Types and meaning: means of expressiveness and development, sometimes also of shaping.
So, the first topics of the “Analysis of Musical Works” course were devoted to the essence of music and art, the classification of its types, and the system of musical expressive means. “What is music after all this? It seems that it is not art, or, in any case, something more than art...”, said B. Asafiev (“The Value of Music”) in his younger years, but after serious reflection on the essence of music.
Topic 3. Style and genre in music.
Style.
V. Medushevsky introduced the concept adequate perception of music, This “ideal, standard of perfect perception of this work, based on the experience of the entire artistic culture.”
A sense of style is the most important component of professional hearing, performing and composing music. How does it manifest itself? What do they mean when they talk about style?
A few quotes about the composer's work:
“Chopin can no longer write anything without us exclaiming at bars 7-8: “This belongs to him” (Schumann).
“My Motherland has left its mark on my character and my views. My music is the fruit of my character, and therefore it is Russian music” (S. Rachmaninov).
Now about the performance:
“The girl played Mozart and thought she was playing Mozart. But she played herself” (Debussy).
"I!!! I’m playing Chopin – I’m playing Chopin!!!” (G. Neuhaus).
“Style is a property (character) or main features by which one can distinguish the works of one composer from another or the works of one historical period(sequences of time) from another” (B. Asafiev).
“Style is man” (Buffon).
“Personality, manifested in musical sounds, that is what style in music is” (E. Nazaikinsky).
“Style is an image of time and an image of space, which is based on cultural-psychological, formal-aesthetic and spiritual-mental factors” (W. Weisbach).
Style is an intoned worldview, attitude. This is the spiritual height and beauty of originality (V. Medushevsky).
And from the field of literature: “The style of every writer is so closely connected with the content of his soul that an experienced eye can see the soul by the style...” (A. Blok).
As can be seen from these examples, the definitions of style in music and art are very diverse. You can agree with them or not, admit that this is a person in general, and an author, and something that is difficult to define in words, but obviously, style is a multifaceted and multi-level phenomenon.
Style in music.
Can be understood in a broader or narrower sense. In broad terms, this is a historically established art system. In a narrow sense - the style of a work or field of creativity, genre or musical expression (harmonic, polyphonic, orchestral, choral writing style, etc.).
Main feature style in his integrity. What is commonly called style features does not form a sum of features, but a unity, as in intonation. “The highest kind of artistic unity” (S. Skrebkov).
So, does style actually exist in music, as a genre or a form? Do I perceive him as he is? The author of these interesting questions V. Kholopova notes that the style “is perceived intonation-auditory, audible, but not provable, this is a problem for the analyst.” Indeed, how can one explain that music sounds similar to Tchaikovsky or Mozart?
IN style structure highlights: center or core - bright elements, individual revolutions, and periphery - neutral or background means of the era, colored by the center, subordinate to it. The formation of a composer’s personality and the acquisition of his own style do not occur immediately. It is important to determine style meta theme or stylistic intonation (V. Kholopova, E. Nazaikinsky).
There is a widespread belief that the significance author's style in music is higher than in other arts, and when listening to music, a person, as a rule, strives to find out the name of the composer. Although, this apparently depends on the genre and listening tradition, for example: the authors of many pop songs or film music in our country remain little-known.
Style belongs to universal categories, so aesthetics also deals with it. As an example of a general aesthetic interpretation of the concept "style" You can refer to the reasoning of Yu. Borev (textbook “Aesthetics”, 2002). The significance of this phenomenon comes down to four factors. Style is:
1. Factor creative process - dictates to the artist selectivity in relation to life material, to artistic tradition, to the social purposes of art.
2. Product factor-determines the existence of the work as a complete artistic whole. Subordinating every detail to the general constructive plan, he determines the structure of the work and its belonging to a certain type of culture.
3. The factor of the artistic process, its core- guides the artist in relation to the process of development of art, ensures the development of tradition on a new basis, promotes the interaction of art from different eras.
4. Factor of artistic communication- determines the nature of the aesthetic impact of the work on the audience, orienting the artist towards a certain type, and the latter towards a certain type of artistic values.
1. Deep, “generative”- thematic and intonation community of culture. At the “generative” level of the text are theme and intonation, and at the generated level are meaning and value.
2. National stylistic community.
3.National stage style(at a certain stage of historical and cultural development).
4. Art direction style.
5. Individual style of the artist.
6. Style of the creative period.
7. Style of the work.
8. Artwork element style, suggesting "gluing" stylistically dissimilar elements. (We are talking about polystylistics, which arose in late XIX- early 20th century Such a work retains its integrity due to its commonality at other stylistic levels).
9. Style of the era. (Some researchers deny the presence of contemporary art style of the era. However, even in our time, with all the complexity of the artistic process, with all the increase in stylistic diversity and increase in stylistic layers, the epochal typological community of art is not lost. The pattern of the artistic process: complication of the structure of the work and the growth of stylistic layers in it, an increase in both differences and commonalities with other cultural phenomena).
