Under conditions of transformation various fields public life our country has increased the urgent need for creative development the younger generation, which is able to understand, appreciate and transform in their practical activities the world around us. Therefore, it is important to pay great attention to each individual child and the formation of his creative personality. Direct lessons of children's music schools and children's art schools in musical and artistic activities very effectively contribute to solving problems not only musical development, but also the formation general abilities child, the formation of his individuality. Helping to resolve this issue is one of the tasks of a teacher of musical literature, because this discipline occupies a special place in the course of teaching theoretical disciplines at a children's art school.
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“Musical literature” as a subject of the musical theoretical cycle in institutions additional education
In the context of transformations in various spheres of public life in our country, there has been an urgent need for the creative development of the younger generation, which is able to understand, appreciate and transform the world around them in their practical activities. Therefore, it is important to pay great attention to each individual child and the formation of his creative personality. Direct lessons of children's music schools and children's art schools in musical and artistic activities very effectively contribute to solving problems not only of musical development itself, but also to the formation of the child's general abilities and the formation of his individuality. Helping to resolve this issue is one of the tasks of a teacher of musical literature, because this discipline occupies a special place in the course of teaching theoretical disciplines at a children's art school.
The term " musical literature“finally took hold in the 30s of the twentieth century. The origins of musical literature as a subject were B.V. Asafiev and B.L. Yavorsky. Since then, the course of musical literature has undergone significant changes: its content has been enriched, its methodology has been improved, and special teaching aids have appeared.
The modern program of the academic subject “Musical Literature” has been developed on the basis of and taking into account federal state requirements for additional pre-professional general educational programs in the field musical art"Piano", " Folk instruments", "Wind and percussion instruments".
Musical literature is an academic subject that is included in the compulsory part of the subject area “Theory and History of Music”; The final exam in musical literature is part of the final certification.
In the lessons of “Musical Literature”, students’ musical thinking, perception and analysis skills are formed musical works, acquisition of knowledge about patterns musical form, about the specifics of musical language, expressive means music. The content of the subject also includes the study of world history, the history of music, familiarization with the history fine arts and literature. The lessons of “Musical Literature” contribute to the formation and expansion of students’ horizons in the field of musical art, educate musical taste, awaken a love for music.
The educational subject “Musical Literature” continues the educational and developmental process begun in the course of the educational subject “Listening to Music”. The named discipline also closely interacts with the academic subject “Solfeggio”, with subjects in the subject area “Musical Performance”. Thanks to the acquired theoretical knowledge and auditory skills, students master the skills of conscious perception of elements of musical language and musical speech, skills in analyzing an unfamiliar piece of music, knowledge of the main directions and styles in the art of music, which allows you to use the acquired knowledge in performing activities.
Purpose of the item is the development of the student’s musical and creative abilities based on the formation of a set of knowledge, skills and abilities that allow them to independently perceive, master and evaluate various works domestic and foreign composers, as well as identifying gifted children in the field of musical art, preparing them for admission to professional educational institutions.
Objectives of the subject"Musical literature" are:
- developing interest and love for classical music and musical culture generally;
- upbringing musical perception: musical works various styles and genres created in different historical periods and in different countries;
- mastering the skills of perceiving elements of musical language;
- knowledge of the specifics of various musical, theatrical and instrumental genres;
- knowledge of different eras and styles in history and art;
- ability to work with musical text (clavier, score);
- the ability to use the acquired theoretical knowledge when performing musical works on an instrument;
- formation of conscious motivation among the most gifted graduates to continue professional education and prepare them for entrance exams to an educational institution implementing professional programs.
The period for implementation of the educational subject “Musical Literature” for children who entered an educational institution in the first grade at the age of six years six months to nine years is 5 years (from 4th to 8th grade). The period for implementation of the educational subject “Musical Literature” for children who entered an educational institution in the first grade at the age of ten to twelve years is 5 years (from grades 1 to 5). The deadline for the implementation of the educational subject “Musical Literature” for children who have not completed the educational program of the main general education or secondary (complete) general education and planning to enter educational institutions that implement basic professional educational programs in Musical Arts may be extended by one year.
The amount of teaching time provided for by the curriculum of the educational institution for the implementation of the educational subject
The maximum academic load in the subject "Musical Literature" is 346.5 hours, which is 1 academic hour per week in grades 4-7 (1-4) and 1.5 hours per week in the final grade 8 (5), as well as 9 (6) class. (Appendix No. 1)
The form of conducting classes in the subject “Musical Literature” is small group, from 4 to 10 people.
Teaching musical literature at children's art schools and children's music schools is an acquaintance with the work of composers. Interesting, rich, but at the same time difficult-to-learn material of a large volume will have to be conveyed to students of different age groups (children 10 - 15 years old can study in one group). And the impression that children will have about musical culture and will remain with them for the rest of their lives largely depends on what methods and approaches the teacher will use in his lessons.
Municipal autonomous institution
additional education
"Children's Art School"
Zadonsky municipal district Lipetsk region
Methodical manual
For music departments of the Children's Art School
"Short Course of Musical Literature"
Age from 8 to 16 years
Compiled by: teacher
musical theoretical disciplines
Komova Alla Vasilievna
Zadonsk
2015
“A short course in musical literature” is intended to summarize the entire course of this subject in children's music schools. Here all the basic information about composers, their most famous works is very concisely presented, the main eras in world musical culture are briefly reviewed, the basic concepts of musical genres, forms and elements of musical speech are given.
1. Polyphony is polyphony. IN polyphonic work There can be from two to five voices, each of which develops independently, but they are all woven into one musical fabric. Polyphony was widespread during the Renaissance (XVI – XVII centuries) Outstanding musicians polyphonists in the 1st half of the 17th century. were: German composers Georg Friedrich Handel, Georg Philipp Telemann, English - Henry Purcell, French composer Jean Baptiste Lully.
