- Variety art. Prerequisites for the emergence and history of the development of pop art……………………………………………………… 3
- Circus. Specifics of circus art……………………………16
List of references………………………………………………………..20
- Variety art. Prerequisites for the emergence and history of the development of pop art pop art genre director
The roots of pop art go back to the distant past, traced in the art of Egypt and Greece. The roots of pop art go back to the distant past, traced in the art of Egypt, Greece, Rome; its elements are present in the performances of traveling comedians-buffoons (Russia), shpilmanov (Germany), jugglers (France), dandies (Poland), masqueraders (Central Asia), etc.
The troubadour movement in France (late 11th century) acted as the bearer of a new social idea. Its peculiarity was the writing of music to order, the genre diversity of songs from plots love lyrics to chanting the military exploits of military leaders. Hired singers and traveling artists spread musical creativity. The roots of pop art go back to the distant past, traced in the art of Egypt, Greece, Rome; its elements are present in the performances of traveling comedians-buffoons (Russia), shpilmanov (Germany), jugglers (France), dandies (Poland), masqueraders (Central Asia), etc.
Satire on urban life and morals, sharp jokes on political topics, a critical attitude towards power, couplets, comic skits, jokes, games, musical eccentricities were the beginnings of future pop genres, born in the noise of carnival and square amusements. Barkers, who, with the help of jokes, witticisms, and funny couplets, sold any product in squares and markets, later became the predecessors of the entertainer. All this was of a massive and intelligible nature, which was an indispensable condition for the existence of all pop genres. All medieval carnival performers did not perform performances. The basis of the performance was miniature, which distinguished them from the theater, the main feature of which is the elements that link the action together. These artists did not portray characters, but always acted on their own behalf, communicating directly with the audience. This is still the main, distinctive feature of modern show business.
Somewhat later (the middle and end of the 18th century), various entertainment establishments appeared in foreign countries - music halls, variety shows, cabarets, ministerial shows, which combined all the experience of fair and carnival performances and were the predecessors of modern entertainment organizations. With the transition of many street genres to indoor spaces, a special level of performing art began to form, since the new conditions required a more concentrated perception on the part of the viewer. The activity of cafes - chantans, cafes - concerts, designed for a small number of visitors, formed in the second half of the 19th century, allowed the development of such chamber genres as lyrical singing, entertainer, solo dance, eccentricity. The success of such cafes caused the emergence of larger, more spectacular enterprises - cafe-concerts, such as "Ambassador", "Eldorado" and others.
This form of performing acts was characterized by such qualities as openness, laconicism, improvisation, festivity, originality, and entertainment. At this time, France acquires the status of a cultural and entertainment center. "Theatre Montassier" (variety show) - combines musical, theatrical and circus arts. In 1792, the Vaudeville theater became very popular. The theater's repertoire consists of comedy plays that alternate dialogues with couplets, songs and dances. Cabaret (an entertainment venue that combines song and dance genres of an entertaining nature) and operetta were very popular.
Developing as the art of festive leisure, pop music has always strived for originality and diversity. The feeling of festivity was created due to external entertainment, the play of light, a change in picturesque scenery, and a change in the shape of the stage area.
Since the 20s of the last century, pop music has been the focus of attention of cultural and artistic figures, researchers in various fields of knowledge, acting as a subject of controversy on the pages of periodicals and disputes in scientific circles. Throughout the history of Russian pop art, attitudes towards it have changed several times. "IN national science a tradition has developed to consider pop art, and in this context jazz, and then rock music, as manifestations popular culture, which became the object of research within sociology, social psychology and other social sciences. The interest of cultural scientists and political scientists in the problems of modern pop music and the socio-cultural phenomena generated by it continues unabated today.”
The development of cinema has had a stunning effect throughout the world, subsequently becoming an immediate attribute of any society. Since the late 1880s and early 1900s, it has been closely adjacent to the emerging domestic stage, as an institution and as a spectacle it is a direct continuation of the booth. The tapes were transported from city to city by entrepreneurs in vans along with projection equipment. The lack of electricity hampered the development of cinema in large areas of the country. Taking this fact into account, entrepreneurs are purchasing small portable power stations, which have significantly expanded the possibilities of film distribution.
In Russia, the origins of pop genres were manifested in buffoon fun, fun and mass creativity, folk festivals. Their representatives are the Raus jokers with the obligatory beard, who amused and invited the audience from the upper platform of the Raus booth, parsley players, raeshniks, leaders of the “learned” bears, buffoon actors performing “sketches” and “reprises” among the crowd, playing the pipes , harp, sniffles and amusing the people.
Variety art is characterized by such qualities as openness, laconicism, improvisation, festivity, originality, and entertainment.
Developing as an art of festive leisure, pop music has always strived for unusualness and diversity. The very feeling of festivity was created due to external entertainment, play of light, change of picturesque scenery, change in the shape of the stage area, etc.
Variety, as synthesized art, has absorbed various genres– instrumental music and vocals, dance and cinema, poetry and painting, theater and circus. All this, mixed together like an amalgam, began to live its own independent life, turning into clear, complete genre forms that never tire of being synthesized and, to this day, giving birth to something new that had no place to be. Pop art is like a huge tree with a great many branches - genres, which, growing and becoming stronger, send out new shoots-styles.
“Variety art unites various genres, the commonality of which lies in easy adaptability to various actions of public demonstration, in the short duration of the action, in the concentration of its artistic means of expression, which contributes to the vivid identification of the creative individuality of the performer, and in the field of genres associated with the living word - in topicality , acute social and political relevance of the topics covered, in the predominance of elements of humor, satire and journalism. This quality is especially valuable and at the same time specific to the stage.”
Despite the fact that the stage is characterized by a variety of forms and genres, it can be divided into three groups:
Concert stage (previously called "divertissement") combines all types of performances in variety concerts;
Theatrical stage (chamber performances of miniature theaters, cabaret theatres, cafe theaters or large-scale concert revues, music halls, with a large performing cast and first-class stage technology);
Festive stage (folk celebrations, holidays in stadiums, full of sports and concert performances, as well as balls, carnivals, masquerades, festivals, etc.).
There are also these:
1. Variety theaters
2. Music halls
If the basis of a variety performance is a completed number, then the review, like any dramatic action, required the subordination of everything that happens on stage to the plot. This, as a rule, did not combine organically and led to a weakening of one of the components of the performance: either the number, or the characters, or the plot. This happened during the production of "Miracles of the 20th Century" - the play broke up into a number of independent, loosely connected episodes. Only the ballet ensemble and several first-class circus acts were successful with the audience. The ballet ensemble, staged by Goleizovsky, performed three numbers: “Hey, let’s whoop!”, “Moscow in the rain” and “30 English girls”. The performance of "Snake" was especially impressive. Among the circus acts, the best were: Tea Alba and “Australian Lumberjacks” Jackson and Laurer. Alba simultaneously wrote with chalk on two boards with her right and left hands different words. At the end of the room, the woodcutters were racing to chop down two thick logs. The German Strodi showed an excellent balancing act on the wire. He performed somersaults on a wire. Of the Soviet artists, as always, Smirnov-Sokolsky and the ditties V. Glebova and M. Darskaya had great success. Among the circus acts, the act of Zoe and Martha Koch on two parallel wires stood out.
In September 1928, the opening of the Leningrad Music Hall took place.
3. Theater of Miniatures - a theater group that works primarily on small forms: small plays, sketches, operas, operettas along with variety numbers (monologues, couplets, parodies, dances, songs). The repertoire is dominated by humor, satire, irony, and lyricism is not excluded. The troupe is small, a theater of one actor or two actors is possible. Laconic in design, the performances are designed for a relatively small audience and present a kind of mosaic canvas.
4. Conversational genres on the stage - a symbol for genres associated primarily with words: entertainer, interlude, skit, sketch, story, monologue, feuilleton, microminiature (staged joke), burime.
Entertainer - entertainer can be paired, single, or mass. A conversational genre built according to the laws of “unity and struggle of opposites,” that is, the transition from quantity to quality according to the satirical principle.
A pop monologue can be satirical, lyrical, or humorous.
