Synopsis-crib on the topic "genres of choral music". Genres of choral music What is a choral miniature definition

Pedagogical goal: to form an idea of ​​the features of the genre of musical miniature on the example of the choral arrangement of the “Old French Song” from the “Children's Album” by P.I. Tchaikovsky.

Objectives: to trace the relationship of different musical genres through understanding the content of the composer's artistic intent; to achieve high-quality sounding of children's singing voices in the process of learning and performing a song through a conscious perception of music.

Genre of the lesson: thematic.

Class type: learning new material.

Methods: immersion method(allows you to realize the value-semantic meaning of a musical work in a person's life); phonetic method sound production(aimed at both the development of the qualitative characteristics of the singing voice and the formation of vocal and choral skills); music-making method(associated with mastering the elements of musical fabric and ways of performing music based on the internal activity of students); the method of “plastic intonation” (aimed at a holistic perception of the musical fabric through the motility of one’s body).

Equipment: portrait of P.I. Tchaikovsky, music collection “ children's album”, an illustration of the sunset on the river (at the choice of the head), cards with the musical terms “Climax”, “Reprise”.

During the classes.

By the time of the lesson, the children have already become acquainted with the work of P.I.

Leader: Guys, you have already studied the musical works of this brilliant composer at school music lessons. Who remembers his name and what people he belongs to?

Children: Russian composer Pyotr Ilyich Tchaikovsky.

Head: Yes, indeed, this is the great Russian composer of the 19th century P.I. Tchaikovsky, and I am glad that you recognized him! The music of Pyotr Ilyich is known and loved all over the world, and which of his works do you remember?

The students give the expected answers:

Children: “March of the Wooden Soldiers”, “Doll Disease”, “Polka”, “Waltz of the Snowflakes” and “March” from the ballet “The Nutcracker”.

Head: Guys, Tchaikovsky created a lot of wonderful music for adults and children in various genres from such large ones as opera, ballet and symphony to very small instrumental plays and songs. You have already mentioned some of them today. For example, “March of the Wooden Soldiers” and “Doll Disease”. Do you know for whom the composer wrote these pieces? For my little nephews who were learning to play the piano. Unfortunately, Pyotr Ilyich did not have his own children, but he loved his sister's children very much. Especially for them, he created a collection of small pieces for piano, which he called "Children's Album". In total, the collection includes 24 plays, including "The March of the Wooden Soldiers" and "The Doll's Disease".

The leader shows the collection to the children and, turning over its pages, pronounces some of the titles of the plays, focusing on the following:

Head: “German song”, “Neapolitan song”, “Old French song” ... Guys, how is it? Did a Russian composer write plays with such titles?

Children, as a rule, find it difficult to answer, and the leader comes to their aid:

Leader: Traveling to different countries, Pyotr Ilyich studied the music of different peoples. He traveled to Italy, France, Germany, England, other European countries and even went across the ocean to North America. The composer embodied the impressions of the folk music of these countries in his compositions, conveying its beauty and originality. This is how the “German song”, “Neapolitan song”, “Old French song” from the “Children's Album” and many other works appeared.

Now I will perform for you on the piano one of my favorite pieces from the “Children's Album” - “Old French Song”, and you will be attentive listeners and try to understand why the composer called the instrumental work “song”?

Task: to determine the vocal beginning of the piece by the nature of the melody.

After listening to the music, students give the expected answers:

Children: The melody is smooth, lingering, legato, songlike, the piano seems to “sing”. Therefore, the composer called this instrumental piece “a song”.

Leader: Guys, you are absolutely right. Not without reason, in our time, the modern poetess Emma Aleksandrova, having felt the song beginning of this music, composed the words to the “Old French Song”. The result is a work for children's choir, which we will learn today at the lesson. Please listen to this vocal work and determine its content. What is this song about?

Students listen to the “Old French Song” performed by the leader with piano accompaniment.

Children: This is a picture of nature, a musical landscape of an evening river.

Leader: Of course you are right guys. This is obvious from poetic text songs. What mood does the music express?

Children: The mood of peace and light sadness. But suddenly, in the middle of the song, the music becomes agitated and impetuous. Then the mood of peace and light sadness returns again.

Leader: Well done guys! You were not only able to determine the mood of this music, but you were also able to trace how it changed throughout the song. And this, in turn, will help us determine the musical form of the "Old French Song". What is a musical form?

Children: musical form- This is the structure of a piece of music in parts.

Manager: In what form are most of the songs that you know written?

Children: In couplet form.

Leader: Is it possible to assume that the “Old French Song” has such a form? After all, this is an unusual song. Remember how it was created, and remember how many times the mood changed in this “song”?

Children: This song has a three-part form, since the mood of the music changed three times.

Leader: This is the correct answer. “An old French song” has an unusual form for the vocal genre, since it was originally written by P.I. Tchaikovsky as an instrumental piece for piano. From your answer, we can conclude that the number of parts of the form of a piece of music corresponds to the change in mood in the music.

Leader: By what means of musical speech did the composer convey the mood of the “song”?

Children: Legato, minor scale, even rhythm, calm tempo in the extreme parts of the song, acceleration of the tempo and increased dynamics in the middle part.

Before the next listening to the “Old French Song”, students are shown an illustration for the song - a sunset on the river, and are offered a verbal picture - a fantasy about the feelings of the composer who composed this music.

Leader: Look carefully at this illustration and imagine that the composer himself is sitting on the banks of the Seine in the evening in the vicinity of Paris, admiring the beauty of the surrounding nature, the colors of the setting sun. And suddenly he was flooded with vivid memories of a distant, but so dearly beloved Motherland. He recalls his native expanses, wide rivers, Russian birches and, like the voice of his mother, the bell ringing of churches ...

The leader puts a portrait of P.I. Tchaikovsky on the piano.

Leader: Guys, imagine that the composer himself is listening to this music with you.

After re-listening to music in vocal performance, students share their impressions of the music they heard.

Head: Guys, Pyotr Ilyich loved Russia very much, but do you love your Motherland?

Suggested student responses:

Children: Yes, of course, we also love her very much and are proud of our great country!

The leader distributes the text of the song to the children.

Head: Guys, you, of course, noticed how little text is in this song. Despite this, he very vividly and figuratively paints a picture of evening nature and a change in a person’s moods:

In the evening over the river coolness and peace;
Whitening, the clouds go into the distance in a ridge.
Strive, but where? Flowing like water
They fly like a flock of birds and melt without a trace.

Chu! The distant ringing trembles, calls, calls!
Doesn't the heart send messages to the heart?

Runs, murmurs water, years go away,
And the song lives on, it is always with you.

After reciting the text of the “Old French Song”, the leader defines the genre of musical miniature:

Leader: A small piece of music for voice, choir, any instrument and even an entire orchestra has a beautiful French name miniature. Guys, does P.I. Tchaikovsky’s “Old French Song” belong to the genre of vocal or instrumental miniatures?

Children: “An old French song” by P.I. Tchaikovsky belongs to the genre of instrumental miniature because the composer wrote it for the piano. But after the “song” had words, it turned into a vocal miniature for a children's choir.

Leader: Yes, indeed, “Old French Song” is both an instrumental and choral (vocal) miniature. Guys, do you like this song? Would you like to learn it? Certainly! But before that, we need to sing in order for your voices to sound beautiful and harmonious.

2nd stage. chanting.

Children are given a singing installation.

Leader: Guys, show me how to sit properly when singing.

Children sit straight, straighten their shoulders, put their hands on their knees.

Leader: Well done guys. Remember to keep your body position while singing.

Students are invited to perform a set of exercises for the development of vocal and technical skills:

1.An exercise in vocal breathing and choral unison.

Stretch the syllable “mi” at the same height as long as possible (sounds “fa”, “sol”, “la” of the first octave).

When performing this exercise, it is necessary to ensure that the children do not raise their shoulders and take their breath “with their tummy, like frogs” (lower costal breathing).

2.Legato exercises (smooth coherent sound leading).

The combination of the syllables “mi-ya”, “da-de-di-do-du” is performed step by step up and down - I - III - I (D major - G major); I - V - I (C major - F major).

3.Staccato exercise (jerky sound leading).

The syllable “le” is performed according to the sounds of a major triad up and down (C major - G major).

4.An exercise in vocal diction.

Singing patter:

“Lambs-hard-horned go through the mountains, roam through the forests. They play the violin, they amuse Vasya ”(Russian folk joke).

It is performed on one sound (“re”, “mi”, “fa”, “salt” of the first octave) with a gradual acceleration of the tempo.

3-stage. Learning a song in the form of the game "Musical Echo".

Purpose: to form a complex idea of ​​the song.

Methodology of the game: the leader sings the first phrase of the song, the children repeat quietly over the leader’s hand, like an “echo”. The second phrase is also performed. Then the leader sings two phrases at once. Various versions are being played:

• the leader sings loudly, the children quietly;
• the leader sings softly, the children loudly;
• the leader offers to become a performer to any of the children.

Leader: Guys, you have determined the content of the song, its form, the nature of sound science, and now let's look at its intonational and rhythmic features. So, listen to the first musical sentence of the first part of the song and determine the nature of the movement of the melody.

The leader takes the first step.

Children: The melody rises up, lingers on the top tone, and then descends to the lower sounds to the tonic (musical point).

Leader: What does this direction of the melody represent?

Children: Waves on the river.

Leader: Let's fulfill this sentence, at the same time clapping the rhythmic pattern of the melody (a pattern of short and long sounds), emphasizing the stresses in the words.

Then the students compare the first and second sentences of the first part of the “song” and conclude that their music is the same, but the words are different. The leader learns the first part of the choral miniature with the children, using the “musical echo” technique, working on the purity of intonation and choral unison.

After vocal work on the first part of the “song”, the leader invites the children to listen to the second part and compare it with the previous one.

Children: The music becomes excited, the tempo gradually accelerates, the power of the sound gradually increases, the melody rises “gradually” to the highest sounds of the “song” on the words “Is it not a heart ...” and suddenly freezes at the end of the part.

Leader: Well done guys! You correctly felt the development of the melody of the middle part of the “song” and identified the brightest “point” of this choral miniature, which is called climax, that is, the most important semantic place of a musical work. Let's play this part, simultaneously showing the upward movement of the melody with our hands and linger on the climax.

After vocal work on the middle part, the leader invites students to listen to the third part of the “song” and compare it with the previous ones.

Children: In the third part of the “song”, the melody is the same as in the first. She is just as calm and measured. It has one musical proposal.

Leader: That's right, guys. The first and third parts of this choral miniature have the same melody. This three-part musical form is called reprise. The word reprise is Italian and translated into Russian means “repetition”. Let's sing the last parts of the “song” and try to convey with our voice the smooth movement of the waves on the river and the sliding of the clouds in the evening sky, which are sung about in the song.