In Italy, Antonio Vivaldi stood out. His violin concertos and the suite “The Seasons” are widely known. In France, the most famous composers are harpsichordists: Jean Philippe Rameau, Francois Couperin, Louis Claude Daquin. The harpsichord sonatas of the Italian composer Domenico Scarlatti are very popular now.
But the great German composer Johann Sebastian Bach (1685 – 1750) is rightfully considered the “father” of polyphony. His work is great and multifaceted.
Bach was born in the German town of Eisenach. He spent his childhood there, where he learned to play the organ, violin and harpsichord. From the age of 15 he lived independently: first in the city of Lüneburg, then, in search of work, he moved to the city of Weimar, where he served as an organist in the church and wrote his best organ works: “Toccata and Fugue in D minor”, organ chorale preludes and fugues. Then he moves to the city of Köthen.
In Köthen he serves as a court musician for the Prince of Köthen and here he wrote the best keyboard works: 1st volume of the HTC (well-tempered clavier), 6 English and 6 French suites, inventions, "Chromatic Fantasia and Fugue".
Recent years Bach lived in Leipzig. Here he worked as the head of the choir school (cantor) at the Church of St. Thomas and wrote many choral works: “Mass in B Minor,” “St. John’s Passion,” “Matthew Passion” and other best examples of cantatas and oratorios. Here he wrote the 2nd volume of the HTC.
I.S. Bach became the creator of polyphonic music. No one wrote polyphony better than him. His three sons also became famous composers, but the name of Johann Sebastian Bach has gone down in the history of musical art for all time! His music is eternal and understandable to people - it is alive.
2. Vienna Classical School.
This creative direction in music of the late 18th – early 19th centuries, which developed in Vienna (the capital of the Austrian Empire). Three composers belong to it: Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. A sonata-symphonic cycle was formed in their work. Their works are perfect in form and content (ie, classic). That is why they were called the great Viennese classics.
The music of composers of the Viennese classical school still remains an unsurpassed example of composition (classical - one of the meanings of the word - exemplary). School is the concept of succession here, i.e. continuation and improvement by one composer of the traditions and ideas of his predecessor.
Viennese classics used the new music warehouse(way of presenting musical thought) – homophono-harmonic, where there is a main melodic voice, and the other voices accompany the melody (they accompany it). In their work there is an 8-bar (square) period. This is due to the use of Austrian and German folk themes. The harmony is dominated by triads of the main degrees T, S, D.
Joseph Haydn (1732-1809) was the oldest of Viennese classics. The genres of sonata, symphony, concerto and quartet were finally formed in his work. He is called the “father” of symphonies (he has more than 100 of them). His music is based on themes folk dances and the songs he's with greatest skill develops. His work also formed the composition symphony orchestra, consisting of three groups instruments - strings, winds and percussion. He served almost his entire life as a court musician for Prince Esterhazy, creating 104 symphonies, 52 sonatas, concertos and 83 quartets. But the pinnacle was his 12 London symphonies, the oratorios “The Seasons” and “The Creation of the World,” written in London at the end of his life.
The German composer W.A. Mozart (1756-1791) became a follower of Haydn’s work. His bright music is still modern - shining example classicism. WITH early years he began to compose sonatas, symphonies and operas. Using Haydn's sonata-symphonic cycle, Mozart developed and enriched it. If in Haydn the contrast between the main and secondary parts is not clearly expressed, then in Mozart main party It is very different in nature from the side section and the development (middle section) is therefore more intense. Mozart's music conveys with amazing power both mournful tragic moods ("Requiem"), and humorous images, and beautiful nature. Mozart's music is distinguished by its beauty and grace. Mozart is the author of many operas, the most famous of which are: “The Marriage of Figaro”, “The Magic Flute”, “Don Giovanni”. He has about 50 symphonies (the most famous are G minor No. 40 and “Jupiter” No. 41), many sonatas, concertos for clavier, violin, oboe, flute, and divertiments.
Ludwig
van
Beethoven (1770-1827) - the third Viennese classic.
The great German composer was born in Bonn. Contemporary of the Great french revolution, he embodied in his music rebellious pathos, the dream of freedom and happiness of mankind. He created 9 symphonies (the most famous: C minor No. 5, No. 9), a number of overtures (“Coriolanus”, “Egmont”, “Leonora”); 32 sonatas (“Lunar” No. 14, “Pathetique” No. 8, “Appassionata” No. 23, etc.) opera “Fidelio”, 5 piano concertos, violin concerto and violin sonatas, 16 string quartets. Beethoven's work is filled with enormous energy, the contrast between themes is very bright, his music is dramatic and at the same time life-affirming and understandable to all people.
3. The era of romanticism in music.
Romanticism is an art movement that arose in early XIX century, at the time of reaction after the French bourgeois revolution. People of art at this time could not truthfully reflect reality and they had to either go into the world of fantasy or reflect inner world a person's feelings and emotions.
In music, the first romantic composer was Franz Schubert (1797-1828), the great Austrian composer and songwriter (he has more than 600 of them).
In his youth he had to experience many losses. Finding himself alone in Vienna, he lived with friends and acquaintances and was full of hopes for a wonderful future. His songs during this period were light in content (the cycle “The Beautiful Miller’s Wife”). But gradually he begins to understand that life is not as cloudless as it seemed to him, that the fate of a musician is poverty and need. In the song "Organ Grinder" he painted a portrait of himself - a singer thrown out by society. Gloomy moods are reflected in the cycle “Winter Retreat”, “Swan Song”. Such masterpieces as the ballad “The Forest King” and “Margarita at the Spinning Wheel” were written to Goethe’s words. Schubert's "Serenade" has firmly entered the repertoire famous singers. In addition to songs, Schubert also wrote 8 symphonies (the most famous “Unfinished” in B minor No. 8 in two parts). He also has many small piano works: musical moments, impromptu, ecosesuses, waltzes.