Interlude is a comic scene or musical piece of humorous content, which is performed as an independent number.
A sketch is a small scene where intrigue rapidly develops, where the simplest plot is built on unexpected funny, poignant situations, turns, allowing a whole series of absurdities to arise during the action, but where everything, as a rule, ends with a happy denouement. 1-2 characters (but no more than three).
Miniature is the most popular spoken genre on the stage. On the stage today, a popular joke (not published, not printed - from Greek) is a short topical oral story with an unexpected witty ending.
A pun is a joke based on the comic use of similar-sounding but different-sounding words to play off the sound similarity of equivalent words or combinations.
Reprise is the most common short conversational genre.
Couplets are one of the most intelligible and popular varieties conversational genre. The coupletist seeks to ridicule this or that phenomenon and express his attitude towards it. Must have a sense of humor
Musical and conversational genres include couplet, ditty, chansonette, and musical feuilleton.
A parody common on the stage can be “conversational,” vocal, musical, or dance. At one time, speech genres included recitations, melodic recitations, literary montages, and “Artistic reading.”
It is impossible to give an accurately recorded list of speech genres: unexpected syntheses of words with music, dance, original genres (transformation, ventrology, etc.) give birth to new genre formations. Living practice continuously supplies all kinds of varieties; it is no coincidence that on old posters it was customary to add “in his genre” to the name of the actor.
Each of the above speech genres has its own characteristics, its own history, and structure. The development of society and social conditions dictated the emergence of first one genre or another. Actually, only entertainer, born in cabaret, can be considered a “variety” genre. The rest came from booths, theaters, and from the pages of humorous and satirical magazines. Speech genres, unlike others that tend to embrace foreign innovations, developed in line with the domestic tradition, in close connection with theater and humorous literature.
The development of speech genres is associated with the level of literature. Behind the actor is the author, who “dies” in the performer. And yet, the intrinsic value of acting does not detract from the importance of the author, who largely determines the success of the act. The artists themselves often became the authors. The traditions of I. Gorbunov were picked up by pop storytellers - Smirnov-Sokolsky, Afonin, Nabatov and others created their own repertoire. Actors who did not have literary talent turned for help to authors who wrote with the expectation of oral performance, taking into account the mask of the performer. These authors, as a rule, remained “nameless.” For many years, the press has discussed the question of whether a work written for performance on the stage can be considered literature. In the early 80s, the All-Union and then the All-Russian Associations of Pop Authors were created, which helped legitimize this type of literary activity. Author's "anonymity" is a thing of the past; moreover, the authors themselves took to the stage. At the end of the 70s, the program “Behind the Scenes of Laughter” was released, composed like a concert, but exclusively from performances by pop authors. If in previous years only individual writers (Averchenko, Ardov, Laskin) presented their own programs, now this phenomenon has become widespread. The phenomenon of M. Zhvanetsky greatly contributed to the success. Having started in the 60s as the author of the Leningrad Theater of Miniatures, he, bypassing censorship, began reading his short monologues and dialogues at closed evenings in the Houses of the Creative Intelligentsia, which, like Vysotsky’s songs, spread throughout the country.
5. Jazz on stage
The term “jazz” is commonly understood as: 1) a type of musical art based on improvisation and special rhythmic intensity, 2) orchestras and ensembles performing this music. The terms “jazz band”, “jazz ensemble” (sometimes indicating the number of performers - jazz trio, jazz quartet, “jazz orchestra”, “big band”) are also used to designate groups.
6. Song on the stage
Vocal (vocal-instrumental) miniature, which has become widespread in concert practice. On the stage it is often solved as a stage “game” miniature with the help of plastics, costume, light, mise-en-scène (“song theater”); The personality, characteristics of the talent and skill of the performer, who in some cases becomes a “co-author” of the composer, become of great importance.
Brief description
In Russia, the origins of pop genres were manifested in buffoon fun, fun and mass creativity, folk festivals. Their representatives are the Raus jokers with the obligatory beard, who amused and invited the audience from the upper platform of the Raus booth, parsley players, raeshniks, leaders of the “learned” bears, buffoon actors performing “sketches” and “reprises” among the crowd, playing the pipes , harp, sniffles and amusing the people.
Page 1
Word "variety" (
from Latin strata
means – flooring, platform, hill, platform.
The most accurate definition of pop art as an art that combines various genres is given in D.N. Ushakov’s dictionary: " Stage
This is the art of small forms, the area of spectacular and musical performances on an open stage. Its specificity lies in its easy adaptability to various conditions of public demonstration and short duration of action, in artistic and expressive means, art that contributes to the vivid identification of the creative individuality of the performer, in the topicality, acute socio-political relevance of the topics addressed, in the predominance of elements of humor, satire, and journalism." .
The Soviet encyclopedia defines pop music as originating from the French estrade
a type of art that includes small forms of dramatic and vocal art, music, choreography, circus, pantomime, etc. In concerts there are separate complete numbers united by a show and a plot. How independent art was formed in late XIX century.
There is also the following definition of stage:
A stage area, permanent or temporary, for an artist's concert performances.
Pop art has its roots in the distant past, traced back to the art of Ancient Egypt and Ancient Greece. Although the stage closely interacts with other arts, such as music, drama theater, choreography, literature, cinema, circus, pantomime, it is an independent and specific form of art. basis pop art is - “His Majesty’s number” - as N. Smirnov-Sokolsky said1.
Number
A small performance by one or several artists, with its own plot, climax and denouement. The specificity of the performance is the direct communication of the artist with the public, on his own behalf or from a character.
In the medieval art of traveling artists, farce theaters in Germany, buffoons in Rus', mask theater in Italy, etc. there was already a direct address from the artist to the audience, which allowed the subsequent artist to become a direct participant in the action. The short duration of the performance (no more than 15-20 minutes) requires extreme concentration of expressive means, laconicism, and dynamics. Variety numbers are classified according to characteristics into four groups. The first type group includes conversational (or speech) numbers. Then there are musical, plastic-choreographic, mixed, “original” numbers.
The art of commedia del-arte (mask theater) of the 16th-17th centuries was built on open contact with the public.
Performances were usually improvised based on standard plot scenes. Musical sound as interludes (inserts): songs, dances, instrumental or vocal numbers - was the direct source of the variety act.
In the 18th century they appeared comic opera and vaudeville. Vaudevilles were exciting performances with music and jokes. Their main heroes - ordinary people - always defeated stupid and vicious aristocrats.
A to mid-19th century, the genre of operetta (literally small opera) was born: a type theatrical arts, which combined vocal and instrumental music, dance, ballet, elements of pop art, and dialogues. Operetta appeared as an independent genre in France in 1850. The “father” of French operetta, and operetta in general, was Jacques Offenbach(1819-1880). Later the genre develops in the Italian “comedy of masks”.
The stage is closely connected with everyday life, with folklore, with traditions. Moreover, they are being rethought, modernized, “extradized.” Different shapes variety art is used as an entertaining pastime.
The roots of pop art go back to the distant past, traced in the art of Egypt, Greece, Rome; its elements are present in the performances of traveling comedians-buffoons (Russia), shpilmanov (Germany), jugglers (France), dandies (Poland), masqueraders (Central Asia), etc.
Satire on urban life and morals, sharp jokes on political topics, a critical attitude to power, couplets, comic scenes, jokes, games, clown pantomime, juggling, and musical eccentricities were the beginnings of future pop genres, born in the noise of carnival and square amusements.
Barkers, who, with the help of jokes, witticisms, and funny couplets, sold any product in squares and markets, later became the predecessors of entertainers. All this was of a massive and intelligible nature, which was an indispensable condition for the existence of all pop genres. All medieval carnival performers did not perform performances.
In Russia, the origins of pop genres were manifested in buffoon fun, fun and mass creativity, folk festivals. Their representatives are the Raus jokers with the obligatory beard, who amused and invited the audience from the upper platform of the Raus booth, parsley players, raeshniks, leaders of the “learned” bears, buffoon actors performing “sketches” and “reprises” among the crowd, playing the pipes , harp, sniffles and amusing the people.
