The music program is the only one of all school programs that has an epigraph: « Musical education“This is not the education of a musician, but, above all, the education of a person.”(V.A. Sukhomlinsky).
How to organize the process of learning music so that, by studying the laws of musical art, developing musical creativity children, effectively influence the education of the individual and his moral qualities.
When working on a piece of music in the process of all forms of communication with music (whether listening, singing, playing children's musical instruments, etc.) a holistic analysis piece of music(section of music pedagogy) is the most vulnerable and difficult.
Perceiving a piece of music in the classroom is a process of spiritual empathy based on a special state of mind and mood. Therefore, the way the work is analyzed largely determines whether the music played will leave a mark on the child’s soul, whether he will have a desire to turn to it again or hear a new one.
A simplified approach to music analysis (2-3 questions: What is the work about? What is the nature of the melody? Who wrote it?) creates a formal attitude towards the work being studied, which is subsequently formed in students.
The difficulty of conducting a holistic analysis of a musical work lies in the fact that in the process of conducting it, the children must develop an active life position, the ability, together with the teacher, to trace how art, with its specific means, reveals life and its phenomena. Holistic analysis should become a means of developing musicality, aesthetic and ethical sides of the personality.
Firstly, you need to clearly define for yourself what it is.
A holistic analysis of a work helps to determine the connections between the figurative meaning of the work and its structure and means. Here the search for special features of expressiveness of the work takes place.
Analysis includes:
- clarification of the content, idea - concept of the work, its educational role, contributes to sensory knowledge of the artistic picture of the world;
- determination of expressive means of musical language that contribute to the formation of the semantic content of the work, its intonation, compositional and thematic specificity.
Secondly, analysis occurs in the process of dialogue between the teacher and students using a series of leading questions. A conversation about the listened work will go in the right direction only when the teacher himself clearly understands the features of the content and form of the work, as well as the amount of information that needs to be communicated to students.
Third, The peculiarity of the analysis is that it must alternate with the sound of music. Each facet of it must be confirmed by the sound of music performed by the teacher or a soundtrack. A huge role here is played by comparing the work being analyzed with others - similar and different. Using methods of comparison, juxtaposition or destruction, which promote a more subtle perception of various nuances and semantic shades of music, the teacher clarifies or confirms the students’ answers. Here comparisons of different types of art are possible.
Fourthly, The content of the analysis should take into account the musical interests of the children, their level of preparedness to perceive the work, and the degree of their emotional responsiveness.
In other words, the questions asked during the work should be accessible, specific, appropriate to the knowledge and age of the students, logically consistent and consistent with the topic of the lesson.
Can't be underestimated teacher behavior both at the moment of perception of music and during its discussion: facial expressions, facial expressions, minor movements - this is also a unique way of analyzing music, which will help you feel the musical image more deeply.
Here sample questions To holistic analysis works:
-What is this work about?
-What would you call it and why?
-How many heroes are there in it?
-How do they work?
-How are the heroes shown?
-What do they teach us?
-Why does the music sound excited?
Or:
-Do you remember your impressions of this music received in the last lesson?
-What is more important in a song – the melody or the words?
- What is more important in a person – the mind or the heart?
- Where could it be played in life and with whom would you like to listen to it?
- What was the composer going through when he wrote this music?
- What feelings did he want to convey?
-Has such music sounded in your soul? When?
- What events in your life could you associate with this music? What means does the composer use to create a musical image (to determine the nature of the melody, accompaniment, register, dynamic shades, mode, tempo, etc.)?
-What is the genre (“whale”)?
-Why did you decide this?
-What is the nature of the music?
-Composition or folk?
-Why?
-What depicts the characters more clearly – melody or accompaniment?
-What instrument timbres does the composer use, why, etc.
The main thing when drawing up questions for a holistic analysis of a work is to pay attention to the educational and pedagogical basis of the work, clarifying the musical image, and then - to the means musical expressiveness, with the help of which they are embodied.
It should be remembered that the analysis questions for students of primary and secondary school age are different, since the level of their knowledge and psychological and pedagogical characteristics have a significant difference.
Junior school age is the stage of accumulation of empirical experience, emotional and sensory attitude to the outside world. The specific tasks of aesthetic education are the development of the ability of a holistic, harmonious perception of reality, the moral, spiritual world by activating the emotional and sensory sphere; ensuring psychological adaptation to music as an art form and a subject of education; development of practical skills in communicating with music; enrichment with knowledge, stimulation of positive motivation.
The most important psychological and pedagogical characteristic of middle school age is the vivid manifestation of object-figurative interpretation, which begins to prevail over the emotionality of perception, the intensive moral formation of the individual. The attention of teenagers begins to be drawn to the inner world of a person.
Let's look at specific examples of options for conducting a musical pedagogical analysis of the works being studied.
“The Groundhog” by L. Beethoven (2nd grade, 2nd quarter).
-What mood did you feel in this music?
-Why does the song sound so sad, who is it about?
-Which “whale”?
-Why do you think so?
-What melody?
-How does it move?
-Who performs the song?
The perception and understanding of L. Beethoven’s music will be enriched by viewing the painting “Savoyar” by V. Perov.
-Imagine that you are artists. What picture would you paint while listening to the music of “Groundhog”?(,)
“Night” from the ballet “The Little Humpbacked Horse” by R. Shchedrin (3rd grade).
The children can be given homework the day before: draw a picture of the night from P. Ershov’s fairy tale “The Little Humpbacked Horse,” learn and read a fragment of the description of the night. After checking the assignment in class, we discuss the following questions:
-What should the music sound like to convey the night from the fairy tale “The Little Humpbacked Horse”? Now listen and tell me, is this the night? (Listening to a recording performed by an orchestra).
-Which of our musical instruments is suitable to accompany this music? (Students choose from the proposed tools the one that is most suitable).
-We listen to its sound and think why its timbre is in tune with the music. ( Performance in an ensemble with a teacher. We determine the nature of the work. We make sure that the music is smooth and melodious).
-What genre does smooth, melodious music correspond to?
-Can this play be called a “song”?
-The play “Night” is like a song, it is smooth, melodious, songlike.
-And music permeated with melodiousness and melody, but not necessarily intended for singing, is called song.
“Kitten and Puppy” by T. Popatenko (3rd grade).
-Did you like the song?
-What would you call her?
-How many heroes are there?
-Who is mustachioed and who is furry, why did they decide that?
-Why do you think the song was not called “Cat and Dog”?
-What happened to our heroes and why, do you think?
-Did the guys seriously “slap” and “slap” our heroes or lightly?
-Why?
-What does the story that happened with the kitten and puppy teach us?
-Are the guys right when they invited the animals to the holiday?
-What would you do if you were the guys?
-What is the nature of the music?
-Which part of the work characterizes the characters more clearly - the introduction or the song itself, why?
-What does the melody of a kitten and a puppy represent?
-If you knew how to compose music, what kind of work would you compose based on these poems?
The next stage of work on the work is a verse-by-verse comparison of the performance plan for the development of music, and the means of musical expressiveness (tempo, dynamics, nature of the movement of the melody) will help to find the mood, figurative and emotional content of each verse.
“Waltz is a Joke” by D. Shostakovich (2nd grade).
-Listen to the piece and think about who it is intended for. (... For children and toys: butterflies, mice, etc.).
-What can they do to such music? ( Dance, spin, flutter...).
-Well done, everyone heard that the dance is intended for little fairy-tale heroes. What kind of dance are they doing? ( Waltz).