After vocal work on the third part of the choral miniature, the leader evaluates the performance of the children, noting its most successful moments, and offers to perform this part solo at the request of the students. After that, students are invited to listen to the “Old French song” again as an instrumental miniature performed by the piano, and then perform the “song” themselves from beginning to end as a choral (vocal) miniature:

Leader: Guys, try to convey the feelings of the composer who composed this beautiful music, as well as your own feelings that you will experience when performing the “Old French Song”.

4-stage. Lesson results.

Leader: Guys , With today at the lesson you were excellent listeners, with your performance you tried to convey the figurative content of the “Old French song”, you managed to express the feelings of the composer who composed this piece of music. Let's say the name of this composer again.

Children: The great Russian composer Pyotr Ilyich Tchaikovsky.

Leader: Why is the “Old French Song” classified as a musical miniature?

Children: Because this is a very small piece of music.

Leader: What else interesting did you learn about this musical miniature?

Children: The history of the creation of this piece of music is interesting; “An old French song” was included in the collection of piano pieces “Children's Album” for young pianists; it is both an instrumental miniature and a choral miniature, depending on who performs it.

Leader: Well done guys! Now carefully read the “musical” words on these cards and remember what they mean.

The leader shows the children two cards with the words “Climax”, “Reprise”.

Children: The climax is the most important semantic place in a piece of music; reprise - the repetition of a musical movement, refers to a three-movement form in which the third movement "repeats" the music of the first movement.

Leader: Well done, you gave the correct definitions to these words. Let's put these new cards into our "Music Dictionary".

One of the students places the cards on the “Music Dictionary” stand.

Leader: Guys, performing the “Old French Song” today at the lesson, you “painted” a picture of evening nature on the river with musical colors. And your homework will be to draw illustrations for this choral miniature using ordinary paints.

-- [ Page 1 ] --

Federal State Educational Institution

higher education

Rostov State Conservatory

named after S.V. Rachmaninov"

As a manuscript

Grinchenko Inna Viktorovna

CHORAL MINIATURE IN RUSSIAN MUSICAL CULTURE:

HISTORY AND THEORY

Specialty 17.00.02 - art criticism

Thesis

for the degree of candidate of art history

Scientific director:

Doctor of Cultural Studies, Candidate of Art History, Professor Krylova Alexandra Vladimirovna Rostov-on-Don

Introduction

Chapter 1. Choral miniature in the historical and cultural context.

philosophical foundations

1.2. Choral miniature in the context of the traditions of Russian art............. 19

1.3. Research approaches to the study of choral miniatures ................. 28 1.3.1. Textual approach to the study of the genre of choral miniature

1.3.2. Choral miniature: a structural approach to the analysis of poetic and musical texts.

Chapter 2 Choral miniature in the work of composers of the Russian school: historical and cultural background, formation and development of the genre

2.1. Musical and poetic mutual influence and its role in the formation of the choral miniature genre

2.2. Choral miniature as a theoretical definition.

2.3. Crystallization of the Features of the Choral Miniature Genre in the Works of Russian Composers of the 19th Century

Chapter 3 Choral miniature in the musical culture of the twentieth century.

3.1. Genre situation of the 20th century:

sociocultural context of the existence of the genre.

3.2. The evolution of the choral miniature genre in the second half of the 20th century

3.3 Main vectors of genre development.

3.3.1. Choral miniature cultivating classical landmarks.

3.3.2. Choral miniature, focused on Russian national traditions.

3.3.3. Choral miniature under the influence of new style trends of the 60s

Conclusion

Bibliography.

INTRODUCTION

Relevance research. Choral art is a fundamental part of Russian culture. The abundance of bright groups is a direct evidence of the viability of domestic choral traditions, which is confirmed today by many festivals and competitions of choral music of various levels. Such "seething content" of choral performance is a natural source of composer's unflagging interest in this genre sphere.

Choral miniature occupies a special place in the variety of genres of choral music. Its development and relevance in practice are due to a number of reasons. One of them is the reliance on the root basis of the entire array of choral genres - the primary genre of Russian folk song, representing the basic small form, from which other, more complex genre types developed. The other is in the specifics of miniature forms, with a characteristic focus on one emotional state, deeply felt and meaningful, with a finely written nuance of feelings, moods, conveyed through an exquisite sound-colorful choral palette. The third is in the peculiarities of the perception of the modern listener, endowed, due to the influence of television, with clip consciousness, gravitating towards fragmentation, short length of sound “frames”, beauty of the “surface”.

However, the demand for the genre in performing practice has not yet been supported by the scientific justification of its nature. It can be stated that in modern domestic musicological literature there are no works devoted to the history and theory of this phenomenon. It should also be noted that in contemporary art the desire for miniaturization of form with a depth of content is one of the characteristic general trends, predetermined by a new round of understanding the philosophical problem of the relationship between macro and microworlds.

In the genre of choral miniature this problem is focused with particular acuteness due to the fact that the choral principle acts as the personification of the macrocosm within the framework of this genre, but due to the special patterns of compression of form and meaning, it turns out to be folded into the format of the microcosm. Obviously, this complex process requires its own study, since it reflects the general laws of modern culture. The above determines the relevance of the research topic.

The object of the study is Russian choral music of the 20th century.

Subject of study– formation and development of the choral miniature genre in the national musical culture.

The purpose of the study is to substantiate the genre nature of the choral miniature, which makes it possible to identify choral works of small volume with the principles and aesthetics of the miniature. The set goal determined the following tasks:

– to reveal the genesis of the miniature in the traditions of Russian culture;

- to characterize the main parameters that allow to attribute the genre;

– consider the choral miniature as an artistic object of art;

– to explore the evolution of the genre in the context of the national musical culture of the 20th century;

– to analyze the features of the individual interpretation of the genre of choral miniature in the works of Russian composers of the second half of the 20th century.

Goal and tasks work determined its methodological basis. It is built in a comprehensive manner on the basis of theoretical scientific developments and works of scientists - musicologists and literary critics, as well as an analysis of the work of composers of the 19th - 20th centuries. The thesis used methods of cultural-historical, structural-functional, axiological, comparative analysis.

Research materials. Due to the breadth of the problem field of the stated topic, the scope of the dissertation research is limited to consideration of the process of development of the choral miniature in the Russian secular art XIX- XX centuries. The a cappella choirs served as empirical material, as they most vividly embody the idea of ​​miniaturization in choral music. The works of M. Glinka, A. Dargomyzhsky, P. Tchaikovsky, N. Rimsky-Korsakov, M. Mussorgsky, S. Taneyev, A. Arensky, P. Chesnokov, A. Kastalsky, V. Shebalin, G. Sviridov, V. Salmanov, E. Denisov, A. Schnittke, R. Shchedrin, S. Gubaidullina, S. Slonimsky, V. Gavrilin, Y. Falik, R. Ledenev, V. Krasnoskulov, V. Kikta, V. Khodosh.

The degree of scientific development of the topic. The problems of the history and theory of the choral miniature genre have not been sufficiently developed in musicology.

In modern scientific research there are no works that allow the identification of a choral work of small volume with the principles and aesthetics of a miniature. However, art, literary, cultural and musicological works of various problem areas contain a number of ideas and provisions that are conceptually significant for this dissertation.

In this work, a philosophical generalization of the phenomenon, positioning the choral miniature as a kind of macrosystem and allowing to determine its place in culture, its role in human experience, was formed on the material of the works of M. Bakhtin, H. Gadamer, M. Druskin, T. Zhavoronkova, M. Kagan, S. Konenko, G. Kolomiets, A. Korshunova, Yu. Keldysh, I. Loseva, A. Nozdrina, V. Sukhantseva, P. Florensky.

The identification of the stages of mastering the experience of miniaturization by various types of Russian art required an appeal to the works of the musical-historical and cultural content of B. Asafiev, E. Berdennikova, A. Belonenko, G. Grigorieva, K. Dmitrevskaya, S. Lazutin, L. Nikitina, E. Orlova, Yu Paisov, V. Petrov-Stromsky, N. Sokolov. The sociological aspect was included in the problem area, which led to the involvement of the ideas of A. Sohor, E. Dukov.

The presentation of the genre as a multi-component genetic structure, with interdependent and interdependent levels, was based on the multidimensional approach to the category of genre that was formed in musicology, which led to an appeal to the studies of M. Aranovsky, S. Averintsev, Yu. Tynyanov, A. Korobova, E. Nazaykinsky, O Sokolov, A. Sohora, S. Skrebkov, V. Zukkerman.

The analysis of musical works, with the help of which the features of the vocal-choral form were revealed, was carried out based on the works of K. Dmitrevskaya, I. Dabaeva, A. Krylova, I. Lavrentyeva, E. Ruchyevskaya, L. Shaimukhametova. Valuable clarifications were drawn from the work of A. Khakimova on the theory of the a cappella choir genre. The means of expressiveness of the choral texture were considered on the basis of the works of V. Krasnoshchekov, P. Levando, O. Kolovsky, P. Chesnokov, collections scientific articles edited by V. Protopopov, V. Frayonov.

When studying samples of choral music from the standpoint of the musical and poetic nature of the genre and their close interaction with other types of art, the provisions and conclusions contained in the works of S. Averintsev, V. Vasina-Grossman, V. Vanslov, M. Gasparov, K. Zenkin, S. Lazutin, Y. Lotman, E. Ruchyevskaya, Y. Tynyanov, B. Eichenbaum, S. Eisenstein.

Scientific novelty research lies in the fact that for the first time in it:

– the definition of the genre of choral miniature is formulated, which allows making genre attribution of choral works of small form;

– a study of the nature of the choral miniature genre was carried out through the prism of philosophical knowledge about macro and microworlds, revealing endless semantic possibilities for the embodiment of artistic ideas in a compressed content field, up to the reflection in the miniature phenomenon of significant attributes of the image of culture;

– considered small forms various kinds Russian art in order to identify their generic features and characteristics, which, in a melted down and indirect form, constituted the genotype of the genre.

– the role of various musical genres – the historical predecessors of the choral miniature – in the formation of its genre features;

– the historically changing configuration of the genre features of the choral miniature in the socio-cultural context of the 20th century was studied.

Taken for defense the following provisions:

– The genre of choral miniature is a small-scale musical work a sarpella, based on a multi-level syncresis of word and music (background, lexical, syntactic, compositional, semantic), which provides a time-concentrated deep disclosure of the lyrical type of imagery, reaching a symbolic intensity.

- The miniature is a kind of analogy of the macrosystem in which it is inscribed - art, culture, nature. Being a microcosm in relation to the actually existing human macrocosm, it is capable of reflecting the complex properties of living matter as a result of the concentration of multifaceted meanings in a small literary text. As a result of the process of miniaturization, the sign system is compressed, where the sign acquires the meaning of an image-symbol. Thanks to semantic coding, it is possible to operate with whole "semantic complexes", their comparison and generalization.

– The genetic roots of the choral miniature are inextricably linked with examples of small forms of various arts, their poetics and aesthetics. Within the framework of miniature genres and forms of Russian art, significant features for the choral miniature were formed, such as the refinement of the small form, the high level of artistry resulting from the filigree, refined craftsmanship of the manufacturer, the specificity of the content - emotional and ideological concentration, the depth of understanding of the world and human feelings, functional purpose .