Variety art is characterized by such qualities as openness, laconicism, improvisation, festivity, originality, and entertainment.
Developing as an art of festive leisure, pop music has always strived for unusualness and diversity. The very feeling of festivity was created due to external entertainment, play of light, change of picturesque scenery, change in the shape of the stage area, etc. Despite the fact that the stage is characterized by a variety of forms and genres, it can be divided into three groups:
- - concert variety stage (previously called “divertissement”) combines all types of performances in variety concerts;
- - theatrical stage (chamber performances of miniature theatres, cabaret theatres, cafe theaters or large-scale concert revues, music halls, with a large performing cast and first-class stage equipment);
- - festive stage (folk celebrations, holidays in stadiums, full of sports and concert performances, as well as balls, carnivals, masquerades, festivals, etc.).
There are also these:
- 1. Variety theaters
- 2. Music halls
If the basis of a variety performance is a completed number, then the review, like any dramatic action, required the subordination of everything that happens on stage to the plot. This, as a rule, did not combine organically and led to a weakening of one of the components of the performance: either the number, or the characters, or the plot. This happened during the production of "Miracles of the 20th Century" - the play broke up into a number of independent, loosely connected episodes. Only the ballet ensemble and several first-class circus acts were successful with the audience. The ballet ensemble, staged by Goleizovsky, performed three numbers: “Hey, let’s whoop!”, “Moscow in the rain” and “30 English girls”. The performance of "Snake" was especially impressive. Among the circus acts, the best were: Tea Alba and “Australian Lumberjacks” Jackson and Laurer. Alba simultaneously wrote different words with chalk on two boards with her right and left hands. At the end of the room, the woodcutters were racing to chop down two thick logs. The German Strodi showed an excellent balancing act on the wire. He performed somersaults on a wire. Of the Soviet artists, as always, Smirnov-Sokolsky and the ditties V. Glebova and M. Darskaya had great success. Among the circus acts, the act of Zoe and Martha Koch on two parallel wires stood out.
In September 1928, the opening of the Leningrad Music Hall took place.
- 3. Theater of Miniatures - a theater group that works primarily on small forms: small plays, sketches, operas, operettas along with variety numbers (monologues, couplets, parodies, dances, songs). The repertoire is dominated by humor, satire, irony, and lyricism is not excluded. The troupe is small, a theater of one actor or two actors is possible. Laconic in design, the performances are designed for a relatively small audience and present a kind of mosaic canvas.
- 4. Conversational genres on the stage - a symbol for genres associated primarily with words: entertainer, interlude, skit, sketch, story, monologue, feuilleton, microminiature (staged joke), burime.
Entertainer - entertainer can be paired, single, or mass. A conversational genre built according to the laws of “unity and struggle of opposites,” that is, the transition from quantity to quality according to the satirical principle.
A pop monologue can be satirical, lyrical, or humorous.
Interlude is a comic scene or musical piece of humorous content, which is performed as an independent number.
A skit is a small scene where intrigue rapidly develops, where the simplest plot is built on unexpected funny, poignant situations, turns, allowing a whole series of absurdities to arise during the action, but where everything, as a rule, ends in a happy denouement. 1-2 actors(but no more than three).
Miniature is the most popular spoken genre on the stage. On the stage today, a popular joke (not published, not printed - from Greek) is a short topical oral story with an unexpected witty ending.
A pun is a joke based on the comic use of similar-sounding but different-sounding words to play off the sound similarity of equivalent words or combinations.
Reprise is the most common short conversational genre.
Couplets are one of the most intelligible and popular varieties of the conversational genre. The coupletist seeks to ridicule this or that phenomenon and express his attitude towards it. Must have a sense of humor
Musical and conversational genres include couplet, ditty, chansonette, and musical feuilleton.
A parody common on the stage can be “conversational,” vocal, musical, or dance. At one time, speech genres included recitations, melodic recitations, literary montages, and “Artistic reading.”
It is impossible to give an accurately recorded list of speech genres: unexpected syntheses of words with music, dance, original genres (transformation, ventrology, etc.) give birth to new genre formations. Living practice continuously supplies all kinds of varieties; it is no coincidence that on old posters it was customary to add “in his genre” to the name of the actor.
Each of the above speech genres has its own characteristics, its own history, and structure. The development of society and social conditions dictated the emergence of first one genre or another. Actually, only entertainer, born in cabaret, can be considered a “variety” genre. The rest came from booths, theaters, and from the pages of humorous and satirical magazines. Speech genres, unlike others that tend to embrace foreign innovations, developed in line with the domestic tradition, in close connection with theater and humorous literature.
The development of speech genres is associated with the level of literature. Behind the actor is the author, who “dies” in the performer. And yet, the intrinsic value of acting does not detract from the importance of the author, who largely determines the success of the act. The artists themselves often became the authors. The traditions of I. Gorbunov were picked up by pop storytellers - Smirnov-Sokolsky, Afonin, Nabatov and others created their own repertoire. Actors who did not have literary talent turned for help to authors who wrote with the expectation of oral performance, taking into account the mask of the performer. These authors, as a rule, remained “nameless.” For many years, the press has discussed the question of whether a work written for performance on the stage can be considered literature. In the early 80s, the All-Union and then the All-Russian Associations of Pop Authors were created, which helped legitimize this type of literary activity. Author's "anonymity" is a thing of the past; moreover, the authors themselves took to the stage. At the end of the 70s, the program “Behind the Scenes of Laughter” was released, composed like a concert, but exclusively from performances by pop authors. If in previous years only individual writers (Averchenko, Ardov, Laskin) presented their own programs, now this phenomenon has become widespread. The phenomenon of M. Zhvanetsky greatly contributed to the success. Having started in the 60s as the author of the Leningrad Theater of Miniatures, he, bypassing censorship, began reading his short monologues and dialogues at closed evenings in the Houses of the Creative Intelligentsia, which, like Vysotsky’s songs, spread throughout the country.
5. Jazz on stage
The term “jazz” is commonly understood as: 1) a type of musical art based on improvisation and special rhythmic intensity, 2) orchestras and ensembles performing this music. The terms “jazz band”, “jazz ensemble” (sometimes indicating the number of performers - jazz trio, jazz quartet, “jazz orchestra”, “big band”) are also used to designate groups.
6. Song on the stage
Vocal (vocal-instrumental) miniature, which has become widespread in concert practice. On the stage it is often solved as a stage “game” miniature with the help of plastics, costume, light, mise-en-scène (“song theater”); The personality, characteristics of the talent and skill of the performer, who in some cases becomes a “co-author” of the composer, become of great importance.
The genres and forms of the song are varied: romance, ballad, folk song, couplet, ditty, chansonette, etc.; The methods of performance are also varied: solo, ensemble (duets, choirs, vocal-instrumental ensembles).
There is also a composing group among pop musicians. These are Antonov, Pugacheva, Gazmanov, Loza, Kuzmin, Dobrynin, Kornelyuk, etc. The previous song was mainly a composer's song, the current one is a "performer's" one.
Many styles, manners and trends coexist - from sentimental kitsch and urban romance to punk rock and rap. Thus, today's song is a multi-colored and multi-style panel, including dozens of directions, from domestic folklore imitations to infusions of African-American, European and Asian cultures.
7. Dance on the stage
It's short dance number, solo or group, presented in national pop concerts, variety shows, music halls, miniature theaters; accompanies and complements the program of vocalists, numbers of original and even speech genres. It was formed on the basis of folk, everyday (ballroom) dance, classical ballet, modern dance, gymnastics, acrobatics, at the intersection of all kinds of foreign influences and national traditions. The nature of dance plasticity is dictated by modern rhythms and is formed under the influence of related arts: music, theater, painting, circus, pantomime.
Folk dances were initially included in the performances of capital troupes. The repertoire included theatrical divertissement performances of village, city and military life, vocal and dance suites of Russian folk songs and dances.
In the 90s, dance on the stage sharply polarized, as if returning to the situation of the 20s. Dance groups Those involved in show business, such as “Erotic Dance” and others, rely on eroticism - performances in nightclubs dictate their own laws.