Style is the “genetic” (generative) program of a work. Style in art is not form, not content, not even their unity in a work. Style is a set of “genes” of culture (spiritual principles of constructing a work, selection and pairing of linguistic units) that determines the type of cultural integrity. Style is an imperative order of the whole, commanding every element of the work. The analysis reveals the principle of style generation, which determines the structure and meaning of each phrase, frame, scene, stanza and line.
Genre
About the term. Word ancient origin: Greek genos, lat. genus From fr. genre lane like a family In Russian, the genre is close to: wife (giving birth), woman, genetics, genealogy, generator, general, genius, etc. The word genus is the root of the words: nature, homeland, people.
The names of musical genres are well known to everyone. To give the very definition of the genre, it is important to first try to understand what meaning is contained in these words: dance, prelude, sonata, romance, etude, etc.? Is it reflected in the statements below?
Definition of genre.“Genres are historically established relatively stable types, classes, genera and types of musical works, delimited by a number of criteria, the main of which are: a) specific life purpose (social, everyday, artistic function), b) conditions and means of execution, c) the nature of the content and form of its implementation.”
“A genre is a multi-component, cumulative genetic (one might even say genetic) structure, a kind of matrix according to which this or that artistic whole is created... Indeed, for a composer, a genre is a kind of standard project, in which different aspects of the structure are provided for and even flexible , but still certain norms” (E. Nazaikinsky).
About classification. If you try to systematize famous genres, then it’s worth thinking: what criteria should be used? And also clarify: about the classification of what we are talking about, because “in musical practice, a genre is called both a genus, a variety, and a group of different genres, and groups of groups. Opera and its constituent aria, arioso, and cavatina are called genres. The suite, which is considered both a cyclic form and a genre, itself includes pieces various genres- for example, minuet, sarabande, gavotte, gigue, allemande and many others. The situation here is approximately the same as in the case of style. This polysemy, by the way, is reflected in many definitions that interpret genres as types, classes, genera, types and subtypes of musical works” (E. Nazaikinsky).
Nevertheless, we use the term genre; moreover, unlike other types of art, it plays a special role in music important role. It “embodies typified content” (V. Tsukkerman), its presence gives a certain specificity to the work, saturates it with meaning, associativity, and contributes to the creation of a musical image.
To understand the specifics of a genre in music, it is good to use Andreev’s method and compare, for example, names from different types arts: Symphony No. 3 or Sonata No. 12 and Roman No. 3 or Tale No. 12. It is obvious that in the literature we're talking about about form, and in music about content and form.
So, the lack of a generally accepted classification of genres in music is due to the impossibility of finding a single fundamental criterion. The world of genres appears to be a complex hierarchical formation with at different levels and sublevels. The question is the relationship between different criteria for consideration and the possibility of building it all up.
I quarter
Elements musical speech.
The nature of the musical theme. Theme development.
Lesson 1 . Elements of musical speech.
Music surrounds us everywhere. We can say that we live in musical world. Today, the leading role of music has become entertainment: we dance to it, relax, the musical background has become ordinary, often even unconscious. But music has been of much greater importance in our lives since ancient times. It educates a person and ennobles his inner world. Music helps: rock a child to sleep, organize a mass action or general work. Music heals. Music improves communication between people of different nationalities.
Music(from Greek “muse”) - art that reflects reality and influences a person with the help of organized sounds (in pitch, duration, volume and timbre).
Music is somewhat similar to speech. It is also addressed to the listener in order to influence him. In music, as in speech, a person’s internal state is expressed through intonation, register, tempo, timbre, the dynamics of their change and interconnection. Melody, accompaniment, mode, timbre, register, dynamics, tempo, strokes, rhythm, and meter are calledelements of musical speech .
Melody (from Greek “song, tune”) -musical thought expressed monophonically . Melody plays the most important role in musical art. The melody happensvocal And instrumental . There are two types of melody:cantilena (from Italian “singing”) – melodious, smooth andrecitative (from Latin “to recite”) - the desire to get closer to natural speech. In addition, there are melodieswide range And narrow range (sound volume of a voice or instrument - the interval between the lowest and highest high sound). Great value for the expressiveness of the melody has its direction.Rising movement melody is usually associated with increased tension, anddescending – with relaxation (the influence of breathing patterns and the functioning of the vocal cords). But sometimes, achieving a special effect, composers use, for example, a downward movement to increase anxiety, tension and vice versa. More often the melody movesundulating : wide upward strokes are filled with a smooth progressive downward movement, etc.
Accompaniment (from French) – melody accompaniment . The division into melody and accompaniment is characteristic of homophonic-harmonicinvoice (from Latin “processing, structure” - musical presentation), as opposed to monophonic, chordal or polyphonic. The accompaniment serves as a harmonic support for the melody (harmony from Greek “harmoniousness, proportionality” – chords and their sequence). There are two types of accompaniment presentation:chordal And featured .