-Now imagine that we are in a fabulous flower city from the fairy tale about Dunno. Who could dance a waltz like that there? ( Girls with bells, in blue and pink skirts, etc.).
-Did you notice who appeared at our flower ball, besides the bell girls? ( Certainly! This is a large beetle or caterpillar in a tailcoat.)
-And I think it’s Dunno with a big pipe. How does he dance - as easily as the bell girls? ( No, he is terribly clumsy, he steps on his feet.)
-What kind of music is here? ( Funny, clumsy).
-What is the composer’s attitude towards our Dunno? ( Laughs at him).
-Is the composer’s dance serious? ( No, humorous, funny).
-What would you call it? ( Funny waltz, bell dance, comic dance).
-Well done, you heard the most important thing and guessed what the composer wanted to tell us. He called this dance “Waltz – a joke.”
Of course, the questions of analysis will alternate and vary, accompanied by the sound of music.
So, from lesson to lesson, from quarter to quarter, material on the analysis of works is systematically collected and consolidated.
Let's look at some works and topics from the 5th grade program.
“Lullaby of the Volkhovs” from N. Rimsky-Korsakov’s opera “Sadko”.
Before the children get acquainted with the music of “Lullaby,” you can turn to the history of the creation and content of the opera.
-I will tell you the Novgorod epic...(contents of the opera).
The wonderful musician and storyteller N.A. Rimsky-Korsakov was in love with this epic. He embodied the legends about Sadko and Volkhov in his epic opera “Sadko”, created a libretto based on fairy tales and epics about the talented guslar and expressed his admiration for the national folk art, its beauty and nobility.
Libretto- this is a brief literary content of a musical performance, the verbal text of an opera, operetta. The word "libretto" Italian origin and literally means “little book.” The composer can write the libretto himself, or he can use the work of a writer - a librettist.
A conversation about “Lullaby” can begin by reflecting on Volkhova’s role in revealing the main idea of the opera.
-The beauty of the human song captivated the sorceress and awakened love in her heart. And her heart, warmed by affection, helped Volkhov compose her song, similar to the one that people sing. Volkhova is not only a beauty, but also a sorceress. Saying goodbye to the sleeping Sadko, she begins to sing one of the most affectionate human songs - “Lullaby”.
After listening to “Lullaby” I ask the guys:
-What character traits of Volkhova does this simple, ingenuous melody reveal?
-Is it close to a folk song in melody and text?
-Which people's music does it remind you of?
-What means does the composer use to create this musical image? ( Describe the theme, form, and intonation of the work. Pay attention to the intonation of the chorus.)
When listening to this music again, pay attention to the timbre of the voice – coloratura soprano.
As the conversation progresses, one can compare two different musical portraits of two characters: Sadko (“Sadko’s Song”) and Volkhova (“Volkhova’s Lullaby”).
To recreate the artistic and emotional background, look at I. Repin’s painting “Sadko” with the children. In the next lesson you can use materials related to the composer’s creative directions, interesting information from the history of the creation of a particular work. All this is a necessary background for deep familiarization with the intonation structure of music.
Symphony B – minor No. 2 “Bogatyrskaya” by A. Borodin.
Let's listen to music. Questions:
-What is the nature of the work?
-What heroes have you “seen” in music?
-By what means was music able to create a heroic character? ( There is a conversation about the means of expressiveness of music: determination of register, mode, analysis of rhythm, intonation, etc..)
-What are the differences and similarities between topics 1 and 2?
I am demonstrating illustrations of the painting “Three Heroes” by V. Vasnetsov.
-How are music and painting similar? ( Character, content).
-How is the heroic character expressed in the picture? ( Composition, color).
-Is it possible to hear the music of “Bogatyrskaya” in the film?
You can make a list of expressive means of music and painting on the board:
Do we need heroes in our lives these days? How do you imagine them?
Let's try to follow the movement of the teacher's thoughts, observing the process of his and his students' search for truth.
Lesson in 6th grade, 1st quarter.
When entering the classroom, a recording of “Waltz” by J. Brel plays.
- Hello guys! I am very glad that we are starting today’s lesson in a good mood. Joyful mood - why? They didn’t understand with their minds, but they started smiling! Music?! What can you say about her, that she is joyful? ( Waltz, dance, fast, lifts the mood, the motive is such - there is joy in it.)
-Yes, it's a waltz. What is a waltz? ( This is a joyful song, a little funny to dance together).
- Do you know how to dance the waltz? Is this modern dance? I’ll show you the photographs now, and you try to find the one in which they dance the waltz. ( Children are looking for a photograph. At this moment, the teacher begins to play and hum the song “Waltz about Waltz” by E. Kolmanovsky, as if for himself. The guys find photographs, explaining their choice by the fact that the people depicted in them are dancing, spinning. The teacher attaches these photos to the board and next to it is a reproduction from a painting depicting Natasha Rostova at her first ball:
-This is how the waltz was danced in the 19th century. “Waltz” translated from German means to rotate. You chose the photos absolutely correctly. ( 1 verse of the song “Waltz about Waltz” performed by G. Ots sounds).
-Beautiful song! Guys, do you agree with the author of the lines:
“The waltz is outdated,” someone says, laughing,
The century saw in him backwardness and old age.
Timidly, timidly, my first waltz floats along.
Why can't I forget this waltz?
-The poet speaks only about himself? ( We agree with the poet, the waltz is not only for old people, the poet speaks about everyone!)
-Every person has their first waltz! ( The song sounds " School years
»)
-Yes, this waltz sounds on September 1, and on the holiday of the last bell.
- “But hidden, he is always and everywhere with me...” - Waltz is something special. (It's just a waltz waiting for its time when it's needed!)
-So this lives in the soul of every person? ( Certainly. Young people can also get involved in waltzing.)
-Why is it “hidden” and not completely disappeared? (You won't always dance!)
-Well, let the waltz wait!
We are learning verse 1 of the song “Waltz about a Waltz”.
-Many composers wrote waltzes, but only one of them was called the king of the waltz. (A portrait of I. Strauss appears). And one waltz by this composer was performed as an encore. 19 times. Imagine what kind of music it was! Now I want to show you Strauss’s music, just play it, since it must be played and performed by a symphony orchestra. Let's try to solve Strauss's riddle. ( The teacher plays the beginning of the waltz “Blue Danube”, a few bars.)
-The introduction to the waltz is some kind of big secret, an extraordinary expectation that always brings more joy than even some joyful event itself... Did you have the feeling that during this introduction the waltz could have started many times? Waiting for joy! ( Yes, many times!)
-Think, guys, where did Strauss get his melodies from? ( Sounds intro in development). Sometimes it seems to me, when I listen to a Strauss waltz, that a beautiful box is opening and there is something extraordinary in it, and the introduction only slightly opens it. It seems that it’s already here, but again a new melody sounds, a new waltz! This is a real Viennese waltz! This is a chain of waltzes, a necklace of waltzes!
-Is this a salon dance? Where is it danced? (Probably everywhere: on the street, in nature, you just can’t resist.)
- Exactly right. And what are the titles: “On the beautiful blue Danube”, “Vienna Voices”, “Tales of the Vienna Woods”, “Spring Voices”. Strauss wrote 16 operettas, and now you will hear a waltz from the operetta “Die Fledermaus.” And I ask you to answer in one word what a waltz is. Don't tell me it's a dance. (Waltz sounds).
-What is a waltz? ( Joy, miracle, fairy tale, soul, mystery, charm, happiness, beauty, dream, cheerfulness, thoughtfulness, affection, tenderness).