– The process of crystallization of the genre took place on the basis of active inter-genre interaction, as well as the strengthening of the mutual influence of musical and poetic arts. As a result of these processes, at the beginning of the 20th century, a genre was formed in which the musical element reaches the limit of artistic expressiveness in synthesis with the poetic form.

– The author's approaches to creating a new type of figurativeness of the choral miniature of the second half of the 20th century are characterized by the expansion of genre boundaries due to the transformation of the musical language and saturation of the genre model with non-musical factors. The use by composers of different types of techniques in synthesis with old traditions, giving genre elements a new semantic coloring formed the modern facets of the choral miniature genre.

Theoretical significance research is determined by the fact that a number of developed provisions significantly complement the accumulated knowledge about the nature of the genre under study. The paper received a detailed argumentation and an analytical evidence base for questions that substantiate the possibility of further scientific search for the features of this genre type. Among them are the analysis of the phenomenon of miniaturization in art from the point of view of philosophical knowledge, the identification of the poetics of the miniature in various types of Russian art, the substantiation of the genre features of the choral miniature in its difference from small forms, a special role in the crystallization of the genre of the individual interpretation of the genre model by Russian composers of the second half of the twentieth century. and others.

Practical significance research is due to the fact that the presented materials will significantly expand the possibilities of applying scientific knowledge in the field of practice, since they will be able to enter integral part in courses of music history and analysis of forms of music schools and universities, in music programs for secondary schools, and will also be useful in the work of choirmasters.

Thesis structure. The dissertation consists of an introduction, three chapters, a conclusion, a list of references from 242 sources.

CHORAL MINIATURE

IN THE HISTORICAL AND CULTURAL CONTEXT

The problems of the first chapter, at first glance, are far from the study of the choral miniature in its immanently musical properties. However, the issues introduced here in the perspective of the dissertation and related to the philosophical foundations of the genre, the general cultural context that reveals its genesis, as well as the methodological approaches to the analysis of the phenomenon under study, are of paramount importance. From our point of view, they are the foundation of those theoretical conclusions about the nature of the genre, which are made in the second and third chapters of the work and form the basis of the analysis of specific musical material. In support of this, we emphasize that the interdisciplinary approach, which determined the logic of the dissertation research from the general to the particular, is predetermined not only by the nature of the chosen topic. It is based on the installation of classical domestic musicology, brilliantly substantiated in its time by L.A. Mazel. Let us point out two positions that are significant for this work. Firstly, the researcher pointed to the philosophical and methodological basis of all sciences

Which he considered for granted, and secondly, he adhered to the position that "... the achievements and methods of other sciences, which are now of the greatest importance for musicology, are determined by ... closely related ideas of three areas of knowledge" . It was about psychology, sociology, semiotics, while L.A. Mazel emphasized that "for musicology, the achievements of the theory of other arts and aesthetics are important, often, in turn, associated with a psychological and system-semiotic approach ...".

In accordance with the indicated guidelines, the first paragraph of this chapter is devoted to the general philosophical foundations of the processes of miniaturization1 in art. The second one explores the commonality of miniature forms in different types of Russian art, emphasizing their common theoretical and aesthetic essence, and the third one is devoted to the analysis of research approaches, among which semiotics plays a special role, in accordance with the musical and poetic nature of the choral miniature genre.

1.1. Miniaturization in musical and choral art:

philosophical foundations philosophical aspect Problems? Philosophical reflection gives an understanding of art as a whole, as well as its individual work, from the point of view of fixing in it the deep meanings associated with the nature of the universe, the purpose and meaning of human life.

It is no coincidence that the beginning of the 21st century was marked by the special attention of musical science to philosophical thought, which helps to comprehend a number of categories that are significant for musical art. This is largely due to the fact that, in the light of the change in the modern concept of the picture of the world, in which Man and the Universe are mutually determined and interdependent, anthropological ideas have acquired new significance for art, and the most important areas of philosophical thought turned out to be closely related to axiological problems.

It is significant in this regard that even in the work "The Value of Music"

B.V. Asafiev, philosophically comprehending music, gave it a broader meaning, interpreted it as a phenomenon that unites "the deep structures of being with the human psyche, which naturally exceeds the boundaries of an art form or artistic activity" . The scientist saw in music not a reflection of the real reality of our life and experiences, but a reflection of the “picture of the world”. He believed that through the knowledge of becoming, the term "miniaturization" is not the author's, but is generally accepted in modern art history literature.

nia musical process, one can come closer to understanding the formalized world order, since “the process of sound formation in itself is a reflection of the“ picture of the world ”, and he put music itself as an activity“ in a series of world-positions ”(constructions of the world) that give rise to a microcosm - a system that synthesizes the maximum in minimum.

The last remark is especially significant for the topic under study, since it contains an orientation to the analysis of arguments that reveal the relevance of trends in contemporary culture oriented to the miniature in art. The foundations of these processes were primarily comprehended in the field of philosophical knowledge, within which the problem of the relationship between large and small - the macro and micro worlds, runs through. Let's dwell on this in more detail.

At the end of the 20th century, in world philosophy and science, there is an active revival of traditional philosophical concepts and categories that reflect the integrity of the world and man. Using the macrocosm-microcosm analogy allows us to consider and explain the relationships "nature-culture", "culture-man". Such a reflection of the structure of life led to the emergence of a new methodological position, where Man comprehends the laws of the surrounding world and recognizes himself as the crown of the creation of nature. He begins to penetrate into the depths of his own psychological essence, "breaks"

the sensory world into a spectrum of different shades, grades emotional states, operates with subtle psychological experiences. He tries to reflect the variability of the world in himself in the sign system of the language, to stop and capture its fluidity in perception.

Reflection, from the point of view of philosophy, is “the interaction of material systems, where there is a mutual imprinting of each other’s properties by systems, a “transfer” of the features of one phenomenon to another, and, first of all, a “transfer” of structural characteristics. Therefore, the reflection of the meaning of life in a literary text can be interpreted as "the structural correspondence of these systems established in the process of interaction" .

In the light of these provisions, we define that miniaturization is a reflection of the complex, fleeting properties of living matter, "coagulation", or a fragmentary grasped process of interaction of systems, transmitted in the formation of meaning. artistic text. Its essence is the conciseness of the sign system, where the sign acquires the meaning of an image-symbol. Thanks to semantic coding, it is possible to operate with whole “semantic complexes”, their comparison and generalization1.

Having outlined the problem of the relationship between macro and microworlds, which is fundamentally important for comprehending the essence of a miniature, which took shape in an independent concept by the 20th century, we point out that philosophy has accumulated a lot of valuable information that allows us to deeply present the essence of the choral miniature genre. Let's look at them in historical retrospect.

The meaning of the concept of macro and microcosm dates back to ancient times. In the philosophy of Democritus, for the first time, the combination mikroskosmos (“man is a small world”) appears. A detailed doctrine of the micro- and macrocosm is already presented by Pythagoras. Kindred in ideological sense was the principle of knowledge put forward by Empedocles - "like is known by like." Socrates argued that knowledge of the cosmos could be obtained "from within man". Assumptions about the commonality of an existing person and the universe Penetrating into the essence of the phenomenon of miniaturization of the text, let's compare it with a similar phenomenon in the inner human speech. Modern science has obtained experimental data specifying the mechanism of interaction between word and thought, language and thinking. It has been established that inner speech, which, in turn, arises from outer speech, accompanies all processes of mental activity. The degree of its significance increases with abstract-logical thinking, which requires detailed pronunciation of words. Verbal signs not only fix thoughts, but also operate the process of thinking. These features are common to both natural and artificial languages. A.M. Korshunov writes: “As a generalized logical scheme of the material is created, inner speech is curtailed. This is explained by the fact that generalization occurs by highlighting key words, in which the meaning of the entire phrase, and sometimes the whole text, is concentrated. Inner speech turns into a language of semantic strongholds.

are found in the work of Plato. Aristotle also discusses the small and large cosmos. This concept developed in the philosophy of Seneca, Origen, Gregory the Theologian, Boethius, Thomas Aquinas and others.

The idea of ​​macro and microcosm gained a special flourishing in the Renaissance. Great thinkers - Giordano Bruno, Paracelsus, Nicholas of Cusa - were united by the idea that nature in the face of man contains mental and sensual nature and "pulls" the entire Universe into itself.

Based on the historically developing postulate about the correspondence of the macro and micro worlds, we conclude that the macrocosm of culture is similar to the microcosm of art, the macrocosm of art is like the microcosm of miniatures. It, reflecting the world of the individual in contemporary art, is a kind of macrosystem in which it is inscribed (art, culture, nature).

The dominance of the ideas of macro and microworlds in Russian philosophy determined the significant attitudes under which choral art evolved. Thus, for the development of the problem of miniaturization in art, the idea of ​​catholicity is essential, which introduces an element of philosophical creativity into Russian music. This concept was initially associated with the choral beginning, which is confirmed by its use in this perspective by Russian philosophers. In particular, “K.S. Aksakov identifies the concept of “catholicity” with a community where “the individual is free as in a choir.” ON THE. Berdyaev defines catholicity as an Orthodox virtue, Vyach. Ivanov - as an ideal value. P. Florensky reveals the idea of ​​catholicity through a Russian lingering song. V.S. Solovyov transforms the idea of ​​catholicity into the doctrine of pan-unity.

It is obvious that catholicity is the fundamental national basis of Russian art, “reflecting the universal unity of people on the basis of special spiritual creativity,” which deeply affects peace of mind of a person, “expands the boundaries of the possibilities of an individual”.

These aspects of national culture determined the specific features of the ancient Russian choral tradition: “the first is catholicity, i.e. the unification of the heavenly and earthly forces of the universe in one deed and one task on the basis of Truth, Goodness and Beauty; the second is cordiality, the ability to unite hearts singing in a sense of openness to divine truth; the third - polyphony (large znamenny, traveling, demestvenny chants); fourth - melody, breadth, smoothness, length, melodiousness, majestic slowdowns in the finals of choral works.

The humanistic ideas of the philosophy of the Renaissance, which put the creative personality in the center of attention, led to the emergence of a new musical picture peace. The anthropological principle found its manifestation in Russian art XVIII- XIX centuries. Thus, the development of secular professional music in the 17th century reaches qualitatively new achievements, which concerns, first of all, the field of content. Moreover, the secular penetrates into church music itself, changing its character and methods of implementation. “Polyphonic partes singing with its clear rhythm of musical constructions, cadences and sound effects(by contrasting the sonority of solo and tutti) introduces a person into a limited current time, directs his attention outside - into space, into the surrounding sensory world.

