester). Having 40 - 50 abstracts for the final exam, the student accumulates significant creative and scientific baggage, which is always useful in work.
Other requirements are set when creating detailed score analysis, which in educational practice is usually called a written work on the analysis of the score.
Written work is submitted for each examination or test in conducting (hence, every semester). One written work is also submitted for the exam in choral studies. That. during the period of study, the student must complete 8-10 written works on a detailed analysis of choral scores.
For analysis, in agreement with the teacher, one of the works studied in the conducting class is selected (primary attention is recommended to be given to works for mixed choir a cappella- the most typical for choral performing practice). At the same time, it is necessary to strive to ensure that students in the learning process work on the analysis of works of various styles and genres.
The size of a written work is determined by the size and complexity of the analyzed work, as well as the degree of depth of analysis. The usual size of the work is 12-15 pages of a school notebook format. However, when students are just starting to master the skills of analysis, it can be somewhat smaller (10-12 pages). Subsequently, the size of the work, as a rule, increases to 15-20 pages.
The work must be written competently, neatly, legibly and carefully edited. It must be accompanied by the score of the analyzed work (in its entirety) with the numerical designations of measures, to which references are made during the analysis. If a work of a large form with accompaniment is being analyzed, then it is not necessary to write out the accompaniment part - it is enough to confine oneself to the necessary musical examples.
Regardless of the features of the work and the level of special training of the student, the analysis of each choral score should consist of the following main sections:
General information about the work;
Literary text analysis;
Analysis of musical means of expression;
Choral texture analysis (vocal-choral analysis);
Development of performing Key issues.
The difference in the requirements for students in the analysis of scores in different courses is:
In the increasing complexity of the analyzed works;
In the growing demands on the quality of analysis, its depth and versatility;
It should also be borne in mind that while all sections of the Core Questions are important and necessary, not all of them are of equal importance. The sections devoted to the analysis of the choral texture and the development of the performing main questions are the main ones, while others are, to a certain extent, auxiliary in nature, which, however, should not affect their theoretical level. Therefore, the question arises about aspect of analysis, i.e. about its purpose. The author must have a very good idea of the purpose of his work in order to accurately define his tasks. For the conductor, the main task of analysis is to identify specific choral performing means necessary to reveal the content of the work. Therefore, the analysis of the choral texture for the performer of a choral work is the main task: not an analysis “in general”, but an analysis of the vocal and choral features of the work and the development of performing main questions based on knowledge and understanding of these features. It is always important to remember this in order to avoid a chaotic and inconsistent presentation without a clear and definite goal, which, unfortunately, is often found in student work.
Often, too, when analyzing the score, an excessively large place is given to the description of the composer's life path and the characteristics of his work. Information about the authors of the work should be brief. The main attention should be paid to the direct analysis of the work itself.
In the analysis of choral texture, the definition of specific methods of choral presentation(choral writing) used in this work, as well as identifying features choral style composer. These are the most difficult sections. In addition, work on them is hampered by the lack of a sufficiently complete and systematically presented educational and methodological material - the least developed in choral theory.
The specific results of the analysis, its quality in each case depends on many factors, the most important of which are: the general musical and theoretical knowledge of the author, his special choral knowledge (knowledge of choral studies), experience in conducting and choral work, analytical abilities and skills. We pay special attention to the importance of educating a conductor analytical skills. For a conductor as an organizer and leader of a performance, rational-analytical abilities and skills are no less important than emotional-intuitive qualities. Only their combination gives rise to true professionalism.
For the development of analytical skills of choir conductors, the course of choral studies is of great importance, one of the main tasks of which is a deep and systematic study of the features of choral texture, expressive means of the choir, and specific methods of choral writing. No less important is the study of the genre and stylistic patterns of choral music, both in relation to the work of individual composers and choral genres in general. Considerable help in this can also be provided by a course in the analysis of musical works, where more space should be given to choral creativity - not only in the main issues of structural analysis, but also textural, choral.
Work on the analysis of a work is a matter that requires great attention and a real creative attitude. Analysis of the score and its study in the technical and performing areas. The main issues are mutually enriching processes. If familiarity with general information about the work and its authors is an important prerequisite for the practical creative development of the score, then without knowledge of the score, all its details, it is impossible to exhaustively analyze its musical and expressive means, the features of the choral presentation, and develop performing main questions. Therefore, work on the analysis of the score should begin with the first acquaintance with it and continue until the work is finally mastered by the conductor. At the same time, it should be borne in mind that without fulfilling all the requirements for studying a choral work in the conducting class (performing the piano, singing choral parts, intonation of chords, careful conductor-technical work), its exhaustive, deep and comprehensive analysis is impossible.
Brief annotation of the choral score
The abstract is summary basic data about the work, in a specific fixation of indicators of tempo, meter, modal and tonal features, features of form, texture, etc. The following is recommended Key abstract questions :
Title of the work. Year of creation.
Type of choral creativity and choral genre.
If the work being analyzed is part of a larger composition, general information about the entire cycle (number and name of parts, composition of performers ..)
The composition of the performers (for choral works with accompaniment and soloists).
Form (definition of the form with indication of the parts and their size - the number of measures).
Tonality (basic, modulation, deviations).
The pace and nature of the performance (translation). Metronome.
Meter and size.
rhythmic features.
Dynamics.
Sound science.
Invoice (general type of invoice).
The composition of the choir.
Ranges of choral parts and the overall range of the entire choir.
Tessitura.
Choral performances.
The abstract can be supplemented with brief information about the composer's work (list the main works), as well as some of the most significant performance notes. If there are other editions of the analyzed work, they should be indicated.
Creating such annotations is a relatively simple matter, the main thing is the ability to clearly formulate answers to all the questions indicated in the Main Questions.
The main and most common types of choral scores are: choral miniature a cappella and a large-form choir with instrumental accompaniment.
Their annotation quite fully covers all the necessary issues that arise in the process of a student's work on this section of the conductor-choral specialty.
Plan for a detailed analysis of the choral score
General information about the work and its authors
General information about the work. The exact and detailed title of the work. Year of creation. Authors of music and texts. Type of choral creativity (chorus a cappella, chorus with accompaniment). Choral genre (choral song, transcription, miniature, large form, adaptation, part of an oratorio, cantatas, suites, a scene from an opera, etc.). If the work being analyzed is part of a larger composition, then the rest of its parts should be briefly described in order to have a general idea of the entire cycle (the composition of the performers, the number and name of the parts, the role of the choir, etc.).
Information about the life and work of the composer. Years of life. General characteristics of creativity. Main works. A more detailed description of choral creativity.
literary text
Comparison of the text used by the composer with the literary original; changes and their causes. If the text used is a fragment of a larger work (poem, poem, etc.), it is necessary to give a general description of the entire work.
Presentation of the literary text (write out the entire text used).
Relationship between text and music. The degree of their compliance. The embodiment of literary themes and images by means of music. The relationship between the structure of the text and the form of the choral work.
MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION
Federal State Educational Institution
TYUMEN STATE ACADEMY OF CULTURE, ARTS AND SOCIAL TECHNOLOGIES
"APPROVE"
Director of the MTIH Institute
_________________ / /
"_____" _____________ 2011
Training and metodology complex
for students of specialty 050601.65 "Music education"
"_____" _____________ 2011
Considered at the meeting of the department choral conducting"______" _______ 2011 protocol No. __________
Meets the requirements for content, structure and design.
Volume 20 pages.
Head department __________________
"______" _____________ 2011
Considered at a meeting of the CMD of the Institute of Music, Theater and Choreography
"______" _______2011 protocol No. ______
Corresponds to the Federal State Educational Standard of Higher Professional Education and the curriculum of the educational program.
"AGREED":
Chairman of the CMD __________________
"______" _____________ 2011
"AGREED":
Director of the Scientific Library __________________
EXPLANATORY NOTE
One of the leading subjects in the cycle of special disciplines of the specialty 050601.65 "Music Education" is the discipline "Class of choral conducting and reading of choral scores".
When compiling the teaching materials for the discipline "Class of choral conducting and
reading choral scores” is based on the following normative documents:
· State educational standard of higher professional education for the specialty 050601.65 "Music education", approved by the Ministry of Education and Science of the Russian Federation on 30.01.2005. (registration number 000);
Basic curriculum TGAKIST in the specialty 050601.65
"Music education" from 27g.;
The discipline "Class of choral conducting and reading of choral scores" is studied throughout the entire period of study for 5 years in the form individual lessons student with a teacher, it is also assumed that students will work independently to deepen and consolidate knowledge.
The total labor intensity of the discipline is 470 hours:
Kinds classes | Total hours |
||||||||||||
classroom classes | Independent work | Total hours | Distribution of hours by semester classroom independent |
||||||||||
Practical | |||||||||||||
Practical | |||||||||||||
Based on the results of studying the discipline "Class of choral conducting and reading choral scores", a knowledge test is carried out:
· in full-time- individual lessons of a student with a teacher 229 hours,
independent work of students 241 h.
· in absentia- individual lessons of a student with a teacher 64
h., independent work of students 406 h.
The purpose of the discipline "Class of choral conducting and reading of choral scores" is to prepare students for further professional practice as music teachers in general education school, institutions preschool education and additional education for children.
The discipline "Class of choral conducting and reading of choral scores" has the following tasks:
acquaintance with choral music, works of various eras, styles, with the work of foreign, Russian composers, with the best examples
folk song creativity;
Obtaining knowledge and skills in the technique of conducting a choir, as well as singing
choral parts with conducting at the level of metronoming;
familiarization with the main issues of choral studies and methods of working with the choir;
mastering the skills of reading scores and independent work on choral scores, their performance on the piano, transposition of simple works;
development of the ability to implement in practical work on the score
knowledge and skills acquired in the learning process;
Starting to study the discipline "Class of choral conducting and reading choral scores", the teacher faces certain important tasks.
a trained musician capable of independent work, as well as awakening curiosity, nurturing the will to be creative, diligence, discipline, a sense of responsibility for oneself and the choir.
When deciding whether to include certain works in the work plan, the teacher must take into account the differences in the level of musical training of a particular student, personal natural musical talent. But, in addition to the student's professional data - musicality, hearing, vocal voice, piano proficiency, it is equally important to take into account his personal qualities: will, energy, determination, artistry - traits necessary for the formation of a future specialist - a music teacher. The future music teacher should develop a good ear for music, a sense of rhythm and tempo, gain knowledge of the musical form and style of works during classes in conducting and reading choral scores. Like any musician, a music teacher should deeply study elementary music theory, solfeggio, harmony, analysis of musical compositions, music history. Starting from the first days of training, it is necessary to strive to ensure that the lesson is comprehensive, and not limited to studying the technical methods of conducting and reading choral scores. The upbringing of independence, the disclosure and development of the individual talent of a student-musician is one of the most important tasks of a teacher.
When playing a choral score on the piano, it is necessary to take into account the peculiarities of the sound of this work in the choir: breathing, tessitura conditions of voices, peculiarities of sound science and phrasing (based on the literary text), balance of choral parts (based on the style of presentation - homophonic-harmonic or polyphonic), etc. e. The game of the score must be gradually brought to an artistic level. Knowledge of voices when reading scores implies their performance with subtext and precise execution of intonational and rhythmic features. In works of a homophonic-harmonic warehouse, the student must be able to sing chords vertically, and in works with elements of polyphony, he must sing the "conductor's line", that is, all the introductions that the conductor must show.
Considering the future direction of the work of a music teacher, it is extremely important for a student to know the school repertoire, the repertoire of the vocal ensemble and, of course, a good command of voice, pure intonation, and diction. An important component of the subject is work on the works of the school repertoire: songs, choirs for children of classical composers, transcriptions for children, folk songs. No less important for creative work knowledge of other arts: literature, painting, architecture.
The teacher must build educational material in the order of its gradual complication, to cover works of all musical styles, directions, creative schools of different eras.
Lessons in the class of choral conducting and reading of choral scores should be based on a detailed study of choral works, before conducting, preparing them to be performed on the piano. The process of working on a piece should begin with a thorough analysis of the given score. The analysis of choral scores involves the analysis of the form of the work, individual phrases, the definition of phrasing, climaxes, the clarification of dynamics, agogics, and the plan of performance.
An approximate plan for the analysis of a choral work:
1. general analysis content: subject, plot, main idea;
3. the composer, his biographical data, the nature of his work, the place and significance of the work under study in the composer's work;
4. musical-theoretical analysis: form, tonal plan, texture of presentation, metro-rhythm, intervals, role of accompaniment;
5. vocal-choral analysis: type and type of choir, characteristics of choral parts (range, tessitura, voice leading, vocal load),
6. features of the ensemble, building, sound science and breathing; the vocal quality of the literary text, diction features, as well as the definition of vocal and choral difficulties and ways to overcome them;
7. performing analysis: drawing up a plan for the artistic performance of a work (tempo, dynamics, agogics, musical phrasing).