-Is it possible to live without all of this that you mentioned? (Of course not!)
-Can only adults live without this? ( The guys laugh and nod their heads).
-For some reason I was sure that after listening to the music you would answer me exactly like that.
-Listen to how the poet L. Ozerov writes about Chopin’s waltz in the poem “Waltz”:
-The light step of the seventh waltz still rings in my earsThe guys leave the class with the song “Waltz about a Waltz.”
Like the spring breeze, like the flutter of bird wings,
Like the world that I discovered in the interweaving of musical lines.
That waltz still sounds in me, like a cloud in the blue,
Like a spring in the grass, like a dream that I see in reality,
Like the news that I live in kinship with nature.
A simple approach has been found: to express in one word your feeling, your attitude towards music. There is no need to say, as in the first grade, that this is a dance. And the power of Strauss’s music gives such a stunning result in a lesson in a modern school that it seems that the students’ answers can be 20 encores to the composer of the last century.
Lesson in 6th grade, 3rd quarter.
Children enter the classroom to Mozart's "Spring".
-Hello guys! Sit back, try to feel as if you were in a concert hall. By the way, what is the program for today's concert, who knows? At the entrance to any concert hall we see a poster with the program. Our concert is no exception, and upon entering you were also greeted by a poster. Who paid attention to her? (...) Well, don’t be upset, you were probably in a hurry, but I read it very carefully and even remembered everything that was written on it. This was not difficult to do, since there are only three words on the poster. I’ll write them on the board now, and everything will become clear to you. (I write: “It sounds”).
-
Guys, I thought that I would add the remaining two words later with your help, but for now let the music sound.
Mozart's "Little Night Serenade" is performed.
How did this music make you feel? What can you say about her ? (Light, joyful, happy, dancing, majestic, sounds at the ball.)
-Did we go to a concert of modern dance music? ( No, this music is ancient, perhaps from the 17th century. It seems like they are dancing at a ball).
-What time of day were the balls held? ? (Evening and night).
-
This music is called: “Little Night Serenade”.
-How did you feel whether this music was Russian or not? ( No, not Russian).
-
Which composer of the past could be the author of this music? (Mozart, Beethoven, Bach).
-You named Bach, probably remembering “The Joke”. ( I play the melodies of “Jokes” and “Little Night Serenade”).
-Very similar. But in order to assert that the author of this music is Bach, one must hear a different composition in it, as a rule, polyphony. (I play the melody and accompaniment of “A Little Night Serenade”. Students are convinced that the music is homophonic – voice and accompaniment.)
-What do you think about Beethoven’s authorship? (Beethoven's music is strong, powerful).
The teacher confirms the children’s words by sounding the main intonation of the 5th symphony.
-Have you encountered Mozart’s music before?
-Can you name works you know? ( Symphony No. 40, “Spring Song”, “Little Night Serenade”).
The teacher plays themes...
-Compare! ( Light, joy, openness, airiness).
-
This is truly Mozart's music. (On the board to the word “ Sounds"I add: " Mozart!")
–
Now, remembering Mozart’s music, find the most accurate definition of the composer’s style and the features of his work . (-His music is tender, fragile, transparent, light, cheerful...- I don’t agree that it is cheerful, it is joyful, this is a completely different feeling, deeper. You cannot live your whole life cheerful, but a feeling of joy can always live in a person... -Joyful, bright, sunny, happy.)
-And the Russian composer A. Rubinstein said: “Eternal sunshine in music. Your name is Mozart!
-Try to sing the melody of “Little Night Serenade” in character, in the style of Mozart.(…)
-Now sing “Spring”, but also in Mozart’s style. After all, how the listeners will understand the musical work, and through it the composer, will depend on how the performers in whose role you will now perform feel and convey the composer’s style and the content of the music. ( Mozart's "Spring" is performed.
-How do you evaluate your performance? ( We tried very hard).
-Mozart’s music is very dear to many people. The first Soviet People's Commissar for Foreign Affairs, Chicherin, said: “In my life there was a revolution and Mozart! The revolution is the present, and Mozart is the future!” 20th century revolutionary names 18th century composer future. Why? And do you agree with this? ( Mozart's music is joyful, happy, and a person always dreams of joy and happiness.)
-(Addressing the board) Our imaginary poster is missing one word. It characterizes Mozart through his music. Find this word. ( Eternal, today).
-Why ? (Mozart’s music is needed by people today and will always be needed. By coming into contact with such beautiful music, a person himself will be more beautiful, and his life will be more beautiful).
-Will you mind if I write this word like this – “ ageless"? (We agree).
On the board it is written: " Sounds like ageless Mozart!
The teacher plays the initial intonations of “Lacrimosa”.
-
Can we say about this music that it is sunshine? ( No, this is darkness, sorrow, as if a flower has withered.)
-In what sense? ( It’s as if something beautiful has passed away.)
-Could Mozart be the author of this music? (No!.. But perhaps he could. After all, the music is very gentle and transparent).
-This is Mozart's music. The work is unusual, as is the story of its creation. Mozart was seriously ill. One day a man came to Mozart and, without identifying himself, ordered “Requiem” - a work that was performed in church in memory of a deceased person. Mozart set to work with great inspiration, not even trying to find out the name of his strange guest, in the absolute confidence that this was none other than the harbinger of his death and that he was writing the Requiem for himself. Mozart conceived 12 movements in the Requiem, but without finishing the seventh movement, Lacrimosa (Tearful), he died. Mozart was only 35 years old. His early death still remains a mystery. There are several versions about the cause of Mozart's death. According to the most common version, Mozart was poisoned by the court composer Salieri, who was allegedly very jealous of him. Many people believed this version. A. Pushkin dedicated one of his small tragedies to this story, which is called “Mozart and Salieri”. Listen to one of the scenes from this tragedy. ( I read the scene with the words “Listen, Salieri, my “Requiem!”... “Lacrimosa” sounds).
-
It’s hard to talk after such music, and probably there’s no need to. ( Show the writing on the board).
-
And this, guys, is not just 3 words on the board, this is a line from a poem by the Soviet poet Viktor Nabokov, it begins with the word “Happiness!”
-Happiness!-At the end of our meeting, I want to wish both you and myself that our hearts never tire of giving people goodness and harmony. And may the ageless music of the great Mozart help us in this!
Sounds like ageless Mozart!
I am indescribably kindled by music.
Heart in a fit of high emotions
Everyone wants goodness and harmony.
Lesson in 7th grade, 1st quarter.
The lesson centers on Schubert's ballad "The King of the Forest".
-Hello guys! Today we have new music in our lesson. Is a song. Before it all sounds, listen to the intro theme. ( I'm playing).
-What feeling does this topic evoke? What image does it create? ( Anxiety, fear, expectation of something terrible, unexpected).
The teacher plays again, focusing on 3 sounds: D - B-flat - G, playing these sounds smoothly, coherently.(Everything changed immediately, the wariness and expectation disappeared).
-Okay, now I'll play the entire intro. Will anything new appear in anticipation of the image? ( Anxiety and tension are intensifying, probably something terrible is being told here, and the repeating sounds in the right hand are like an image of a chase.)
The teacher draws the children’s attention to the name of the composer written on the board - F. Schubert. He doesn’t talk about the title of the work, although the song is in German. ( The soundtrack plays.)
-Is the song built on the development of an introduction image that is already familiar to us? ( No, different intonations).