A.P. Nozdrina characterizes this period as follows: “The reflection of the direction of time descends from the ideal sphere into the material one. It is filled with the sensual world of man, the affirmation of his power, the beauty of the human voice acquires independence. The creativity of the musician, his artistic "I" is perceived through the realities of the objective world. As a result, different musical trends appear, in line with which the process of miniaturization develops in various types of art: portrait sketches, narrative lyrics, expressive and pictorial miniatures. In the musical creativity of that time, the ancient musical traditions of church choral music, expressing the collective consciousness, and new trends reflecting the personal principle, human psychology and life intersected ... Thus, Russian philosophers and musicians of the 19th and early 20th centuries sought to create a “new humanism”, in which the question was raised not only of a person, but also of society, the relationship of people, the combination of individual freedom with social liberation.

The musical art of this period is also a reflection of the complex processes of social and political life. The idea of ​​catholicity began to acquire an exaggerated interpretation. Choral creativity, being the oldest tradition of Russian musical culture, which has the character of catholicity, continues to develop only on a secular basis.

The crisis of worldview that emerged at the turn of the century under the influence of scientific and technological progress defines a new perspective for understanding the spiritual relationship between the world of man and the world of nature. Pathos scientific papers foreign thinkers is close to the saying of N.A. Berdyaeva: “Personality is not a part of the world, but a correlative of the world. Undoubtedly, a person is a whole, not a part. Personality is a microcosm." Because of this, miniaturization acquires the features of a stable trend in the development of certain spheres of culture of the 20th century, becomes a phenomenon that fixes a special artistic attitude to the world in the modern world. historical basis. Small objects carry the spiritual image of the era through artistic and imaginative forms of reproducing reality. S.A. Konenko writes that the miniature “discovers in itself a unique feature that is not observed in other types of art: the compression of the signs of culture to an extremely concentrated form, giving it a bright expressive form of valuable quintessence. Signs of culture in this form become symbolic, symbolic in a certain sense: in brevity, the most significant and indicative attributes of the image of culture appear.

Indeed, by the middle of the 20th century, the miniature to a certain extent becomes one of the signs of modern culture, demonstrating its valuable dominants, the level of development of science, technology, art, and spirit.

Let's justify what has been said. Modern culture as the sum of cultural sentiments and philosophical concepts is called postmodern culture. Among the most relevant achievements of the philosophical thought of this type of culture is the idea of ​​a plurality of ways of knowing, which elevates art to the rank of the latter and gives it an extraordinary value in shaping the worldview of mankind. Using the macrocosm-microcosm analogy, postmodern thinking presents it as a method of knowing the world and puts forward the thesis about the unity of the entire stream of life (plant, animal, and the life of consciousness). The specificity of postmodern art is the expansion of the range of artistic vision and techniques artistic creativity, new approach to classical traditions. N.B. writes about this. Mankovskaya, Yu.B. Borev , V.O. Pigulevsky. One of such directions of postmodern is the choral miniature.

Because of this, starting from the second half of the 20th century, the genre of choral miniatures acquires a new quality. It is closely connected with general cultural processes, in particular, with the strengthening of the social function of art, the conditions that have arisen for its openness to the global cultural space, the recognition of works of this type of creativity as public property, in connection with the development of means of communication, addressed not to a narrow circle of connoisseurs, but to a wide audience of listeners. A choral miniature is “a microsimilarity of the macrocosm of culture, with its characteristic characteristics and qualities”, a modern person is able to perceive not only as a culturally significant object, but “as an “expression of a cultural and philosophical concept in general” .

So, completing our brief digression, let us once again emphasize the main thing that allows us to understand the nature of the genre under study, considered through the prism of the philosophical doctrine of macro and microworlds:

- a miniature, being a product of art and a cultural artifact, is similar to space, culture, a person, that is, it is a reflected microcosm in relation to the real-life macrocosm of a person;

- the object of a miniature (as an object of art embedded in culture) - a microcosm with all its elements, processes, patterns, which is similar to the macrocosm by the principles of organization, the infinity of phenomena;

- a reflection of the complex, fleeting properties of living matter is the "curtailment" of the process of becoming the meaning of a literary text, that is, its miniaturization. Its essence is the conciseness of the sign system, where the sign acquires the meaning of an image-symbol. Thanks to semantic coding, it is possible to operate with whole "semantic complexes", their comparison and generalization;

– the depth of philosophical knowledge contained in the miniature of Russian composers is derived from the idea of ​​conciliarity;

– the dominance of the ideas of macro and micro worlds in Russian philosophy determined significant ideas, under the sign of which the choral art evolved – from large choral canvases to miniature, from the collective choral principle – to the subjective-individual;

- the art of miniature, born in past centuries, strengthens its significance in modern culture. Meaningful "information content", the multiplicity of musical and non-musical connections includes the miniature in the evolutionary process of the complication of cultural space. The miniature in modern art is a kind of analogy of the macrosystem in which it is inscribed: art, culture, nature.

1.2. Choral miniature in the context of Russian art traditions

Consideration of the miniature from the point of view of the projection of the philosophical problem of the correlation of micro and macro worlds, which made it possible to identify the pattern of development of art in the direction of miniaturization of forms with their meaningful multidimensionality, allows us to assert that the world of the Russian choral miniature genre, full of the brightest artistic discoveries past and present, has an extraordinary appeal. However, it should be emphasized here that the special role of the culture of romanticism and voiced the idea that the phenomenon of musical miniature is a concentrated "formula" of the poetics of romanticism, which arose in Western European piano music at the turn of the XVIII - 19th century and reflected in Russian art.

Interestingly, the roots of this phenomenon, having sprouted in Russian choral music, were distinguished by the originality of the national “reworking” of romantic trends.

For example, choral miniatures by S.I. Taneyev cannot be compared with the works of piano miniatures by F. Mendelssohn, F. Chopin and others in terms of the concentration of a romantic impulse. In the choral fabric of the Taneyev choirs, the deep revelation of the personality is assimilated in the special restraint of the polyphonic beginning, combined with folk melos, with echoes of cult chants. For this reason, before considering general context traditions of Russian art associated with the genres and forms of miniature, and to trace the general cultural roots of the studied genre, let us turn to the pages of history concerning the introduction of romantic trends into Russian art.

Communication with Western European romanticism was filled with a tense dialectic of attraction and repulsion. Back in the 17th century, signs of acceptance of Western European culture appeared in Russia with a negative attitude towards its own, traditional one. The beginning of this process was laid by the period of the reign of Peter I. great importance, moving the capital of the state to the very edge of the state ... he gave the main importance to the marinas of this capital ... The berths of St. Petersburg, however, marked not only the acceptance of a “different” culture, but also a negative attitude towards their own, traditional one.

It is important, however, that this did not lead to the complete destruction of traditional Old Russian culture, but only to the bifurcation of Russian culture into two channels.

One channel led culture along the very border with Western Europe, and the other hostilely separated from the West - this is the culture of the Old Believers and the peasantry that survived until the twentieth century, in which the life of folk culture continued. Thus, comprehending the historical fate of Russia, which gave it a vector of dual-basic cultural development, in the process of the formation of Russian romantic consciousness, we can state the absorption of the general experience of European romanticism, on the one hand, and the emergence of Russian romanticism in the depths of national culture, on the other.

The romantic mood of Russian society was facilitated by the victory in the war of 1812, which showed the greatness and strength of the Russian people. The Russian public consciousness of the 19th century developed and developed new ideas that revealed a rational view of the world, drew attention to the problem of man - to the meaning of his life, morality, creativity, aesthetic views, which, of course, set the stage for the perception of a new direction. Russian philosophical thought continued to resolve the controversial issue of Western (P.Ya. Chaadaev) and original Russian views (A.S. Khomyakov, I.V. Kireevsky) on the past, present and future of Russia, which went down in history as a confrontation between Westerners and Slavophiles. But the historical and philosophical ideas of Western European culture (F.W. Schelling, G.W. Hegel) have already declared an understanding of the essence of style, which so deeply reflected the time: “In the romantic period, form falls under the power of content. The image of a god is replaced by the image of a knight. The extinction of classical art is not a decline, but only a transition from contemplation to representation ... The spiritual principle triumphs over the material, the balance of the spiritual and the material, as it was in the classical era, is disturbed, music and poetry begin to prevail. In music, the artist can show more freedom than in other arts.

Intense communication with Western European romanticism, its philosophical concept (F.V. Schelling, G.V. Hegel), the mature ideas of Russian thought about the national features of the development of Russia, the preparedness of public consciousness led to the emergence of a certain Russian understanding of the essence of this artistic phenomenon. “Romanticism,” wrote Apollon Grigoriev, “and, moreover, our, Russian, developed and distinguished itself in our original forms, romanticism was not a simple literary, but a life phenomenon, an entire era of moral development, which had its own special color, put into practice a special view ... Let the romantic trend came from outside, from Western literature and Western life, it found soil in Russian nature ready for its perception - and therefore was reflected in phenomena that were completely original ... ".

First of all, these phenomena were different from the Western ones - by a lesser implementation of the subjectivity of creative consciousness and orientation towards the fundamental tradition of Russian Orthodoxy - the subordination of individual consciousness to ideas developed collectively in the distant past.

Perhaps that is why, having put forward the genre of choral miniatures into the cultural and historical arena, Russian art, in its original romantic worldview, combined the traditions of songwriting, as a national feature of its culture, and the pathos of Orthodoxy, based on "cathedralism", which was the principles of organizing individuals with a common goal. but choosing an individual path to it. K. Zenkin, giving a definition of the essence of a piano miniature, writes that it is “instantaneity, the momentary nature of the image, the time of lyrical experience, the crystallization of a single state when it is internal development» .

Correlating these definitions with the choral type of the miniature, it is possible to assume that all these features are present to some extent in the genre we are studying. For example, the crystallization of a single emotional mode was developed in ancient psalmodic chant, in Znamenny chant, where there was a concentration on the psychological state of the praying person, on a certain spiritual experience. The special spirituality of the Znamenny chant was preserved further in partes singing. In our opinion, the peculiarity of the liturgical rite was also of significant importance, in which the chanter could creatively, with the help of melodic chants, highlight “this or that thought of the text, according to the spiritual tone in which he perceived it”

He revealed his feelings to the praying parishioners, calling them to the corresponding emotions in the process of prayer. Hence the genetic roots of the "internal, psychological" revealed in the public atmosphere.

All this contributed to the emergence of precisely the choral type of miniature - a new variety of miniature genres, in which the ancient traditions of the national musical culture were melted down.

The result of the evolution of Russian culture not only endowed the choral miniature with all the achievements of choral art, but also presented it as a vivid reflection of romantic aesthetics, new ideas about the deep unity of all types of art, about the possibility of their mixing and synthesis. As a result, it would be logical to consider the origins of the choral miniature not only from the position of its development in one generic art, but also to determine the role of prototype genres in other types of artistic creativity. They, like small precious grains, scattered in different historical epochs and arts, carrying the aesthetic essential beauty of the small form genre, absorbing and synthesizing the principles of expressiveness of different types of arts, represent the “biography” of the artistic phenomenon of choral miniature.