8. Puppets on stage
Since ancient times, handicrafts have been valued in Russia, toys were loved, and fun game with a doll. Petrushka dealt with a soldier, a policeman, a priest, and even with death itself, bravely brandished a club, put to death those whom the people did not like, overthrew evil, and affirmed the people's morality.
The parsley players wandered alone, sometimes together: a puppeteer and a musician, they themselves composed plays, they themselves were actors, they were directors themselves - they tried to preserve the movements of the puppets, the mise-en-scène, and the puppet tricks. Puppeteers were persecuted.
There were other shows in which puppets acted. On the roads of Russia one could see vans loaded with dolls on strings - puppets. And sometimes with boxes with slots inside, through which the dolls were moved from below. Such boxes were called nativity scenes. Puppets mastered the art of imitation. They loved to impersonate singers, they copied acrobats, gymnasts, and clowns.
9. Parody on stage
This is a number or performance based on ironic imitation (imitation) of an individual manner, style, characteristic features both stereotypes of the original and entire movements and genres in art. The amplitude of the comic: from the sharply satirical (derogatory) to the humorous (friendly cartoon) is determined by the attitude of the parodist to the original. Parody has its roots in ancient art; in Russia it has long been present in buffoon games and farcical performances.
10. Small theaters
Creation of cabaret theaters in Russia "The Bat", " Crooked mirror"etc.
Both “Curves Mirror” and “The Bat” were professionally strong acting teams, the level theatrical culture which, undoubtedly, was higher than in numerous theaters of miniatures (of Moscow, Petrovsky, whose director was D.G. Gutman, stood out more than others, Mamonovsky, cultivating decadent art, where Alexander Vertinsky made his debut during the First World War, Nikolsky - artist and director A.P. Petrovsky. Among the St. Petersburg ones - Troitsky A.M. Fokina - director V.R. Rappoport, where V.O. Toporkov successfully performed with ditties and as an entertainer.
Topic 6. Panorama of the main trends in the field of world entertainment
Test lesson
SECTION III. Rock culture
Topic 1. Rock music as a phenomenon of musical culture of the twentieth century.
Topic 2. US rock music of the 1950s.
Topic 4. Review of rock music trends of the 1970s-1980s.
Topic 5. Review of trends in rock music of the 1990s.
Topic 6. Review of trends in rock music of the 21st century.
Topic 7. Rock music in the USSR
Topic 8. Panorama of the main directions of modern domestic rock
Section IV Mass genres of musical theater
Subject
Topic 4. Rock musical
Topic 5. Rock opera
Student reports
Differentiated credit
TOTAL:
3. CONDITIONS FOR IMPLEMENTING THE DISCIPLINE PROGRAM
3.1. Minimum logistics requirements
An educational institution implementing a training program for mid-level specialists in the specialty of secondary vocational education must have a material and technical base that ensures all types of practical classes, disciplinary, interdisciplinary and modular training, educational practice provided for by the curriculum of the educational institution. The implementation of the discipline program requires the presence of a classroom for group classes.
Classroom equipment: tables, chairs (according to the number of students), demonstration board, video and audio equipment (TV, DVD player, vinyl and CD player, projector, laptop, piano)
Technical teaching aids: TV, DVD player, vinyl and CD player, projector, laptop (Internet access)
3.2. Information support for training
References
- Konen V. The Birth of Jazz.-M., 1984.
- Menshikov V. Encyclopedia of rock music. – Tashkent, 1992.
- Sargent W. Jazz.-M., 1987.
- Feofanov O. Rock music yesterday and today. - M., 1978.
- Schneerson G. American song.-M., 1977.
- Erisman Guy. French song.-M., 1974.
Topic 1. Jazz as a phenomenon of musical art
Definition of jazz. Mixed nature of jazz culture. Historical, social and artistic prerequisites for the emergence of jazz. Periodization of the history of jazz.
Communicative openness of jazz culture. Interaction with academic music (“Third Current”), with folklore of the peoples of the world (“Fourth Current”).
The use of expressive means and techniques of jazz by academic composers.
Topic 2. Origins of jazz
Mixed nature of origins jazz music.
Negro roots (improvisational music-making, special rhythmic organization - swing, specific techniques of vocal - labile - intonation. Durty tones, shut-out, growl-, holler effects).
European traditions in jazz (tradition of concert music-making, performing compositions, tonal harmony, metro-rhythmic organization, squareness of compositional structures)
American everyday culture. Minstrel Theatre.
Topic 3. Genres of African-American folklore
Common genre features are the responsor principle, labile intonation, the role of the rhythmic beginning.
Spiritual genres – spirituals, gospel, ring-shout, jubilees.
Work songs - work-song: street, field, plantation.
Topic 4 Blues: stages of development of the genre
Archaic (“rural”) blues - folk genre improvisational nature.
Classic blues – genre features (figurative content, blues form, blues mode, blues intonation, blue area, blues square harmony). Blues performers - B. Smith, I. Cox, A. Hunter and others.
Blues in modern jazz. Instrumental blues; development of the genre in different styles modern jazz.
Topic 5. Ragtime
Origins of the genre; rag music, cake walk.
Genre characteristics: “syncopated melody against the backdrop of metronomically precise movement of eighth notes in the accompaniment,” “suite” principle of organizing the form. Features of performing technique.
Ragtime composers: Scott Joplin, Thomas Tarpen, James Scott and others.
Development of ragtime – genres Advanced, Novetly.
Ragtime opera. "Trimonisha" (S. Joplin)
Topic 6. Early jazz styles
The migration of African Americans from rural areas to cities, and the formation of the first jazz centers (New Orleans, Chicago, Kansas City, New York).
New Orleans style. Marching band, their role in the formation of the first jazz ensembles. Instrumental composition of jazz orchestras, functions of instruments.
The works of D. R. Morton, S. Bechet, L. Armstrong.
The spread of jazz on the East Coast and the Midwest (Kansas City, Memphis, etc.)
Chicago style. Dixieland and its role in the development of jazz. Activities of the "Original Dixieland Jazz Band" (leader Jack Lane). Barrel house style. Boogie-woogie genre.
Topic 7. 1920-1930. The rise of jazz. Swing era
The 1920s are the “age of jazz” (F. S. Fitzgerald). Moving the center of jazz development to New York.
Symphonic jazz, as an example of the rapprochement of jazz with the traditions of academic music. The work of J. Gershwin. Porgy and Bess is the first opera written based on black folklore.
Sweet music is a direction of dance and entertainment jazz. The works of J. Kern, K. Porter and others.
1930s - the “swing era”. Expanding the sphere of existence of jazz (dance halls, restaurants, hotels; musical accompaniment of shows, musicals, films). The dance and entertainment function of jazz music, as a consequence of its commercialization.
The predominant position of big bands. Principles of sectional grouping of instruments. Functions of an arranger and improviser. "Standardization" musical language.
“Name” big bands (F. Henderson, C. Basie, D. Ellington, B. Goodman, G. Miller, V. Herman, etc.)
Topic 8. The beginning of the era of modern jazz. 1940s. Bebop style.
Socio-political reasons for the formation of bebop - the first style of modern jazz. Reorientation of jazz from the field of mass culture to the status of an elite art.
Focus on chamber music-making, resulting in the formation of small performing groups - combos. Strengthening the role of improvisation.
Complicating the system of musical expressive means of jazz by “borrowing” the achievements of modern academic music. Revival of the traditions of labile folk intonation and their manifestation in the harmonic field of jazz.
Bebop luminaries - D. Gillespie, C. Parker, T. Monk.
Topic 9. 1950s. Kul style and other movements
Cool (cool) - as a reaction to hot-stiled bebop. The development of trends in the 1940s - a tendency towards intimate music-making, updating the musical language, strengthening the improvisational principle. Intellectualization of jazz, bringing it closer to the music of the academic tradition.
Representatives of the cool style are D. Brubeck, P. Desmond, B. Evans. "Modern jazz quartet".
Progressive style is a style of concert jazz based on the traditions of swing big band. Orchestra leaders S. Kenton, V. German, B. Raeburn and others.