The child’s second appeal to his father sounds (the intonation of a request, a complaint).
Children: - Bright image, calm, soothing.
- What unites these intonations? ( The pulsation that came from the introduction, as if a story about something.)
-
How do you think the story ends? ( Something terrible happened, perhaps even death, when something broke.)
-How many performers were there? ( 2 – singer and pianist).
-Who am I leading? Who's in this duet? (There are no major and minor ones, they are equally important).
-How many singers? ( In music we hear several characters, but there is only one singer).
-
One day, friends found Schubert reading Goethe’s “The Forest King”...( The title is pronounced and the teacher reads the text of the ballad. Then, without explanation, “The Forest King” is played in the class for the second time. While listening, the teacher, with gestures and facial expressions, seems to follow the transformation of the performer, drawing the children’s attention to intonations and their imagery. Then the teacher draws attention to the board, on which there are 3 landscapes: N. Burachik “The wide Dnieper roars and groans”, V. Polenov “It’s getting cold. Autumn on the Oka River, near Tarusa”, F. Vasiliev “Wet Meadow”).
-What do you think, against which of the landscapes offered to you could the action of the ballad take place? ( Against the background of the 1st picture).
-Now find a landscape that depicts a calm night, white fog over the water and a quiet, awakened breeze. ( They choose Polenov and Vasiliev, but no one chooses Burachik’s painting. The teacher reads a description of the landscape from Goethe’s ballad: “Everything is calm in the silence of the night, then the gray willows stand to the side”).
The work captivated us completely. After all, in life we perceive everything through our sensations: it’s good for us and everything around us is good, and vice versa. And we chose the picture that is closest in its image to music. Although this tragedy could have happened on a clear day. And listen to how the poet Osip Mandelstam felt this music:
-Old song world, brown, green,-The poet chooses the same landscape that you and I chose.
But only forever young,
Where the nightingale linden trees roar
The king of the forest shakes with mad fury.
A holistic analysis of works in music lessons is needed; This work is important in the accumulation of knowledge about music, in the formation of aesthetic musical taste. It is necessary to pay more attention to systematicity and continuity in the analysis of a musical work from 1st to 8th grades.
Excerpts from student essays:
“...It’s very interesting to listen to music without seeing the orchestra. I like, while listening, to guess which orchestra and which instruments are playing. And the most interesting thing is to get used to the work... It often happens like this: a person seems to not like music, does not listen to it, and then suddenly hears and loves it; and maybe for life."
“...The fairy tale “Peter and the Wolf.” In this fairy tale, Petya is a cheerful, cheerful boy. He does not listen to his grandfather, chatting cheerfully with a familiar bird. Grandfather is gloomy and grumbles at Petya all the time, but he loves him. The duck is cheerful and loves to chat. She is very fat and walks, swaying from one foot to the other. The bird can be compared to a girl of 7-9 years old.
She loves to jump and laughs all the time. The wolf is a terrible villain. To save his own skin, he can eat a person. These comparisons can be clearly heard in S. Prokofiev's music. I don’t know how others listen, but that’s how I listen.”
“...Recently I came home, a concert was broadcast on TV, and I turned on the radio and heard the “Moonlight” Sonata. I just couldn’t talk, I sat down and listened... But before I couldn’t listen to serious music and talked; -Oh, God, who just invented it! Now I’m kind of bored without her!”
“...When I listen to music, I always think about what this music is talking about. Whether it is difficult or easy, whether it is easy to play or difficult. I have one favorite music - waltz music.It is very melodic, soft...”
“...I want to write that music has its own beauty, and art has its own. The artist will paint the picture, it will dry. And the music will never dry out!”
Literature:
- Music for children. Issue 4. Leningrad, “Music”, 1981, 135 p.
- A.P. Maslova, Pedagogy of art. Novosibirsk, 1997, 135 p.
- Musical education at school. Kemerovo, 1996, 76 p.
- Journal "Music at school" No. 4, 1990, 80 p.
Send your good work in the knowledge base is simple. Use the form below
Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.
Posted on http://www.allbest.ru/
The musical work “...” was written by Georgy Vasilyevich Sviridov to the verses of S. Yesenin and is included in the opus “Two Choirs to the Poems of S. Yesenin” (1967).
Sviridov Georgy Vasilievich (December 3, 1915 - January 6, 1998) - Soviet and Russian composer, pianist. People's Artist of the USSR (1970), Hero of Socialist Labor (1975), laureate of the Lenin (1960) and State Prizes of the USSR (1946, 1968, 1980). Student of Dmitry Shostakovich.
Sviridov was born in 1915 in the city of Fatezh, now the Kursk region of Russia. His father was a postal worker, and his mother was a teacher. Father, Vasily Sviridov, a supporter of the Bolsheviks in the civil war, died when Georgy was 4 years old.
In 1924, when Georgy was 9 years old, the family moved to Kursk. In Kursk, Sviridov continued to study at primary school, where his passion for literature began. Gradually, music began to take first place in his circle of interests. In elementary school, Sviridov learned to play his first musical instrument - the balalaika. Learning to play by ear, he demonstrated such talent that he was accepted into the local folk instrument ensemble. From 1929 to 1932 he studied at the Kursk Music School with Vera Ufimtseva and Miron Krutyansky. On the advice of the latter, in 1932 Sviridov moved to Leningrad, where he studied piano with Isaiah Braudo and composition with Mikhail Yudin in the Central music college, from which he graduated in 1936.
From 1936 to 1941, Sviridov studied at the Leningrad Conservatory with Pyotr Ryazanov and Dmitry Shostakovich (since 1937). In 1937 he was admitted to the Union of Composers of the USSR.
Mobilized in 1941, a few days after graduating from the conservatory, Sviridov was sent to the military academy in Ufa, but was discharged at the end of the year for health reasons.
Until 1944 he lived in Novosibirsk, where the Leningrad Philharmonic was evacuated. Like other composers, he wrote war songs. In addition, he wrote music for performances of theaters evacuated to Siberia.
In 1944, Sviridov returned to Leningrad, and in 1956 he settled in Moscow. He wrote symphonies, concerts, oratorios, cantatas, songs and romances.
In June 1974, at a festival of Russian and Soviet songs held in France, the local press introduced Sviridov to its sophisticated public as “the most poetic of modern Soviet composers.”
Sviridov wrote his first works back in 1935 - a cycle of lyrical romances based on the words of Pushkin, which became famous.
While he studied at the Leningrad Conservatory, from 1936 to 1941, Sviridov experimented with different genres and different types of composition.
Sviridov's style changed significantly in the early stages of his work. His first works were written in the style of classical, romantic music and were similar to the works of the German romantics. Later, many of Sviridov’s works were written under the influence of his teacher Dmitry Shostakovich.
Beginning in the mid-1950s, Sviridov acquired his own bright, original style, and tried to write works that were exclusively Russian in nature.
Sviridov's music remained little known in the West for a long time, but in Russia his works enjoyed tremendous success among critics and listeners for their simple but subtle lyrical melodies, scale, masterful instrumentation and the clearly expressed national character of the statement, equipped with world experience.