Schubert died very early - at the age of 31, but with his works he managed to prepare the emergence of followers of his work.
One of them was the Polish piano composer Fryderyk Chopin (1810 – 1849).
His music is brilliant. Despite the fact that he wrote exclusively for piano, he nevertheless discovered the whole world- from the secret depths of human feelings to simple scenes of village life.
Turning to Polish national genres - mazurkas, polonaises, waltzes, he showed them from different sides. For example, his mazurkas can be ballroom, or they can resemble a simple village dance. Polonaises are sometimes brilliant, sometimes tragic.
Waltzes are also very diverse in character, and his etudes go beyond purely technical work- these are already concert plays - paintings. Chopin's preludes are small in size, but very different in the shades of feelings touched upon in them. Chopin's nocturnes are examples of melody and harmony. Chopin is the creator of a new genre of piano music - the ballad genre. He also has sonatas. Chopin's funeral march is familiar to everyone - this is the 3rd movement of the B minor sonata.
Fryderyk Chopin is a favorite composer of many pianists. Since 1927, the World Chopin Piano Competitions have been regularly held in Warsaw.
The third romantic of foreign music is Robert Schumann (1810 – 1856).
This is a great German composer - a dreamer and inventor. He had an amazing ability to depict portraits of people in music, often with humor. The piano cycle “Carnival” is his most famous work. He wrote many small pieces for piano, “Album for Youth”, “Butterflies”, 3 sonatas, “Symphonic Etudes” and other works.
4. Russian musical culture.
Mikhail Ivanovich Glinka (1804-1857)
The great Russian composer is the founder of national classical music.
After graduating from the university noble boarding school, he traveled extensively throughout Europe, studying music. foreign countries(Italy, Germany, Austria). Returning to his homeland, Glinka set out to create a Russian national music school and he managed to do it.
Glinka collected and processed Russian folk songs and wrote his works using their intonations, dressing them in strict classic shapes.
Glinka is the author of about 80 romances and songs, including such masterpieces as “Doubt”, “I Remember a Wonderful Moment”, “Lark” and others.
His first opera on a historical plot was “Life for the Tsar” (“Ivan Susanin”).
From this opera came a branch of Russian historical opera (it became an example of this genre). Glinka’s second opera was written based on the fairy tale by A. S. Pushkin “Ruslan and Lyudmila”. She laid the foundation for Russian fairytale opera.
In addition, “All Russian symphonic music is contained in Glinka’s Kamarinskaya, like an oak in an acorn.” - wrote P.I. Tchaikovsky. This is true. In addition to “Kamarinskaya,” Glinka wrote two overtures on Spanish themes, “Aragonese Jota” and “Night in Madrid,” and his “Waltz Fantasy” is an example of beautiful lyrics in instrumental music.
Having summed up everything that was created before him by Russian composers, Glinka raised Russian music to a qualitatively higher level. new level and achieved recognition of Russian music at the world level.
Alexander Sergeevich Dargomyzhsky (1813 – 1869)
A follower and younger contemporary of Glinka, he went down in the history of Russian musical culture as the creator of socially revealing works. Among them is an opera based on the plot tragedy of the same name Pushkin's "Rusalka", where the composer conveyed the tragedy of a simple peasant girl Natasha, abandoned by the prince, to the grief of her father. Another opera based on the text of Pushkin’s little tragedy “ Stone Guest" This is also a socio-psychological drama. In his operas, Dargomyzhsky introduced a new principle of end-to-end musical development. It consisted in the fact that musical numbers: arias, arioso, duets, choruses - smoothly and without stopping turn into recitative and vice versa, and the orchestral part often conveys what is not expressed in words.
Dargomyzhsky is the author of about 100 romances and songs. Among them are very popular: “I’m Sad”, “Old Corporal”, “Titular Councilor”, “Worm” and others.
In his music, Dargomyzhsky relied on folk songs, but at the same time on the intonations of living human speech. “I want the sound to directly express the word. I want the truth!” - this is Dargomyzhsky’s creative credo.
In the second half of the 19th century, a rise began in Russia national art- literature, painting, music. At this time, a circle of like-minded musicians arose, called the “Mighty Handful” by the famous music critic Stasov. It is also called the “Great Russian Five” or the “New Russian School”.
The circle included 5 composers.
Its leader was Mily Alekseevich Balakirev (1837-1910) - a bright figure, musical talent. His merit is that he collected and processed Russian folk songs. Balakirev did not create very many works. The most interesting of them are the fantasy “Islamey”, 8
Russians folk songs arranged for piano, about 50 romances.
Alexander Porfirievich Borodin (1833-1887)
- an outstanding chemist, teacher, composer. Author of the opera “Prince Igor” based on the historical plot of the ancient Russian chronicle “The Tale of Igor’s Campaign”, symphonic picture"IN Central Asia”, wonderful 2 quartets, 3 symphonies (the most famous 2nd is called “Bogatyrskaya”) and 18 romances. The composer embodied in his work the epic epic of the Russian people, and also illuminated the world of East Asia with its beautiful melodies.
Modest Petrovich Mussorgsky (1839-1881) was a tribune composer who reflected the life and history of the fair-haired people. His operas “Boris Godunov”, “Khovanshchina” and monumental folk musical dramas are the pinnacle of his creativity; musical comedy according to Gogol "Sorochinskaya Fair" reveals living vivid images ordinary people; the cycle “Pictures at an Exhibition”, the song cycles “Children’s”, “Songs and Dances of Death”, romances are included in the repertoire of world theaters.
Caesar Antonovich Cui (1835-1918) – composer and music critic, author of opera-fairy tales “Little Red Riding Hood”, “Puss in Boots”, “Fool Ivanushka”, romances, songs, short piano pieces. His works are not as significant as the works of other composers " Mighty bunch", but he also contributed to the treasury of Russian music.