Assignments received by students in the classroom are performed independently and are checked by the teacher in subsequent classes. A necessary condition for the control of independent work of students is the writing of an annotation, which sets out in writing the main parameters of the specified plan.
Works studied in the conducting class should be located
according to the degree of complexity of conducting skills, in such a way that to
By the end of the training, the student had knowledge of a vast and varied
choral material, both classical music and compositions
The subject "Class of choral conducting and reading of choral scores" of scores for students of the specialty 030700 "Music Education" is combined and involves individual approach to everyone
student. Depending on the degree of musical preparation of the game on
piano, the development of the musical ear of the student and others individually
personal conditions, the teacher can choose an individual form
work. The volume of studied choral works on conducting can
vary and be supplemented by reading choral scores, since before
these disciplines, when studying, the same vocal
choral and technical tasks.
First course
Acquaintance with the subject "Conducting" as an art form, its
importance in the arts. Technical means of conducting, the concept of "conductor's apparatus": body, face, hands, eyes, facial expressions, articulation.
The main position of the conductor, setting the body, hands, head. The hand, its plasticity. The basic principles and nature of movements in conducting: expediency, accuracy, rhythm. Conductor's movements in medium dynamic sound, medium tempo.
The structure of the movement of shares in the schemes of conducting. Studying the methods of entry and end: three moments of entry - attention, breathing, entry; transition to the end, preparation, end.
Conducting in 2/4, 3/4, 4/4 time signatures at moderate and moderately fast tempos, with legato, non legato sound science, dynamic shades mf, f, p. Mastering the introduction on different beats of the measure, techniques for performing the simplest types of fermata: removable, non-removable, fermata on the bar line, fermata on a pause.
The division of a piece of music into parts, basic concepts: period, sentence, phrase. Pauses and caesuras between phrases, breathing, methods of conducting them. Basic skills of working with a tuning fork.
During the 1st year of study, a student goes through 8–10 simple works of a harmonic warehouse, with a simple texture of presentation, from 1–2 to 2–3 voices (including 2–3 of school curriculum), and 4–6 works on reading choral scores. Acquaintance with folk songs, their arrangements a cappella and with accompaniment for a homogeneous choir. Acquaintance with the choral scores of classical composers a cappella and with accompaniment for a homogeneous choir.
An approximate list of works studied in the 1st year
conducting
Processing folk songs: Quail (in the arr. D. Ardentov). Sing, songbird. The night is coming. By berries. Dwarf (arr. A. Sveshnikov). Oberek.
Gray bird. Rechenka. Time to sleep. Will I go, will I go out. Where are you, little ring?
(arr. Vl. Sokolov). Do not rage, violent winds (arr. A. Yurlov). Wei, breeze (arr. A. Yuryan). Nightingale stray (arr. M. Antseva). Like on an oak tree (arr. Yu. Slavnitsky).
A. Alyabiev. More flowers of all. Song about a young blacksmith.
M. Antsev. Autumn. Willow. The waves dozed off.
L. Beethoven. Anthem of the night
R. Boyko. Morning. North.
R. Glier. Hymn to the great city.
M. Glinka. Ah, you night. Patriotic song.
A. Dargomyzhsky. From a country, a country far away. I drink to Mary's health.
M. Ippolitov - Ivanov. Oh, native land. Sharp axe.
F. Mendelssohn. Memory.
G. Purcell. Evening song.
V. Rebikov. Mountain peaks. The grass is green. The bird sings in the air.
A. Flyarkovsky. Native land.
R. Schuman. Night. House by the sea.
R. Shchedrin. Morning.
Arrangements of folk songs: You, my field (arr. M. Balakireva). Vistula (sample A. Ivannikova), Cuckoo (sample A. Sygedinsky).
A. Alyabiev. Winter road.
I. Bach. Spring song.
L. Beethoven. The praise of nature by man.
I. Brahms. Lullaby.
R. Wagner. Wedding choir (from the opera "Lohengrin").
A. Varlamov. Mountain peaks. A lone sail turns white.
M. Glinka. The wind howls in the open field.
R. Glier. In the blue sea
A. Grechaninov. Lullaby.
C. Cui. May Day, Verbochki. Spring morning.
K. Molchanov. Remember.
N. Rimsky-Korsakov. Height, heavenly height (from the opera "Sadko").
N. Rukin. Raven flies to raven.
P. Tchaikovsky. Lullaby in the storm.
L. Beethoven. Anthem of the night
Z. Kodai. In the green forest.
C. Cui. Everywhere snow. The waves dozed off. Spring morning.
F. Mendelssohn. Memory.
W. Mozart. Summer evening. Friendship song.
I. Ozolin. The forest spread out densely.
G. Purcell. Evening song.
A. Sveshnikov. The evening fades.
G. Struve. Bird cherry.
A. Skulte. Nowadays.
K. Schwartz. How the fog fell.
V. Yakovlev. Winter evening.
Second course
Deepening knowledge and improving the conducting skills acquired by students in the first year.
Determination of the functions of the right and left hands. The independent role of the left hand in showing sustained sounds, the entry of voices at different times of the beat, showing different nuances: pp, p, mp, mf, f, ff.
Development of smooth, coherent conductor movements in moderate pace, with an average sound intensity. Conducting complex 4/4, 6/4 time signatures, familiarization with six-part and two-part schemes based on simple choral texture for 2–3 and 3–4 voice homogeneous choirs. The concept of staccato, and methods of conducting it.
Mastering slow tempo and change of tempo: piu mosso, meno mosso, acceleration, deceleration, compression, expansion.
The study of fermata, their meaning and performance techniques: a filmed fermata at the beginning, middle and end of the work. Fermata on a pause in the middle of the work and methods of its execution. Non-removable fermata, methods of its execution.
Mastery of various dynamic shades: crescendo, diminuendo, subito forte, subito piano, pianissimo, fortissimo. Mastering the techniques of conducting accents and syncopation.
Inclusion in the program of choral compositions for homogeneous, youthful, incomplete choir compositions, homophonic-harmonic works for mixed choir a cappella and with accompaniment. During the 2nd year of study, the student passes 8–10 works of a harmonic warehouse, with a simple texture of presentation, from 1–2 to 2–3 voices (including 2–3 from the school curriculum), and 4–6 works reading choral scores.
It is obligatory to work with a metronome: mastering the skills of determining the tempo by the metronome, following the metronomic author's instructions.
An approximate list of works studied in the 2nd year
conducting
Works without accompaniment
Arrangements of folk songs: Green flax, Path in the damp forest, Nightingale stray (arr. M. Antseva). Weave, weave, cabbage. Wattle fence (arr. S. Blagobrazova). Steppe and steppe all around. Among the valleys are flat. As for the river, but for Daria. Borodino (Russian folk songs). River (sample Vl. Sokolov). At the gates, the gates of the fathers (arr. M. Mussorgsky). The sea needs a thin seine (arr. A. Yuryana). Weisya, weya, cabbage (arr. V. Orlova).
K. Weber. Hunter song. In the boat
J. Weckerlen. Shepherdess.
I. Galkin. Wherever you go.
E. Grieg. WITH Good morning.
A. Dargomyzhsky. Wild in the north. From a country, a country far away.
M. Ippolitov - Ivanov. Pine.
C. Cui. Spring song.
F. Mendelssohn. Run with me On South.
S. Monyushko. Evening song.
T. Popatenko. By the stream. Snow falls.
G. Sviridov. You sing me that song.
M. Ciurlionis. I will sing you a song of songs. I made beds in the garden.
F. Schubert. What a night. Linden. Silence.
R. Schuman. Spring flowers. Good night. Dream.
Works with piano accompaniment
Arrangements of folk songs: I'm burying gold (arr. A. Koposov). Vistula (arr. A. Ivannikova).
M. Antsev. My bells.
A. Arensky. Tatar song.
I. Bach. Be with me.
L. Beethoven. Walking song.
J. Bizet. Chorus of boys (from the opera "Carmen").
Chorus of hunters (from the opera "Free shooter").
G. Verdi. Chorus of Slaves (from the opera "Aida"). Choir of courtiers (from the opera
"Rigoletto").
M. Glinka. Lark.
R. Glier. Spring. Hello winter guest. The grass is green. Over flowers and grass.
Strings of golden chant. Oh, if in a grove (from the opera Orpheus).
A. Grechaninov. Spring came. Bird cherry.
A. Dargomyzhsky. We love. Hush, hush (from the opera "Mermaid").
M. Ippolitov-Ivanov. Morning.
D. Kabalevsky. Song about happiness.
V. Kalinnikov. Spring.
C. Cui. Dawn burns lazily. May the heavens be full of confusion and thunder.
V. Makarov. Birds Have Arrived (from the choral suite "River Bogatyr").
N. Rimsky-Korsakov. Not the wind, blowing from above.
A. Rubinstein. Mountain peaks.
S. Taneev. Mountain peaks.
P. Tchaikovsky. Choir of Flowers (from music to the spring fairy tale "The Snow Maiden").
Snowdrop.
P. Chesnokov. Spring rolls. The sun, the sun is rising. Uncompressed strip. Dawn in the morning.
Works on reading choral scores
B. Bartok. Gay, gay, black crow. Spring. Counting.
L. Beethoven. Anthem of the night
V. Kikta. Many summers.
M. Koval. Ilmen-ozaro.
Z. Kodai. In the green forest.
C. Cui. Water.
M. Lyudig. Lake.
F. Mendelssohn. Memory.
W. Mozart. Summer evening. Friendship song.
I. Ozolin. The forest spread out densely.
G. Purcell. Evening song.
A. Skulte. Nowadays.
V. Shebalin. Cliff. Lily of the valley. Wormwood. Wild grapes . Winter road.
R. Schuman. Lotus. Mountain girl.
Third course
Consolidation and improvement of knowledge and conducting skills acquired in the first courses.
Acquaintance with complex and asymmetrical meters, conducting in 5/4 time according to a five beat pattern (3+2 and 2+3) in moderate movement. Conducting in 5/4, 5/8 time signatures in a two-part pattern (3+2 and 2+3) in fast motion.
Methods of crushing the main metric unit in sizes 2/4, 3/4, 4/4 in slow pace, acquaintance with conducting alla breve.
Conducting in 3/4 and 3/8 time signatures in fast motion (for one).
Techniques for conducting homophonic and simple polyphonic
During the 3rd year of study, the student passes 8-10 works
homophonic-harmonic and simple polyphonic, with elements of imitation, undertones, canon (including 2-3 from the school curriculum), also 3-4 works on reading choral scores.
It is obligatory to work with a metronome: mastering the skills of determining the tempo by the metronome, following the metronomic author's instructions.
An approximate list of works studied in the 3rd year
conducting
Works without accompaniment
Arrangements of folk songs: Povian, povien, storm-weather (arr. Vl. Sokolov). The grass dries, withers in the field (arr. V. Orlova). You are a river, my river. You do not stand, stand, well (arr. A. Lyadov). The dusk of the night fell to the ground (arr. A. Arkhangelsky). On the boat, Is the sparrow at home? (arr. A. Sveshnikov). Braid, wattle (arr. N. Rimko-Korsakov). The sea needs a thin net, I grew up across the river (arr. A. Yuryan). Shchedrik (arr. N. Leontovich). My dear round dance (arr. T. Popova). Oh yes, you, Kalinushka (arr. A. Novikov). Oh you, river, river (Bulgarian folk song).
M. Balakirev. Above the prophets.
R. Boyko. A blizzard broke out. The fields are compressed. minutes. Winter road. Blue in the evening.
D. Bortnyansky. Glory to the Father and the Son.
E. Botyarov. Winter.
V. Kalinnikov. Winter. Oh, honor whether the young man.
V. Kikta. Many summers.
M. Koval. Ilmen-ozaro.
C. Cui. Water.
M. Lyudig. Lake.
L. Marenzio. The buds opened up again.
F. Mendelssohn. Forest. On South. Spring song. As frost fell on a spring night.
G. Purcell. Song Thrush.
M. Partskhaladze. The sea is sleeping.
M. Rechkunov. Autumn. Sharp axe. Pine trees are silent.
V. Salmanov. Poetry. Song. Youth.
I. Stravinsky. At the Savior in Chigis. Ovsen.
S. Taneev. Venice at night. Evening song. Serenade. Pine.
P. Tchaikovsky. The cloud slept. Worthy to eat. Evening.
P. Chesnokov. Come, let us please Joseph. It's not a flower that wilts in the field. Glory.
Only begotten son.
Y. Chichkov. Clouds are melting in the sky.
R. Schuman. Night silence. Good night. Summer song. Rosemary.
Works with piano accompaniment
Arrangements of folk songs. And we sowed millet (sample by N. Rimsky-Korsakov).