Let us turn to some types of Russian art, in small forms of which the features of the miniature genre were formed, perceived by the choral miniature of the era of romanticism. Its genetic roots go back to ancient times, appealing to the work of Russian icon painters of the 10th-12th centuries. As you know, the icon and fresco were designed to depict the divine world. The artistic quality of any image in the temple was understood as secondary to its main goal - the reproduction of a sacred event. The truth of images (both verbal and colorful), understood in the spirit of sensory-material identity with the prototype, is infinitely more important than their beauty. The similarity of the face of the icon to the human image, its appeal to the inner world of the worshiper, that is, the deep human essence of art will be “absorbed” by subsequent eras, will become, in particular, an important component of the aesthetics of romanticism.

I.N. Loseva writes: “In ancient times, the word was given extraordinarily great importance. “To say” and “to create” were identical concepts.

The word, as ancient philosophy defined, was considered a model of the world, including material, sensual and ideal elements.

To this it is legitimate to add one more identical concept "to represent". Confirmation of this is the accompaniment of capital letters in handwritten books drawings revealing the deep ideological meaning of the texts. Later, the book miniature materialized the spiritual content in the image of symbols, in ornaments and, finally, in the signs of the book font themselves. According to the researcher of Novgorod art E.S. Smirnov, this is "a sign, a symbol of the sanctity of the text, a warning and an accompaniment to the deep content of the book." Some obverse manuscripts have miniature decorations that authentically illustrate the text.

They really have the qualities of a special art, as if aware of their small size and not inclined to copy the techniques of monumental painting. The objectification of the semantic and emotional content of the book text, in combination with the decorating function, will be perceived by the choral miniature and will subsequently introduce pictorial features into it, which will be expressed in a tendency to programmatic and decorative.

Folklore was another important source that formed the genesis of the future choral miniature. Epics, fairy tales, proverbs, sayings created the poetics of small forms in ancient Russian literature, they showed the capacity of the word, the aphorism of the statement, collecting the most valuable meaning for a person, “the connection with the situation, everyday life, the compositional structure of the text developed, speech intonation was honed” 1. All this experience of literary art will be perceived by the choral miniature. In this regard, it is interesting to note that the originality of the compositions of the epic and fairy tales was associated with such "microelements" as "singing", "outcome" and "saying". For example, a fairy tale, small in size, tuned the listener to an entertaining narration, emphasizing the fictitiousness and fantastic nature of the tale. And epic chants, despite their brevity, painted majestic pictures of nature, conveyed solemn pathos, tuned the listener to the perception of something important, significant. The functional role of these sections was to anticipate, anticipate the plot, create a certain mood in a small poetic construction. These features that existed in the art of music in the form of introductions to various forms, preludes, undoubtedly, showed features that indirectly influenced the miniature genre.

Let's turn to the art of music. EAT. Orlova points out that by the 15th century, the genre of lyrical lingering song was being formed in Russian folklore. Unlike epic and fairy tales, where there was necessarily a detailed plot, a lingering song was based on a compressed plot situation, close to the way of life of people, which was the reason for you. in more detail: In folk lyrical songs, along with the wealth of expressed thoughts and feelings, those life circumstances, all kinds of plot-descriptive situations that caused them are quite clearly depicted.

expression of certain feelings and thoughts. In the synthesis of the word and musical intonation, the Russian song cantilena gave rise to an inexhaustible potential for psychological expressiveness, which had an undeniable influence on the nature of the choral miniature.

Considering the context of different types of art, within which certain principles of expressiveness were formed, essential for the formation of the features of the miniature, it becomes obvious that this process was continued in the 16th century. The art of this time rushed from church asceticism to secularism, from abstraction to real human emotions and clarity of thought. These themes have received a vivid manifestation in Russian architecture. "The architect-poet ... combined the sculpture that carved the facades he created, and the painting ... and the music that sets the bells in motion." The reliefs that adorned the cathedrals of Moscow, Vologda, Novgorod, were a plastic carving, which showed a desire for a three-dimensional volume and bold foreshortening of the figures. The sculptural talent of Russian masters was also reflected in small plastic: images, treasures, panagia crosses (wood, stone, bone). By the nature of the interpretation of the form, they can be compared with the sculptural relief, by the thoroughness of the work, the miniaturization of details - with the art of jewelry.

These samples of the small form of fine art also carried specific features, which later indirectly manifested themselves in the choral miniature. First of all, this is the desire for spatiality, the subtle filigree finish of the work.

The accumulation of artistic experience in small forms of various arts leads to the emergence of miniatures as an independent art form, which occurs at the turn of the 17th - 18th centuries in painting. Its heyday falls on the 18th - 19th centuries and is associated with the development of the genre of portrait and landscape. Portrait and landscape miniatures at the very beginning of their journey were closely associated with oil painting. This connection was traced in the plots, in submission to the same aesthetic canons, in general stylistic features. Because of this, at the beginning of the 18th century, the miniature was characterized by splendor and decorativeness characteristic of painting. But gradually the miniature merges into the general direction of the development of graphic art. chamber portrait. Miniatures are written from life, become more direct, convey the characteristic features of the model more vividly, acquire democratic character. The heyday of this genre was associated with the appearance of a chamber portrait, which revealed the seriousness and depth of the depicted image. The intimate and lyrical nature of the embodiment of themes originated from the traditions of painting by V.L. Borovikovsky and A.G. Venetsianov.

The miniature drew its special features not only from professional fine arts, but also from folk art. With strong threads, it is connected with applied art. In ancient times, miniatures were made on stone, wood, silver and copper castings. In the later period, the craftsmen used porcelain, bone, gold, silver, terracotta, ceramics and other atypical materials. The development of traditional peasant and arts and crafts ancient Russian art, icon painting and painting in the 18th century prepared the emergence of such an artistic phenomenon as the Russian lacquer miniature. Fedoskino, Palekh, Mstera became the centers of this original art. Small engravings pasted on caskets, snuff boxes, made according to artistic originals, conveyed the fullness of the feeling native land, were saturated with emotional depth, consonant with the inner world of man, carried the unique features of local color.

The pictorial techniques of artistic miniatures were formed in harmony with the Russian icon-painting tradition and Western European engraving, with Russian painting, which allowed her to combine religious feeling and secular views. The miniature bore the stamp of high fine art and at the same time was created in the format of applied folk art. This explained the appeal to fairy-tale, epic-epic, historical, mythological plots, or to pictures stylized in the same spirit from modern life. “The painting of miniatures is imbued with a special internal dynamics. IN difficult game rhythm, in the intersecting lines of figures, in the consonances of color masses and plans, echoes of folk song images are heard. The musical image of a folk song was reflected in the artistic decision, contributed to the emergence of a musical, rhythmic structure painting canvas. Palekh lacquer miniatures are known for images written on the themes of Russian folk songs “Down the mother, along the Volga”, “Here is the daring troika rushing”, etc. The miniature gave things not only spiritual significance. Jeweled in a spiritual sense, it was often made of high quality material, which gave it value in the truest sense of the word. The material of execution was associated with domestic gold and silver, porcelain and bone work, with enamel skill. The exquisite painting deserves special attention. small dots, which developed in parallel with the dotted line technique in metal engraving. The volume and spatiality of the image, the fine technique of writing on precious materials, decorativeness, the "choral" method of performance, representing the experience of the school, creative team, the continuity of traditions are the main aesthetic principles of varnishes, which were later embodied in the choral miniature.

Concluding the analysis of the genetic foundations of the choral miniature genre, it should be emphasized that the appearance of the first samples of the choral miniature in the 19th century, in the era of Russia's development of the achievements of Western romanticism, was undoubtedly associated with the generalization of the artistic experience of small forms of various types of Russian art in it. In artistic and creative activity, not only musical, but also far from singing art, while developing the ideology of small forms, features significant for the genre of choral miniatures, its generic features, have developed. Namely: the refinement of a small form, a high level of artistry, resulting from the filigree, refined craftsmanship of the manufacturer, the specificity of the content - emotional and ideological concentration, the depth of understanding of the world and human feelings, functional purpose.

Introduction. Choral miniature

Lepin's work "Forest Echo" is written in the genre of choral miniatures.
Miniature (French miniature; Italian miniature) is a small piece of music for various performing groups. Like a pictorial and poetic, musical miniature - usually honed in form, aphoristic, mostly lyrical content, landscape or pictorial - characteristic (A. K. Lyadov, "Kikimora" for orchestra), often on a folk genre basis (F. Chopin's mazurkas, choral processed by A. K. Lyadov).
Vocal Miniature is usually based on Miniature. The heyday of the instrumental and vocal miniature in the 19th century was determined by the aesthetics of romanticism (F. Schubert, F. Mendelssohn, R. Schumann, F. Chopin, A. N. Scriabin); Miniatures are often combined into cycles, including in music for children (P.I. Tchaikovsky, S.S. Prokofiev).
A choral miniature is a small work for the choir. In contrast to the song, the choral miniature has a more developed polyphonic choral texture, often using a polyphonic warehouse. Many choral miniatures were written for unaccompanied choir.

Brief bibliographic information about the composer S. Taneyev

Sergei Ivanovich Taneev (November 13, 1856, Vladimir - June 6, 1915, Dyutkovo near Zvenigorod) - Russian composer, pianist, teacher, scientist, musical and public figure from the noble family of the Taneyevs.

In 1875 he graduated from the Moscow Conservatory under N. G. Rubinstein (piano) and P. I. Tchaikovsky (composition) with a gold medal. He performed in concerts as a pianist-soloist and ensemble player. The first performer of many piano works by Tchaikovsky (the Second and Third Piano Concertos, finalized the latter after the death of the composer), performer own compositions. From 1878 to 1905 he worked at the Moscow Conservatory (since 1881 a professor), where he taught classes in harmony, instrumentation, piano, composition, polyphony, musical form, in 1885-1889 he served as director of the Moscow Conservatory. He was one of the founders and teachers of the People's Conservatory (1906).

A staunch follower of the classics (the traditions of M. I. Glinka, P. I. Tchaikovsky, as well as J. S. Bach, L. Beethoven were found in his music), Taneyev anticipated many trends in the musical art of the 20th century. His work is marked by the depth and nobility of ideas, high ethics and philosophical orientation, restraint of expression, mastery of thematic and polyphonic development. In his writings, he gravitated toward moral and philosophical issues. Such, for example, is his only opera Oresteia (1894, after Aeschylus) - an example of the implementation of an ancient plot in Russian music. His chamber-instrumental works (trios, quartets, quintets) are among the best examples of this genre in Russian music. One of the creators of the lyric-philosophical cantata in Russian music ("John of Damascus", "After reading the Psalm"). He revived the popular in Russian music of the XVII-XVIII centuries. genre - a cappella choirs (author of more than 40 choirs). In instrumental music, he attached particular importance to the intonational unity of the cycle, monothematism (4th symphony, chamber instrumental ensembles).
He created a unique work - "Mobile counterpoint of strict writing" (1889-1906) and its continuation - "The Doctrine of the Canon" (late 1890s - 1915).