Lad (from the Greek “harmony, harmony, order”) –consistency of musical sounds in pitch. IN classical music Two main modes are more often used -major And minor .
Timbre – (from the French “coloring”) –sound color. The voices of instruments, thanks to their special structure, have a unique sound. The voices in the choir also differ in timbre (from bottom to top):bass - tenor - alto - soprano.
Register (from Latin “list, list”)– sections of the range of various musical instruments. There are: short , average And high registers.
Dynamics(from Greek "strength") – sound volume. Italian terms are used to refer to dynamics.
Pace(from Latin "time") - sound speed piece of music. Different tempos fast , moderate And slow. Italian terms are used to indicate tempo.
Hatch (from German “line, line”) -expressive element, method of execution. Also denoted by Italian terms.
Meter (from Greek “measure”) –uniform alternation of strong and weak beats. Meter and rhythm indicate a very long connection between music and poetry and body movement.
Rhythm(from Greek "to flow") - alternation of long and short sounds. The combination of musical sounds of different durations forms a rhythmic pattern. A rhythmic pattern that is used throughout a piece or part of it is calledrhythmic formula . By the rhythm formula you can recognize some dances, for example, mazurka -
Quests:
Using the table inAppendix 1 find it and write it down in your notebook dynamic shades in order: from very quiet to very loud.
Using the table inAppendix 2 find and write down moderate tempos in your notebook.
Read the poems, highlighting the stress in the words, determine which one has a two-beat meter and which one has a three-beat one. What are these verse sizes called? Find your own examples.
B. Zakhoder
Grandfather Roch
Grandfather Roch
Sowed peas
Plowed the land -
He sighed heavily
When I was cleaning -
He wiped away the sweat.
When I was threshing -
One finger was enough.
But when I ate,
Swallowed my tongue -
It was delicious before!
G. Sapgir
How many legs?
Masha drew a cat.
Misha told her:
Look,
The cat didn't have enough legs
- Only three.
Let me draw.
One, two, three
Four, five!
Lesson 2
Musical image. Musical theme.
The role of elements of musical speech in creating an image.
When we listen to music, we do not try to isolate separately the melody, rhythm, register, timbre, etc., but perceive the whole. A uniquemusical image , which the composer wanted to convey to us. The whole difficulty lies in the fact that it is impossible to understand the language of music in the same literal sense as we understand the language of literature or specific images of painting. Music conveys emotions, moods, feelings.
Picking up epithets (from the Greek “application”) - definitions that convey impressions of an object; we can describe our impressions of a piece of music.
A piece of music may have one or more images. They are embodied in musical themes Oh.Musical theme (from Greek “that which is the basis”)– the main idea of the work, material for further development. The nature of the topics can be close, complementary, oron the contrary, distant, opposite -contrasting . Whether musical themes sound similar or different depends on the elements of musical speech that the composer selected for each of them.
Taking advantage Appendix 3 , let’s select epithets for the Main and Side Topics"Bogatyr" symphony by A. P. Borodin . The themes are contrasting. We can describe the character of the Chief with epithets: significant, courageous, decisive, persistent, warlike, difficult (at least 5 words must be selected). And the character of the Side Topic is affectionate, soft, friendly, bright, calm. The selected epithets will help us later, when listening again, to recognize the topics.
If we compare the elements of musical speech that make up the Main and Secondary Themes, we will see that they also differ. Thus, the contrasting nature of musical themes is created by various elements of musical speech. And, conversely, in topics of similar nature we will certainly find common elements of musical speech.
Quests:
1. Using the table inAppendix 4, find the dates of life and death of A.P.
Borodin. Which composers lived with him at the same time?
Try composing your own piece of music. Come up with and write down the name, the nature of the musical theme and the elements of musical speech from which it was formed.
Compare the nature of the Main and Side Themes in the Overture to the opera “Ruslan and Lyudmila” by M. I. Glinka. Eat common features? Are the elements of musical speech similar?
Lesson 3
Musical image.
Program music.
Sometimes a composer, wanting to be understood more accurately, uses the ability of music to convey not only mood, but also images of movement, as well as the ability to imitate various sounds, for example: the singing of birds, the trampling of horses, the splashing of waves. And before our inner gaze, whole pictures unfold, “painted” by musical sounds: image-portrait, image-scene, image-landscape, image-mood. And in order to clarify our impressions, to direct them, the composer gives the work a title or even describes in words what we should understand from what we hear. This kind of music is calledsoftware .