Hello, winter guest, A rowan tree stood in the field (arr. A. Aleksandrova).
Start a round dance (arr. S. Polonsky).
A. Borodin. Take heart, princess. Fly away on the wings of the wind (choirs from the op. "Prince
I. Brahms. Spring came.
G. Verdi. Hush, hush (from the opera "Rigoletto").
M. Glinka. Polonaise. Do not grieve, dear child. Lel the mysterious (from the opera
"Ruslan and Lyudmila"), Cleared up, overflowed (from the opera "Ivan Susanin")
R. Glier. Spring. Evening.
A. Grechaninov. Prisoner. Autumn. Snowdrop. Spring came.
C. Gounod. March of the Soldiers (from the opera "Faust"). Chorus of the courtiers (from the opera "Romeo and
Juliet").
E. Grieg. Sunset.
A. Dargomyzhsky. Marriage, marriage. Braid, wattle (from the opera "Mermaid").
M. Ippolitov-Ivanov. Morning. Peasant feast.
D. Kabalevsky. Our children (No. 4 from Requiem). Good morning. You hear
C. Cui. Birds, May the skies be full of confusion and thunder.
M. Mussorgsky. Swimming, swimming swan. Dad, dad (from the opera "Khovanshchina").
E. Napravnik. Choir of girls (from the opera "Dubrovsky").
N. Rimsky-Korsakov. The song of a lark is louder. That the sun is red so early
opera "The Tale of Tsar Saltan"). Like on bridges, on viburnum (from the opera
"The Legend of the City of Kitezh"). Chorus of blind guslars (from the opera "The Snow Maiden").
P. Tchaikovsky. A duck bathed in the sea (from the Oprichnik opera). Whether to seat
trouble in the dark forest (from the opera "The Enchantress"). I will curl, curl a wreath (from the opera
"Mazepa").
P. Chesnokov. Night. Uncompressed strip. Leaves. Bird cherry. Peasant feast.
Apple tree. Green noise.
Works on reading choral scores
A. Banchieri. Villanelle.
F. Belassio. Villanelle.
I. Brahms. Rosemary.
H. Kalyuste. Round dance. Everyone is on the swing.
Z. Kodai. Shepherd dance. Gypsies ate salty cheese
V. Muradeli. Dreams are touchy. Creek. Wind
N. Nolinsky. Oh, fields, you, fields.
V. Rebikov. The violet has faded. Autumn song. The bird sings in the air. The evening dawn is fading.
S. Taneev. Venice at night. Serenade. Pine.
A. Flyarkovsky. Native land. Taiga song.
P. Hindemith. Song of skillful hands.
F. Schubert. Musical moment.
R. Schuman. Night. House by the sea.
Fourth year in college
Consolidation and deepening of knowledge and improvement of conducting skills acquired in previous courses.
Acquaintance with complex and asymmetrical dimensions. Conducting in 7/4 time according to the seven-beat scheme in moderate, moderately fast movement. Conducting in 7/8 time according to the tripartite (3+2+2, 2+3+2, 2+2+3) scheme in fast and moderately fast movement.
Techniques for splitting the main metric unit in 2/4, 3/4, 4/4 sizes at a slow pace, improving alla breve conducting skills.
Conducting in 3/4 and 3/8 time signatures in fast motion (for one)
Mastering the pace of presto and largo, long crescendo, diminuendo.
Improving the techniques of conducting homophonic and simple
canonical presentation.
During the 4th year of study, the student passes 8-10 works on
conducting (including 2-3 from the school curriculum), also 3-4
works on reading choral scores. Included in the program
conducting and reading choral scores, homophonic and simple polyphonic works with elements of imitation, undertones, canon.
It is obligatory to work with a metronome: mastering the skills of determining the tempo by the metronome, following the metronomic author's instructions.
An approximate list of works studied in the 4th year
conducting
Works without accompaniment
D. Arakishvili. About the poet.
M. Balakirev. Above the prophets.
R. Boyko. Winter road. Enchanted winter.
S. Vasilenko. Like in the evening. Dafino - wine.
B. Gibalin. The islands are floating.
A. Grechaninov. In a fiery blaze.
A. Dargomyzhsky. A storm clouds the sky. I drink to Mary's health.
E. Darzin. Broken pines.
A. Egorov. Song. Lilac.
V. Kalinnikov. Lark. Summer passes. Elegy.
M. Koval. Wedding. Ilmen lake. Tears.
F. Mendelssohn. Premonition of spring. As frost fell on a spring night.
M. Partskhaladze. Lake.
K. Prosnak. Sea. Barcarolle. Prelude.
T. Popatenko. Snow falls.
G. Sviridov. The son met his father. Where is our rose? Blizzard.
B. Snetkov. The sea is sleeping.
P. Tchaikovsky. Legend. No time, no time. Nightingale.
P. Chesnokov. August. Alps. I'll eat you. Worthy to eat.
V. Shebalin. Winter road. birch. The mother sent thoughts to her son. The Cossack drove the horse
D. Shostakovich. Executed. The belated volleys fell silent.
F. Schubert. Night. Love.
R. Schuman. In the forest. I remember a rural quiet garden. Dream. Singer. Sleeping lake. Mountain girl.
R. Shchedrin. First ice. What a dear friend.
Works with piano accompaniment
Russian n. n. in arr. S. Rachmaninov. Burlatskaya.
L. Beethoven. Kyrie, Sanctus (from Mass C–dur).
I. Brahms. Ave Maria.
A. Borodin. Glory to the red sun. Yaroslavna's scene with the girls (from the opera
"Prince Igor").
G. Verdi. You are beautiful, oh our Motherland (from the opera Nebuchadnezzar).
G. Galynin. The tsar rode through the village from the war (from the oratorio "The Girl and Death").
J. Gershwin. How to sit here? (from the opera "Porgy and Bess").
M. Glinka. Oh, you, light Lyudmila (from the opera "Ruslan and Lyudmila"), We are good
river (from the opera "Ivan Susanin").
E. Grieg. Choir of the people (from the opera "Olaf Trygvasson").
D. Kabalevsky. Happiness, School years, Our Children (No. 4 from Requiem).
D. McDowell. Old pine.
S. Monyushko. Mazurka (from the opera The Terrible Yard).
M. Mussorgsky. Not a falcon flies in the sky (from the opera "Boris Godunov"), Batya,
dad (from the opera "Khovanshchina")
N. Rimsky-Korsakov. Song about the Head (from the opera " May night"). What is it in
bridges, along the viburnum (from the opera "The Legend of the City of Kitezh").
G. Sviridov. "Poem in memory of Sergei Yesenin" (separate parts).
P. Tchaikovsky. Let's drink and be merry (from the opera The Queen of Spades). No, no
here is a bridge. I will curl, I will curl a wreath. Mary's scene with the girls (from the opera
"Mazepa").
F. Schubert. Shelter.
R. Schuman. Gypsies. "Paradise and Peri" (separate parts of the oratorio).
Works on reading choral scores
I. Arkadelt. Swan. Ave Maria.
D. Buxtehude. Cantate Domino (canon).
A. Gabrieli. Ave Maria.
G. Caccini. Ave Maria.
L. Cherubini. Tercet for the glory of the major scale (canon).
C. Monteverdi. Like roses on the lawn.
W. Mozart. ABC. Children's games. Listen how the sounds are crystal clear (from the opera "The Magic Flute").
J. Palestrina. Ave Regina.
G. Pergolesi. Stabat Mater (movements from a cantata of your choice).
A. Scarlatti. Fugue.
R. Schuman. Dreams. Message (from Spanish songs).
Fifth year
Consolidation and deepening of knowledge, improvement of conducting skills acquired in previous courses. Improving the skills and techniques of conducting in complex meter, variable meter.
Improving the skills and techniques of conducting choral scores with a grouping of measures, in various meters according to nine-beat, twelve-beat, five-beat schemes. Mastering, similarly to the previous meters, conducting complex meters in three-part, four-part schemes.
Improving the skills and techniques of conducting choral works with alternating simple and complex meters.
Mastering the techniques of conducting all musical tempos, strokes of musical expressiveness, long-term dynamic changes, changing tempos, sizes, grouping measures.
During the 5th year of study, the student passes 4–6 works on
conducting, as well as 3-4 works on reading choral scores.
Included in the program for reading choral scores are homophonic and
simple polyphonic works with elements of imitations, canon,
Choral scenes from Russian and Russian operas are included in the conducting program.
foreign composers, parts (fragments of parts) of large vocal-symphonic works (cantatas, oratorios, choral suites, choral cycles, choral concerts) domestic, foreign, contemporary composers various creative schools and directions.
It is obligatory to work with a metronome: mastering the skills of determining the tempo by the metronome, following the metronomic author's instructions.
Discipline "Class of choral conducting and reading of choral scores"
in semester 9 ends with an exam, in which the student must demonstrate all the skills and knowledge acquired in the learning process.
An approximate list of works studied in the 5th year
conducting
Works without accompaniment
A. Arensky. Anchar.
M. Glinka. Venetian night.
A. Grechaninov. Behind the river, yar-hops. In a fiery blaze.
C. Gesualdo. I am silent.
V. Kalinnikov. Autumn. Elegy. Condor. Summer passes. On the old mound. The meek stars shone for us.
A. Kastalsky. Rus.
A. Lensky. Past. Seeing the bride. Majestic young.
B. Lyatoshinsky. The moon creeps across the sky. Autumn.
F. Mendelssohn. Song of the Lark. Farewell to the forest.
K. Prosnak. Prelude. Sea. There would be a storm, right?
F. Poulenc. Sadness. The night is terrible for me.
B. Snetkov. The sea is sleeping.
P. Tchaikovsky. Not a cuckoo in a damp forest.
P. Chesnokov. Alps. August. The dawn is warm.
V. Shebalin. The mother sent thoughts to her son. The Cossack drove the horse. Soldier's grave.
Twilight in the valley.
K. Shimanovsky. Stabat Mater (separate parts).
R. Schuman. Song of Freedom. Storm.
R. Shchedrin. I was killed near Rzhev. To you fallen.
Works with piano accompaniment
Processing of Russian n. P. M. Kraseva. Don't wake me up young.
A. Harutyunyan. Cantata about the Motherland (separate parts).
I. Bach. Be with me (No. 1 from Cantata No. 6)
L. Beethoven. Choir of Prisoners (from the opera "Fidelio"). Kyrie, Sanctus (from Mass C–dur).
Sea calm and happy sailing.
J. Bizet. Scene No. 24 from the opera Carmen.
I. Brahms. Ave Maria.
B. Britten. Missa in D (separate parts). This little child (from the suite "Rite
carol", op. 28).
A. Borodin. Glory to the red sun (from the opera "Prince Igor").
G. Verdi. Finale of the 1st day from the opera "Aida".
J. Haydn. Gloria (from "Nelson Mass").
C. Gounod. On foreign rivers.
A. Dargomyzhsky. Choral suite from 1 act. Zazdravny choir. Three choirs of mermaids (from the opera "Mermaid").
G. Handel. Samson died (from the orat. "Samson"). Movements No. 3, 52 (from the oratorio
"Messiah").
M. Koval. Oh you mountains Ural mountains, Forest, mountains (from the oratorio "Emelyan
Pugachev).
V. Makarov. "The Bogatyr River", separate parts from the choral suite.
W. Mozart. The sea sleeps peacefully. Run, leave (from the opera Idomeneo).
M. Mussorgsky. Not a falcon flies in the sky (from the opera "Boris Godunov").
Scenes No. 6, 7, 8 (from the opera "Khovanshchina").
N. Rimsky-Korsakov. For raspberries, for currants (from the opera The Maid of Pskov).
Glory. Yar-Hmel (from the opera "The Tsar's Bride"). Choir of the Blind
guslyarov (from the opera "The Snow Maiden"). Oh, trouble is coming, people (from the opera "The Legend of
the city of Kitezh and the virgin Fevronia).
G. Rossini. Parts No. 1, 9, 10 from "Stabat Mater".
G. Sviridov. Winter sings. Threshing. Night under Ivan Kupala. Garden City (from
"Poems in memory of Sergei Yesenin").
B. Sour cream. How can we not have fun (from the opera "The Bartered Bride").
P. Tchaikovsky. Interlude "The Sincerity of the Shepherdess" (from the opera "The Queen of Spades").
"Glory" (from op. "Oprichnik"). Grew up near Tyn (from the opera "Cherevichki"). No,
there is no bridge here (from the opera "Mazeppa"). Seeing off Maslenitsa (from music to
spring fairy tale "Snow Maiden"). With a small key. The hour has struck (from cantata
"Moscow")
P. Chesnokov. Apple tree. Peasant feast. Green noise.
F. Schubert. Shelter. Miriam's Song of Victory (Choruses No. 1, 3)
R. Schuman. Gypsies. Choirs 6,7, 8 (from the speech "Paradise and Peri"). Requiem (selected
Works on reading choral scores
A. Alyabiev. Winter road.
L. Beethoven. Spring call. Sing with us.
J. Bizet. March and choir (from the opera "Carmen").
R. Boyko. Morning. A blizzard is blowing. Heart, heart, what's wrong with you.
I. Brahms. Lullaby. Rosemary.
A. Varlamov. A lone sail turns white.
V. Kalistratov. Talyanka.
V. Kikta. Tula songs No. 2B. Mozart. ABC. Children's games. Listen how the sounds are crystal clear (from the opera "The Magic Flute").