Topic 10. 1960s. Avant-garde jazz styles
Free jazz is the first avant-garde style of jazz. Social prerequisites for the emergence of style. Tendency to use modern complex means of musical language with a free attitude towards formation, thematicity, harmonic “grid”, uniform metric pulsation.
“Modal” jazz, as a type of free jazz. The main setting of the style is improvisation on a selected scale.
Representatives of free jazz - O. Cowelman, J. Coltrane, C. Mingus, A. Shepp and others.
Topic 11. Jazz styles of 1960-1970
The interaction of jazz with various musical cultures in order to find sources of enrichment of the jazz language.
Ethnic styles. Afrocuba and bossa nova - jazz music with Latin American flavor. Characteristic features are dance-genre rhythm, expansion of the percussion group through the use of various exotic instruments.
Jazz-rock is a movement based on the synthesis of jazz with rock stylistics. Enrichment of jazz sound through the use of specific electromusical instruments. Jazz-rock in the music of M. Davis, C. Corea and others.
The “third movement” is a movement that combines academic musical traditions (“first movement”) with jazz (“second movement”). A focus on writing orchestral compositions in large forms, leaving improvisation to the background. Representatives of the “third movement” - G. Schuller, “Swingle Singers”.
“The Fourth Current” or “world music” – new wave ethno-jazz since the 1970s. It is based on the original national folklore of the world. The works of John McLaughlin, Jan Garbarek, John Zorn, Sun Ra.
Topic 18. Jazz in Soviet Russia
1920s in Russia – “jazz boom”. Tours of foreign jazz groups and jazz soloists in the USSR. The first jazz bands: “Eccentric Jazz Band of V. Parnakh” (1922), A. Tsfasman Orchestra (1926), Tea Jazz of L. Utesov-Ya. Skomorovsky (1929). Popularization of jazz through cinema (“Jolly Fellows” by G. Alexandrov, with L. Utesov’s orchestra). Creation of the State Jazz of the USSR (under the leadership of M. Blanter and V. Knushevitsky) and the Jazz Orchestra of the All-Union Radio (under the leadership of A. Varlamov, later - A. Tsfasman)
Variety and entertainment orientation of jazz music in the 1930s-1940s; rapprochement with Soviet mass song. "Song Jazz". Activities of orchestras under the direction of O. Lundstrem, E. Rosner. The work of composers I. Dunaevsky, N. Bogoslovsky and others.
The 1940-1950s were a time of sharp criticism and prohibition of jazz, as a reflection of the ideology of the state and the foreign policy of the USSR. "Underground" jazz. Creativity of Yu. Saulsky.
1950-1960s – “ Khrushchev's thaw» - the time of creation of jazz clubs, organization of jazz festivals. Tours of foreign jazzmen. Participation of Soviet musicians in foreign jazz festivals.
Gradual legalization of jazz in the 1980s. The emergence of the first independent jazz club in Leningrad (1986), publications about jazz in the magazine " Musical life", release of the film "We are from Jazz" (directed by K. Shakhnazarov) with the participation of an orchestra conducted by A. Kroll (1983).
Topic 19. Jazz in post-Soviet Russia
Domestic jazzmen who emerged in 1960-1980: A. Kuznetsov, A. Kozlov, G. Golshtein, I. Bril, L. Chizhik, D. Kramer, V. Ganelin, V. Chekasin, A. Kondakov and others. Vocalists: L. Dolina, I. Otieva, V. Ponomareva.
The variety of styles in the activities of domestic groups and soloists of the 1980s: Retro styles (Leningrad Dixieland), bebop (D. Goloshchekin), cool jazz (G. Lukyanov and his ensemble “Kadans”), free jazz (V. Gaivoronsky , V. Volkov).
The emergence of new figures in domestic jazz in the 1990s - A. Rostotsky, A. Shilkloper, V. Tolkachev, N. Kondakov, A. Podymkin and others.
Section 2
Topic 1. Popular song genre as a component of pop music
The song is one of the most common pop genres. The origins of the popular song. Chronology of the development of the genre: Antique era(synthesis of poetry and music), Middle Ages (songs of troubadours, trouvères, minnesingers, minstrels, etc.), Renaissance (songs with instrumental accompaniment in professional art and everyday music playing), second half of the 18th-20th centuries. - an offshoot of the romance song genre, 19th century. dividing the song genre into two directions – pop (oriented towards mass audiences) and “serious” (the sphere of activity of academic composers).
Specific features of the genre are communicativeness, democracy, text features (“song poetry”). Variety of song genres:
· by forms of existence (children's, student's, soldier's, city, etc.)
· according to genre guidelines (hymn, lament, hymn, etc.)
The central position of the song genre in the culture of pop music
Topic 2. French chanson
The origins of chanson folk songs, in the works of troubadours and trouvères. In the 15th-16th centuries. chanson is a polyphonic song that summarizes the national song traditions of French music.
17th century - performance of city songs by professional musicians - Gros Guillaume, Jean Solomon, etc.) Variety of topics.
18th century – activity of “chansonnier theaters”. Chanson performers - Jean Joseph Vade, Pierre-Jean-Gara and others.
The 19th century is the work of a chansonnier. A variety of artistic masks - “country boy” (Chevalier), “dandy” (Frant), etc. The emphasis in the performing style is not so much on vocal art, but on artistry.
20th century - chanson in the works of Jacques Brel, Gilbert Becaud, Charles Aznavour, Edith Piaf, Yves Montand. Traditions of chanson in the works of Joe Dassin and Mireille Mathieu.
Topic 3. Soviet mass song
The role of the song genre in Soviet musical art of the 1920-1930s.
Mass song as an example of social order; a means of mass propaganda. Democracy of the genre, mass distribution. Cinema as a means of genre massification. “Film Songs” by I. Dunaevsky.
The meaning of mass song during the Great Years Patriotic War and post-war period.
1950-1060s. Strengthening the influence of the song genre on the field of academic genres (song opera) and mass music (song jazz).
The work of Soviet composers and songwriters - M. Blanter, S. Tulikov, V. Solovyov-Sedoy, Y. Frenkel, A. Pakhmutova and others.
Topic 4. Pop song genre: stages of development in domestic pop music
The emergence of the genre at the turn of the 19th-20th centuries. The first genres of musical pop music in Russia were couplets, “cruel” and gypsy romance. Popular singers of the first half of the twentieth century - I. Yuryeva, A. Vyaltseva, P. Leshchenko and others.
The development of pop song in Soviet Russia is in the works of L. Utesov, M. Bernes, M. Kristallinskaya, E. Piekha and other performers. Creativity of VIA (“Earthlings”, “Electroclub”, “Jolly Fellows”). Groups focused on retro style (“Bravo”, “Doctor Watson”), on the folklore specificity of the union republics (“Yalla”, “Pesnyary”, “Mziuri”).
Modern pop song performers - A. Pugacheva, S. Rotaru, L. Vaikule, F. Kirkorov, V. Leontyev and others. The defining attitude in modern pop shows, visual brightness and effectiveness, devaluation of vocal skills (singing to a soundtrack).
Author's song as an alternative to pop art. Chamber performance, maximum proximity to the listener. Performers of the original song are Alexander Galich, Yuri Vizbor, Novella Matveeva, Sergei and Tatyana Nikitin, Alexander Dolsky, Yuliy Kim and others.
The work of Bulat Okudzhava. "Moscow Theme"; songs-memories, songs-stylizations.
The originality of the song creativity of Vladimir Vysotsky; extreme emotionality, vivid characterization of the characters, satire. “Cyclicity” of songs – military, historical, everyday and others.
Topic 6. Panorama of the main trends in the field of domestic modern pop music
The song genre is the dominant one in modern pop music. The main focus of songwriters is on the hit song; stereotyped, simplified musical language. Changes in the genre specificity of the author's song under the influence of pop (A. Rosenbaum, O. Mityaev), “Russian chanson” (M. Shufutinsky, A. Novikov). Modern pop song as a background part of everyday life.
An alternative way of developing pop song is the “theater of song” by E. Kamburova, in synthesis with folk rock (I. Zhelannaya).