Musical image"Ride of the Valkyries" by R. Wagner accessible to every listener - chase, battle and fall. This is something that is conveyed exclusively by elements of musical speech. The belligerence of the music is given by its similarity to a march: a clear dotted rhythm, a melody with intonations of signals, movement along the sounds of a triad. The timbres of brass instruments resemble a military band. Changes in dynamics allow you to imagine how heroes approach from afar, rush past and move away. Wagner also uses sound imagery: a leap, a whistle, an arrow cutting through the air, thunderous blows, a fall. Thus, the general idea is quite clear. And knowledge of the plot of the opera “Valkyrie” (Part 2 of the tetralogy “The Ring of the Nibelung”), where this symphonic intermission sounds ( musical fragment, which precedes the action in the opera) allows us to further concretize its content: The warrior goddess, who violated the will of her father, is trying to escape from his wrath on her winged horse.
After listening to “Ride of the Valkyries” by R. Wagner, we will write short essay, in which we will recreate the picture that presented itself to us. Let's not forget that vivid musical images need vivid descriptions.
Quests:
1.Using the table inAppendix 4, find the dates of life and death of R.
Wagner. Which composers lived with him at the same time?
What does the German proverb mean: “ A real musician knows how to hear with his eyes and see with his ears?
Write down the elements of musical speech that R. Wagner used in Ride of the Valkyries.
works (possibly from the repertoire of the specialty).
Lesson 4
Development of the musical theme.
Sequence.
We learned that the theme occupies a leading position in a piece of music. And not only thanks to the catchy melody or bright image, but also the ability todevelopment ( change). Each musical theme changes completely or partially throughout its presentation. The development of the topic leads toclimax (from Latin "top")– the most intense moment of a musical work, or part of it . There are several methods for developing a musical theme: repetition, sequence, variational development, imitation.
The simplest development method isrepetition . It is usually found in songs where the same melody is repeated with different words. Based on repetitionsequence (from Latin “follow”) - a development technique that is complicated by the fact that the theme is repeated at different heights, at the same interval, exactly or approximately.
Let's listen to a fragment of a symphonic suiteN. A. Rimsky-Korsakov “Scheherazade” (1888) . This music is programmatic. Well known to everyone Arabian tales"1000 and one night" But Rimsky-Korsakov still anticipates symphonic suite program: “Sultan Shahriar, convinced of the treachery and infidelity of women, vowed to execute each of his wives after the first wedding night; but Sultana Scheherazade saved her life by managing to keep him busy with fairy tales, telling them to him for 1001 nights, so that, prompted by curiosity, Shahriar constantly postponed her execution and finally completely abandoned his intention. Scheherazade told him many miracles, quoting poets’ poems and song lyrics, weaving tale into tale, story into story.”
Two important musical themes open the work: Shahriar's Theme and Scheherazade's Theme - they are contrasting. Let's select epithets for each of them. The unfolding of Scheherazade's Theme smoothly leads us to next topic- “Sea”. We can easily find out where it “grew” from - from Shahriar’s Theme. The Sea Theme sounds at first very wide, slowly, swaying. Gradually, the nature of the theme changes, it seems that the waves are rising on the sea, they are getting higher and higher, and then a real storm breaks out. This effect was achieved with the help of a sequence - the Sea Theme sounds higher and higher each time, thanks to this the tension will increase.
Quests:
1. Using the table inAppendix 4, find the dates of life and death of N.A.
Rimsky-Korsakov. Which composers lived with him at the same time?
2. Find a sequence in works in your specialty.
3. Write a short essay on the Theme of the Sea. Reflect those in the text
the changes that happen to her.
Lesson 5
Development of the musical theme.
Variation development.
Variational development – this is also a repetition, but modified, different from the first presentation of the topic. All elements of musical speech that make up the theme can undergo changes. Variational development is one of the ancient ways of changing a musical theme, and the main one in folk music. It is not surprising that in works written using folk melodies, composers choose this particular way of developing the theme.
Let's listen to a fragmentSymphonic fantasy “Kamarinskaya” by M. I. Glinka (1848) . Two Russians sound here folk themes. The first is the wedding song “Because of the Mountains, the High Mountains”, and the second is the dance song “Kamarinskaya”. Variational development helps Glinka get closer to the peculiarities of performing folk melodies. For example, Russian folk songs often begin with a single-voice chorus, to which voices are gradually added, varying the main melody. Likewise, the first theme of “Kamarinskaya” is presented at first monophonically. Then new timbres are added to it various instruments until the whole orchestra enters. The dance theme also sounds monophonic for the first time. Its development is reminiscent of a daring folk dance, in which dancers try to surprise us with more and more “knees.” There even comes a moment when the composer removes the melody altogether, leaving only the accompaniment. But the dance theme has already been etched into our memory, and it seems to us that it continues to sound. The most surprising thing is the transitions between themes - completely different, initially contrasting themes, after development, quite naturally connect with one another.
IN final (4 parts) Symphony 4 by P. I. Tchaikovsky (1877). IN the composer also uses Russian folk songs. She is so famous that she does not need a reminder. We recognized her, of course. To develop it, the composer also uses a variational method of development.
Variational development helps to reveal musical theme in a new way, more fully, from different sides, and this greatly enriches the sound.
Quests:
Using the table inAppendix 4, find the dates of life and death of M. I. Glinka. Which composers lived with him at the same time?