As a teacher, Taneyev sought to improve professional musical education in Russia, fought for a high level of musical and theoretical training for students of the conservatory of all specialties. He created a composer school, educated many musicologists, conductors, and pianists.

Brief information about the poet

Mikhail Yuryevich Lermontov (1814-1841) - the great Russian poet, writer, artist, playwright and officer of the Tsarist army Russian Empire. Born October 15, 1814 in Moscow. His father was an officer, and years later, the son will follow in his footsteps. As a child, he was raised by his grandmother. It was his grandmother who gave him his primary education, after which young Lermontov went to one of the boarding houses of Moscow University. In this institution, the very first, not yet very successful, poems came out from under his pen. At the end of this boarding school, Mikhail Yuryevich became a student at Moscow University, and only then he went to the school of guards ensigns in the then capital of St. Petersburg.

After this school, Lermontov began his service in Tsarskoe Selo, enrolling in the Hussar Regiment. After he wrote and published the poem "The Death of a Poet" on Pushkin's death, he was arrested and sent into exile in the Caucasus. On the way to exile, he writes his brilliant work "Borodin", dedicating it to the anniversary of the battle.

In the Caucasus, the exiled Lermontov begins to get involved in painting, paints pictures. At the same time, his father goes to the officials, asking for mercy on his son. What is happening soon - Mikhail Yuryevich Lermontov is being reinstated in the service. But having got involved in a duel with Barant, he is again sent to the Caucasus into exile, this time to the war.

During this time, he writes many works that have forever entered the Golden Fund of world literature - these are "The Hero of Our Time", "Mtsyri", "Demon" and many others.

After exile, Lermontov arrives in Pyatigorsk, where he accidentally insults his old acquaintance Martynov with a joke. Comrade, in turn,
challenges the poet to a duel, which became fatal for Lermontov. July 15, 1841 he dies.

Musically theoretical analysis

"Pine" by S. Taneyev is written in 2-part form. The first part is one period, consisting of two sentences. The content of the first part corresponds to the first four lines of the poem. Music conveys the image of a lonely pine tree, defenseless against the elements of northern nature. The first sentence (v. 4) introduces the listener to the sound palette of d minor, corresponding to the lyrical mood of this work. The second part consists of three sentences written in the D major of the same name (the second half of the poem). In the second part, Lermontov described a bright dream, translucent with warmth and sunlight: “And she dreams of everything that is in the distant desert. In the region where the sun rises ... ". The music of the second part conveys the heartfelt warmth of the poem. Already the first sentence (v. 4) is permeated with bright feelings, kind and serene. The second sentence introduces tension, the development of dramatic experiences. The third period - as if logically balances the drama of the second sentence. This is achieved by expanding its size to eight bars, a gradual decline in musical tension (the final line of the poem "The Beautiful Palm Tree Grows" passes three times)
The vocal and choral miniature "Pine" was written in the gamophone-harmonic warehouse with elements of polyphony. The movement of music, its development is achieved by changing the harmonies, the timbre colors of the choir, its textured presentation (close, wide, mixed arrangement of voices), polyphonic techniques, means of developing the melodic line of voices, and juxtaposing climaxes.
From where the climax is located in the work depends on its organicity and the harmony of its form. The poetic text is perceived by each person individually. S. Taneyev in the music of "Pines" revealed his vision, perception of the poetic word of Lermontov's poem. The climaxes of a poetic work and a musical one generally coincide. The brightest musical climax comes from the repeated providence of the lines: “Alone and sad on a rock, a beautiful palm tree grows on a fuel-filled cliff.” By means of musical repetition, Taneyev enhances the emotional content of the poem and highlights the climax: the soprano sounds #f of the second octave, the tenors #f of the first octave. Both sopranos and tenors have these notes sound rich and bright. The basses approach the climax gradually: from the first peak (bar 11) through the growing tension of harmonies, deviations and polyphonic development, they lead the work to its brightest peak (p. 17), rapidly rising up the dominant (melodic bass line in bar 16) .
"Pine" is written in d moll (first movement) and in D major (second movement). Minor in the first part and major in the second part - the contrast that lies in the content of the verse. The first part: the first sentence starts in d minor, it has deviations in Gdur (subdominant key), the sentence ends on the tonic. The second sentence starts in d minor and ends on the dominant. The second part: starts with the dominant d minor, goes into D major, ends in the same D major. First sentence: D major, second sentence: starts in D major, ends on its dominant, here there is a deviation to the subdominant (m. 14 G major), to the second degree of D major (the same bar in e moll). The third sentence - begins and ends in D major, it has deviations: in the second step (m.19 e moll) and in the key of the subdominant (m.20 G major). The first movement has an imperfect cadence, ending on the dominant.
The cadenza of the second movement consists of altered seventh chords of the second degree, K6/4, the dominant and tonic in D major (full, perfect cadenza).
"Pine" by Taneyev is written in four-part meter, which is preserved until the end of the work.
The texture of "Pine" has a gamophone-polyphonic warehouse. Basically, the voices line up vertically, but in several measures (bars 12,13,14,15,16,17) the parts sound polyphonically horizontally and the melodic pattern is heard not only in S, but also in other voices. In the same measures, the solo voice stands out. In bars 12, 13, 16, 17 there are pauses in one or two voices, in bar 12 a tied tone sounds. Size C assumes execution in four fractional metres.

As was said in an early work by S. Taneyev, “Pine” is written in d moll and the eponymous D dur. This is one of the composer's early choral scores, but already contains features generally characteristic of the composer. "Pine" has the features of a polyphonic style, which is also characteristic of Taneyev's work. The harmonies of the "Pine" polyphonic voices are distinguished by their harmony and melodiousness. In the sequence of chords, there is a connection with the Russian folk song (bars 1,6, 7 - natural dominant). The use of a triad of the VI degree (v. 2) also resembles a Russian-folk song. Features of Russian songwriting are characteristic of Taneyev's work. Sometimes the harmonies of "Pine" are quite complex, which is connected with the musical language of the composer. Here there are altered seventh chords (bars 2, 5, 6, 14, 18, 19, 23), which create tense consonance sounds. The polyphonic conduction of voices also often gives a seemingly random dissonant sound (bars 11, 12, 15). The harmonic language of the work helps to reveal the sublimity of the great poet's poem. Deviation into related keys (vol. 2-g moll, vol. 14-e moll, vol. 19-e moll, vol. 20-G major) betray a special lyrical coloring. The dynamics of "Pine" also corresponds to a concentrated sad, and then dreamily bright mood. There is no pronounced f in the work, the dynamics are muffled, there are no bright contrasts.

Vocal-choral analysis

Vocal-choral analysis
Taneyev's polyphonic work "Pine"
created for a four-part mixed choir without accompaniment.
Sopran (S) Alto (A) Tenor (T) Bass (B) Overall range

Let's consider each party separately.
Tessitura conditions for S are comfortable, voice tension does not go beyond the working range. In m. 4 S sing the note d of the 1st octave - this is helped by the dynamics p. The part is spasmodic (jump to ch4 tt. 6.13; to ch5 tt. 11.19; to b6 19-20 tt.), but the melody is comfortable to play and easy to remember. It often moves along the sounds of a triad (tt.). The composer has little space for dynamic shades, the conductor must creatively approach this issue, in our opinion, the dynamics can be made based on the tessitura.
The alto part is written in a comfortable tessitura. Difficulties are associated with harmonic loading. For example: v.2 the altos have a note d the rest of the voices have a mobile melody, how cleanly the note d will be sung, the purity of the melody will depend on this; v.3-4 the viola has a complex move of two descending fourths. A similar difficulty, when the viola is held on one sound, occurs in several places (bars 5, 6-7, 9-10). The part has a harmonic function, but in the second part, where the character of the work changes, Taneyev uses polyphonic techniques and middle voices decorate the harmonic texture of the work by carrying out melodic moves not only in the soprano but in all other voices.
The tenor part is also written in a convenient tessitura. Its complexities are related to the sequence of chords that accompany the soprano melody. For example: v. 2 the sound f is altered and the accuracy of this transition will envy the purity of the deviation of all voices into G minor (similarly to v. 18). The complexity of the performance is that it is, as it were, a harmonic filling of the musical fabric: m. 5-6 the tenor keeps the note g on the tone, which creates a certain difficulty for the performers (similar places of m. 21, 23). The harmonic chords of the work carry the emotional coloring of sadness, light sadness, nastolgic feelings of Lermontov's poem. In this regard, there are unstable harmonies and altered seventh chords (bars 2, 5, 6, 14, 18), the accuracy of their performance largely depends on the tenors. The part carries a harmonic and sometimes polyphonic load.
The bass part is written in the usual bass tessitura. Intonationally, it is not always simple, for example, the moves along the chromatic scale are complex (bars 5-6, 14, 23). One of the most difficult parts of the work for the basses is their solo performance on the words: “The beautiful palm tree is growing ..” (bars 15-16), where there are intonations of ascending thirds and quarts. But in general, the part should not cause any particular difficulties for the performers.
Breathing in the work is phrasal, because the text is poetic. In the nutria of the phrase is chain.
Example:
In the north, a wild pine tree stands alone on a bare peak. And drowsing swaying, and dressed in loose snow, like a riza, she (1-8v.).
Dictionary features of the work also require attention. Vowels and consonants will be reduced. In places where p, you need to pronounce the text very clearly in order to convey to the listener the meaning of the verse. Cantilena should be present in sound science, vowels should be sung, and consonants should be attached to the next syllable, to the next vowel.
Conducting difficulties. 1) It is necessary to maintain the integrity of the form.
2) Each batch correctly show
auftacts.

3) It is necessary to convey the mood of the musical phrase in a gesture.
4) Accuracy of transmission of dynamics.

Conclusion

Sergei Ivanovich Taneyev made a huge contribution to Russian music. He played a major role in creating works for a capella choir and raising this genre to the level of an independent, stylistically separate composition. Taneyev chose the texts for the choirs with great care; they all belong to the best Russian poets and are distinguished by high artistry. Taneyev's themes, on which he builds his works, are melodic. The voice acting is flawless. Choral voices, interwoven into sound complexes, create an interesting and unique harmony. The composer never abuses the extreme sounds of the ranges. He knows how to keep his voices in a certain arrangement of them to each other, providing excellent sonority. Polyphonic voice leading does not interfere with the unity of the sound. This is the result of the mastery of Taneyev's choral style.
Significant difficulties are presented by Taneyev's choirs from the side of the system, arising from chromatisms and complex harmony. The facilitating moment is the strict logic of voice leading. Taneyev makes great demands on the performers of his choirs. His works require the choral singers to have a good vocal basis, which allows them to extract a melodious, lingering sound, free in all registers.
The work "Pine" is written on the poetic lines of M. Yu. Lermontov, which reveals the theme of loneliness. A pine tree that stands alone in a cold land, under the snow. She is cold, but not physically, her soul is frozen. The tree lacks communication, someone's support, sympathy. Pine every day dreams of communicating with a palm tree. But the palm tree is far from the wild north, in the hot south.
But the pine is not looking for fun, it is not interested in a cheerful palm tree, which would keep it company if it were nearby. The pine realizes that somewhere far away there is a palm tree in the desert and it is just as bad for her alone. The pine tree is not interested in the well-being of the surrounding world. She does not care about the cold and the desert that is around. She lives in a dream of another such lonely being.
If the palm tree in its hot south were happy, then it would not be interesting to the pine tree at all. Because then the palm tree would not be able to understand the pine tree, to sympathize with it. All these experiences Taneyev was able to convey through music, using such expressive means as: dynamics, tempo, tonality, texture of presentation.