What united all the composers of the “Mighty Handful” was that they were reverent about Russian folk songs and sought to enrich Russian classical music, elevate it on a global scale. All of them are followers of the great Russian classical composers M.I. Glinka and A.S. Dargomyzhsky.
Used literature:
Bazhenova L., Nekrasova L., Kurchan N., Rubinstein I., “World artistic culture 20th century: Cinema, theater, music”, published. Peter 2008
Gorbacheva E. “Popular History of Music”, published. "Veche" 2002
Mikheeva L. " Musical dictionary in stories" published. Moscow, " Soviet composer" 1984
Privalov S. “Foreign musical literature. The era of romanticism"
published "Composer" 2003
5. Prokhorova, I., Skudina, G. “Musical literature Soviet period»
published "Music" 2003
6. Prokhorova, I. “Musical literature of foreign countries”
published "Music" 2003
7. Smirnova E. “Russian musical literature”, published. "Music" 2001
8. Encyclopedia for children. Volume 7. Art. Part 3. Music. Theater. Cinema publishing house CJSC "House of Books, Avanta+" 2000
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Musical literature(lat. musica litteris) - a subject studied in secondary and higher musical institutions. The basis of the subject is study creative activity, as well as biographies of composers who are classics in world music.
History of origin as an educational subject
The subject “musical literature” is the property of the exclusively domestic system music education. The system of music education in Russia has historically developed as a three-tier system: music school - college - university. Each link performs a specific function: the music school provides general musical education, college and university - vocational training.
The modern model of music education was finally formed by the end of the 30s of the 20th century, when stratification into lower, middle and higher levels occurred. In the pre-revolutionary practice of teaching music, private lessons in playing, singing or composition occupied a strong place. At the same time, students, as a rule, did not receive musical theoretical and musical historical information. Public lectures held in St. Petersburg since the 1830s helped only partially fill this gap. They also played a major role in the spread of musical culture. music classes at medium and high educational institutions, gymnasiums, colleges, universities. It is especially necessary to note women's closed institutes, the training system of which included not only playing an instrument, but also solfeggio, harmony, and pedagogical practice. A similar scheme was subsequently used as the basis for the curriculum of conservatories, where one of the most important subjects the curriculum became the history of music.
The content of the subject “musical literature” was developed by the outstanding music historian, professor at the Moscow Conservatory Valentin Eduardovich Ferman at the turn of the 30s and 40s of the 20th century. The idea was to precede the study of the history of music course with a subject that would provide knowledge primarily of music. It was decided to concentrate the main base in the middle level of the music education system.
Subject of study
The overall goal of the course is to familiarize students with the treasury of the heritage of world musical culture. More specifically, it is the expansion of musical horizons, instilling interest and love for music, the development of artistic taste, the development of an active, conscious perception of a musical work.
Unlike music schools and music history courses in universities, children's music schools, etc., this subject is mainly aimed at aesthetic education: teaching how to listen, perceive and understand music; to raise a competent listener and music lover. The subject “listening to music” occupies an important place in the course of study, which is aimed at solving the main problems of music-historical education at school. Music school involves general musical training. Therefore, the most famous teachers are of the opinion that the chronological nature of the material is not necessary. For example, the feature of E. B. Lisyanskaya’s program - we hear, then we speak - comes from auditory perception. The accumulation of facts and knowledge is secondary material that complements auditory impressions.
The course of musical literature is one of the most important in the system of musical training of students. This is a subject in which classes, along with the specialty (piano, guitar, button accordion, vocals, etc.) and solfeggio, take place throughout the entire period of study. Synthesizing by nature, it combines elements of musical-historical, musical-theoretical, aesthetic and general humanitarian knowledge. The skills acquired in the process of training are necessary for the formation of both an amateur musician and a professional musician. They are associated primarily with the education of the unity of the auditory, emotional perception and logical thinking. A special feature of the subject is its diverse connections with other disciplines. In music literature lessons, the knowledge gained from studying solfeggio and special subjects is deepened and improved. So, for example, during lessons the following skills are simultaneously consolidated: auditory analysis; music analysis; ability to practice performing skills and solfeggio.
Literature
- Bokshchanina E. Methods of teaching musical literature at school. - M.: Muzgiz, 1961. - 72 p.
- Geilig M. Essays on methods of teaching musical literature at school. - M.: Music, 1966. - 58 p.
- Golubeva L. About the new concept of the music literature course for children's music schools // Musical education. - 2007. - No. 1. - P. 39−43.
- Lagutin A. Musical literature as a subject of school teaching// Questions of methods of primary music education. - M.: Music, 1981.
- Nikiforova V. On continuity in the teaching of musical and historical disciplines when training a musicologist// Issues in teaching musical and historical disciplines: Sat. tr. - M.: State. Music Ped. Institute named after Gnesins, 1985. - P. 34-51.
- Orlova E. Methodological notes on musical-historical education in conservatories. - M.: Music, 1983. - 43 p.
Short course
musical literature
I.S. BANG
1. Polyphony is polyphony. A polyphonic work can have from two to five voices, each of which develops independently, but they are all woven into one musical fabric. Polyphony was widespread during the Renaissance (XVI – XVII centuries) by outstanding polyphonist musicians in the 1st half of the 17th century. were: German composers Georg Friedrich Handel, Georg Philipp Telemann, English - Henry Purcell, French composer Jean Baptiste Lully.
In Italy, Antonio Vivaldi stood out. His violin concertos and the suite “The Seasons” are widely known. In France, the most famous composers are harpsichordists: Jean Philippe Rameau, Francois Couperin, Louis Claude Daquin. The harpsichord sonatas of the Italian composer Domenico Scarlatti are very popular now.