Sviridov continued and developed the experience of Russian classics, primarily Modest Mussorgsky, enriching it with the achievements of the 20th century. He uses the traditions of ancient cant, ritual chants, znamenny singing, and at the same time, modern urban mass song. Sviridov's creativity combines novelty, originality of musical language, precision, exquisite simplicity, deep spirituality and expressiveness. The apparent simplicity combined with new intonations and transparency of sound seems especially valuable.
musical comedies --
“The Sea Stretches Widely” (1943, Moscow Chamber Theater, Barnaul), “Sparks” (1951, Kiev Musical Comedy Theater);
“Liberty” (words of the Decembrist poets, 1955, unfinished), “Brothers!” (words by Yesenin, 1955), “Poem in memory of Sergei Yesenin” (1956), “Pathetic Oratorio” (words by Mayakovsky, 1959; Lenin Prize, 1960), “We do not believe” (Song about Lenin, words by Mayakovsky, 1960), “Kursk Songs” (folk words, 1964; USSR State Prize, 1968), “Sad Songs” (words by Blok, 1965), 4 folk songs (1971), “Bright Guest” (words by Yesenin, 1965-75);
cantatas --
“Wooden Rus'” (small cantata, words by Yesenin, 1964), “Snow is falling” (small cantata, words by Pasternak, 1965), “Spring cantata” (words by Nekrasov, 1972), Ode to Lenin (words by R. I. Rozhdestvensky, for reader, choir and orchestra, 1976);
for orchestra --
“Three Dances” (1951), suite “Time, forward!” (1965), Little triptych (1966), Music for the monument to the fallen on the Kursk Bulge (1973), “Blizzard” (musical illustrations for Pushkin’s story, 1974), symphony for string orchestra(1940), Music for chamber orchestra (1964); concerto for piano and orchestra (1936);
chamber instrumental ensembles --
piano trio (1945; USSR State Prize, 1946), string quartet (1947);
for piano --
sonata (1944), sonatina (1934), Little Suite (1935), 6 pieces (1936), 2 partitas (1947), Album of pieces for children (1948), polka (4 hands, 1935);
for choir (a cappella) --
5 choirs to the words of Russian poets (1958), “You sing me that song” and “The soul is sad about heaven” (to the words of Yesenin, 1967), 3 choirs from the music to A. K. Tolstoy’s drama “Tsar Fyodor Ioannovich” (1973 ), Concert in memory of A. A. Yurlov (1973), 3 miniatures (round dance, spring song, carol, 1972-75), 3 plays from the Album for Children (1975), “Blizzard” (words by Yesenin, 1976); “Songs of the Wanderer” (to the words of ancient Chinese poets, for voice and orchestra, 1943); “Petersburg Songs” (for soprano, mezzo-soprano, baritone, bass with piano, violin, cello, lyrics by Blok, 1963);
poems: “Country of Fathers” (words by Isaakyan, 1950), “Rus' Set Away” (words by Yesenin, 1977); vocal cycles: 6 romances to words by Pushkin (1935), 8 romances to words by M. Yu. Lermontov (1937), “Slobodskaya Lyrics” (words by A. A. Prokofiev and M. V. Isakovsky, 1938-58), “Smolensky horn" (words by various Soviet poets, different years), 3 songs to the words of Isahakyan (1949), 3 Bulgarian songs (1950), From Shakespeare (1944-60), Songs to the words of R. Burns (1955), "I have a father -peasant" (words by Yesenin, 1957), 3 songs to words by Blok (1972), 20 songs for bass (different years), 6 songs to words by Blok (1977), etc.;
romances and songs, arrangements of folk songs, music for dramatic performances and films.
Works by G.V. Sviridov for choir, and cappella, along with works of the oratorio-cantata genre, belong to the most valuable section of his work. The range of topics that are raised in them reflects his characteristic desire for eternal philosophical problems. Basically, these are thoughts about life and man, about nature, about the role and purpose of the poet, about the Motherland. These themes also determine Sviridov’s selection of poets, mainly domestic ones: A. Pushkin, S. Yesenin, A. Nekrasov, A. Blok, V. Mayakovsky, A. Prokofiev, S. Orlov, B. Pasternak... Carefully recreating the individual features of the poetry of each them, the composer at the same time brings their themes closer together during the selection process, combining them into a certain circle of images, themes, and plots. But the final transformation of each of the poets into a “like-minded person” occurs under the influence of music, powerfully invading the poetic material and transforming it into a new work of art.
Based on a deep penetration into the world of poetry and his reading of the text, the composer, as a rule, creates his own musical and figurative concept. In this case, the determining factor is the identification in the content of the poetic primary source of that main, humanly universally significant thing, which makes it possible to achieve a high degree of artistic generalization in music.
The focus of Sviridov’s attention is always the person. The composer loves to show people who are strong, courageous, and restrained. Images of nature, as a rule, “perform” the role of a background to human experiences, although they also match people - calm pictures of the vast expanse of the steppe...
The composer emphasizes the commonality of images of the earth and the people who inhabit it, endowing them with similar features. Two general ideological and figurative types predominate. Heroic images are recreated in sound male choir, dominated by wide melodic leaps, unisons, sharp dotted rhythm, chord structure or movement in parallel thirds, forte and fortissimo nuances. On the contrary, the lyrical beginning is characterized mainly by the sound of a female choir, a soft melodic line, subvocality, movement of even durations, and quiet sonority. This differentiation of means is not accidental: each of them carries a certain expressive and semantic load in Sviridov, and the complex of these means constitutes a typical Sviridov “image-symbol”.
The specificity of any composer's choral writing is revealed through his characteristic types of melody, vocal techniques, methods of using various types of texture, choral timbres, registers, and dynamics. Sviridov also has his favorite techniques. But the common quality that connects them and defines the national-Russian beginning of his music is songfulness in the broad sense of the word, as a principle that colors both the modal basis of his thematics (diatonic), and texture (unison, subvocality, choral pedal), and form ( verse, variation, strophicity), and intonation-figurative structure. Another characteristic property of Sviridov’s music is inextricably linked with this quality. Namely: vocality, understood not only as the ability to write for the voice: as vocal convenience and melodiousness of melodies, as an ideal synthesis of musical and speech intonations, which helps the performer achieve speech naturalness in the pronunciation of a musical text.
If we talk about the technique of choral writing, then, first of all, we should note the subtle expressiveness of the timbre palette and textural techniques. Equally mastering the techniques of subvocal and homophonic development, Sviridov, as a rule, is not limited to just one thing. In his choral works one can observe an organic connection between homophony and polyphony. The composer often uses a combination of a subvoice with a theme presented homophonically - a kind of two-dimensional texture (the subvoice is the background, the theme is the foreground). The supporting voice usually gives a general mood or paints a landscape, while the other voices convey the specific content of the text. Often Sviridov's harmony consists of a combination of horizontals (a principle coming from Russian folk polyphony). These horizontal lines sometimes form entire textured layers, and then their movement and connection give rise to complex harmonic consonances. A special case of textural multi-layering in Sviridov is the technique of duplicated voice leading, leading to parallelism of fourths, fifths and whole chords. Sometimes such duplication of texture simultaneously in two “floors” (in male and female choirs or in high and low voices) is caused by the requirements of a certain timbre colorfulness or register brightness. In other cases, it is associated with “poster” images, with the style of Cossack and soldier songs (“A son met his father”). But most often parallelism is used as a means of sound volume. This desire for maximum saturation of the “musical space” finds vivid expression in the choirs “The Soul is Sad about Heaven” (to the words of S. Yesenin), “Prayer”, in which the performing ensemble is divided into two choirs, one of which duplicates the other.
In Sviridov's scores we will not find traditional choral textural techniques (fugato, canon, imitation) or standard compositional schemes; there are no general, neutral sounds. Each technique is predetermined by a figurative purpose, any stylistic turn is expressively specific. In each play, the composition is completely individual, free, and this freedom is determined and internally regulated by the subordination of musical development with the construction and meaningful dynamics of the poetic fundamental principle.