Bibliography

Musical Encyclopedic Dictionary / Ch. ed. G.V. Keldysh. - M.: Soviet Encyclopedia, 1990 - 672 p.: ill.
www.wikipedia.ru
http://hor.by/2010/08/popov-taneev-chor-works/

It is known that according to the general genre classification, all music is divided into vocal And instrumental. Vocal music can be solo, ensemble, choral. In turn, choral creativity has its own varieties, which are called choral genres:

2) choral miniature;

3) choir large form s;

4) oratorio-cantata (oratorio, cantata, suite, poem, requiem, mass, etc.);

5) opera and other works related to stage action (independent choral number and choral stage);

6) processing;

7) transcription.

choral song (folk songs, songs for concert performance, choral mass songs) - the most democratic genre, distinguished by a simple form (mainly couplet), simplicity of musical and expressive means. Examples:

M. Glinka "Patriotic Song"

A. Dargomyzhsky "The raven flies to the raven"

"From a country, a country far away"

A. Alyabyev "Song of a young blacksmith"

P. Tchaikovsky "Without time, but without time"

P. Chesnokov "Not a flower fades in the field"

A. Novikov "Roads"

G. Sviridov "How the song was born"

Choral miniature - the most common genre, which is characterized by the richness and variety of forms and means musical expressiveness. The main content is lyrics, the transfer of feelings and moods, landscape sketches. Examples:

F. Mendelssohn "Forest"

R. Schumann "Night Silence"

"Evening Star"

F. Schubert "Love"

"Round dance"

A. Dargomyzhsky "Come to me"

P. Tchaikovsky "Not a Cuckoo"

S. Taneev, "Serenade"

"Venice at night"

P. Chesnokov "Alps"

"August"

C. Cui "Everything fell asleep"

"Lighted up in the distance"

V. Shebalin "Cliff"

"Winter road"

V. Salmanov "How you live, you can"

"Lion in an iron cage"

F. Poulenc "Sadness"

O. Lasso "I love you"

M. Ravel "Nicoletta"

P. Hindemith "Winter"

Chorus of large forms - Works of this genre are characterized by the use of complex shapes(three-, five-part, rondo, sonata) and polyphony. The main content is dramatic collisions, philosophical reflections, lyric-epic narratives. Examples:

A. Lotti "Crucifixus".

C. Monteverdi "Madrigal"

M. Berezovsky "Do not reject me"

D. Bortnyansky "Cherubic"

"Choral Concert"

A. Dargomyzhsky "A storm covers the sky with mist"

P. Tchaikovsky "For the dream to come"

Y. Sakhnovsky "Kovyl"

Vic. Kalinnikov "On the old barrow"

"Stars Fading"

S. Rachmaninov "Concerto for Chorus"

S. Taneev "At the grave"

"Prometheus"

"The ruin of the tower"

“Two gloomy clouds over the mountains”

"Stars"

"The volleys fell silent"

G. Sviridov "Tabun"

V. Salmanov "From afar"

C. Gounod "Night"

M. Ravel "Three Birds"

F. Poulenc "Marie"

Cantata-oratorio (oratorio, cantata, suite, poem, requiem, mass, etc.). Examples:

G. Handel Oratorios: "Samson",

"Messiah"

I. Haydn Oratorio "The Seasons"

W. A. ​​Mozart "Requiem"

I.S. Bach Cantata. Mass in B minor

L. Beethoven "Solemn Mass"

I. Brahms "German Requiem"

G. Mahler 3 symphony with choir

G. Verdi "Requiem"

P. Tchaikovsky Cantata "Moscow"

Liturgy of John. Chrysostom"

S. Rachmaninov Cantata "Spring"

"Three Russian Songs"

Poem "The Bells"

"All-Night Vigil"

S. Prokofiev Cantata "Alexander Nevsky"

D. Shostakovich 13 symphony (with bass choir)

Oratorio "Song of the Forests"

"Ten choral poems"

The poem "The Execution of Stepan Razin"

G. Sviridov "Pathetic oratorio"

Poem "In Memory of S. Yesenin"

Cantata "Kursk Songs"

Cantata "Night Clouds"

V. Salmanov "Swan" (choral concert)

Oratorio-poem "The Twelve"

V. Gavrilin "Chimes" (choral action)

B. Briten "War Requiem".,

K. Orff "Carmina Burana" (stage cantata)

A. Onneger "Joan of Arc"

F. Poulenc Cantata "The Human Face"

I. Stravinsky "Wedding"

"Symphony of Psalms"

"Sacred spring"

Opera-choral genre. Examples:

G. Verdi "Aida" ("Who is there with victory to glory")

Nebuchadnezzar ("You are beautiful, O our Motherland")

J. Bizet "Carmen" (Final of Act I)

M. Glinka "Ivan Susanin" ("My Motherland", "Glory"))

"Ruslan and Lyudmila ("Mysterious Lel")

A. Borodin "Prince Igor" ("Glory to the Red Sun")

M. Mussorgsky "Khovanshchina" (Scene of Khovansky's meeting)

"Boris Godunov" (Scene under Kromy)

P. Tchaikovsky "Eugene Onegin" (Ball Scene)

"Mazepa" ("I will curl a wreath")

The Queen of Spades (Scene, in the Summer Garden)

N. Rimsky-Korsakov "The Woman of Pskov" (Scene of the Veche)

"Snegurochka" (Seeing Shrovetide)

"Sadko" ("Height, heavenly height")

"The Tsar's Bride" ("Love Potion")

D. Shostakovich. Katerina Izmailova (Chorus of convicts)

Choral treatment (arrangement of a folk song for choral, concert performance)

A) The simplest type song processing for the choir (verse-variation form with the preservation of the melody and genre of the song). Examples:

"Shchedryk" - Ukrainian folk song arranged by M. Leontovich "He told me something" - Russian folk song arranged by A. Mikhailov "Dorozhenka" - Russian folk song arranged by A. Sveshnikov "Ah, Anna-Susanna" - German folk, song arranged by O. Kolovsky

“Steppe, yes steppe all around” - Russian folk song, arranged by I. Poltavtsev

B) Expanded type of processing - with the same melody, the author's style is pronounced. Examples:

“How young I am, baby” - Russian folk song in processing

D. Shostakovich “A gypsy ate salty cheese” - arrangement 3. Kodai

B) Free type of song processing - changing the genre, melody, etc. Examples:

“On the mountain, on the mountain” - Russian folk song, arranged by A. Kolovsky

"The bells were ringing" - Russian folk song arranged by G. Sviridov "Jests" - Russian folk song V Arranged by A. Nikolsky “Pretty-young” — Russian folk song, arranged by A. Loginov

choral arrangement

• transposition from one choir to another (from mixed to female or male)

A. Lyadov Lullaby — arranged by M. Klimov

• arrangement of a solo song for choir with a soloist

A. Gurilev The Swallow Winds - Arranged by I. Poltavtsev

• arrangement of an instrumental work for choir

R. Schumann Dreams - arranged for choir by M. Klimov

M. Oginsky Polonaise - arranged for choir by V. Sokolov

S. Rachmaninoff Italian Polka — arranged for choir by M. Klimov

1

1 Federal State Budgetary Educational Institution of Higher Professional Education “Rostov State Conservatory (Academy) named after S.V. Rachmaninov" of the Ministry of Culture of the Russian Federation

The article is devoted to the evolutionary processes in the choral miniature, which were the result of the transformations of the worldview, philosophical, ethical and socio-cultural order of the first half of the twentieth century. The panorama of profound changes in society was complemented by a tendency to intensify artistic reflection on a dynamically developing picture of the world. In this work, the task is to consider in this context how the miniature expands its musical-associative, meaningful volume. In line with the coverage of the problem, the concept of evolution in art is involved. Revealing its essence and starting from it, the author examines the miniature from the point of view of evolutionary processes in art. The author notes the significant directions in the development of musical art that influenced the choral miniature, namely: a more detailed and subtle transfer of the emotional and psychological gradations of the image and the deployment of associative layers that generalize the artistic context of the work. In view of this, attention is directed to the expanding possibilities of the musical language. In this regard, different parameters of the evolutionary flexibility of the choral tissue are emphasized. As a result of a comparative analysis of the choirs, V.Ya. Shebalin and P.I. Tchaikovsky concludes: a wide range of innovations, reflecting the increased expressiveness of melodic-verbal structures, the emergence of contrasting polyphony of textural plans, led to a new level of information in the choral miniature.

evolutionary process

level of information content

musical-associative content layer

musical language

structural-linguistic semantic formations

musical stanza

melodic-verbal structures

1. Asafiev B.V. Musical form as a process. - 2nd ed. - M .: Music, Leningrad branch, 1971. - 375 p., C. 198.

2. Batyuk I.V. On the problem of performance of the New Choral Music of the 20th century: Author. dis. ... cand. lawsuit: 17.00.02 .. - M., 1999. - 47 p.

3. Belonenko A.S. Images and features of the style of modern Russian music of the 60–70s for a capella choir // Questions of theory and aesthetics of music. - Issue. 15. - L .: Music, 1997. - 189 p., S. 152.

5. See for more details: Mazel L. A. Questions of music analysis. Experience of convergence of theoretical musicology and aesthetics. - M.: Soviet composer, 1978. - 352 p.

6. Khakimova A.Kh. Choir a capella (historical, aesthetic and theoretical issues of the genre). - Tashkent, "Fan" Academy of Sciences of the Republic of Uzbekistan, 1992 - 157 p., P. 126.

7. See more O. Cheglakov Evolutionary art [Electronic resource]. -- Access mode: http://culture-into-life.ru/evolucionnoe_iskusstvo/ (accessed 26.04.2014).

8. Shchedrin R. Creativity // Bulletin of the composer. - Issue. 1. - M., 1973. - P. 47.

From the second half of the 20th century, choral art enters a new period of development. This is due to the new moods in society during the 60s and the perceived need to return to the original forms of musical culture and spirituality. The intensive development of choral performance, both professional and amateur, the improvement of the level of performing culture has become an incentive for the creation of many innovative works. The stabilization of the choral miniature genre and its artistic potential required an expansion of the range of expressive possibilities. Evidence of this was the formation of choral cycles. The heyday of the choral miniature, the formation of the principles of unity became "a consequence of the general intellectualization of creative thinking, reinforcing the moment of a meaningfully rational beginning" .