Remember and write down which elements of musical speech changed in the first theme of “Kamarinskaya” by M. I. Glinka. Which ones are in the second?
Remember and write down 5 titles of works by P. I. Tchaikovsky.
Lesson 6
Russian folk music.
Calendar songs.
We have already begun to talk about folk melodies and the features of their development. And now let's take a closer look at this special art. Vocal and instrumental creativity people called mmusical folklore (from English " folk wisdom"). Authors folk songs unknown, they are passed on from mouth to mouth, and each performer adds something of his own. Thanks to this collective creativity, songs exist in several versions. In addition, repeated processing polishes the melody, leaving in it only the most striking melodic turns and intonations. Folk song is inextricably linked with the life of the people, their work, way of life, and worldview. Maxim Gorky compared Russian folk songs with Russian history.
Life ancient man directly depended on the manifestation of the forces of nature. It is not surprising that our ancestors not only deified these mysterious forces, but also noticed their features and patterns. All this was expressed in rituals, and the rituals were accompanied by songs and dances. An annual circle of holidays has developed: Christmas, Christmastide, Maslenitsa, Magpies (Larks), Easter, St. Yegoryev's Day, Trinity, Ivan Kupala. It is curious that all of them were dated back to even more ancient times - pagan holidays, dedicated days solstices and solstice. This is how the oldest circle of songs arose -calendar .
The year began in the spring, that’s when they soundedstoneflies . All people's actions were aimed at bringing warmth as quickly as possible. Children ran around with larks baked from dough, scattering them in the field or swinging them on poles so that they seemed to fly. Women and girls climbed to the hills or rooftops at dawn and called for spring. The melodies of these songs consist of persistently repeated exclamatory intonations. A narrow range and variable fret are characteristics of stoneflies. In addition, each stanza ends with a special cry - a “hoot”.
Carols (from Latin “the first day of every month”) - folk songs dedicated to winter ritual holidays: Christmas, New Year, Baptism. Carols were sung by young people, often dressed up to scare away evil spirits. On poles they carried a circle with ribbons - a symbol of the sun. Each carol has an obligatory part - majestic - congratulatory. For good wishes the owners had to give gifts to the carolers.
On Christmastide (the time from Christmas to Epiphany), young people used to tell fortunes. Fortune telling was often accompanied by special songs -subsurface . They consisted of couplets-riddles: about an imminent wedding, wealth, prosperity, illness, even death. The earrings and rings of all those present were placed on a dish or bowl of water. During the song, the chosen girl took out things one at a time - the owner of the ring or earring and the prediction was intended.
Round dances were originally one of the varieties spring songs. Later they began to sound throughout the year. Round dances (karavods, karagodas, circles) were circular and non-circular - song-games (tanks or gaivki). In song-games, dancers imitated labor movements or acted out comic scenes. Round dance songs could be lyrical, smooth, leisurely, or fast, comic.
Quests:
According to the beliefs of the ancient Slavs, Spring flew on the wings of birds. The most revered bird was the lark. Guess why it has this name?
Why did carolers dress up as a bear, a goat, or a devil? Draw such a suit.
Do you know fortune telling? Ask adults and describe one thing.
Lesson 7
Russian folk music.
Family and household. Epics. Lyrical songs. Ditties.
Another wide range of songs -family and household . There were Russian folk songs for almost all occasions: Motherland, Krestbinsky, Lullabies, Wedding, Lamentations.
Lullaby the song serves to lull the child to sleep. A very simple, even monotonous melody sounds calm, measured, words and melodic turns are often repeated - the child needs to be put to sleep, not entertained.
An ancient Russian wedding consisted of traditional comedic and dramatic scenes, games, and all the action was accompanied by variouswedding songs. This “performance,” in which the “roles” were precisely described and known, sometimes lasted several days, involving all the residents in its participants. Everything was led by a man - a matchmaker or friend, who perfectly knew all the intricacies of the ritual. Wedding festivities began in the bride's house: matchmaking, bride's viewing, bachelorette party, bride price, farewell of the bride to her family. Then everyone went to church for the wedding. And the second part of the wedding took place at the groom’s house. Here the tables were laid and songs were constantly played: majestic, drinking, comic, and dance songs.
Occupies a special place in folk musiclament song - melodiously intoned poetic improvisation associated with the expression of grief and sorrow. Laments were sung at funerals, at sad news, farewells to a foreign country or to the military, and even at weddings - when the bride said goodbye to her home. The melody of these songs is very simple, consisting of descending low-second intonations in a narrow range. The line sometimes ends with sighs, shouts or crying. Every Russian woman had to be able to cry, but there were mourners who did it with special skill.
The unwritten history of Rus' isepics (old times, antiques) - legendary poetic narratives about the distant historical past. The heroes of epics are heroes, bearers of the best traits of the people, defenders of the Russian land. The epics were chanted to the measured accompaniment of the gusli. The text came first, and the melody only added expressiveness to it. The storytellers of epics were called Boyans. These were professional musicians, which were stored in memory huge amount stories.