C. Cui. Spring morning. Let confusion and thunder.
G. Lomakin. Evening dawn.
F. Mendelssohn. On the far horizon. Sunday morning.
A. Pakhmutova. My land is golden (parts to choose from the choral cycle).
S. Rachmaninov. Island. Six choirs for female (children's) voices.
N. Rimsky-Korsakov. A golden cloud spent the night. Not the wind, blowing from above. Chorus of Birds (from the opera "The Snow Maiden").
A. Scarlatti. Fugue.
P. Tchaikovsky. Nightingale. A golden cloud spent the night. Neapolitan song. Chorus of children, nannies and others (from the opera The Queen of Spades).
P. Chesnokov. Apple tree. Green noise. It is worthy to eat (from "Liturgy for Women's Voices").
F. Schubert. Musical moment. Serenade.
R. Schuman. Dreams. Message (from Spanish songs)
4. Requirements for the final exam
by discipline"Class of choral conducting and reading of choral scores"
for students of specialty 050601.65 "Musical education"
1. To be able to play one work a cappella by heart, observing all the techniques of musical expressiveness, try to convey the sound of the choir in the game.
text, optionally, with clocking. Sing choral verticals in cadence turns, culminations, when changing sections (parts).
3. Be able to play one piece with piano accompaniment,
accompaniment and choral score.
4. Sing the parts of the soloist (soloists), accompanying on the piano.
5. Conduct by heart both of these works.
6. Be able to analyze both works, know the history and time of their creation,
form, make a vocal-choral analysis, give examples from other works of choral creativity performed by composers.
State exam
"Conducting a concert program performed by the choir"
At the state exam, the graduate is obliged to fulfill with the educational choir two pieces - one a cappella and one with piano accompaniment. The preparation and conduct of the state exam is a crucial stage in the work of a teacher with a graduate. The program of the state exam is selected in advance and must correspond to the capabilities of the choir and the graduate, it is also necessary to approve the programs at the departments of choral conducting and music education. The teacher in the discipline "Class of choral conducting and reading of choral scores" must carefully prepare the graduate student for classes with the choir, paying special attention to the methodology of the upcoming classes. Personally present at the rehearsals of the choir class with his graduate, the teacher has the opportunity to help him in his work, tactfully and skillfully, directing the rehearsal process.
At the stage of rehearsal work, the graduate uses various methods and techniques of conducting, allowing him to achieve the highest quality performance by the educational choir. concert program state exam. Based on a holistic initial analysis of the works, the graduate makes rough plan rehearsal work. It can be: determination of the simplest and most difficult choral fragments, ways to overcome difficulties on the basis of vocal-choral, intonation and metro-rhythmic work with choral parts. Such a plan is necessary, it is the basis for achieving the main goal - the high-quality performance of the concert program of the state exam by the educational choir.
5. Educational and methodological support
Main literature
1. Bezborodova, Lyudmila Alexandrovna. Conducting: textbook. allowance for ped. universities and music colleges / . - Moscow: Flinta, 2000. - 208 p.
2. Bezborodova, Lyudmila Alexandrovna. Conducting: textbook. allowance / . - Moscow: Flint, 20s.
3. Romanovsky, dictionary /. - Ed. 4th, add. - Moscow.: Music, 2005. - 230 p.
4. Svetozarova, secular choral music a carpella of the 19th–early 20th century: a notographic guide / . - St. Petersburg: SPbGPU, 2004. - 161 p.
5. Semenyuk, V. Notes on choral texture / V. Semenyuk. - Moscow, 2000.
6. Ukolova, Lyubov Ivanovna. Conducting: textbook / L. Ukolova. Moscow: VLADOS, 2003. - 207 p. + notes.
7. Reader on conducting. Choral works in complex asymmetrical and variable sizes: a textbook for conducting and choral faculties of music universities / comp. : Magniog. state conservatory. - Magitogorsk, 2009. - 344 p.
8. Reader on conducting. Choirs from operas by foreign composers (accompanied by piano) / comp. . - Moscow: Music, 1990. - Issue. 6. - 127 p.
additional literature
1. To help the conductor-choirmaster. Choral works of Russian composers: notographic index / comp. ; resp. for issue . - Tyumen, 2003. - 69 p. - Issue. 1.
2. To help the conductor-choirmaster. Arrangements for the choir of Russian composers: notographic index / comp. ; resp. for issue . - Tyumen, 2003. - 39 p. - Issue. 2.
3. To help the conductor-choirmaster. Choral works by foreign composers: notographic index / comp. ; resp. for issue - Tyumen, 2003. - 40 p. - Issue. 3.
4. Lyozin, vocal-motor informativeness
conductor technique in professional training of a choirmaster [Text]: monograph / . - Tyumen: RIC TGAKI, 2009. - 144 p.
5. Romanova, Irina Anatolyevna. Issues of history and theory
conducting: textbook. allowance / - Yekaterinburg: Polygraphist, 1999. - 126 p.
6. Logistics
Requirements for the logistics of the discipline "Class
Choral Conducting and Reading Choral Scores" for students of the specialty 050601.65 "Music Education" are substantiated by the state educational standard of the HPE, and are as follows:
availability of pianos and grand pianos in sufficient quantity for conducting lessons in conducting, in the class - two instruments each;
the presence of conductor stands, in the class - at least one;
availability of a library, music library, audio and video recordings;
availability of the necessary sound equipment (tape recorders, music centers, CD, DVD, CD-audio players);
· the presence of a music room with a fund of musical recordings of concerts, festivals, master classes held by the university.
1. Explanatory note……………………………………………………….2
reading choral scores…………………………………………………..5
4. Requirements for the final exam……………………………………..17
5. Educational and methodological support of discipline
5.1 literature basic
5.2 Additional literature…………………...........………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………….
6. Logistics…………………………………… 19
Send your good work in the knowledge base is simple. Use the form below
Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.
Hosted at http://www.allbest.ru
MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION FSBEI HPE "OREL STATE INSTITUTE OF ARTS AND CULTURE" FACULTY OF ARTISTIC CREATIVITY DEPARTMENT OF CHORAL CONDUCTING
Course work
The use of choral works by M.V. Antseva for the female composition in the practice of working with a training choir
§4. Vocal-choral analysis
Conclusion
Bibliography
Introduction
Modern musicology makes high demands on the researcher. Among them, the most important is not only a deep theoretical comprehension of the object under consideration, an exhaustive and versatile idea of it, but also its practical development. To do this, it is not enough to be well versed in the general issues of the history of music and to master the "traditional" methodology. theoretical analysis- you need your own creative experience in this area of musical art.
Thought about music, however, develops not only through the efforts of musicologists. A prominent place in musicology is occupied by the work of practicing musicians. A live connection with practice, a direct feeling of the creative process of composing or performing music - this is what especially attracts researchers.
In this work, attention is paid to the creative heritage of the Soviet composer and teacher M.V. Antseva. With rebirth choral singing In Russia, Antsev's women's choirs are gaining more and more popularity, as they are distinguished by simple harmony, light texture and melodiousness. Many of his choral works were written to the verses of Russian classical poets, including the choral composition “The Bells” to the verses of Count A.K. Tolstoy.
Comprehensive analysis of this composition, presented in term paper, will allow more accurate organization practical activities on learning the work with the training choir of students of the Department of Choral Conducting of the OGGIK. This explains the relevance of the study.
choral vocal antsev text
Mikhail Vasilyevich Antsev was born in Smolensk on September 30, 1895. He came from a simple family: his father was a cantonist who served in the army for over 25 years, his mother was a Smolensk bourgeois. In early childhood, M. Antsev lost his father, and he was raised by his stepfather. After graduating from the gymnasium, Mikhail Vasilievich studied at the Warsaw Conservatory in the violin class with L. Auer. Then he entered the St. Petersburg Conservatory, from which he graduated in 1895 in composition with Rimsky-Korsakov.
In 1896, the musical and pedagogical activity of the composer began. He devoted a lot of strength and energy to pedagogical work as a teacher of choral singing and other musical disciplines in general education and special educational institutions. Obviously, it was at this time that he wrote a number of textbooks relating to choral art, among them: Brief information for chorus singers”, “Note terminology” (a reference dictionary for teachers, singers and musicians), “Elementary music theory in connection with the teaching of school choral singing”, “Methodical reader for class choral singing” and others.
At the same time, M. Antsev worked fruitfully as a composer. He composed for symphony orchestra, for violin, wrote romances, children's songs. He wrote "Cantata for the 100th anniversary of A. Pushkin", "Hymn in memory of the 100th anniversary of the Patriotic War of 1812". Both large-form works are intended for choir and orchestra performances.
Of the choral works of a lyrical nature created during this period, one can name: “Lotus”, “Willow”, “Spring”, “The air breathes with aroma”.
The revolutionary events that took place in Russia could not remain out of sight of a sensitive, impressionable artist. They found a response in his choral works. Full of revolutionary pathos, the choir “Do not cry over the corpses of fallen soldiers” was first performed in St. Petersburg in 1905.
After the Great October Socialist Revolution, M.V. Antsev led a wide musical and social activities. In 1918, in Vitebsk, he organized the People's Conservatory, where he taught theoretical disciplines. There, for two years, he led the State Choir he created. On the initiative of Mikhail Vasilyevich, a circle of Belarusian folk songs arose. The circle served mainly the factory districts and the Red Army units.
M. Antsev lived his last years in Moscow. Here, in 1934, he was elected an honorary member of the Expert Commission at the Moscow City Committee of Circle Breeders and performed these duties on a voluntary basis for three years, in 1936-1938. he was a member of the Attestation and Expert Commission at the Department of Arts.
In the post-October period, M. Antsev actively switched to revolutionary topics. He wrote music to the words of Demyan Bedny, Yakub Kolas, Yanka Kupala and other Soviet poets. In addition, the composer showed interest in folk songs, predominantly Belarusian, processed them for choir and solo singing with piano (Oh, share, etc.).
The range of his work is quite wide. He is the author of several textbooks on choral art and the performance of children's songs, romances, and pieces for violin. However, choral work attracted the attention of the composer most of all. He wrote over 30 a cappella choirs and with accompaniment, many choral adaptations of folk songs.
Mikhail Vasilievich Antsev - lyric composer. This is already evidenced by the names of his choirs: "Spring Waters", "Sunrise", "Sea Silence", "Bright Twinkling Stars". Possessing a fine artistic taste, the composer paid close attention to the selection of texts. He turned to the poems of A. Pushkin, F. Tyutchev, A. Tolstoy, M. Lermontov, I. Nikitin, A. Fet and other poets. M. Antsev's choirs are imbued with free contemplation, they lack a strong, dramatic development.
Although M. Antsev was a student of N. Rimsky-Korsakov, his work is rather close to P. Tchaikovsky. The melody in his choirs is expressive, calm, and easy to remember. It is simple, unpretentious, based on the prevailing intonations of the city song, hence the accessibility of its perception. Most often, the composer uses the sequential development of the most expressive turns of the melody with the exact construction of the initial link.
The continuous harmonic development hides the dissection inherent in the sequence movement, and gives the melody a greater solidity.
M. Antsev worked a lot with choirs, he knew the specifics of their sound and took it into account in his compositions, so the choral parts are presented in convenient tessitura.
Unfortunately, the creative heritage of Mikhail Vasilyevich Antsev has not yet been studied, but it is undoubtedly of great interest.
After October revolution was one of the first composers who turned to revolutionary themes in his work (choirs "In Memory of Heroes", "Song of the Struggle", 1922). Author of works for violin and piano, choirs, romances, arrangements of folk songs, teaching aids, including the books “Brief information for chorus singers ...” (1897), “Preparatory course in elementary music theory in connection with the teaching of choral singing” (1897), “Note terminology. Reference Dictionary…” (Vitebsk, 1904).
Of his choral compositions, cantatas, women's and children's choirs a cappella and with piano accompaniment ("Waves Dozed off", "Bells"), arrangements of folk songs are popular in choirmaster pedagogical practice. He is especially famous for his mixed choirs, like "Sea and Cliff", "Willow", "Tears", "Crash", "Song of the Fight". The Requiem “Do not cry over the corpses of fallen soldiers” (1901) to the words of L. Palmin is distinguished by expressiveness and civil pathos. The composer also has spiritual works - a cycle of chants of the Divine Liturgy and individual chants.