But the great German composer Johann Sebastian Bach (1685 – 1750) is rightfully considered the “father” of polyphony. His work is great and multifaceted.
Bach was born in the German town of Eisenach. He spent his childhood there, where he learned to play the organ, violin and harpsichord. From the age of 15, he lived independently: first in the city of Lüneburg, then, in search of work, he moved to the city of Weimar, where he served as an organist in the church and wrote his best organ works here: “Toccata and Fugue in D minor”, organ chorale preludes and fugues. Then he moves to the city of Köthen.
In Köthen, he serves as a court musician for the Prince of Köthen and here he wrote the best keyboard works: the 1st volume of the HTK (well-tempered clavier), 6 English and 6 French suites, inventions, “Chromatic Fantasy and Fugue”.
Bach spent his last years in Leipzig. Here he worked as the head of the choir school (cantor) at the Church of St. Thomas and wrote many choral works: “Mass in B Minor,” “St. John’s Passion,” “Matthew Passion” and other best examples of cantatas and oratorios. Here he wrote the 2nd volume of the HTC.
I.S. Bach became the creator of polyphonic music. No one wrote polyphony better than him. His three sons also became famous composers, but the name of Johann Sebastian Bach went down in the history of musical art for all time! His music is eternal and understandable to people - it is alive.
2. Vienna Classical School.
This is a creative direction in music of the late 18th – early 19th centuries, which developed in Vienna (the capital of the Austrian Empire). Three composers belong to it:Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven.
A sonata-symphonic cycle was formed in their work. Their works are perfect in form and content (ie, classic). That is why they were called the great Viennese classics.
The music of composers of the Viennese classical school still remains an unsurpassed example of composition (classical - one of the meanings of the word - exemplary). School is the concept of succession here, i.e. continuation and improvement by one composer of the traditions and ideas of his predecessor.
The Viennese classics used a new musical structure (way of presenting musical thought) - homophono-harmonic, where there is a main melodic voice, and the other voices accompany the melody (they accompany it). In their work there is an 8-bar (square) period. This is due to the use of Austrian and German folk themes. The harmony is dominated by triads of the main degrees T, S, D.
Joseph Haydn (1732-1809) was the most senior of the Viennese classicists. The genres of sonata, symphony, concerto and quartet were finally formed in his work. He is called the “father” of symphonies (he has more than 100 of them). His music is based on themes of folk dances and songs, which he develops with the greatest skill. In his work, the composition of a symphony orchestra was also formed, consisting of three groups of instruments - strings, winds and percussion. He served almost his entire life as a court musician for Prince Esterhazy, creating 104 symphonies, 52 sonatas, concertos and 83 quartets. But the pinnacle was his 12 London symphonies, the oratorios “The Seasons” and “The Creation of the World,” written in London at the end of his life.
The German composer became a follower of Haydn's work W.A.Mozart (1756-1791). His bright music is still modern - a vivid example of classicism. From an early age he began to compose sonatas, symphonies and operas. Using Haydn's sonata-symphonic cycle, Mozart developed and enriched it. If in Haydn the contrast between the main and secondary parts is not clearly expressed, then in Mozart the main part is very different in character from the secondary and the development (middle section) is therefore more intense. Mozart's music conveys with amazing power both mournful tragic moods ("Requiem"), humorous images, and beautiful nature. Mozart's music is distinguished by its beauty and grace. Mozart is the author of many operas, the most famous of which are: “The Marriage of Figaro”, “The Magic Flute”, “Don Giovanni”. He has about 50 symphonies (the most famous are G minor No. 40 and “Jupiter” No. 41), many sonatas, concertos for clavier, violin, oboe, flute, and divertiments.
Ludwig van Beethoven
(1770-1827) - the third Viennese classic.
The great German composer was born in Bonn. A contemporary of the Great French Revolution, he embodied in his music rebellious pathos, the dream of freedom and happiness of mankind. He created 9 symphonies (the most famous: C minor No. 5, No. 9), a number of overtures (“Coriolanus”, “Egmont”, “Leonora”); 32 sonatas (“Lunar” No. 14, “Pathetique” No. 8, “Appassionata” No. 23, etc.), the opera “Fidelio”, 5 piano concertos, a violin concerto and sonatas for violin, 16 string quartets. Beethoven's work is filled with enormous energy, the contrast between themes is very bright, his music is dramatic and at the same time life-affirming and understandable to all people.
3. The era of romanticism in music.
Romanticism is an art movement that emerged at the beginning of the 19th century, during the time of reaction after the French bourgeois revolution. People of art at this time could not truthfully reflect reality and they had to either go into the world of fantasy or reflect the inner world of a person, his feelings and emotions.
In music, the first romantic composer wasFranz Schubert
(1797-1828) – great Austrian composer and songwriter (he has more than 600 of them).
In his youth he had to experience many losses. Finding himself alone in Vienna, he lived with friends and acquaintances and was full of hopes for a wonderful future. His songs during this period were light in content (the cycle “The Beautiful Miller’s Wife”). But gradually he begins to understand that life is not as cloudless as it seemed to him, that the fate of a musician is poverty and need. In the song "Organ Grinder" he painted a portrait of himself - a singer thrown out by society. Gloomy moods are reflected in the cycle “Winter Retreat”, “Swan Song”. Such masterpieces as the ballad “The Forest King” and “Margarita at the Spinning Wheel” were written to Goethe’s words. Schubert's "Serenade" has firmly entered the repertoire of famous singers. In addition to songs, Schubert also wrote 8 symphonies (the most famous “Unfinished” in B minor No. 8 in two parts). He also has many small piano works: musical moments, impromptu, ecosaise, waltzes.
Schubert died very early - at the age of 31, but with his works he managed to prepare the emergence of followers of his work.
One of them was the Polish composer of the piano genreFryderyk Chopin
(1810 – 1849).