The people did not distinguish between epics andhistorical song , calling both of them antiquities. But the differences were also quite significant. In historical songs, the events of Russian history were presented more accurately. They were composed by direct participants in the Tatar-Mongol yoke, the capture of Kazan by Ivan the Terrible, and the Polish interventionXVIIcentury, the uprisings of Ermak and Pugachev, the Napoleonic invasion, etc. Musically, historical songs are much more complex than epics. Bright, memorable melodies with a clear structure emphasize the content of the text.
Lingering lyrical songs addressed to inner world a person, his experiences, feelings. They are called drawn-out because the syllables in them are widely sung - “a song for a whole mile.” Lyrical songs have very complex melodies, free rhythm, variable meter and mode. They are later - the flowering of lyrical lingering songs occurs inXVIIIcentury And they talk about their native side, bitter fate, separation, female share, hard forced labor and, of course, about love. They are characterized by improvisation (improvisation - from the Latin “unexpected, sudden”), therefore in different areas the same song is sung in different ways.
Later than everyone else XIX century appeared ditties (from “frequent” “fast”) - comic songs, couplets, quatrains, usually performed to the accompaniment of an accordion or balalaika. “Choruses”, “bad jokes”, “shorties”, “taratorki”, “dances” - the names of ditties in different areas Russia conveys the essence of these songs very accurately. The lyrical ditties were called “suffering.” Russian people still compose ditties in response to events modern life biting, comic poems.
Quests:
Which epic heroes You know? Write down their names.
Remember and write down the names known to you (or your parents) historical songs. What events in Russian history do they talk about?
Do you know ditties? Write down the words you know or compose your own ditty. Sing it.
Lesson 8
Folk song in Russian classical music.
The work of Russian composers is inextricably linked with folk songs. M.I. Glinka said: “We don’t create music, it’s the people who create it: we just record andarrange "(from German “to put in order, to arrange” - an arrangement of an arrangement of a musical work). From the endXVIIIcentury, professional musicians begin to pay attention to folk melodies, using authentic songs in their works or imitating their sound. At the same time, the first collections of Russian folk songs appeared. But special attention is Russian folk art attracted toXIXcentury, in the works of M. I. Glinka, A. S. Dargomyzhsky, P. I. Tchaikovsky, composers of the “Mighty Handful” - M. A. Balakirev, N. A. Rimsky-Korsakov, A. P. Borodin, M. P. Mussorgsky and Ts. A. Cui. They recorded, processed and studied the melodies of folk songs. The most famous collections of Russian folk songs arranged by M. A. Balakirev, N. A. Rimsky-Korskakov, P. I. Tchaikovsky and N. A. Lyadov.
M. A. Balakirev - Russian composer, musical and public figure, organizer of the association of musicians " Mighty bunch" - after a trip along the Volga in 1860, he released a collection of "40 Russian folk songs arranged for voice and piano."
Particularly often in his work he turned to folk stories, images and melodiesN. A. Rimsky-Korsakov . In his opera "Sadko" (1896) , written on the plot of a Russian epic about a Novgorod guslar, the composer reflects on great power art - an idea that attracted the attention of composers, both past and present (let us recall, for example, the myth of the ancient Greek singer Orpheus). With his songs, Sadko conquered the formidable Sea King, won the love of his daughter Volkhova, and brought wealth and glory to his native Novgorod. The melodies and recitatives of the opera are very close to the tunes of Russian folk songs, for example, Sadko’s aria from the 2nd film “Oh, you dark oak tree!” is a very subtle and precise stylization of broaching lyrical song. The lyrical and magical beginnings merge in the lullaby of the Sea Princess - Volkhov “A dream walked along the shore.” Rimsky-Korsakov also uses genuine folk melodies here - the chorus “Is Height, Height in Heaven” written to the melody of the epic “Nightingale Budimerovich”. The composer preserved here not only the tune, but also folk words.
IN opera "The Tale of the Invisible City of Kitezh and the Maiden Fevronia" (1907) Rimsky-Korsakov addresses folk legend. Even during the Tatar-Mongol invasion inXIIIcentury, this amazingly bright legend about miraculous salvation Trans-Volga city of Kitezh from enemies. When the Tatars came to the city of Kitezh, hidden in impenetrable forests, only the empty shore of Lake Svetloyar was revealed to them. But its waters reflected the walls of the city, the domes of churches, towers and huts. Seeing this, the enemies, overcome with horror, fled away. Symphonic intermission “The Battle of Kerzhenets” tells musical means about the unequal battle between the defenders of Kitezh and the Tatars. By juxtaposing two contrasting themes - Russian and enemy - the composer creates an image of battle. In the theme of the Tatar invaders, Rimsky-Korsakov used (in a modified form) the melody of the historical song “About the Tatar Full”.