The author of the literary text of the choral work "The Bells" is the famous poet and playwright Count Alexei Konstantinovich Tolstoy. Born on August 24, 1817 in St. Petersburg. He spent his early childhood in Ukraine, on the estate of his uncle A. Perovsky, a writer known in the 1920s. under the pseudonym Pogorelsky. Received a home education, was close to court life. He traveled a lot in Russia and abroad, from 1836 he served in the Russian mission in Frankfurt, in 1855 he participated in the Sevastopol campaign. He died in his Chernigov estate.
As Tolstoy himself believed, his penchant for poetry was unusually promoted by nature, among which he grew up: “The air and the view of our large forests, passionately loved by me, made a deep impression on me. It left an imprint on my character and my life ... ”The admiration for the splendor of his native land is clearly heard in Tolstoy’s poems, especially in his landscape lyrics. The colors of his poetic sketches are bright and juicy. In his lyrics, Tolstoy likes to turn to folk poetry for images, verbal formulas. Hence the frequent comparison of natural phenomena with human life, hence the special melodiousness, special language close to folk song.
Love to folk art, interest in folklore was reflected not only in Tolstoy's lyrical poems. The poet's appeal to the epic, to the genre of the ballad, beloved by romantics, is also largely due to his attention to Russian folk poetry, to its ancient roots. In the epic "Ilya Muromets" (1871), Tolstoy resurrects the image of the famous hero, "grandfather Ilya", who longs for freedom and independence even in old age and therefore leaves the princely court of Vladimir the Red Sun. Drawing heroes Kievan Rus, Tolstoy admires their courage, selflessness and patriotism, but does not forget that they are living people, ready to love and enjoy the beauty of the world. Therefore, many of his ballads and epics sound sincere, and their characters are attractive.
Tolstoy writes ballads and epics not only based on folk epic epics, he also refers to Russian history. In ballads, Tolstoy admires old rituals and customs (“Wooing”, 1871), sings of the Russian character, which even the Mongol-Tatar yoke could not change (“Snake Tugarin”, 1867).
Alexei Konstantinovich Tolstoy tried his pen not only in the genre of poetry. The image of Kozma Prutkov and his famous aphorisms is Tolstoy with his cousins Alexei, Alexander and Vladimir Zhemchuzhnikov. He wrote well-known plays of historical content "The Death of Ivan the Terrible", "Tsar Fyodor Ioannovich", "Tsar Boris". Tolstoy's satire impressed with its courage and mischief.
Tolstoy began writing poetry very early. Tolstoy always valued the mastery of verse, although critics sometimes reproached him either for “bad” (inaccurate) rhyme, or for an unsuccessful, too prosaic, in their opinion, turn of speech. Meanwhile, it is precisely thanks to these "shortcomings" that the impression of improvisation is created, Tolstoy's poetry acquires a special liveliness and sincerity. Tolstoy himself understood this feature of his work: “Some things must be minted, while others have the right and should not even be minted, otherwise they will seem cold.”
In the late 1930s and early 1940s, two fantasy stories- "Ghoul Family" and "Meeting in Three Hundred Years". In May 1841, Tolstoy first appeared in print, publishing a separate book, under the pseudonym "Krasnorogsky" (from the name of the Red Horn estate), the fantastic story "Ghoul". He spoke very favorably about the story of V.G. Belinsky, who saw in her "all the signs of a still too young, but, nevertheless, a wonderful talent." Tolstoy was in no hurry to publish his poems. The first large selection of his poems appeared only in 1854 on the pages of Nekrasov's Sovremennik, and the only lifetime collection was published in 1867. It included many now widely known poems, including Bells.
§2. Analysis of a poetic text
Count Alexei Konstantinovich Tolstoy was from childhood a person close to the imperial house: he was a childhood friend of the future emperor Alexander II (son of Nicholas I), then his adjutant wing, then his master of the hunt, and most importantly, a very close friend. He knew very well what was happening inside the imperial palace, and outside - in a society that was burdened by censorship and all sorts of prohibitions. It was against this background that the idea of \u200b\u200bthe poem “My Bells” arose - its theme was by no means flowers, bells, which accidentally fell under the hooves of the rider's horse.
My bells, Flowers of the steppe! Why are you looking at me, Dark Blues?
And what are you ringing about On a merry May day, Shaking your head among the uncut grass? The horse carries me with an arrow On the open field;
He tramples you under him, Beats with his hoof. My bells, Flowers of the steppe! Don't curse me, Dark Blues! I would be glad not to trample you,
I'm glad to rush past, But the bridle can't hold the indomitable run! I fly, I fly with an arrow, I only kick up dust;
The horse carries me dashing - And where? Don't know! He is a learned rider Not brought up in a hall, He is familiar with snowstorms, He grew up in an open field;
And your patterned saddle does not shine like fire, My horse, horse, Slavic horse, Wild, recalcitrant! We have a horse, space with you!
Forgetting the close world, We fly at full speed To an unknown goal. How will our run end? Is it joy? twist? Man can not know - only God knows!
Will I fall on the salt marsh To die from the heat? Or the evil Kirghiz-Kaisak, With a shaved head, Silently draws his bow, Lying under the grass,
And suddenly he will overtake me with a copper arrow? Or will we fly into the city of light With the throne of the Kremlin? Wonderfully the streets are buzzing with the rumble of bells,
And people in the square, In noisy expectation Sees: from the west comes a bright message. In kuntush and chekmen, With forelocks, with a mustache,
The guests ride horses, They wave their maces, Arm on their hips, Chinno's formation stands behind the formation, The wind inflates their sleeves behind their backs.
And the owner came out on the porch majestic; His bright face Shines with new glory; He was filled with the look of both love and fear,
On his forehead is the Cap of Monomakh. "Bread and salt! And good luck! - Says the sovereign. - For a long time, children, I have been waiting for you In the Orthodox city!
And they answered him: “Our blood is one, And in you we have been Tea of the master since ancient times!” The ringing of bells is louder, the harp is heard,
The guests sat around the tables, Honey and mash are pouring, Noise flies to the far south To the Turks and the Hungarians - And the sound of the Slavic ladles is not to the Germans' heart!
Goy you, my flowers, Flowers of the steppe! Why are you looking at me, Dark Blues? And what are you sad about On a merry May day, Shaking your head among the uncut grass?
Patriotic feelings come to the fore in this work. lyrical hero. It recreates a majestic picture of the unification of the lands around Moscow, the unification of Rus', the expansion of its borders. The poet shows how representatives of numerous nations come to Moscow and ask the Russian tsar to take them under his protection. The king is glad of this, accepts with paternal care and love. The picture of the feast given in the penultimate stanza creates an atmosphere of general rejoicing and joy. The poet expresses the hope that Rus' will be a strong power, capable of repelling the blow of the enemy at the right time. Literary analysis. The poem is interesting from the point of view of composition and organization of space. It gives a large-scale image of Russia, shown in many angles. The reader becomes a witness to the gradual expansion of space: first, a field dotted with bells appears to his gaze, he sees a rider galloping on a horse, striving for an unknown distance. Then, before the reader's eyes, a picture of the capital city opens, where the meeting of the Russian tsar with representatives of other peoples takes place. Tolstoy recreates here milestone in the life of the country: the unification of Russian lands around Moscow, which led to the strengthening of the power and greatness of Rus'. By the end of the poem, the space narrows again, the reader's gaze is again presented with a picture of the Russian field, which is dear to the heart of the lyrical.
§3. Musical-theoretical analysis
At the heart of the choral work by M.V. Antsev's "Bells" is a couplet, which is characterized by simplicity and clarity. The size of the product is 6/8. Mobile contrast dynamics, fast tempo (allegro), interbar fermats make this music quite interesting in terms of its melodic and harmonic sound. The work is written in the key of fis-moll with deviations in A-dur and h-moll.
The first verse begins with the verse SII (2 measures) in the main key. In the third measure, SI and A enter. The third verse begins with the verse SI (2 measures) in the key of A-dur, after which SI and A also enter. Then there is a symmetrical sequence repetition of the musical material in the key of h-moll.
In the work, along with tonic harmony, triads of side steps of the mode - II, III and VII are used.
To create a certain image, the composer uses various means of musical expression, one of which is contrast dynamics. The dynamic range extends from piano-pianissimo to forte. Along with the dynamic dynamics of crescendo and diminuendo, the composer uses juxtaposition various levels dynamic organization.
Also, to reveal the artistic image of M.V. Antsev uses a fermata, which is one of the most effective expressive means in music, since a sudden stop, a sharp violation of the established subway - rhythmic pulse, and, finally, simply the appearance of a long sound among more mobile ones attract the attention of listeners. IN this case an interbar fermata was used, which means a caesura in sound. The conductor should remove the sound of the choir, leaving his hands in the “attention” position. Having withstood the caesura, continue driving.
§ 4 Vocal-choral analysis
The work of M.V. Antseva "The Bells" was written for a three-part female choir. The composer worked a lot with choirs, knew the specifics of their sound and took it into account in his compositions, so the choral parts are set out in convenient tessitura. Choir ranges are as follows:
* soprano I - e1- f2,
* soprano II - c1 - e2,
* alt - a - c2.
Let us analyze the tessitura conditions of choral parts. Due to the fact that not a very large range is used in the score, the tessitura of individual parts is generally comfortable. Tessitura high fragments in parts are usually found in the climax zones of the work and are associated with bright dynamics, so their performance will not be difficult. However, the choirmaster must be sensitive to the performance and not allow the sound to be forced. In the SI, SII and A parts, the upper register sounds on the forte occur in the 14-16th and 18-20th measures. In part A, there are sounds of the lower register, therefore, the choirmaster needs to ensure that the violas sing without straining, freely, on good support, vocally and correctly shape the sound, do not force it.
Analyzing the main vocal difficulties, one should touch on breathing issues. There can be no beauty without proper breathing. musical sound. In this work, both direct (general choral) breathing and chain breathing are found, where the singers silently catch their breath inside sustained notes. Inhalation should be simultaneous and organized, as well as silent. In terms of its activity and volume, the breath should correspond to the tempo and content of the piece.
The basis of high-quality intonation is, as is known, a good melodic and harmonic system. The melodic lines of the voices combine movement along the sounds of chords with progressive movement and moves at wide intervals. All large intervals in the ascending and descending movement are intoned as follows, the first sound is stable, the second is wide. A feature of the complexity in the intonation of intervals is the execution of wide intervals. In the 14th and 16th bars, the SI has jumps to the sixth.
A necessary stage in the work of a conductor on a piece is the consideration of dictional difficulties, which include the simultaneous clear pronunciation of consonants not only at the end of phrases, but also in the middle of a word. All consonants in words are carried over to the next syllable. In the literary basis of a choral work, there are words and phrases in which several consonants stand in a row, for example, “beats with one’s own” and others. In these cases, several consecutive consonants are pronounced clearly and briefly. In the literary text there are many words with hissing: “bells”, “rush”, “about what”. All available hissing consonants should be pronounced extremely quickly and simultaneously.
As for orthoepy, the letter combinations in words are as follows:
* "sya", "sya" (pronounced "sa", "s" without b) in the words "rush", "swaying";
* "y" is pronounced very briefly in the words "arrow", "dashing", "yourself";
* clearly pronounce the consonant "r" - with an exaggerated sound.
Summing up the diction problems, one should dwell on such an important point as the simultaneous closing of words with a consonant at the end at the same time by the whole chorus.
§5. Peculiarities of working with the conductor's score
Having chosen a work, the choirmaster must carefully study it. To do this, you should analyze the composition, play it on the piano, if possible, listen to a recording of a musical work performed by famous choirs, if any, find the most difficult parts of the score in terms of intonation of the melodic lines of the parts, ensemble, conducting and think over ways to overcome them, outline a common execution plan. Along with learning the score by heart (singing voices, playing the piano), the conductor must analyze the work as fully as possible in different directions. A detailed preliminary study by the choirmaster of the score ends with the fact that he learns the music by heart. Studying the score "with the eyes" is not enough. It is necessary to repeatedly play the choral arrangement of the romance in parts and be able to mentally imagine the choral colors in its entirety. A deep knowledge of the score will ensure readiness to learn it with the choir and will allow you to competently answer questions that arise in the singing process in the process of learning.
The next stage is a historical and aesthetic analysis, which involves establishing links this work with phenomena of life, culture and art close to him. In order to competently perform the choral composition “The Bells”, you should familiarize yourself with the work of M.V. Antsev as a whole, to feel the spirit of his music. Getting acquainted with the work of Tolstoy, you can read several of his poems on a similar topic, trace how often M.V. Antsev to the poetry of Count Alexei Konstantinovich.