Section 3
Topic 1. Rock as a phenomenon of musical culture of the twentieth century
Rock culture as a sociocultural phenomenon; a form of modern urban folklore that provides the opportunity for self-expression. The specific means of rock music are based on models (country, blues, commercial music), but at the same time the content is problematic, the desire for the depth of themes and images.
Electronic instruments as defining a specific rock sound.
Topic 2. US rock music of the 1950s
The "explosion" of rock and roll in the United States in the 1950s. Origins: rhythm and blues, country, western.
Rock and roll performers - B. Haley, J. Lewis, E. Presley. The specificity of the style is its timbre composition (three electric guitars and drums), dance orientation.
Topic 3. British beat of the 1960s
Beat music as one of the forms of youth dance and entertainment music of the 1960s. Musical characteristics beat music.
Types of beat music (hard beat, soft beat, mainstream beat and others). Distribution in the USA and Europe.
The work of the Beatles. Formation of an original performing style. Creative trends that determined the main directions of rock development.
Topic 4. Review of rock music trends of the 1970s - 1980s
The end of 1960-1970 is a mature period in the development of rock music. "Branching" of creative trends.
Psychedelic rock as a reflection of hippie ideology. Meditative compositions, complication of musical language. Creativity of the group "Pink Floyd".
Progressive rock is a theme of protest against government policy, racism, war, unemployment. Album "Pink Floyd"
"The Wall".
Art rock is a direction characterized by the complication of musical language due to convergence with the traditions of academic music and jazz. Creativity of the groups “Emerson, Lake & Palmer”, “King Crimson”.
“Hard rock” - increased electronic sound, harsh rhythm, heaviness of sound. Creativity of the groups “Uriah Heep” “Black Sabbath”.
Glam rock is a direction of rock associated with increased entertainment and theatricalization of concert performances. Representatives of glam rock - Freddie Mercury, Frank Zappa.
Topic 5. Rock music in the USSR
The end of the 1960s was the time of penetration of Western rock music into the USSR. The perception of rock as a form of protest against the official ideology of the state system.
“Legalized” rock performed by philharmonic VIA (“Jolly Fellows”, “Singing Guitars”, “Pesnyary”); lyrical themes, dance and entertainment orientation of the songs.
The opposition to “philharmonic rock” is the group “Time Machine”.
Folklore direction in rock culture - “Pesnyary”, “Syabry”, “Yalla”.
VIA and musical theater. “Singing Guitars” - “Orpheus and Eurydice” (music by A. Zhurbin), “Ariel” - “The Tale of Emelyan Pugachev” (music by V. Yarushin), “Araks” - “The Star and Death of Joaquin Murrieta” (music by A. Rybnikov ), “Rock Studio” - “Juno and Avos” (music by A. Rybnikov).
Rock underground - clubs in Leningrad (groups "Aquarium", "Alisa", "Kino"), Moscow ("Zvuki Mu", "Brigade S"), Ufa "DDT" and other cities. Sverdlovsk is one of the centers of domestic rock (groups “Urfin Juice”, “Nautilus Pompilius”, “Chaif”, “Agatha Christie”, “Sansara”, “Sahara”, “Semantic Hallucinations” and others).
Topic 6. Panorama of the main trends of modern rock.
The ramifications of modern rock trends. The influence of computer technology on the development of rock culture. Standardization of musical language, leveling of the author's origin, dominance of studio forms of music over concert forms.
Modern tech trends:
Hip-hop is a direction that combines wall paintings - graffiti, breakdancing, and a musical direction - rap.
House is a movement based on a combination of techno music and disco. It is based on a mixture of textured percussive bass (disco) and “heavy” electronic sound (bass, beats, various sound effects, etc.)
Rave is a trend that represents a way of life in general. Rave party - massive club disco. Rave is a type of techno music, characterized by the dominance of rhythm over melody and maximum volume.
Section 4
Topic 1. Musical: history of origin, stages of development of the genre
The musical is one of the leading mass genres of musical theater. The origins of the genre are minstrel theater, revue, vaudeville, music hall, musical skits. A variety of genres of expressive means used in the musical (operetta, vaudeville, modern pop and rock culture, choreography). The role of jazz art in the formation of the genre specificity of the musical.
Stages of development of the genre (1920-1930s, 1930-1960s, 1970-1980s, modern musical).
The formation of the genre in the 1920s, as a reflection of the increased public demand for entertainment culture. Features of mass art in a musical are a schematic plot, entertainment, “clichéd” language and simplified vocabulary.
Features of the dramaturgy of a classic musical using the example of works by J. Gershwin (“Lady, Be Kind”), J. Kern (“Excellent, Eddie”), K. Porter “Kiss Me, Kat”), I. Blakey and others.
Topic 3. The rise of the musical genre (1940-1960s)
New genre features
Expansion of topics; “mastering” the plots of classical literary works– K. Porter “Kiss me, Kate” (based on “The Taming of the Shrew” by W. Shakespeare, F. Lowe “My lovely lady"(based on B. Shaw's Pygmalion), L. Bernstein's "West Side Story" (based on W. Shakespeare's "Romeo and Juliet"), etc.
Strengthening the role of dance. Involvement in production famous choreographers: B. Fossa in “Chicago” and “Cabaret”, J. Robbins and P. Gennaro in “West Side Story”
Film musicals - transferring a theatrical musical to cinema, as well as creating a musical based on a film (“Oliver!”, “My Fair Lady,” “Man of La Mancha”)
Topic 4. Rock opera
1960-1070s - the emergence of rock opera. The tradition of combining compositions based on a single storyline to the album (“Wall” groups Pink Floyd").
Early rock operas - “Hair” by G. McDermott, “Salvation” by T. Lean, etc.
The specifics of a rock opera using the example of “Jesus Christ Superstar” by E. L. Webber. Other rock operas by the composer are “Evita”, “Cats”, “The Phantom of the Opera”.
Topic 5. Rock musicals
Rock musicals in Russia - “Orpheus and Eurydice” by A. Zhurbin, “The Star and Death of Joaquin Murrieta”, “Juno and Avos” by A. Rybnikov, “Giordano” by L. Quint and others.
Contemporary jazz and pop music is in constant development. It includes both established musical genres and forms, as well as new stylistic trends. Therefore, this course is constantly supplemented and updated with material. The program is divided into several sections. The first section is devoted to the development of jazz music. Students should gain an understanding of the main stages in the development of jazz music, understand the general patterns in the development of its styles, get acquainted with the best examples of foreign and domestic jazz classics, as well as the work of composers, arrangers and outstanding jazz performers. The second part of the program is devoted to an overview of the main directions of pop song creativity. In the third section we will trace the development of rock music and the fourth, final rock opera and musical.
The objective of the course “History of Musical Variety Styles” at the secondary vocational level is educational institution is to expand the artistic horizons of students, as well as develop their ability to navigate various musical styles and directions in their artistic practice. Therefore, the main requirement for a student’s independent work is to study the recommended literature and listen to audio material for the lesson.
This subject complements the cycle of special and theoretical disciplines. Studying the course "History of musical pop styles"involves interdisciplinary connections with such disciplines as musical literature, specialty, ensemble, orchestra.
Mastering the subject contributes to the development of students' creative thinking. Systematic, systematic completion of homework will contribute to the development of creative possibilities student, expanding their horizons.
- Working with the questionnaire.
- Work with additional literature recommended by the teacher (involves taking notes).
- Completing abstracts.
- Listening to music.
4. CONTROL AND EVALUATION OF THE RESULTS OF MASTERING THE DISCIPLINE
Monitoring and evaluation of the results of mastering the discipline is carried out by the teacher in the process of conducting practical classes and laboratory work, testing, as well as students completing individual assignments, projects, and research.
Learning outcomes (mastered skills, acquired knowledge) | Forms and methods of monitoring and assessing learning outcomes |
Skills:
| Current control - execution of abstracts |
Knowledge:
| Questionnaires, quizzes, messages using additional literature and summarizing material studied in class |
5. LIST OF BASIC AND ADDITIONAL LITERATURE
Basic literature
- Ovchinnikov, E. History of jazz: textbook. In 2 issues. / E. Ovchinnikov. – Moscow: Music, 1994. – Issue. 1.