Exercise:
Remember the works you listened to in class, in which the composers used Russian folk melodies.
Remember and write down the names of fairy tales, short stories, stories, or poems that talk about musicians.
After listening to the Symphonic Intermission “The Battle of Kerzhenets” by N. A. Rimsky-Korsakov, write a short essay.
3. Without which there can be no melody
Melody is one of the main means of musical expression. Maybe the most important thing. Is it true, Nikolai Andreevich Rimsky-Korsakov believed that the most important means of expressiveness is rhythm. You can disagree with him, but it is very easy to prove that he is right. There is no melody without rhythm. And rhythm can exist without melody. How? Remember how we tapped rhythmic figures on the table?
We will now see that melody cannot exist without rhythm (and not only without rhythm).
What is it?
It looks like a fragment of a scale. And this?
Something familiar Looks like a march Schumann's march!
Now match the notes of the first passage to the rhythm of the second. And a fragment of a scale will also turn out to be a fragment of the melody of a Schumann march. But you can’t understand this from sounds without rhythm. And you can guess the rhythm even without sounds of the required pitch.
There must be order in thoughts, including musical ones. Rhythm brings this order to music, builds and coordinates sounds in time, that is, according to their duration.
Try to isolate only vowels or only consonants from some words. Who is Ua? What is “and” or “a”? And if I say: “Shmn npsl mrsh. In Mrsh chtk rtm.” Some things are clear. Sergei Sergeevich Prokofiev in drafts I omitted vowels for speed. And his signature looks like this: .
In musical language, pitch is similar to vowels, and duration is similar to consonants. But in any language, both vowels and consonants are equally needed. Therefore, it cannot be said what is more important: melody or rhythm.
...continue to fill out the sign...
Let's try to take any set of sounds. For example, like this:
Why not try to organize and coordinate these sounds in some rhythm? What if this is enough to create a melody? Let's take a rhythm from something already written, famous melody. Perhaps the first sentence of the play may be suitable for this Edvard Grieg"Death of Oze." It also has fourteen sounds:
Now let’s write out the rhythmic pattern of this musical fragment:
Now let’s try to “cross” our abracadabra with this rhythm:
Play what you got. Something strange. True, it’s not exactly gobbledygook anymore. There is even some kind of exotic beauty in the first two bars. But the further we go, the more lost and confused our musical thought becomes.
Remember the two main distinctive feature any sound. Do you remember? Right, duration And height. What did we do with durations? Agreed them using rhythm. Did we somehow try to coordinate the pitch of the sounds? Same thing. Remember the fable Ivan Andreevich Krylov about Swan, Pike and Cancer? “When there is no agreement among comrades, okay their business will not work.”
We already came across the word “mode” at the very beginning, when we mentioned the two main modes - major and minor. We know that major and minor can convey certain moods. But music is, first of all, the art of conveying moods. If music has a mood, it means it has thoughts, and these thoughts are in order, in agreement.
Now it’s not difficult to figure out what a fret is. Its definition differs from the definition of rhythm in only one word. Can you guess which one?
Perhaps with the help of the fret we can “correct” our melody? Come on, let's try. It starts with to. Let's try C major. This means that all the flats need to be removed. Here and there you will need to change the notes. For example, at the beginning of the second measure it is better to take to instead of si so that the stable, first degree of the mode falls on the first, strong beat. You can also “smooth out” some inconvenient horse racing moves at wide intervals, which are difficult to sing. For example, like this:
So what? The result was a quite competent, “combed” melody, but inexpressive. Even the previous one, “clumsy”, was more interesting. Her intonation “spines” created a wild, mysterious image.
Image! That's the secret. There is no image in this smooth melody of ours. She's not talking about anything. Just a selection of fret sounds in a certain rhythm. Talking about means musical expressiveness, we must not forget about goals. And the goal is itself musical expressiveness. Without this goal, not a single composer will take up music paper.
In our “experiment,” the scale became only an organizer of sounds in height. But in real music it is not only an organizer, but also a powerful means of expression. In the famous Twenty-third piano sonata Ludwig van Beethoven, known as “Appassionata”, which means “passionate”, the two main themes (main and secondary) are similar to each other with an energetic, strong-willed rhythm, movement of the melody along the steps of the triad. But in the main theme this triad is minor, and in the secondary theme it is major. That's why main topic sounds stern and dramatic, while the side sounds light, decisive, solemn:
IN piano piece great French composer Claude Debussy“The Girl with the Flaxen Hair” melody moves through sounds that capture both the major and parallel minor triads. It is impossible to determine the mode here: major and minor “flicker” all the time. This makes the melody light, airy, as if transparent, its outlines seem “blurred” (the original is a half tone lower):
Sometimes composers use unusual modes that enhance the expressiveness of the music. Grieg has many such examples. Here is the beginning of one of his waltzes:
Play one right hand: what is the key? A major. Or maybe E major Play a melody with accompaniment and you will hear that it is melodic A minor, only when moving down (second and third beats) do the steps remain elevated, although “according to the rules” they should be salt baker And fa-bekar. This “irregularity” gives the music a more graceful, playful character. Such peculiar modes are characteristic of the Norwegian folk music, whom Grieg knew well and loved very much.