A separate stage of the conductor's work with the score is to find out those gestures with which he will create an artistic image of the composition, controlling the choir. With regard to practical methods of control, the conductor can practice beforehand: put the score on the console and conduct, mentally imagining the sound of a composition studied in detail.
The whole work is sustained from beginning to end in the complex meter 6/8, but the conductor will not have any difficulties with the timing of the scheme, since the tempo of the work is quite mobile, so the conducting scheme will be two-part.
Before conducting, you need to count one empty measure in order to mentally imagine the tempo and character of the piece. Since at the beginning of the work the composer sets the dynamic nuance of the piano, the amplitude should be small, it is better to use the brush type of technique. In order for the gesture to be readable with fine technique, the Russian conductor, teacher-methodologist Ilya Alexandrovich Musin, in his work “The Conducting Technique”, recommended moving the hands slightly forward from the body, then the gestures would not merge with the conductor’s body. Changes in the level of dynamic organization in conducting should be expressed by a change in the amplitude of the gesture. With a contrasting change in dynamic nuance (from p to f), the gesture should be strong-willed, large in amplitude and with a clear, precise auftact. However, it is necessary to calculate the amplitude of the gesture in such a way that the chorus does not force the sound and this fragment"didn't come out" general context works. Each phrase, in addition to the dynamic nuances written out by the composer, has internal development. The conductor is required to clearly show transitions with a gradual increase and decrease in dynamics, changing the amplitude of the gesture, and precise removals at the end of phrases. Removals should be small in amplitude so that the endings “do not stand out”, but at the same time very specific so that the chorus closes the sound at the same time.
The outlined plan for conducting the score can only convey in general terms the general guidelines for conducting. Listening to the sound, the conductor must immediately correctly respond to the intonation of the musical material by the singers and raise or lower the intonation of individual choral parts with special gestures. Such gestures are more suitable for the rehearsal process. As well as the rehearsal of simultaneous removals and introductions on the hands of the leader. When artistically finishing the image, the conductor should concentrate on finishing the phrases and ask the singers to carefully follow the changes in conducting, to react sensitively to the conductor's hand.
§6. Development of a rehearsal work plan
Having chosen a work, the choirmaster must carefully study it. To do this, it is necessary to analyze the composition, find the most difficult parts of the score in terms of intonation of the melodic lines of the parts, ensemble, conducting and think over ways to overcome them, outline a general performance plan. Along with learning the score by heart (singing voices, playing the piano), the conductor must analyze the work as fully as possible in different directions. A deep knowledge of the score will ensure readiness to learn it with the choir and will allow you to competently answer questions that arise in the singing process in the process of learning.
The process of learning with the choir is conditionally divided into three stages:
familiarization of the team with the work;
the process of its technical development;
work on a work of art.
Or - introductory, technical and artistic.
At the first stage of acquaintance with the work, it is necessary to arouse the interest of the performers. For this purpose, you can use different methods of familiarizing the choir with the work: playing on the piano while singing the main thematic material with words; a story about the work, its authors; content transfer; showing the main features; use of sound recording. You can also sing the work from the solfeggio sheet from beginning to end or in parts, playing the piano and watching the intonation.
At the second, technical stage, musical and literary material is learned, the main elements of vocal and choral technique (intonation, rhythm, diction, sound character, ensemble, etc.) are worked out. At the second stage, rehearsals should be carried out in parts, groups and joint. You need to disassemble the work in small parts. The sequence of learning them can be different, it is not necessary to sing all the time from the beginning. The most difficult parts that require practice should be sung slowly, stopping at sounds or chords that cause particular difficulty. When learning a score, you should for a long time to solfegge musical material in the dynamics of mf, accompanying the singing of the choir by playing the instrument, singing separately the wide moves in the choral parts, building the chord vertical.
The process of learning a work and working on the artistic and technical side of the performance is very complicated; It requires a lot of experience, knowledge and skills from the leader. You can take as a basis the well-known sequence of this process:
analysis of the piece by parts,
work on overcoming technical difficulties,
Artistic decoration of the work.
This is exactly the sequence in the process of mastering a musical work by the choir - from the initial analysis by the choir to the concert performance. A lot depends here on the skill and ability of the leader himself, on the choir, as well as on the degree of difficulty of the work being learned.
Conclusion
An important role in working with the choir is played by the repertoire, which determines the creative face of the choir. When selecting the repertoire, the leader must take into account the gradual improvement of technical skills and the artistic and performing growth of the choir. The leader must always keep in mind the capabilities of this team, its qualitative composition, and the degree of preparedness.
Each choral group eventually develops a certain repertoire direction, accumulates repertoire baggage that corresponds to the composition of the participants, singing style, and creative tasks.
The main task of academic choirs is to promote all the best that has been created and is being created in choral music of the academic style: Russian, Soviet and foreign classics, which is a strong and reliable school of academic choral singing. It is the classics that most closely matches the academic style in choral performance, the established features, and the developed laws of academic choral singing.
From what has been said, it is clear that the leader of the choir must thoroughly know the work to be learned, having studied it as a musician, specialist choirmaster, teacher and conductor. In accordance with this requirement, in the analysis of the composition, the student must argue his “vision” of the artistic and figurative content of the work, substantiate his individual interpretation of music, outline the performing and specially conducting techniques with which he will bring this interpretation to life, provide for technical (including including vocal and choral) difficulties that may be encountered in rehearsal work, and outline ways to overcome them.
So, work on a work begins with getting to know it as a whole. Immediate impressions arising from the first playing or listening to the performer allow one to feel the degree of expressiveness of the music, to avoid far-fetched, prejudiced judgments. Recreation of the musical image, more or less close to the one conceived by the author, depends on the conductor, on his musical and auditory ideas. It is difficult to develop this ability. She comes with the experience of practical work with the choir, as a result of long-term rehearsal and concert activity of the choir. But the conductor needs to strive for inner hearing of the choral sound. The fuller and brighter the initial idea of the work, the more fruitful all subsequent work will proceed, the easier it is to see in it the contours of the future performing plan.
It is important for the conductor of the choir to warn the singers against the “false peak”, to show the real direction of the phrase, to teach them to overcome the psychological and physiological inertia of the voice. Only when the specific difficulties associated with vocals are overcome, when each singer and the entire choir feel their technical mastery and acquire the necessary freedom of self-expression, will a full-fledged, expressive, truly artistic performance become possible.
Having comprehensively analyzed this work, we organized the practical activities of learning the work with the choir more correctly.
Bibliography
1. Abramovich G.L. "Introduction to Literary Studies" Textbook for students ped. in-t on spec. No. 2101 “Rus. lang. or T." M., Education, 1979
2. Analysis of musical works / Ruchevsaya E. et al. -L .: Muzyka, 1988, p.200
3. Anufriev A.A., Anufrieva E.B. Organization of the conductor's cognitive activity in the process of independent study of a choral work / L.A. Slatina // Modernization of the conductor-choir training of a music teacher in the system of vocational education: a collection scientific papers/ ed. M.V. Krivsun.-Taganrog: A.N. Stupin Publishing House, 2007 - p.3-8
4. Bezborodova L.A. Conducting /L.A. Bezborodova.- M.: education, 2000.-160p.
5. Bershadskaya T.S. Functions of melodic connections in modern music// Bershadskaya T.S. Articles of different years: Collection of articles / Ed ..- comp. O.V. Rudneva. - St. Petersburg: Publishing house "Union of Artists", 2004.-p.37-45
6. Braz, S. Mikhail Vasilyevich Antsev// Selected choirs of Soviet composers without accompaniment. Issue 2./ Comp. A. Koposov. - Music, 1964 - p.10-12
7. Vinogradov K.P. Work on diction with the choir / K.P. Vinogradov // Work with the choir. Methodology, experience. - M .: Profizad, 1972.-p.60-90
8. Zhivov, V. L. Performing analysis of a choral work / V. L. Zhivov. - M.: Music, 1987. - 95 p.
9. Zhivov V.L. Choral Performance: Theory. Methodology. Practice: Textbook for students of higher educational institutions.- M.: Vlados, 2003.- 272 p.
10. Zadneprovskaya GV Analysis of musical works: Proc. allowance for students. music ped. schools and colleges. --M.: Humanite. ed. center VLADOS, 2003.
11. Kozhina M.N. K5V Stylistics of the Russian language: textbook / M.N. Kozhina, J1.P. Duskaeva, V.A. Salimovsky. - M.: Flinta: Nauka, 2008. - 464 p.
12. Kolovsky, O.P. Analysis of the choral score / O.P. Kolovsky // Choral art: Collection of articles.: Music, 1966.-p.29-43
13. Kopytman, M. Choral letter / M. Kopytman. Soviet composer, 1971.-200s.
14. Malatsay L.V. Thesis works of performing specializations in the light of existing musical theories/ L.V. Malatsai // Problems and prospects for the development of research work and artistic activity in the institutes of arts and culture: Collection of materials of the All-Russian Scientific and Practical Conference. - Eagle: Orlovsky state institute Arts and Culture, 2003.- p.178-190.
15. Mlatsay L,V. professional collective musical art in the modern socio-cultural space / Society, culture, education: problems and development prospects: materials of the All-Russian (with international participation) scientific-practical conference. - Orel: Orel State Institute of Arts and Culture, 2009.- p.190-202
16. I. Musin, Conducting Technique. ... M u s and n I. A. - Lessons in conducting. Music, 1955.-304s.
17. Osenneva M.S., Samarin V.A. Choir class and practical work with the choir. Publisher: Academia, 2003. Per, 192 pages.
18. Pikalova, L.P. Methods of teaching special disciplines [Text]: textbook-method. allowance / L.P. Pikalova; Eagle. state in-t of arts and culture., 2012-110p.
19. Zinov'eva, L. P. Vocal tasks of auftact in choral conducting / L. P. Zinov'eva. - St. Petersburg: Composer, 2007. - 152 p.
20. Kuznetsov, Yu. M. Experimental studies of the emotional expressiveness of the choir / Yu. M. Kuznetsov. - M.: 2007. - 198 p.
21. Semenyuk, V.O. Choral invoice. Performance problems. - M .: LLC Publishing house "Composer", 2008. - 328 p.
22. Kuznetsov, Yu. M. Practical choral studies. Educational course of choral studies / Yu. M. Kuznetsov. - M.: 2009. - 158 p.
Hosted on Allbest.ru
Similar Documents
Musical-theoretical, vocal-choral, performing analysis of the work for choral performance "Legend". Acquaintance with the history of life and work of the author of music by Pyotr Ilyich Tchaikovsky and the author of the text Alexei Nikolaevich Pleshcheev.
summary, added 01/13/2015
The demand for amateur music-making, its place in public life. Features of work with student amateur choir. Methods for the development of vocal and ensemble skills. Specific features of vocal and choral work with amateur singers.
term paper, added 05/20/2017
General information about the work, its composition and main elements. Genre and form of choral work. Characterization of texture, dynamics and phrasing. Harmonic analysis and tonal features, vocal-choral analysis, main ranges of parts.
test, added 06/21/2015
The study of the features of the choral work by S. Arensky on the verses of A. Pushkin "Anchar". Literary text analysis and musical language. Analysis of conductor performing means and techniques. Ranges of choral parts. Development of a rehearsal work plan.
term paper, added 04/14/2015
Information about the authors of words and music. Analysis of the work "Lily of the valley" for a three-part female choir with accompaniment. Ranges of choral parts. The form is couplet with a peculiar refrain, the texture is homophonic-harmonic, elements of folk Chinese music.
report, added 11/13/2014
The relationship between the diction of the choir and orthoepy when conveying a poetic text to the audience. Specific features of choral diction. Rules and techniques of articulation in vocal-choral diction. Conditions for creating a diction ensemble. Relationship between words and music.
report, added 09/27/2011
General information about the choral miniature by G. Svetlov "Snowstorm sweeps the white way". Musical-theoretical and vocal-choral analysis of the work - characteristics of the melody, tempo, tonal plan. The degree of vocal load of the choir, methods of choral presentation.
abstract, added 12/09/2014
Creative person F. Poulenc. Cantata "The Face of Man". Artistic concept of cantata. Analysis of the poetic text of the issue "I'm afraid of the night". Musical and expressive means, vocal and choral analysis. Soprano, alto, tenor and bass parts.
abstract, added 11/29/2013
Biography of the composer, conductor and musical and public figure P.I. Tchaikovsky. Musical-theoretical analysis of the choir "Nightingale". Lyrical character, harmonic and metrorhythmic features of the solo. Vocal-choir and conductor difficulties.
term paper, added 03/20/2014
Biographies of the authors of the literary and musical texts of the work "Autumn" by the composer Caesar Cui and the writer Aleksey Pleshcheev. Analysis of a landscape-lyrical sketch written for children's and women's choirs with accompaniment in the key of d-moll.