His music is brilliant. Despite the fact that he wrote exclusively for the piano, he nevertheless discovered a whole world - from the secret depths of human feelings to simple scenes of village life.
Turning to Polish national genres - mazurkas, polonaises, waltzes, he showed them from different sides. For example, his mazurkas can be ballroom, or they can resemble a simple village dance. Polonaises are sometimes brilliant, sometimes tragic.
Waltzes are also very diverse in character, and his etudes go beyond the scope of a purely technical work - they are already concert pieces - paintings. Chopin's preludes are small in size, but very different in the shades of feelings touched upon in them. Chopin's nocturnes are examples of melody and harmony. Chopin is the creator of a new genre of piano music - the ballad genre. He also has sonatas. Chopin's funeral march is familiar to everyone - this is the 3rd movement of the B minor sonata.
Fryderyk Chopin is a favorite composer of many pianists. Since 1927, the World Chopin Piano Competitions have been regularly held in Warsaw.
The third romantic of foreign music -Robert Schumann
(1810 – 1856).
This is a great German composer - a dreamer and inventor. He had an amazing ability to depict portraits of people in music, often with humor. The piano cycle “Carnival” is his most famous work. He wrote many small pieces for piano, “Album for Youth”, “Butterflies”, 3 sonatas, “Symphonic Etudes” and other works.
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The work of composers of the second half of the 19th and early 20th centuries.
Richard Wagner (1813-1883) - Wilhelm Richard Wagner was a German dramatic composer and theorist, theater director, conductor, and polemicist who became famous for his operas, which had a revolutionary influence on Western music. Among his main works are “ Flying Dutchman"(1843), "Tannhäuser" (1845), "Lohengrin" (1850), "Tristan and Isolde" (1865), "Parsifal" (1882) and the tetralogy "The Ring of the Nibelungs" (1869–1876).
Giuseppe Verdi (1813-1901) - famous Italian composer, author of many immortal works. His work is considered highest point the development of 19th century music in his native country. Verdi's activity as a composer spanned more than half a century. She was mainly associated with the opera genre. Verdi created the first of them when he was 26 years old (Oberto, Count di San Bonifacio), and he wrote the last one at 80 years old (Falstaff). The author of 32 operas (including new editions of works written earlier) is Giuseppe Verdi. His biography still arouses great interest, and Verdi’s works are still included in the main repertoire of theaters around the world today.. His most famous operas were Aida, Rigoletto, and La Traviata.
Edvard Grieg (1843 – 1907) - period, figure, ,. Grieg's work was formed under the influence of the Norwegian folk culture.
Among the most famous works Grieg - two suites from the music for the drama "", violin sonatas.
Grieg focused his attention on songs and, of which he published more than 600. About twenty more of his plays were published posthumously. Vocal compositions Grieg's works were written based on the words of Danish and Norwegian, sometimes German poets.
Claude Debussy (1862-1918) - French composer K. Debussy is often called the father of music of the 20th century. He showed that every sound, chord, tonality can be heard in a new way, can live a freer, more colorful life, as if enjoying its very sound, its gradual, mysterious dissolution into silence. It is no coincidence that Debussy is considered the main representative. The composer's favorite genre is the program suite (orchestral and piano), like a series of different paintings, where the static nature of landscapes is set off by rapidly moving, often dance rhythms. These are the suites for orchestra "" (1899), "" (1905) and "" (1912). For piano, “”, “, “” is created, which Debussy dedicated to his daughter.
5. Russian musical culture.
Mikhail Ivanovich Glinka
(1804-1857)
The great Russian composer is the founder of national classical music.
After graduating from the university noble boarding school, he traveled extensively throughout Europe, studying the music of foreign countries (Italy, Germany, Austria). Returning to his homeland, Glinka set out to create a Russian national music school and he managed to do it.
Glinka collected and processed Russian folk songs and wrote his works using their intonations, dressing them in strict classical forms.
Glinka is the author of about 80 romances and songs, including such masterpieces as “Doubt”, “I Remember a Wonderful Moment”, “Lark” and others.
His first opera on a historical plot was “Life for the Tsar” (“Ivan Susanin”).
From this opera came a branch of Russian historical opera (it became an example of this genre). Glinka’s second opera was written based on the fairy tale by A. S. Pushkin “Ruslan and Lyudmila”. She laid the foundation for Russian fairytale opera.
In addition, “All Russian symphonic music is contained in Glinka’s Kamarinskaya, like an oak in an acorn.” - wrote P.I. Tchaikovsky. This is true. In addition to “Kamarinskaya,” Glinka wrote two overtures on Spanish themes, “Aragonese Jota” and “Night in Madrid,” and his “Waltz Fantasy” is an example of beautiful lyrics in instrumental music.
Having summed up everything that was created before him by Russian composers, Glinka raised Russian music to a qualitatively new level and achieved recognition of Russian music at the world level.
Alexander Sergeevich Dargomyzhsky
(1813 – 1869)
A follower and younger contemporary of Glinka, he went down in the history of Russian musical culture as the creator of socially revealing works. Among them is an opera based on the plot of Pushkin’s tragedy of the same name “Rusalka”, where the composer conveyed the tragedy of a simple peasant girl Natasha, abandoned by the prince, to the grief of her father. Another opera is based on the text of Pushkin’s little tragedy “The Stone Guest”. This is also a socio-psychological drama. In his operas, Dargomyzhsky introduced a new principle of end-to-end musical development. It consisted in the fact that musical numbers: arias, arioso, duets, choruses - smoothly and without stopping turn into recitative and vice versa, and the orchestral part often conveys what is not expressed in words.
Dargomyzhsky is the author of about 100 romances and songs. Among them are very popular: “I’m Sad”, “Old Corporal”, “Titular Councilor”, “Worm” and others.