Being in line with evolutionary processes, individual styles were characterized by the growth of integrative qualities, had the ability to "involve in the context artistic perception vast areas of associative knowledge and emotional-psychological experiences ". And this, in turn, made it possible to create a qualitatively new level of informativeness of the choral work. In this regard, the words of the great contemporary artist Rodion Shchedrin are especially noteworthy: “in order to convey this or that information, people of the future will manage with a much smaller number of words and signs. Well, if we translate this into music, then, apparently, this will lead to brevity, concentration of thought, and, consequently, to a concentration of means and some greater saturation. music information…» .

The criterion of evolution in art is not only the “call to the upliftment of the spirit”, but also, of course, the “artistic level”, which ensures an increase in the precision and filigree of technology, the details of which form the deep multidimensionality of the image.

Let us consider the evolutionary processes of a cappella choral music through the prism of these criteria. The history of the development of musical art testifies that the processes aimed at expanding the expressive possibilities of the language go in two directions: “the deepening of contrast and further polarization of stable and unstable in all expressive systems of music and are associated with more and more detailed and subtle grading of emotional and psychological transitions from the pole of tension to relaxation and vice versa. A person's feelings do not change, but their experiences are enriched, which means that when he becomes an object musical embodiment, "his image requires an ever broader justification - a social background, historical perspective, plot-everyday concreteness, moral and ethical generalization" . In fact, we are talking about the deployment of a wide palette of new musical-associative content layers - complementing, shading, deepening, expanding, generalizing the artistic context of the work, making it infinitely capacious, far beyond the "plot figurativeness" .

These evolutionary processes, closely related to the main feature of the miniature - its ability to correspond with the outside world, with other systems, originated in the internal structures and elements that form the fabric of the choral work. Organically intertwined, they have a different ability to transform and to reflect the extra-musical, that is, mobility, and hence evolutionary flexibility. The sound volume of choral parties and the choir as a whole has perfect stability. Relatively stable structural-linguistic formations are carriers of certain semantics and corresponding associations. And, finally, the musical language has mobility and the ability to create infinitely new internal structural connections.

The polyphonic choir system has a synthesis of verbal and non-verbal components within the musical language. It is precisely due to their specific properties that the musical language is characterized by internal mobility and opens to the whole system endless possibilities reorganization.

Let us turn to the expressive speech elements of the musical language. Based on the concept of B. Asafiev that intonation is “comprehension of sound”, we conclude that within its framework the whole range of characteristic shades of content is formed. Let us add to this that the nature of the sound reproduced by man has a unique ability to integrate the expressive possibilities and qualities of different instruments. Let us conclude: the moving elements of the verbal component of a polyphonic choral system: emotional coloring and sound creation (articulation). That is, in the intonation of the human voice, we fix the emotional and semantic component, and in the articulatory features of the created sound, we can catch additional deep colors of the content, organically merged with the meaning.

In the interaction of words and music in the second half of the twentieth century. the most complex relationships arose, characterized by increasing attention to the pronunciation of the verbal text along with its intonation. The nature of singing diction began to change with the specifics of choral writing. Sound-creation, that is, articulation, began to include a triune task in conveying verbal meaning: a clear, accurate presentation of the word in terms of a stroke, an expansion of pronunciation-intonation methods, and the unification of verbal microstructures into a single semantic whole. “... The singer becomes a “master of the artistic word”, able to use the “speech of timbres”, the timbre-psychological color of the word” .

The development of means of speech personification, keeping pace with the development of expressive means of music, has become one of the reasons for the emergence of a trend towards contrasting layering of textured layers. This was due, in particular, to the appeal to a new topic, to different "historical styles" of music, the melody of modern instrumentalism, romance lyrics, and so on.

Texture plans were designed to reveal the coloristic properties of the vertical in order to achieve the timbre specificity of the choral sound. The essence of these innovations consisted in various combinations of methods of presenting the material, reflecting the desire for diversity and brilliance. The range of creative experiments in this area was quite wide: from "sharp contrast, juxtaposition of types of choral textures" to "emphatically ascetic black-and-white two-voice graphics" .

Let us turn to the musical component of the choral sound. Let us determine the mobility of elements in the musical component of the polyphonic fabric. In the development of the fundamental research “Issues of music analysis” L.A. Mazel says that the means of expression, forming combined complexes, have the possibility of "great variability of emotional and semantic meanings".

Let's make a conclusion. The strengthening of the processes of mutual influence of the verbal-speech and musical components in the light of the expansion of the subject, the appeal to different musical styles, the latest compositional techniques, led to the renewal of musical semantics, the activation of interaction between various structural and semantic planes and was decisive in the accumulation of information content of artistic content, capacity, artistic versatility of choral miniatures.

In this regard, let us turn to the work of Russian choral composers of the second half of the 20th century, in particular, to the works of V.Ya. Shebalina (1902-1963). The composer belonged to that branch of choral artists who created their works in line with romantic traditions, carefully preserving the foundations of the Russian choral school. V.Ya. Shebalin enriched the choral art with a fundamentally new type of polyphonic voicing associated with the performing tradition of the peasant lingering song. In order to more clearly outline the new compositional techniques and their significance for the evolutionary processes in general for the choral miniature, we will make a comparative analytical sketch of the choral scores by P.I. Tchaikovsky and V.Ya. Shebalin, written on one text - a poem by M.Yu. Lermontov "Cliff".

Let's start from the embodiment of a single verbal text. Tchaikovsky's entire work is written in a strict chord texture. The composer achieves the expressiveness of a poetic text by clearly dividing a musical stanza into microstructures, in each of which a vertex is singled out intonation (see ex. 1). Significant words are emphasized (see bar 3) due to the special arrangement of the chord (sixth chord with a doubled fifth in the soprano and alto parts), an intonation jump in the upper leading voice.

Example 1. P.I. Tchaikovsky "A golden cloud spent the night", stanza No. 1

Micro melodic-verbal structural elements in V.Ya. Shebalin are organically inscribed in the musical and poetic stanza (see ex. 2), which represents a single syntax characteristic of the Russian drawling song.

Example 2. V.Ya. Shebalin "Cliff", stanza No. 1

Considering the texture-functional interaction of voices, we trace the following differences. As noted above, the work of P.I. Tchaikovsky is written in strict chordal polyphony with a single-level sound of voices. This is a homophonic warehouse of coloristic content with a leading soprano. In general, the semantic coloring of the texture is associated with the spiritual music of Russian cult chants (see ex. 1).

Genre-stylistic coloring of "The Cliff" by V.Ya. Shebalina reflects a special tradition of performing Russian folk songs, in particular, the alternate entry of voices. Their textural interaction is not equally expressed in sound: attention switches from one voice to another (see Ex. 2). In a choral composition, the composer uses different types textured pattern, which allows us to talk about the colorfulness of textured solutions in general. Let's give examples. The artist begins the work by arranging the musical fabric in the style of subvocal polyphony with characteristic melody, then he uses a homogeneous chordal texture (see vol. 11), in the last phase of dramatic development he creates contrasting textural layers, using the timbre coloring of different choral groups. The stratification of the texture occurs due to the isolation of the viola part, endowed with the main informational load, and the group of bass and tenor parts, which form the background layer. The composer achieves the artistic effect of voluminous emotional content by isolating various structural and semantic sound planes. This is achieved in the background layer by a single rhythmic and dynamic nuance, thickening of the choral sound by dividing the parts into divisi, the appearance of an ostinato tonic in the second bass part, which has a low overtone range, and the use of sonor sound technique. These characteristics form a gloomy background color of the sound. In the same part of the work, as an element of forcing expression, we also observe the technique of imitative pickup of the leading voice in the soprano part (vol. 16).

Dramaturgy of the poem by M.Yu. Lermontov is built on the antithesis of two images. How does P.I. draw his characters? Chaikovsky? Taking advantage of the expressiveness of the choral-chord texture, the composer, highlighting the key words, enhances the sonority of all voices, “takes” them into a high tessitura, and also uses stops on sustained sounds as a method of increasing the sound energy when approaching the climax. Nodal semantic moments, for example, where the information content is refocused from the pictorial plane to the plane of the hero’s internal psychological state, the composer writes out long pauses between words, giving them a significant semantic load. The artist highlights them with bright harmonic shifts, dynamic nuances, and a special tempo.

For example, in the poetic line "... but there was a wet trace in the wrinkle of the old cliff" Tchaikovsky creates the following syntactic construction with the selection of reference tones of intonation cells.

Example 3. P.I. Tchaikovsky "A golden cloud spent the night", stanza No. 3

The composer introduces an unexpected syncopation into the last micro melodic-verbal structure, which emphasizes the peculiarity of the keyword as the top of the musical phrase.

Having various textural types in his arsenal, Shebalin "regulates" the variability of sound content by activating its vertical or horizontal coordinates. The composer constructs his musical stanza in a different way. He starts it using a characteristic genre-stylistic refrain (the introduction of the bass part, then the pickup of the violas), which carries an impulse of horizontal melodic energy, but then changes the textural position to highlight the word “in a wrinkle”. The author builds a polyphonic structure into a chordal vertical, and in this musical static character, the declamatory clarity and significance of the key word “emerges”. In the statics of musical development, other colors of the word appear: articulatory presentation, timbre-register background of its sound, harmonic color. Thus, by changing the texture perspective, the composer “highlights” small parts image, while maintaining the overall sound movement.

Unlike P.I. Tchaikovsky, V.Ya. Shebalin uses a wide timbre-register range of choral parts, switching on and off different voices, timbre dramaturgy of choral groups.

Example 4. V.Ya. Shebalin "Cliff", stanza No. 3

We summarize: the path from P.I. Tchaikovsky to V.Ya. Shebalin - this is the way to concretize the word by means of music, finding an increasingly subtle parity relationship and interaction with the musical component, built on unity and balance. This is finding a balance in the polyphonic sound movement between the dynamic unfolding of events and static character, highlighting the main milestones of the semantic context. This is the creation of an enveloping textural background that creates an emotional depth of content that allows the listener to perceive the beauty of the facets of the image, the gradation of the sensual palette. The evolutionary processes of the second half of the 20th century more and more asserted in the choral miniature its leading root, genre feature - the collapse of meaning in the diffuse interaction of musical and poetic text.

Reviewers:

Krylova A.V., Doctor of Cultural Studies, Professor of the Rostov State Conservatory. S.V. Rachmaninov, Rostov-on-Don;

Taraeva G.R., Doctor of Art History, Professor of the Rostov State Conservatory. S.V. Rachmaninov, Rostov-on-Don.

The work was received by the editors on July 23, 2014.

Bibliographic link

Grinchenko I.V. CHORAL MINIATURE IN RUSSIAN MUSIC OF THE SECOND HALF OF THE XX CENTURY // Fundamental Research. - 2014. - No. 9-6. - S. 1364-1369;
URL: http://fundamental-research.ru/ru/article/view?id=35071 (date of access: 10/28/2019). We bring to your attention the journals published by the publishing house "Academy of Natural History"