Date added: 28 April 2014 at 16:20
Author of the work: c*************@mail.ru
Kind of work: graduate work
Attached files: 1 file
Download file
Music.docx
- 22.80 KbMuses. I. Ozolinya
Sl. A. Brodele
The forest spread out dense
The literary text of the work was written by Anna Yurievna Brodele. She was born on September 16, 1910. Latvian writer. Born in the family of a forester. Published since 1927. For participation in underground work she was imprisoned (1932 - 1936). She studied at the Lithuanian Institute. M. Gorky in Moscow.
The turning point in the minds of the old intelligentsia is reflected in the play "Teacher Straush" (1949)
The most significant prose of Brodele is the story "Margo" (1950), the novel "Quiet Town" (1967) about the struggle for Soviet power in bourgeois Latvia. Novels from collective farm life: "Blood of the Heart" and "Loyalty". The novels "The Blue Sparrow", "This is my time" are devoted to the problems of youth. She was awarded two orders, as well as medals. Died September 29, 1981.
The musical text of the work was written by Janis Adolfovich Ozolin. Born on May 30, 1908, in Emava. Latvian Soviet choir conductor, composer and teacher. Honored Art Worker of the Latvian SSR. Rector and Associate Professor of the Conservatory in Riga. One of the main conductors of song festivals. Author of many choral works, as well as romances, adaptations of folk songs, music for theater and cinema. From 1930 - 1941 taught at general education schools in Jelgava and Riga. From 1942 to 1944 he was the conductor of the choir of the State Art Ensemble of Latvia in the SSR in Ivanovo, for which he created the first Latvian military-patriotic mass songs. From 1944-1953 artistic director and conductor of the State Choir of the Latvian SSR, from 1946-1948 artistic director of the State Philharmonics of the Latvian SSR. Since 1951 he has been a teacher (since 1965 a professor) and rector of the Latvian Conservatory. One of the main conductors of all song festivals in Soviet Latvia. J. Ozolin is the author of numerous successive choral songs with a developed melodic beginning. (“Song of the Latvian Riflemen”, “Song of the Fishermen”, “My Motherland”, “Ivushka”, “The Way of the Song” - a poem for male choir and symphony orchestra, a cycle of vocal miniatures based on poems by R. Gamzatov, etc.), works for spiritual orchestra (fantasy suite "Evening in a Fisherman's Village", overture "Immortal Youth", etc.), music for dramatic and puppet theaters, movie.
literary text
The forest spread out densely...
In the distance, clouds float over the forest,
blue rivers shine,
the sun knits lace.
Gray-haired flock of light clouds
flies and melts to the east,
and, waving branches after,
birch trees send them greetings.
Visit places
where we hovered dreams!
All dreams and dreams will be
put into practice by us.
In this choral work, the beauty of nature is sung. Nature yesterday, today and tomorrow - was, is and will be beautiful. Nature evokes bright feelings in a person. It is impossible not to admire her, because we know how powerful, unique and eternal nature is, how good our Motherland is. Wherever fate throws a person, wherever he finds himself, the soul will still live in the Motherland, where he has corners of nature, to which he trusted his thoughts, his feelings, his dreams ...
Musical-theoretical analysis.
The work is written in a simple couplet form.
The volume of the choral score is 12 bars.
The period consists of three musical proposals. Each sentence is divided into 2 phrases.
The third sentence is a repetition of the second without change.
The forest spread out densely ... 1fr.
In the distance, clouds float over the forest, 2 fr.
Shines river blue, 3 fr.
The sun knits lace.4 fr.
The rhythmic pattern of this choir is simple, expressed by the following groupings:
The work is written in the key of F-major. The variable meter is simple, double and triple. The size is simple ¾, 2/4. The presentation is homophonic-harmonic. The work is dominated by monorhythm in 1, 3, 5, 7 measures, in 2, 4, 6, 8 measures.
Example v. 1-2
An important means of musical expression is dynamics. The dynamics of this work is represented by the following values: p, mp, mf, as well as a lot of moving dynamics: crescendo, diminuendo.
Example t. 7-8.
One of the means of artistic expression is tempo - a certain sphere of images, emotions, moods.
The pace of the work is moderate (slowly).
Example: v.1 - 2
This work is performed acappella, the distribution of musical - thematic material between the choral parts is as follows: the melodic line runs in the S1 part, and S2 and A harmoniously support it.
Example: v. 5 - 6
The Lado tonal plan of the work is very simple and traditional. The main key of the piece is F major. And only in 6 m. The composer uses the harmonic form of major (with a reduced 6th step).
Example: v. 5 - 6
The harmonic language of the work "The dense forest spreads" is completely determined by the modal-tonal plan - it is very simple. These are triads and inversion of triads (T,S,D).
Example: v.3 - 4
Warehouse presentation - homophonic - harmonic. The texture of a choral work is conditioned by the content and expressive possibilities of the choral parts. In the work “The dense forest spreads”, two main functions of the choral parts can be distinguished: melodic (associated with the conduct of musical thought - the upper voice), and harmonic (the accompaniment function - the middle, lower voice).
Example: v. 1 - 2
Vocal-choral analysis
The work "The dense forest spreads" was written for a homogeneous female three-part choir a cappella. Consider the range of each choral part separately:
Choir ranges:
General range of the choir:
All choral parts are written within the notes of the working range.
With the exception of the part - A, their theme begins in a small octave and therefore you need to start singing quieter on P.
Diction is an essential element in choral art. The word helps the listener to understand the composer's intention, the idea and image of the work. Diction is one of the means of conveying the words of the literary text of a choral work to the audience. Vocal-choral diction implies a clear pronunciation. According to the rules of orthoepy, a consonant at the end of a word is transferred to the first syllable of the next word:
Lesra-ski-went-dre-mu-chi ...
Away-float-wu-tna-dle-so-mtu-chi,
Bl-sche-tre-chki-si-ne-va
So-sun-vya-same-true-same-va.
Sometimes in a group of consonants one of them is not pronounced:
Sun - / sun /
The work mainly uses valuable breathing, with the exception of 1-2 tt., 3-4 tt.
Chorus system
Since the work is performed acappella, great attention should be paid to intonation. Clean tuning is the first and most important quality of choral singing. Many factors contribute to the development and maintenance of pure choral tuning.
The acappella structure is based on the modal and harmonic features of the intonation of music, its acoustic patterns.
Considering the melodic structure of choral parts, we are faced with intervals that present difficulty in intonation.
S1- t. 4-5 interval m.6 in an upward movement. Performed widely, in a high position:
A - interval ch.4 in ascending and descending movement. Should be performed in a low position:
There is a danger of lowering intonation when repeating one sound several times: v.1 (S2), v.3, v.5 (A), v.7 (S2).
The intervals, seconds between parts S1 and S2 also create difficulty in intoning.
After analyzing the intervals of the choral parts horizontally and vertically, we can conclude that the voice leading in the parts is different. S1 - smooth, gradual, wavy. A parts S2 and A
on the contrary, they are very static, as if motionless - on one note and only sometimes lead the melody step by step up and down.
Example: v.5-6
The basis of a good sound is proper singing breathing. The main type of breathing and singing is the lower - costal - diaphragmatic. One of the main conditions for proper singing breathing is complete freedom of the upper chest and neck. The work uses general choral breathing in phrases and sentences.
The third phrase is performed on a chain breath (5 - 8 tt.)
Performance Analysis
Getting to work on a work, it is necessary to present its main artistic images. The main task of the performer is to convey to the listener all the richness and significance of the content of the work.
The nature of sound science in music is directly dependent on the content - legato. The piece is performed a cappella. There are no dynamic difficulties. The subtext is the same for everyone. The tessitura of the choral parts and the entire choir is comfortable.
Comfortable tessitura, uncomplicated rhythm create favorable conditions for building a choral ensemble.
You need to learn the work in batches. Conductor's gesture should be small and smooth. The conductor and the singers need to pay attention to the culture of sound.
The main dynamic zone of the work (P) is quite natural for conveying a calm contemplative mood. Average dynamics from PP – mf.
In each phrase there are moving nuances (crescendo, diminuendo)
The second phrase of the 1st sentence starts with mp.
The second sentence starts with mf. At the end of diminuendo.
Each verse has a dynamic development.
This work teaches to be attentive to nature. To love and cherish her to teach to see the beautiful.
Short description
Before starting work on a work, it is necessary to present its main artistic images. The main task of the performer is to convey to the listener all the richness and significance of the content of the work.
The nature of sound science in music is directly dependent on the content - legato. The piece is performed a cappella. There are no dynamic difficulties. The subtext is the same for everyone. The tessitura of the choral parts and the entire choir is comfortable.
Comfortable tessitura, uncomplicated rhythm create favorable conditions for building a choral ensemble.
You need to learn the work in batches. The conductor's gesture should be small and smooth. The conductor and the singers need to pay attention to the culture of sound.
Analysis of the choral score.
Compiled by: Senior Lecturer
department of choral conducting and
solo singing of the Faculty of Music
Bogatko I.S.
Perm 2013
Choral work analysis
Musical-theoretical analysis of the work (tonal plan, form, cadences, the nature of the development of musical thought, size, texture features, tempo).
Vocal-choral analysis: type and type of choir, voice ranges, tessitura, ensemble, system, intonation, vocal-choral, rhythmic, diction difficulties).
Performing analysis of the work; (the connection of music with the text, the definition of caesuras, the establishment of the tempo, the nature of the work, dynamics, strokes, climax).
List of works.
1 course
Choral works to study
Arensky A. Anchar. Nocturne
Agafonnikov V. Flax was sown across the river.
Bely V. Steppe
Boyko R. 10 choirs at A. Pushkin station
Vasilenko S. Dafino wine. Like in the evening. On the mountains two gloomyclouds. Blizzard. Steppe.
Grechaninov A. The stream amuses us. In a fiery blaze. Aboveimpregnable toughness. Light is quiet. After the storm. At dawn.
Gounod C. Night
Davidenko A. Vsevpered. Barge haulers. The sea roared furiously.
Darzin E. Past. Broken pines.
Dvorak A. Pir. Choirs from the cycle "On Nature"
Debussy K. Winter. Tambourine
Egorov A. Taiga. Nikitich. Lullaby. Lilac. Song.
Ippolitov-Ivanov M. Novgorod epic. Forest. Night.
Kastalsky A. Under a large tent. Rus.
Korganov T. Sees a deer in the water.
Kasyanov A. Autumn. The sea does not foam.
Caldara A. Stabatmater
Kalinnikov V. Lark. Winter. On the old mound. Us starsthe meek shone. Autumn. Forest. Oh, what an honor to the young man. merk starschick and go out. Condor. Elegy.
Koval M. Ilmen-lake. Leaves. Tears. There would be a storm, or something.
Kravchenko B. Russian frescoes (optional)
Cui C. Nocturne. Wake up song birds. Two roses. The sun is shiningtse. Storm clouds. Dream.
Kolosov A. Rus.
Lasso O. Soldier's serenade. Oh, if only you knew. matona.
Lensky A. Past. Russian land. January 9. Cliff and sea. Arrangements of folk songs (optional).
Lyatoshinsky B. Autumn. Oh, ty, my mother. In a clean field. Water flows.
Makarov A. "City of Unfading Glory" from the suite "River Bogatyr"
Mendelssohn F. Choirs to choose from.
Muradeli V. Response to the message of A. Pushkin.
Novikov A. In the forge. Oh, you field. Love. Merry feast.
Popov S. Like the sea.
Poulenc F. White snow. Sadness. "I'm afraid of the night" from the cantata "Lik human"
Ravel M. Three birds. Nicoletta.
Sveshnikov A. In the dark forest. Ah, you are a wide steppe. Down the mother along the Volga.
Sviridov G. "Pushkin's wreath": No. 1, 3, 7, 8, 10. "Night clouds" -No. 2. Blue in the evening. clear fields. Spring and the sorcerer. Choirs onpoems by Russian poets.Slonimsky S. Four Russian songs.
Sokolov V. Povien-povien, storm-weather. Are you rowan, ripple nushka.
Taneev S. Adeli. Tower ruin. Venice at night.
Tchaikovsky P. Without pores, but without time. Not a cuckoo in the cheeseboron. The cloud slept. Nightingale. What silenced funvoice. Blessed is he who smiles. Choirs from the Liturgy (optional).
Chesnokov P. August. Alps. In winter. The dawn is warm. Forest. Along yes alongriver. Dubinushka. It's not a flower that wilts in the field. Liturgical choirs (optional).
Shebalin V. Winter road. The mother sent thoughts to her son. Stepan Razin.White-sided chirping. Cliff. Message to the Decembrists. Cossackdrove a horse. Soldier's grave.
Shostakovich D. Ten Poems. (choirs to choose from).
Schumann R. Good night. Toothache. In the forest. On Lake Constance.