The dramatic peculiarity of some choirs is noteworthy. Two contrasting images, presented at first in the form of independent, complete constructions, in the final section seem to be brought to a single denominator, merging into one figurative plane (“In the blue evening”, “The son met his father”, “How the song was born”, “Herd” ) - the principle of dramaturgy, coming from instrumental forms (symphony, sonata, concert). In general, the implementation in the choir of techniques borrowed from instrumental, in particular orchestral, genres is typical for the composer. Their use in choral works significantly expands the range of expressive and formative possibilities of the choral genre.
The noted features of Sviridov’s choral music, which determine its artistic originality, led to the widespread recognition of the composer’s choirs and the rapid growth of their popularity. Most of them are heard in the concert programs of leading domestic professional and amateur choirs, recorded on records released not only in our country, but also abroad.
Yesenin Sergei Aleksandrovich (September 21, 1895 - December 28, 1925) - Russian poet, representative of new peasant poetry and lyrics.
Yesenin’s father went to Moscow, got a job there as a clerk, and therefore Yesenin was sent to be raised in the family of his maternal grandfather. My grandfather had three adult unmarried sons. Sergei Yesenin later wrote: “My uncles (three unmarried sons of my grandfather) were mischievous brothers. When I was three and a half years old they put me on a horse without a saddle and let me gallop. They also taught me how to swim: they put me in a boat, sailed to the middle of the lake and threw me into the water. When I was eight years old, I replaced one of my uncle’s hunting dogs and swam through the water after shot ducks.”
In 1904, Sergei Yesenin was taken to the Konstantinovsky Zemstvo School, where he studied for five years, although according to the plan, Sergei was supposed to receive education for four years, but due to bad behavior, Sergei Yesenin was left for the second year. In 1909, Sergei Aleksandrovich Yesenin graduated from the Konstantinovsky Zemstvo School, and Sergei’s parents sent him to a parochial school in the village of Spas-Klepiki, 30 km from Konstantinov. His parents wanted their son to become a rural teacher, although Sergei himself dreamed of something else. At the Spas-Klepikovskaya teacher's school, Sergei Yesenin met Grisha Panfilov, with whom he later (after graduating from the teacher's school) corresponded for a long time. In 1912, Sergei Aleksandrovich Yesenin, having graduated from the Spas-Klepikovskaya teacher's school, moved to Moscow and settled with his father in a dormitory for clerks. His father got Sergei to work in the office, but soon Yesenin left there and got a job in the printing house of I. Sytin as a subreader (assistant proofreader). There he met Anna Romanovna Izryadnova and entered into a civil marriage with her. On December 1, 1914, Anna Izryadnova and Sergei Yesenin had a son, Yuri.
In Moscow, Yesenin published his first poem “Birch”, which was published in the Moscow children's magazine “Mirok”. He joined the literary and musical circle named after the peasant poet I. Surikov. This circle included aspiring writers and poets from the worker-peasant environment.
In 1915, Sergei Aleksandrovich Yesenin went to St. Petersburg and met there with the great poets of Russia of the 20th century: Blok, Gorodetsky, Klyuev. In 1916, Yesenin published his first collection of poems, “Radunitsa,” which included poems such as “Do not wander, do not crush in the crimson bushes,” “The hewn roads began to sing,” and others.
In the spring of 1917, Sergei Alexandrovich Yesenin married Zinaida Nikolaevna Reich, they had 2 children: daughter Tanya and son Kostya. But in 1918 Yesenin separated from his wife.
In 1919, Yesenin met Anatoly Maristoff and wrote his first poems - “Inonia” and “Mare Ships”. In the fall of 1921, Sergei Yesenin met the famous American dancer Isadora Duncan and already in May 1922 officially registered his marriage with her. Together they went abroad. We visited Germany, Belgium, and the USA. From New York, Yesenin wrote letters to his friend A. Maristof and asked to help his sister if she suddenly needed help. Arriving in Russia, he began working on the cycles of poems “Hooligan”, “Confession of a Hooligan”, “Love of a Hooligan”.
In 1924, a collection of poems by S.A. Yesenin “Moscow Tavern” was published in St. Petersburg. Then Yesenin began working on the poem “Anna Snegina” and already in January 1925 he finished working on this poem and published it. Having separated from his ex-wife Isadora Duncan, Sergei Yesenin married Sofya Andreevna Tolstoy, who was the granddaughter of the famous Russian writer of the 19th century, Leo Tolstoy. But this marriage lasted only a few months.
From Yesenin's letters of 1911-1913, the complex life of the aspiring poet and his spiritual maturation emerge. All this was reflected in the poetic world of his lyrics of 1910-1913, when he wrote over 60 poems and poems. Here his love for all living things, for life, for the Motherland is expressed. The surrounding nature especially sets the poet in this mood.
From the very first verses, Yesenin’s poetry includes themes of homeland and revolution. The poetic world is becoming more complex, multidimensional, and biblical images and Christian motives.
Sergei Yesenin speaks about the connection of music with poetry, painting, and architecture in his literary essays, comparing patterned folk embroideries and ornaments with its majestic solemnity. Yesenin's poetic work is intertwined with his musical impressions. He had “an extraordinary sense of rhythm, but often, before putting his lyrical poems on paper, he played them... apparently for self-test, on the piano, testing them for sound and hearing, and, ultimately, for simplicity, crystal clarity and intelligibility to the human heart, to the people’s soul.”
Therefore, it is no coincidence that Yesenin’s poems attract the attention of composers. More than 200 works were written based on the poet’s poems. There are operas (“Anna Snegina” by A. Kholminov and A. Agafonov) and vocal cycles (“You, O Motherland” by A. Flyarkovsky, “My Father is a Peasant” by Sviridov). 27 works were written by Georgy Sviridov. Among them, especially noteworthy is the vocal-symphonic poem “In Memory of Sergei Yesenin”.
The work “You Sing Me That Song” is included in the cycle “Two Choirs to the Poems of S. Yesenin,” written for homogeneous compositions: the first for a female choir, the second for a double male choir and a baritone solo.
The choice of performing ensembles in this case was based on the principle of contrasting interaction, and the timbre comparison is deepened by the contrast of moods, in one piece - lyrically fragile, in another - courageously stern. Perhaps the factor of performing practice also played a certain role in this (located in the middle of the concert program, such works provide alternate rest for different groups of the mixed choir). These features, combined with the stylistic unity of the literary basis (the works are based on the words of one poet), allow us to consider “Two Choirs” as a kind of diptych.
Analysis of literary text
The literary source of the work is S. Yesenin’s poem “You sing me that song that before...”, dedicated to the poet’s sister Shura.
You sing me that song from before
The old mother sang to us.
Without regretting the lost hope,
I can sing along with you.
I know, and I am familiar,
That's why you worry and worry...
You sing to me, well, and I’m with this one,
With the same song as you,
I'll just close my eyes a little...
I see dear features again.
That I have never loved alone
And the gate of the autumn garden,
And fallen leaves from rowan trees.
You sing to me, well, I’ll remember
And I won’t frown forgetfully:
So nice and so easy for me
Seeing the mother and the yearning chickens.
I am forever for fog and dew
I fell in love with the birch tree,
And her golden braids,
And her canvas sundress.
I need a song and some wine
You seemed like that birch tree
What is under the birth window.