In his music, Dargomyzhsky relied on folk songs, but at the same time on the intonations of living human speech. “I want the sound to directly express the word. I want the truth!” - this is Dargomyzhsky’s creative credo.
6. Musical culture of the second half of the 19th century.
In the second half of the 19th century, the rise of national art began in Russia - literature, painting, music. At this time, a circle of like-minded musicians arose, named by the famous music critic Stasov "A mighty bunch."
It is also called the “Great Russian Five” or the “New Russian School”.
The circle included 5 composers.
Its leader was Miliy Alekseevich Balakirev
(1837-1910) – a bright figure, musical talent. His merit is that he collected and processed Russian folk songs. Balakirev did not create very many works. The most interesting of them are the fantasy “Islamey”, 8
Russian folk songs arranged for piano, about 50 romances.
Alexander Porfirievich Borodin
(1833-1887)
- an outstanding chemist, teacher, composer. Author of the opera “Prince Igor” based on the historical plot of the ancient Russian chronicle “The Tale of Igor’s Campaign”, the symphonic picture “In Central Asia”, wonderful 2 quartets, 3 symphonies (the most famous 2nd is called “Bogatyrskaya”) and 18 romances. The composer embodied in his work the epic epic of the Russian people, and also illuminated the world of East Asia with its beautiful melodies.
Modest Petrovich Mussorgsky
(1839-1881) - composer-tribune, who reflected the life and history of the fair-haired people. His operas “Boris Godunov”, “Khovanshchina” and monumental folk musical dramas are the pinnacle of his creativity; the musical comedy based on Gogol “Sorochinskaya Fair” reveals living, vivid images of ordinary people; the cycle “Pictures at an Exhibition”, the song cycles “Children’s”, “Songs and Dances of Death”, romances are included in the repertoire of world theaters.
Caesar Antonovich Cui
(1835-1918) – composer and music critic, author of opera-fairy tales “Little Red Riding Hood”, “Puss in Boots”, “Fool Ivan”, romances, songs, short piano pieces. His works are not as significant as those of other composers of the “Mighty Handful,” but he also made a contribution to the treasury of Russian music.
What united all the composers of the “Mighty Handful” was that they had a reverent attitude towards Russian folk song and sought to enrich Russian classical music and elevate it on a global scale. All of them are followers of the great Russian classical composers M.I. Glinka and A.S. Dargomyzhsky.
Nikolai Andreevich Rimsky-Korsakov
(1844-1908) -
talented Russian composer, one of the most important figures in the creation of priceless Russian musical heritage.
The central place in Rimsky-Korsakov's legacy is made up of operas - 15 works demonstrating the diversity of the composer's genre, stylistic, dramatic, and compositional solutions. Two main directions distinguish the composer’s work: the first is Russian history, the second is the world of fairy tales and epics, for which he received the nickname “storyteller.”
In addition to his creative activities, N.A. Rimsky-Korsakov is known as a publicist, a compiler of collections of folk songs, in which he showed great interest, and also as a completer of the works of his friends - Dargomyzhsky, Mussorgsky and Borodin. Rimsky-Korsakov was the creator of a school of composition; as a teacher and director of the St. Petersburg Conservatory, he trained about two hundred composers, conductors, and musicologists, among them Prokofiev and Stravinsky.
Pyotr Ilyich Tchaikovsky (1840 -1893) - Russian composer of the romantic period. Some of his compositions are among the most popular pieces of music. He was the first Russian composer whose work opened music world Russia at the international level. A factor that helped Tchaikovsky's music become popular was a shift in attitudes towards Russian audiences. Publication of his songs since 1867 and excellent piano music for the domestic market also contributed to the growth of the composer's popularity. At the end of the 1860s, Tchaikovsky began composing operas. Among his most significant works are the operas: “ Queen of Spades", "Eugene Onegin", "The Maid of Orleans", "Mazepa", "Cherevichki" and others, ballets: "The Nutcracker", " Swan Lake", "Sleeping Beauty", symphony No. 1 "Winter Dreams", symphony No. 6 "Pathetique", fantasy overture "Romeo and Juliet", piano cycle"Children's Album"; symphonic, chamber, piano, choral, vocal works and arrangements of folk songs, as well as many other works.
7. Works of composers of the late 19th and early 20th centuries
The work of Russian composers of the late 19th - first half of the 20th century is a holistic continuation of the traditions of the Russian school. At the same time, the concept of the approach to the “national” affiliation of this or that music has changed; there is practically no direct quotation of folk melodies, but the intonational Russian basis, the Russian soul, has remained.
Alexander Nikolaevich SKRYABIN
(1872 - 1915) - Russian composer and pianist, one of brightest personalities Russian and world musical culture. Scriabin's original and deeply poetic creativity stood out as innovative even against the backdrop of the birth of many new trends in art associated with changes in public life at the turn of the 20th century.
The peak of Scriabin's compositional creativity was the years 1903-1908, when the Third Symphony (" Divine Poem"), symphonic "Poem of Ecstasy", "Tragic" and "Satanic" piano poems, 4th and 5th sonatas and other works. Another masterpiece of Scriabin is "Prometheus" ("Poem of Fire"), in which the author completely updated his harmonic language , departing from the traditional tonal system, and also for the first time in history, this work was to be accompanied by color music, but the premiere, for technical reasons, took place without lighting effects.
The last unfinished “Mystery” was the plan of Scriabin, a dreamer, romantic, philosopher, to appeal to all of humanity and inspire it to create a new fantastic world order, the union of the Universal Spirit with Matter.
Sergei Vasilievich RACHMANINOV (1873 - 1943) - the world's largest composer of the early 20th century, a talented pianist and conductor. The creative image of Rachmaninov the composer is often defined by the epithet “the most Russian composer,” emphasizing in this brief formulation his merits in the unification musical traditions Moscow and St. Petersburg schools of composition and in creating his own unique style, which stands out in the world musical culture.