Shchedrin R. 4 choirs at st. A. Tvardovsky.
Schubert F. Love. Night.
Choral works for sight reading and transposition.
Bortnyansky D. It is worthy to eat. Cherubic number 2.
Vekki O. The Shepherd and the Shepherdess.
Davidenko A. The sea moaned furiously. Prisoner. Barge haulers.
Dargomyzhsky A. Petersburg Serenades.
Glinka M. Patriotic song.
Grechaninov A. Frog and ox.
Egorov A. Song.
Zinoviev A. Autumn.
Ippolitov-Ivanov M. Sharp axe. Pine.
Kalinnikov V. Elegy.
Kastalsky A. At the gate, gate. Rowanberry.
Kodai 3. Evening song.
Costle G. Mignon.
Sheet F. The onset of spring.
Mendelssohn F. Run with me. As frost fell on a spring night.Above her grave. Premonition of spring.
Prosnak K. Prelude.
Rachmaninov S. We sing to you.
Rimsky-Korsakov N.A. Ai in the field of lime. You rise the red sun.
Salmanov V. "Oh, dear comrades" from the oratorio "The Twelve".
Slonimsky S. Leningrad white night.
TaneevS. Serenade. Pine.
Tchaikovsky P. "Liturgy of St. I. Chrysostom": No. 9, 13.A golden cloud spent the night
Chesnokov P. Spring calm. Behind the river, behind the fast one. Thought after thought.
Shebalin V. Winter road.
Schumann R. Evening star. Good night. Night silence.
Schubert F. Love. distant.
Shchedrin R. How dear is a friend. The war has passed. Quiet Ukrainian night.
Eshpay A. Song about springs.
2 course
Choirs with accompanimentForstudy.
Original choral works:
Glinka M. Polonaise. Glory to the Russian people.
Debussy K. Lilac.
Ippolitov-Ivanov M. Morning. Peasant feast.The approach of spring. Flowers.Leaves rustle in the garden. In May.
Novikov A. Grass. Hey, let's go. And the rain is pouring.
Schumann R. Gypsies.
Schubert F. Shelter.
Choirs from oratorios and cantatas.
Harutyunyan A. Cantata about the Motherland No. 1, 4, 5.
Britten B . Missa brevis in D
Bruckner A. Requiemd- mall. Big mass.
Brahms I. German Requiem:№ 4.
Vivaldi A. Gloria: No. 1, 4, 7.
Handel T. Oratorio "Samson": "Smitten Samson"
Grieg E. Olaf Trigvasson (single room).
Dvorak A. Requiem (choir performances). ThoseDeum(fully)
Kabalevsky D. Requiem: Introduction, Remember, Eternal glory, Black stone.
Kozlovsky O, Requiem (movements by choice).
Makarov A. Suite "River Bogatyr". ABOUT
ABOUT rf K. Karmina Burana: No. 1, 2, 5, 8, 10, 20, 24, 25.
Prokofiev S. Ivan the Terrible (choir numbers).
Poulenc F. Face of a man (parts by choice)
Salmanov V. Twelve (separate parts or in full).
Sviridov G. "Pathetic Oratorio": Wrangel's Flight,To the heroes of the battle of Perekop, There will be a garden city, The poet and the sun " Poem in memory of S. Yesenin ": Winter sings, Threshing,Night on Ivan Kupala, Peasant
Guys. " Pushkin wreath ": No. 5, 6. "Night clouds" No. 5. " Ladoga" № 3, 5.
Tchaikovsky P. Moscow: No. 1, 3, 5.
Shostakovich D. "Song of the Forests": Future walk. "The sun is shining over our Motherland, Stenka Razin.
Choirs from operas;
Bizet G. "Carmen": scenes 24, 25, 26.
Beethoven L. "Fidelio" (department of choirs).
Borodin A. "Prince Igor": Glory, Yaroslavna's scene with the girls,Scene at Galitsky, Polovtsian dances with a choir,Finale of the 1st act,
Wagner R. "Lohengrin": Wedding choir. "Tannhauser": March.
Verdi D. "Aida": choral scenes. "Othello": choral scenes from 1, 3 acts.
Verstovsky A. "Askold's Grave": Oh, girlfriends, boil, potion.Chorus and song of Torop.
Gershwin A. "Porgy and Bess": separate choirs.
Glinka M. "Ivan Susanin": Polish Act, Glory."Ruslan and Lyudmila": Introduction, Final 1 act,Oh, you are the light, Lyudmila.
glitch X. "Orpheus": separate choirs.
Gounod C. "Faust": Waltz. "Romeo and Juliet: Choir of Courtiers.
Dargomyzhsky A. "Mermaid": Oh, you, heart, Braid, wattle. How we brewed beer on the mountain.As in the upper room-svetlitsa.
Delib L. "Lakme": choir and stage in the market.
Kozlovsky O. "Oedipus Rex": 1st choir of the people.
Mussorgsky M. "Boris Godunov": Scene of the coronation,Scene at St. Basil'sScene under Kromy (completely and separate fragments), "Sorochinskaya Fair": Choir from 1 act. "Khovanshchina": Meeting and glorification of Khovansky,Scene in the Streltsy Sloboda (completely and separate frag.).
Rimsky-Koreakov N.A. "Pskovityanka": Meeting the Terrible,Grozny's entry into Pskov, Veche Scene; "Sadko": Chorus of trade guests,Whether the height, the height under heaven. "Snegurochka": Chorus of blind guslars,Scene in the reserved forestAnd we sowed millet, Pcarnival, Opera finale.
« The Legend of the Invisible City of Kitezh":Wedding train. "The Tsar's Bride ": Love potion, Yar-hop. " May Night": Millet.
Smetana B. "The Bartered Bride": separate choirs.
Kholminov A. "Chapaev": With us, Petenka.
Tchaikovsky P. "Eugene Onegin": Chorus of peasants, Ball at the Larins. " Queen of Spades ": Choir of Walkers,Chorus of guests, Shepherdess Pastoral. "Mazeppa": Chorus and lamentation of the mother, Folk scenes, Execution scene. "Oprichnik": The duck swam in the sea,Wedding choir "Glory".
Choral works for sight reading and transposition
Borodin A. "Prince Igor": Fly away on the wings of the wind.
Verstovsky A. "Askold's grave": Two choirs of fishermen,By the valley stood a white birch, Ah, girlfriends.
Verdi J. "Nebuchadnezzar": You are beautiful, oh, our Motherland. "Aida ": Who is there (2 act).
Glinka M. "Ruslan and Lyudmila": Oh, you are the light of Lyudmila,The bird won't wake up in the morning. "Ivan Susanin ": Wedding song.
Dargomyzhsky A. "Mermaid": Three choirs of mermaids.
Mussorgsky M. "Khovanshchina": Dad, Dad, come out to us.
Petrov A. "Peter I": Final chorus from the opera.
Tchaikovsky P. "The Snow Maiden": Seeing off Shrovetide.
Chesnokov P. Spring rolls.
3 course
Polyphonic choral works to study.
Original choral works
Arkadelt Ya. Swan at the moment of death.
Vecky Oh, it's better not to be born.
Verdi J. 4 spiritual choirs.
Gabrieli A. Young maiden.
Grechaninov A. Swan, crayfish and pike.
Glazunov A. Down the mother, along the Volga.
Kodály 3. Hungarian psalm.
Lasso O. Shepherd. Goose song. Echo.
Marenzio L. How many lovers.
Monteverdi K. Farewell. Your clear gaze is so beautiful and bright.
Morley Tenderness burns in your face.
Palestrina J. Spring wind. Oh, he's been in the grave for a long time.
Rimsky-Koreakov N. The moon floats. Old song.A golden cloud spent the night. Tatar full.You are already a garden. Wild in the north.
Sveshnikov A. You are a garden.
Sokolov V. Where can a girl go with grief?
Taneev S. Alps. Sunrise. Evening. On the grave.Tower ruin. Look how dark.Prometheus. I saw a cliff through the clouds. In the days when over the sleepy sea. There are two gloomy clouds over the mountains.
Tchaikovsky P. Liturgy of St. I. Chrysostom: No. 6, 10, 11, 14.Cherubic Hymn No. 2. Our Father.
Chesnokov P. There was a baby.
Shebalin V. Above the mounds.
Shchedrin R. Willow, willow.
Choirs from operas:
Borodin A. "Prince Igor": Chorus of the villagers.
Berlioz T. "The Condemnation of Faust": Brander's Song and Choir.
Vasilenko S. "The Legend of the Invisible City of Kitezh":Choir of the people "Woe has befallen".
Wagner R. "Meistersingers": Glory to Art.
Glinka M. "Ivan Susanin" ": Introduction. "Ruslan and Lyudmila": He will die, he will die.
Dargomyzhsky A. "Mermaid": Healthy choir.
Mozart W. "Idomeneo": Run, save yourself.
Rimsky-Koreakov N. "The Tsar's Bride":choral fughetta "Sweeter than honey". "Snow Maiden ": I have never been scolded by treason(from the final 3 days)
Ravel M. "Child and Magic": Choir of shepherds and shepherdesses.
Shostakovich D. "Katerina Izmailova": Glory.
Choirs from oratorios and cantatas
Harutyunyan A. Cantata about the Motherland: No. 3 "The Triumph of Labor".
Bartok b. Cantataprofana. № 1, 2, 3.
Bach I.S. Secular cantatas:№ 201 D- dur"Attention", No. 205 D-dur "Chorus of Winds", No. 206D- dur"Opening Chorus", No. 208 F-dur "Final Choir", Mecca h- molI: № 1, 3, 15, 16, 17.
Beethoven L. MassC- dur: 1st hymn
Berlioz G. Requiem: otd. numbers.
Britten B. War requiem. MassinD.
Brahms I. German Requiem: No. 1, 2, 3, 6, 7.
Vivaldi A. Gloria: No. 5, 12
Verdi G. Requiem: No. 1, 2, 7.
Haydn I. Seasons: No. 2, 6, 9, 19.
Handel G. "Alexander Fest": No. 6, 14, 18. " Messiah": No. 23, 24, 26, 42. " Judas Maccabee": No. 26. "Samson": No. 11, 14, 26, 30, 32, 49, 59.
Davidenko A. From the joint oratorio "The Way of October": On
tenth verst, The street is worried.
Degtyarev S. "Minin and Pozharsky": separate issues.
Dvorak A. Requiem: individual numbers. Stabat Mater No. 3.
Yomeli N. Requiem: individual numbers.
Mozart W. Requiem: No. 1, 4, 8, 9, 12.
Honegger A. "King David": No. 16, 18 and Final chorus. "Joan of Arc at the stake: Finale of the oratorio.
Ravel M. Daphnis and Chloe: Choirs from suites 1 and 2.
Reger M. Requiem: complete and separate numbers.
Scriabin A. Symphony 1: Glory to Art (final).
Stravinsky I. Symphony of Psalms: complete and separate numbers.
Smetana B. "Czech Cantata".
Taneev S. "John of Damascus": complete and separate numbers. "After reading the psalm ": No. 1, 4.
Faure G. Requiem: individual numbers.
Hindemith A. "Eternal": complete and separate numbers.
Tchaikovsky P. "To the 200th anniversary of the monument to PeterI»: Fugue.
Schubert F. Mass As-dur. Private rooms. Mass Es-dur: Separate numbers.
Shimanovsky K. Stabatmater: № 1, 4, 5, 6.
Schumann R. "Paradise and Peri":№8, 11, Requiem: individual numbers.
Shostakovich D. Song of the Forests: No. 7 Glory.
Shchedrin R. "The Sealed Angel": individual numbers and in full.
Choral works in the keys "TO".
Baya T. OboneJesu
Bortnyansky D. Concerto for choir No.I.
Gastoldi T. Heart, do you remember
Calvisius S. I am a man.
Lasso O. All day daytime.I was told. How did you manage.
Lechner L. Oh, how cruel my fate is to me.
Meyland Ya. The heart rejoices in the chest.
ScandeliusA. To live on earth.
Friderichi D. Song of society.
Hasler G. Ah, I sing with a smile.
Chesnokov P. Spirit. choirs.
Shostakovich D. As in an immemorial year.
Choral scores for transposition
Venosa J. Sancti spiritus.
Verdi J . Laudi alla virgine Maria fragments )
Dargomyzhsky A. Petersburg Serenades: From a Country, a Faraway Country.Raven flies to raven.I drink to Mary's health. Goblin at midnight. On the calm waves.
Ippolitov-Ivanov M. Pine.
Kodály 3. Hello Janos.
Lottie A. Miserere
Mendelssohn F. In the south.
Muradeli V. Impatiable dreams.
Rechkunov M. Sharp axe. Autumn.
Taneev S. Serenade. Pine. Venice at night.
Tchaikovsky P. Evening.
Schubert F. Lipa.