Sergei Yesenin had a very difficult relationship with his sister Alexandra. This young girl immediately and unconditionally accepted revolutionary innovations and abandoned her previous way of life. When the poet came to his native village of Konstantinovo, Alexandra constantly reproached him for his short-sightedness and lack of a correct worldview. Yesenin chuckled quietly and rarely got involved in socio-political debates, although he internally worried that he was forced to find himself on opposite sides of the barricades with someone close to him.
Nevertheless, it is to his sister that Yesenin addresses himself in one of his last poems, “You sing me that song that before...”, written in September 1925. The poet feels that his life’s journey is coming to an end, so he sincerely wants to preserve in his soul the image of his native land with its traditions and foundations, which are so dear to him. He asks his sister to sing him the song that he heard in his distant childhood, noting: “Without regretting the lost hope, I will be able to sing along with you.” Being hundreds of kilometers from his parents' house, Yesenin mentally returns to the old hut, which once seemed to him like a royal mansion. Years have passed, and now the poet realizes how primitive and wretched the world in which he was born and raised was. But it was here that the author felt that all-consuming happiness, which gave him the strength not only to live, but also to create amazingly imaginative poems. For this he is sincerely grateful to his small homeland, the memory of which still excites the soul. Yesenin admits that he was not the only one who loved “the gate of the autumn garden and the fallen leaves of rowan trees.” The author is convinced that his younger sister also experienced similar feelings, but she very soon stopped noticing what was truly dear to her.
Yesenin does not blame Alexandra for the fact that she has already lost the romanticism inherent in her youth, having fenced herself off from the outside world with communist slogans. The poet understands that everyone has their own path in this life, and they will have to go through it to the end. No matter what. However, he sincerely feels sorry for his sister, who, for the sake of other people’s ideals, rejects what she absorbed with her mother’s milk. The author is convinced that time will pass and her views on life will change again. In the meantime, Alexandra seems to the poet “that birch tree that stands under the birthplace window.” Just as fragile, tender and helpless, capable of bending under the first gust of wind, the direction of which can change at any moment.
The poem consists of 7 stanzas, four stanzas each. The main meter of the poem is a trimeter anapest (), the rhyme is cross. Sometimes a three-beat meter changes to two beats (trochee) within one line (stanza 2 (1 line), stanza 3 (1, 3 lines), stanza 4 (1 line), stanza 5 (1, 3 lines), stanza 6 (2nd line), 7th stanza (3rd line)).
In the chorus, the poem is not used in full, stanzas 2, 3 and 5 are omitted.
You sing me that song from before
The old mother sang to us.
Without regretting the lost hope,
I can sing along with you.
Sing to me. After all, my joy is
That I have never loved alone
And the gate of the autumn garden,
And fallen leaves from rowan trees.
I am forever for fog and dew
I fell in love with the birch tree,
And her golden braids,
And her canvas sundress.
That's why it's not hard on the heart...
I need a song and some wine
You seemed like that birch tree
What is under the birth window.
What stands under the birthmark window. Sviridov made some changes to the text that affected the details. But even these minor discrepancies reflected Sviridov’s creative approach to the borrowed text, the special care of polishing sounding word, vocal phrase. In the first case, the changes are caused by the desire of the author of the music to facilitate the pronunciation of individual words, which is important in singing; in the other, the alignment of the third line (due to its lengthening by one syllable) in relation to the first line facilitates the subtext of the motive and the natural placement of stress.
Sing to me. After all, my joy - You sing to me, dear joy
And fallen leaves from rowan trees. - And fallen rowan leaves.
You seemed like that birch tree - You seemed like a birch tree to me,
The chorus “You sing that song to me” is one of the brightest examples of Sviridov’s song lyrics. The naturally sung, clearly diatonic melody embodies various genre features. It contains both the intonations of a peasant song and (to a greater extent) echoes of an urban romance. This combination embodied different aspects of reality: both the memory of the village life dear to the poet’s heart, and the atmosphere of urban life that really surrounded him. It is not for nothing that in conclusion the poet draws a metaphorical image that appears in his imagination as a clear dream shining through the fog.
That's why it's not hard on the heart...
I need a song and some wine
You seemed like that birch tree
What is under the birth window.
The last line repeated by the composer sounds like a quiet song fading in the distance.
2. Music-theoretical analysis
The form of the chorus can be defined as verse-strophic, where each verse is a period. The form of the choir reflected the specifics of the song genre (squareness, variability of melody). The number of couplets corresponds to the number of stanzas (4). Verse variation is kept to a minimum, with the exception of the third verse, which performs a function close to the developing middle of the three-part form.
The first verse is a two-sentence square period. Each sentence consists of two equal phrases (4 + 4), where the second continues the development of the first. The middle cadence is based on a tonic triad, thanks to which the initial musical image acquires integrity.
The second sentence develops similarly to the first and consists of two phrases (4 + 4).
This structure is maintained throughout the entire work, making it simple and understandable, close to folk songs.
The final construction, built on the repetition of the last line, is a four-bar episode that completely duplicates the final phrase of the fourth verse.
The choir's melody is simple and natural. The initial appeal motive sounds soulful and lyrical. The ascending movement I - V - I and the “filled” diatonic return to the V degree (F#) becomes the basis of the melodic organization.
The second phrase, outlining the same ascending fifth, only from the IV degree, again returns to the V degree in cadence.
At the climax, the melody “takes off” for a short moment into a high register (ascending octave progression), conveying the subtle emotional experiences of the main character, after which it returns to the reference tone (F#).
In this simple and heartfelt line, contradictory feelings are embodied and intertwined: bitterness about “faded hopes” and a fragile dream of returning to the past. In leaps and bounds (^ch5 and ch8), the composer subtly emphasizes the main textual peaks (“without sparing”, “I can do it”).
Verses 2 and 4 develop similarly.
The third verse adds new color. The parallel major hesitantly “sprouts” like a reverent memory of the native land. The soft movement along the sounds of a major triad sounds gentle and touching.
However, the general mood of the melody is preserved in the appearance of the V degree of the main key. At the end it is emphasized by a quart song, sounding dreamy and soulful.
The second sentence begins not with an octave move, but with a softer, melodious one (^m6), returning in the second phrase to the previous melodic organization.
The final episode is built on the final intonation of the first sentence. The fact that the melody does not come to the tonic at the end, but remains on the fifth sound, introduces a special “unfinished” intonation of hope, a bright image of a dream about days gone by.
The texture of the choir is harmonic, with a melody in the upper voice. All voices move in the same rhythmic content, revealing one image. With the introduction of an echo in the last verse (the unison of three sopranos), this image seems to bifurcate, further developing simultaneously in two parallel planes: one corresponds to the ongoing confidential and intimate conversation, the other takes the artist’s imagination to a distant dream, personified in the image of a birch tree. Here we see a technique characteristic of Sviridov, when a bright memory is expressed in a solo timbre, personified.
The main key is natural h-moll. The main feature of the tonal plan of the work is modal variability (H-moll/D-dur), passing from verse to verse, which colors the melody with the colors of opposite modal inclinations (the contrast of juxtaposition of parallel tonalities is especially expressive on the edges of verses) and creates the effect of harmonic chiaroscuro. Periodic minor-major modulations to some extent convey the changing shades of sadness and bright dreams. Of the four verses, only the third begins not in the main key, but in parallel major (D-dur), and is thematically transformed (its second half varies less significantly). The last phrase (a four-bar coda addition) returns the main key of B minor after modulation to parallel major.