Even more unusual modes, not similar to either major or minor, are often used to create fabulous, fantastic images. Let me give you a few examples:
Example 25
N.A. Rimsky-Korsakov, arioso of the Tsar of the Sea from the opera “Sadko” (the original is a semitone higher)
Example 26
E. Grieg, Dance of Anitra from the music to G. Ibsen’s play “Peer Gynt”
Example 27
M.P.Mussorgsky, "Gnome" from piano cycle“Pictures at an Exhibition” (the original is half a tone lower)
In all these examples there are a lot of random marks of sharps, flats and bekars. They do not “fit” into the tone they show key signs. These “wrong” sounds make the melody become angular, bizarre, and unlike “ordinary” melodies. This “strangeness” of the melody evokes unreal, fabulous images in our imagination.
All the melodies that I gave in the examples were written in the 19th century. In the twentieth century, composers became even more bold in “breaking the rules” in the use of mode and tonality. And not only in fabulous music. In the melody from the second part Ninth Symphony Dmitry Dmitrievich Shostakovich the lowered, “alien” steps at the end of each phrase give the music an even more thoughtful and slightly gloomy character:
But another melody is energetic, active and a little playful. This is the beginning Fourth piano sonata contemporary St. Petersburg composer Boris Ivanovich Tishchenko. The humor here is that the melody seems to “not be able” to find its tonic; it tries first one sound, then another. The results are funny and interesting modal “deviations”. But then, from this cheerful melody, an intense and by no means humorous sound drama will unfold.
Each art has its own techniques and mechanisms for conveying emotions, and music has its own language. The means of musical expression are represented by timbre, tempo, mode, rhythm, size, register, dynamics and melody. In addition, when analyzing a piece of music, emphasis and pause, intonation or harmony are taken into account.
Melody
The melody is the soul of the composition, it allows you to understand the mood of the work and convey feelings of sadness or joy; the melody can be jumpy, smooth or abrupt. Everything depends on how the author sees it.
Pace
Tempo determines the speed of execution, which is expressed in three speeds: slow, fast and moderate. To designate them, terms are used that came to us from the Italian language. So, for slow - adagio, for fast - presto and allegro, and for moderate - andante. In addition, the pace can be lively, calm, etc.
Rhythm and meter
Rhythm and meter as means of musical expression determine the mood and movement of music. The rhythm can be different, calm, uniform, abrupt, syncopated, clear, etc. Just like the rhythms that surround us in life. Size is needed for musicians who determine how to play music. They are written as fractions in the form of quarters.
Lad
The mode in music determines its direction. If it is a minor key, then it is sad, sad or thoughtful and dreamy, maybe nostalgic. Major corresponds to cheerful, joyful, clear music. The mode can also be variable, when minor is replaced by major and vice versa.
Timbre
Timbre colors music, so music can be characterized as ringing, dark, light, etc. Each musical instrument has its own timbre, just like the voice of a particular person.
Register
The register of music is divided into low, medium and high, but this is important directly to the musicians who perform the melody, or to the experts who analyze the work.
Means such as intonation, emphasis and pause allow you to clearly understand what the composer wants to say.
Means of musical expression on video
Musical form:
Analysis of musical works:
Motif, phrase and sentence in music:
Music presentation on the topic: Pace. Rhythm. Melody.
Municipal state educational institution
"Borodinsk secondary school"
administration municipality Kireyevsky district
Prepared by: music teacher
MKOU "Borodinskaya Secondary School"
Dering Yulia Evgenevna
What is the tempo of music and where did this concept come from? .
- The word "Temp" comes from the Italian word Tempo, which in turn comes from Latin word"Temps" - time.
- Tempo in music is called speed. musical process; speed of movement (change) of metric units. Tempo determines the absolute speed at which a piece of music is performed.
- Main musical tempo(in ascending order) are:
- largo (very slow and wide);
- adagio (slow, calm);
- andante (at a calm pace);
- moderato (moderately, restrained);
- allegretto (quite lively);
- allegro (quickly);
- vivache (quickly, lively);
- presto (very quickly).
- Rhythm in music is the alternation of musical events occurring in a certain sequence. The ratio of the durations of sounds in their movement, as well as the ratio of strong and weak beats. Duration musical sound(usually simultaneously with its height) is fixed using notes, rhythmic notation.
- Melody is a sequence of musical tones that has a certain tempo and rhythm. The listener should perceive the melody not as a set of sounds, but as a single whole.
- Dynamics in music, a set of phenomena associated with the use of various degrees of sound strength and volume. The main gradations of sound strength: piano (in notes abbreviated p) ≈ quiet, weak and forte (f) ≈ loud, strong.