- Klitin, S. Variety art of the 19th-20th centuries / S. Klitin. – St. Petersburg: SPbGATI, 2005.
- Konen, V. The Birth of Jazz / V. Konen. – Moscow: Soviet composer, 1990.
- Rock music in the USSR: the experience of a popular encyclopedia / comp. A. Troitsky. – Moscow: Book, 1990.
Further reading
- Ayvazyan A. Rock 1953/1991.- St. Petersburg, 1992
- Batashev A. Soviet jazz.-M., 1972.
- Benson Ross. Paul McCartney. Personality and myth. – M., 1993.
- Bril I. A practical guide to jazz improvisation.-M., 1979.
- Bychkov E. Pink Floyd (Legends of Rock). - Karaganda, 1991.
- Vorobyova T. History of the Beatles ensemble.-L., 1990.
- Dmitriev Yu. Leonid Utesov.-M., 1983.
- Davis Hunter. The Beatles. Authorized biography.-M., 1990.
- Kozlov, A. Rock: history and development / A. Kozlov. – Moscow: Syncopa, 2001.
- Kokorev, A. Punk rock from A to Z / A. Kokorev. – Moscow: Music, 1991.
- Collier J. Louis Armstrong. M., 1987
- Collier J. The formation of jazz.-M., 1984.
- Korolev, O. Kratky encyclopedic dictionary jazz, rock and pop music: terms and concepts / O. Korolev. – Moscow: Music, 2002 Collier J. Duke Ellington. M., 1989
- Kurbanovsky A. Rock notebook. St. Petersburg, 1991
- Markhasev L. In the light genre.-L., 1984.
- Menshikov V. Encyclopedia of rock music. –Tashkent, 1992
- Moshkov, K. Blues. Introduction to history / K. Moshkov. – St. Petersburg: Lan, 2010
- Moshkov, K. Jazz industry in America / K. Moshkov. – St. Petersburg: Lan, 2008
- Music of our days / ed. D. Volokhin – Moscow: Avanta+, 2002
- Panasier South. History of authentic jazz.-M., 1990
- Pereverzev L. Essays on the history of jazz. // Musical life.-1966.-№3,5,9,12
- Pereverzev L. Duke Ellington and his orchestra // Musical life.-1971.-No.22.
- Pereverzev L. Charlie Parker.// Musical life.-1984.-No. 10.
- Pereverzev L. Oleg Lundstrem Orchestra // Musical Life.-1973.-No.12.
- Let's talk about jazz: reflections of great musicians on life and music / trans. from English Yu. Vermenich. – Rostov-on-Don: Phoenix, 2009.
- Sargent W. Jazz.-M., 1987.
- Simonenko P. Melodies of jazz.-Kyiv, 1984
- Sky Rick. Freddie Mercury.-M., 1993.
- Soviet jazz: Problems. Events. Masters.-M., 1987.
- Troitsky A. Youth music of the 80s // Musical life.-1980.-No. 12.
- Fedorov E. Rock in several faces.-M., 1989.
- Feiser L. A book about jazz. Translation by Yu. Vermenich. Voronezh, 1971
- Feofanov O. Music of revolt.-M., 1975.
- Feyertag, V. Jazz in Russia. Brief encyclopedic reference book / V. Feyertag. – St. Petersburg: SKIFIA, 2009.
- Fischer, A. Jazz bebop style and its luminaries: a textbook) / A. Fischer, L. Shabalina. – Tyumen: RIC TGAKIST, 2010.
- Chugunov Y. Harmony in jazz.-M., 1980.
- Schmiedel G. Beatles. Life and Songs.-M., 1977.
Selected discography by course
- "AVVA" s60-08353-54
- Ensemble "Arsenal". Second wind s60-2369002
- Anthology of Soviet jazz. First steps M6045827006
- Armstrong Louis. s60-05909-10
- Basie Count and seven from Kansas City s60-10279-80
- Basie Count. When the sun goes down. M60-47075-009
- Basie Count. 14 golden melodies (2pl). s60-18653-4
- The Beatles. Taste of honey. s60-26581-006
- The Beatles. Evening of a hard day. s60-23579-008
- The Beatles. Love songs VTA 1141/42
- Bril Igor, jazz ensemble. The orchestra arrived from 60-14065-66
- Brubeck Dave in Moscow (2pl.) p60-301903007, p60-30195-001
- Gershwin George. Popular melodies s60-08625-26
- Disco club-9. Jazz compositions s60-19673-000
- Goloshchekin David. Leningrad Jazz Ensemble. 15 years later. s60-20507-007
- Goodman Benny. What can moonlight do? M6047507006
- Davis Miles and the Giants of Modern Jazz M60-48821-006
- James Harry and his orchestra. The man I love M60-49229-006
- Deep Purple. In Rock P91-00221-2
- John Elton. City tramp. s60-24123-002
- John Elton. Your song s60-26003-002
- John Elton. The one BL1027
- Dorothy Donegan s60-20423-005
- "Queen." Greatest hits A60-00703-001
- "Credence", group. Traveling Orchestra. S60-27093-009
- Led Zeppelin group. Stairway to heaven s60-27501-005
- Oleg Lundstrem and his orchestra. In memory of Duke Ellington s60-08473-74
- Leningrad Dixieland 33SM02787-88
- Oleg Lundstrem and his orchestra. In rich colors s60-1837-74
- Oleg Lundstrem and his orchestra. Sun Valley Serenade p60-18651-52
- McCartney Paul. Back in the USSR. A6000415006
- Miller Glenn and his orchestra. In the mood M60-47094-002
- Music store. In memory of L. Utesov M6044997-001
- Parker Charlie. M60-48457-007
- Pink Floyd. Live A60 00543-007
- Peterson Oscar and Dizzy Gillespie s60-10287-88
- Peterson Oscar. O. Peterson Trio. s60-16679-80
- Presley Elvis. Everything is fine M60-48919-003
- Rolling Stones band. Playing with fire M60 48371 000
- Rolling Stones band. Lady Jane s60 27411-006
- Ross Diana s60-12387-8
- Whiteman Paul, orchestra p/u M60 41643-44
- Wonder StevieSun of my life S60 26825-009
- Fitzgerald Ella S60-06017-18
- Fitzgerald Ella sings the works of Duke Ellington C90 29749004
- Fitzgerald Ella. Dancing in Savoy. С6027469006
- Hendrix Barbara. Negro spirituals A 1000185005
- Tsfasman Alexander. Meetings and partings M6047455-008
- Webber Andrew Lloyd. Jesus Christ - superstar P9100029
- Winter Paul. Concert Earth s6024669003
- Charles Ray. Selected songs. VTA 11890
- Ellington Duke meets Coleman Hawkins c60-10263-64
- Ellington Duke and his orchestra. Concert (pl.2) s6026783007
Appendix 2
Questionnaire
- African American roots of jazz.
- What is improvisation?
- Periodization of the stylistic evolution of jazz.
- Spirituals:
Time of occurrence;
Definition;
- Early African American Folklore:
2 groups;
Brief description of genres;
- Labor songs
- Poetic images(texts) spirituals.
- Musical style or characteristic genre features of spirituals.
- Gospel:
Brief description;
Difference from spirituals;
- Performers of labor songs and spirituals.
- Ragtime:
Definition;
Characteristics (occurrence, time);
- "Sporting life":
Meaning of the word;
- Scott Joplin
- When was the ragtime "Maple Leaf" published?
Explain the appearance.
- Entertainment districts of New Orleans, Chicago,
New York.
- Features of the minstrel (black) stage.
- What dances completed the evolution of ragtime.
- Which works of classical music display features of spirituals and ragtime.
- List the genres and names of spirituals.
- The meaning of the word "blues".
- The time of the emergence of early blues.
- Varieties of blues (classification).
- Famous representatives and performers of rural blues.
- Characteristics of rural blues.
- Characteristics of urban blues (time of occurrence).
- The first blues singer.
- "Kings" and "Queens" of the Blues.
- Characteristics of urban blues (time of origin).
- The difference between blues and spirituals.
- Genre characteristics of blues.
- Poetic images of blues and its content.