He studied at the St. Petersburg Conservatory, after 3 years of study he transferred to the Moscow Conservatory and graduated with a large gold medal. He quickly became known as a conductor and pianist, and composed music. The disastrous premiere of the innovative First Symphony (1897) in St. Petersburg caused a creative composer's crisis, from which Rachmaninov emerged in the early 1900s with a formed style that united Russian church song, leaving European romanticism, modern impressionism and neoclassicism - and all this is full of complex symbolism. This creative period his best works are born, including 2 and 3 piano concerts, Second Symphony and his very favorite piece- poem "Bells" for choir, soloists and orchestra.
In 1917, Rachmaninov and his family were forced to leave our country and settle in the USA.
Interesting fact : during the Great Patriotic War Rachmaninov gave several charity concerts, the proceeds from which he sent to the Red Army Fund to fight the Nazi occupiers.
Igor Fedorovich STRAVINSKY (1882-1971) - one of the most influential world composers of the 20th century, a leader of neoclassicism. Stravinsky became a "mirror" musical era, his work reflects a multiplicity of styles, constantly intersecting and difficult to classify. He freely combines genres, forms, styles, choosing them from centuries of musical history and subjecting them to his own rules.
He began composing professionally relatively late, but his rise was rapid - a series of three ballets: “The Firebird” (1910), “Petrushka” (1911) and “The Rite of Spring” (1913) immediately brought him to the ranks of composers of the first magnitude.
In 1914 he left Russia, as it turned out, almost forever (in 1962 there were tours in the USSR). Stravinsky is a cosmopolitan, having been forced to change several countries - Russia, Switzerland, France, and eventually stayed to live in the USA. His work is divided into three periods - “Russian”, “neoclassical”, American “mass production”, the periods are divided not by the time of life in different countries, but by the author’s “handwriting”.
Sergei Sergeevich PROKOFIEV (1891-1953) - one of the largest Russian composers of the 20th century, pianist, conductor. Prokofiev can be considered one of the few (if not the only) Russian musical “prodigies”, from the age of 5 he was engaged in composing, at the age of 9 he wrote two operas (of course, these works are still immature, but they show a desire to create), at the age of 13 he passed the exams at St. Petersburg Conservatory, among his teachers was N.A. Rimsky-Korsakov.
Some of the most striking works were the operas “War and Peace” and “The Tale of a Real Man”; the ballets “Romeo and Juliet” and “Cinderella”, which have become a new standard of world ballet music; oratorio "Guardian of Peace"; music for the films "Alexander Nevsky" and "Ivan the Terrible"; symphonies No. 5,6,7; piano works.
Prokofiev's work is striking in its versatility and breadth of themes; the originality of his musical thinking, freshness and originality constituted an entire era in the world musical culture of the 20th century and had a powerful impact on many Soviet and foreign composers.
Dmitry Dmitrievich SHOSTAKOVICH (
1906 - 1975) is one of the most important and performed composers in the world, his influence on modern classical music is immeasurable. His creations are true expressions of the inner human drama and chronicle of difficult events of the 20th century, where the deeply personal is intertwined with the tragedy of man and humanity, with fate home country. Already in the early 20s, by the end of the conservatory, Shostakovich had a baggage of his own works and became one of the best composers countries. World fame came to Shostakovich after winning the 1st International competition Chopin in 1927.
Until a certain period, namely before the production of the opera "Lady Macbeth" Mtsensk district", Shostakovich worked as a free artist - an "avant-garde", experimenting with styles and genres. Of all Shostakovich's extensive creativity in all genres, it is the symphonies (15 works) that occupy central place, the most dramatically intense are the 5,7,8,10,15 symphonies, which became the pinnacle of Soviet symphonic music .
What is musical literature?
What is literature? These are books written by writers. And not only writers. Literature includes, for example, folk tales, recorded and processed by folk art collectors.
Our literature is musical. What's happened music books? These are notes. But few experienced musicians can read sheet music like a book. And the music that is written in these notes is listened to and loved by almost everyone. So here it is:
How? Another one? What about your specialty? What about solfeggio?
In solfeggio you study notes, intervals, tonality. This is yours musical literacy. And also hearing training. After all, all this must not only be learned, but also be able to hear. And in your specialty, you master musical performance: learn to touch your instrument correctly and deftly in order to play and perform music beautifully and expressively.
What does beautiful and expressive mean? This is the question that musical literature answers. Today we begin to search for the answer. And to do this, let's start learning to listen to music.
Is it necessary to learn to listen to music? You might be surprised. And you will be right in your own way. Once upon a time, the famous Norwegian violinist of the 19th century Ole Bull As a result of a shipwreck, he ended up on an island inhabited by wild tribes. And the savages were enchanted by the great artist’s violin, although they had never heard European music before. And already in the 20th century, the French traveler and scientist Alain Guerbran took records of Mozart's music on a trip to the Makiritare Indians, living in the Amazon jungle and isolated from the rest of the world. The effect was amazing, Geherbran even made a film about it.
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These examples seem to suggest that music can be felt without special preparation. But let's imagine that we are listening to a beautiful poem in French or English, which we don't know. We will probably be able to feel the beauty of the verse, we will even be able to guess its mood. But we won't understand what we're talking about because we don't know language.
And music also has its own, musical language . But this language is special. There are no words in it, there are only sounds. But these are magical sounds that can make you laugh and cry, and can even tell a whole story.
Some of it you already know. About major and minor, for example. You know that happy music is often in a major key, and sad music is often in a minor key. A slow music differs from fast how? Well of course pace. Is there sad music in a major key and happy music in a minor key? It turns out that it happens. Because the character of music depends not only on Lada(and major and minor are modes), but also from many other things that are called means musical expressiveness . They form the basis of the musical language.