- Blues performers.
- The first printed blues. Composers. Titles.
- The title of a work by J. Gershwin that uses blues themes.
- Genre and stylistic modifications of blues. Representatives.
- Jazz - meaning of the word. Origin.
- The city is the “Cradle of Jazz”.
- Early jazz styles. Differences.
- Euro-American type of jazz music. Dixieland. Representatives.
- Marching bands and street bands of New Orleans.
- New generation jazzmen ( New Orleans, Chicago).
- Street jazz:
Time of occurrence;
Characteristic;
Representatives;
Appendix 3
List of terms for terminological dictation
SECTION I. Jazz art
Archaic blues, archaic jazz, African-American music, barbershop harmony, barrel house style, big beat, big band, block chords, wandering bass, blues, blues mode, brass band, break, bridge, boogie-woogie, background , Harlem jazz, growl, ground beat, dirt tones, jazzing, jazz form, jungle style, Dixieland, cake walk, classic blues, chorus, minstrel theater, off beat, off pitch tones, riff , swing, symphonic jazz, stride style
Avant-garde jazz, Afro-Cuban jazz, baroque jazz, bebop, vers, west coast jazz, combo, mainstream, progressive, scat, modern jazz, stop-time technique, “third current,” folk jazz, fore-beat, free jazz, fusion, hard bop, ohler, hot jazz, “fourth current,” Chicago jazz, shuffle, electronic jazz, “ the era of jazz."
SECTION II. Pop music
SECTION III. Rock culture
Avant-garde rock, alternative rock, underground rock, art rock, beatniks, black metal, breakdance, gitter rock, glam rock, grunge, industrial rock, intellectual rock, mainstream rock, punk rock, progressive rock, rhythm and blues, rockabilly, rock and roll, reggae, rave, rap, symphonic rock, folk rock, hard rock, heavy metal,
Appendix 4
Sample tickets for differentiated standings
Ticket No. 1
1. Origins of jazz music
2. French chanson
Ticket number 2
1. Genres of African-American folklore
2. Stages of development of pop song in domestic and foreign pop music
Ticket number 3.
1. Ragtime
2. US rock music of the 1950s-1960s
Ticket No. 4
1. Blues: stages of development of the genre
2. Soviet mass song
Ticket No. 5
1. Classic jazz. Swing style
2. Rock music in the USSR
Ticket number 6
1. Cool style and other jazz movements of the 1950s
Ticket number 7
1. Jazz styles 1960-1970
2. 1960s British beat
Ticket number 8
1. Bebop style.
2. Rock opera and rock musical
Ticket number 9
1. Ways of development of jazz in post-Soviet Russia
2. Classic musical (1920s-1930s)
Ticket number 10
1. Avant-garde jazz styles. Free jazz
2. Classic musical (1920s-1930s)
Ticket No. 11
1. Jazz in Soviet Russia
2. Musical genre: history of origin, stages of development
Appendix 5
Criteria for assessing student answers during the test:
An “excellent” rating is given if the answer to the theoretical material is meaningful, logically structured, reveals the issue under discussion in sufficient detail, is based on the correct interpretation of terminology, and is equipped with musical and illustrative examples.
A “good” rating is given if the answer to the theoretical material is not detailed enough and there are minor errors in the use of terminology.
A “satisfactory” rating is given if the theoretical answer is based on discretely presented information that does not create full picture on the issue under consideration, poor knowledge of terminology is revealed.
Word "variety" ( from Latin strata) means - flooring, platform, hill, platform.
The most accurate definition of pop art as an art that combines various genres is given in D.N. Ushakov’s dictionary: " Stage is the art of small forms, the area of spectacular and musical performances on an open stage. Its specificity lies in its easy adaptability to various conditions of public demonstration and short duration of action, in artistic and expressive means, art that contributes to the vivid identification of the creative individuality of the performer, in the topicality, acute socio-political relevance of the topics addressed, in the predominance of elements of humor, satire, and journalism." .
The Soviet encyclopedia defines pop music as originating from the French estrade - a type of art that includes small forms of dramatic and vocal art, music, choreography, circus, pantomime, etc. In concerts there are separate complete numbers united by a show and a plot. It emerged as an independent art at the end of the 19th century.
There is also the following definition of stage:
A stage area, permanent or temporary, for an artist's concert performances.
Pop art has its roots in the distant past, traced back to the art of Ancient Egypt and Ancient Greece. Although variety art closely interacts with other arts, such as music, drama theatre, choreography, literature, cinema, circus, pantomime, it is an independent and specific type of art. The basis of pop art is “His Majesty’s number” - as N. Smirnov-Sokolsky said 1.
Number- a small performance by one or several artists, with its own plot, climax and denouement. The specificity of the performance is the direct communication of the artist with the public, on his own behalf or from a character.
In the medieval art of traveling artists, farce theaters in Germany, buffoons in Rus', mask theater in Italy, etc. there was already a direct address from the artist to the audience, which allowed the subsequent artist to become a direct participant in the action. The short duration of the performance (no more than 15-20 minutes) requires extreme concentration of expressive means, laconicism, and dynamics. Variety numbers are classified according to characteristics into four groups. The first type group includes conversational (or speech) numbers. Then there are musical, plastic-choreographic, mixed, “original” numbers.
The art of comedy was built on open contact with the public del-arte (masque) XVI- p.p.XVII century.
Performances were usually improvised based on standard plot scenes. Musical sound as interludes (inserts): songs, dances, instrumental or vocal numbers - was the direct source of the variety act.
In the 18th century they appeared comic opera And vaudeville. Vaudevilles were exciting performances with music and jokes. Their main heroes - ordinary people - always defeated stupid and vicious aristocrats.
And by the middle of the 19th century, the genre was born operetta(literally small opera): a type of theatrical art that combined vocal and instrumental music, dance, ballet, elements of pop art, and dialogues. Operetta appeared as an independent genre in France in 1850. The “father” of French operetta, and operetta in general, was Jacques Offenbach(1819-1880). Later the genre develops in the Italian “comedy of masks”.
The stage is closely connected with everyday life, with folklore, with traditions. Moreover, they are being rethought, modernized, “extradized.” Various forms of pop creativity are used as an entertaining pastime.
This is no coincidence. In England pubs(public public institutions) arose in the 18th century and became the prototypes of music halls (music hall). Pubs became places of entertainment for broad democratic sections of the population. Unlike aristocratic salons, where they sounded mainly classical music, in pubs - songs and dances were performed, accompanied by a piano, comedians, mimes, acrobats performed, scenes from popular performances, consisting of imitations and parodies, were shown. Somewhat later, in the first half of the 19th century, they became widespread cafe-concerts, which were originally literary and artistic cafes where poets, musicians, and actors performed their improvisations. In various modifications they spread throughout Europe and became known as cabaret(zucchini). Entertainment does not exclude the factor of spirituality; civic position is especially important for a pop artist.
The easy adaptation of pop art to the audience is fraught with the danger of flirting with the public and yielding to bad taste. In order not to fall into the abyss of vulgarity and vulgarity, an artist needs true talent, taste and flair. The director formed a program from individual pop numbers, which was also a strong means of expression. Free installation connection of small shapes, separated from various types artistic creativity and healed on its own, which led to the birth of colorful art variety show. The art of variety shows is closely related to theater and circus, but unlike theater it does not require organized dramatic action. The conventionality of the plot, the lack of development of the action (the main drama) are also characteristic of a big performance revue(from French - review). The individual parts of the revue are connected by a common performing and social idea. As a musical dramatic genre, revue combines elements of cabaret, ballet and variety show. The revue performance is dominated by music, singing, and dancing. The variety show has its own modifications:
- variety show from separate numbers
- variety show
- dance cabaret
- review
In the 20th century, the revue became a lavish entertainment show. Varieties of revues appeared in the USA, called show.
The musical variety included different genres of light music: songs, excerpts from operettas, musicals, variety shows in variety adaptations of instrumental works. In the 20th century, the stage was enriched by jazz and popular music.
Thus, pop art has passed long haul, and today we can observe this genre in a different form and performance, which suggests that its development does not stand still.