Clockwise Harmonic Analysis Circuit
|
VI6 III53 d6(-5) |
||||||
|
III53(-5) t64 II6(#3.5)(DD6) |
s53 III53(-5) d43(-3) |
|||||
|
VI6 III53 III53(-5)= T53(-5) |
||||||
|
T53(-5) = III53(-5) |
||||||
|
III6 II6(#3.5)(DD6) |
s6 III6 II6(#3.5) (DD6) |
|||||
|
VI64 III53= T53 T53(-5) |
||||||
|
VI6 III53 d6(-5) |
||||||
|
VI43 (#1,-5) VI(#1) II6(#3,5) (DD6) |
s53 III53(-5) d43(-3) |
|||||
|
VI6 III53 III53(-5)= T53(-5) |
||||||
|
VI6 III53 d6(-5) |
The harmonic language is simple, which corresponds to folk songs; third movements between voices, simple triads, and sixth chords are used. The use of elevated IV and VI degrees (bars 9, 25, 41, 57) gives the melody vagueness, “blurriness”: it becomes veiled, as if in a haze, which makes it especially poetic. Sometimes, thanks to the melodic movement of voices, which is the main genre beginning in this work, chords appear with missing tones or, on the contrary, doublings. The combination of chords and unisons sounds contrasting at the junctions of parts, where the melody “unfolds” into a harmonic vertical.
Simple chords and patterns present colorful parallelisms. The work is characterized by wide passages of some voices against the background of ostinatos of others. The repetition of consonances serves as a stable background for the free intonational development of the melody.
Triadic chords are a feature of Sviridov’s harmony. At climactic places and at the boundaries of phrases, Sviridov's sixth chord sometimes appears - a sixth chord with a double third.
The tempo of the work is moderate (not in a hurry). The movement indicated by the composer indicates a calm, unhurried development, in which it will be possible to convincingly convey to the listeners the main idea of the poem - appeal and reflection. The tempo in the coda of the work gradually slows down (poco a poco ritenuto), the music gradually fades away, personifying a fading dream.
The meter - 3/4 - does not change throughout the entire composition. It was chosen by the composer in accordance with the three-syllable size of S. Yesenin’s poem.
Speaking about the rhythmic side of the work, it is appropriate to note that, with a few exceptions, the rhythm choral parts based on one rhythmic formula.
The off-beat movement is born from the poetic meter and carries within it a striving forward. With the help of a dotted rhythm (a quarter with a dot - an eighth), the composer “sings” the second beat, and he emphasizes each first with a tenuto (consistent) stroke. All phrase endings are organized using a sustained chord. This gives the impression of a measured swaying. The lulling repetition of the ostinato rhythm, moving from phrase to phrase, in combination with the same type of square constructions with an almost universal quiet sound, creates distinct associations with a lullaby.
The dynamics of the work and its character are closely related. Sviridov gives instructions close to the tempo - quietly, soulfully. Starting in the PP nuance, the dynamics very subtly follow the development of the phrases. There is a lot of dynamic author direction in the choir. At the climax, the sound increases to the mf nuance (the culmination of the first and second verses), after which the dynamic plan becomes quieter, reducing to the rrrrr nuance.
In the fourth verse, the composer, with the help of dynamics, clearly emphasizes the main choral line and the supporting voice of the three sopranos and the difference in their figurative plans by the ratio of performing nuances: chorus - mp, solo - pp.
Dynamic plan of the choir.
You sing me that song from before
The old mother sang to us,
Without regretting the lost hope,
I can sing along with you.
Sing to me, dear joy -
That I have never loved alone
And the gate of the autumn garden,
And fallen rowan leaves.
I am forever for fog and dew
I fell in love with the birch tree,
And her golden braids,
And her canvas sundress.
That’s why the heart isn’t hard,
what's behind the song and the wine?
You seemed like a birch tree to me,
What is under the birth window.
What is under the birth window.
3. Vocal and choral analysis
The work “You Sing Me That Song” was written for a female four-voice choir.
Batch ranges:
Soprano I:
Soprano II:
Overall range of the choir:
Analyzing the ranges, one can notice that in general the work has convenient tessitura conditions. All parts are quite developed, the lower sounds of the range are used sporadically, in unison moments, and the most high notes appear at climax points. The largest range - 1.5 octaves - is in the part of the first sopranos, since the upper voice performs the main melodic line. The total range of the choir is almost 2 octaves. Basically, throughout the entire sound, the parts are in the working range. If we talk about the degree of vocal load of the parts, then they are all relatively equal. The choir is written without musical accompaniment, so the singing load is quite large.
In this work, the main type of breathing is in phrases. Within phrases, you should use chain breathing, which is obtained by quickly, imperceptibly changing the breath of the singers within the choral part. When working on chain breathing, it is necessary to strive to ensure that the alternate entry of singers does not destroy the single line of development of the theme.
Let's look at the complexities of choral structure. One of the main conditions for a good horizontal structure is unison within the party, in work on which the main attention should be directed to developing in singers the ability to listen to their choral part, adapt to other voices and strive for fusion in the overall sound. When working on the melodic structure, the choirmaster must follow certain rules for intonation of the degrees of the major and minor modes, developed by practice. These rules were first systematized by P. G. Chesnokov in the book “The Choir and Its Management.” Intonation should be built on a modal basis, on awareness of the modal role of sounds. The initial stage of working on tuning is to build the unison and melodic line of each part.
The top voice is always of no small importance in any score. The first soprano part serves as the leading voice throughout the work. Tessitura conditions are quite comfortable. It is characterized by both simple singing intonations and complex intonation moments of the romance type. The game contains a combination of both spasmodic and progressive movements. Difficult moments (execution of jumps ch5^ (bars 1, 4-5, 12-13, 16-17, 20-21, 28-29, 44, 48-49, 52-53, 60-61, 64-65), ch4^ (bars 1-2, 13-14, 17-18, 29-30, 33-34, 38, 45-46, 49-50, 61-62), ch8 ^ (bars 8-9, 24-25 , 56-57), h4v (bars 11-12, 27-28, 38-39, 60), h5v (bars 15-16, 47-48), m6^ (bars 40-41)) you need to isolate and sing them like exercise. Choristers must be clearly aware of the relationship between sounds. The main melodic line should sound prominent, with full breath, in the right character.
It is also necessary to draw the attention of singers to the fact that small intervals require one-sided narrowing, and pure intervals require pure and stable intonation of sounds. All ascending ch4 and ch5 must be performed accurately, but at the same time softly.
When working on the tuning in the second soprano part, you need to pay attention to moments when the melody is at the same pitch (bars 33-34, 37-38) - a decrease in intonation may occur. Execution of such moments with an upward tendency will allow you to avoid this. Performers' attention should be paid to maintaining a high singing position.
This part has a smoother melodic line than the upper voice, but it also contains leaps that require precision in execution. They appear both in unison with the first soprano part, and independently, often in tertian correlation with the upper voice (m6^ (bars 8-9, 24-25, 56-57), h4v (bars 10, 26, 58)).
The second soprano part also contains alterations - bars 38, 41-42. The sound G# should be intoned with a tendency to increase.
The parts of the first and second violas have a rather soft melodic line, built mainly on stepwise and third movements. The choirmaster's attention will require the precise execution of leaps that occasionally occur in the lower voices (first altos - ch4^ (bars 9, 25), second altos - ch5^ (bars 8, 24, 56), ch4v (bars 14-15, 29-30, 45-46, 61-62, 63-64), ch4^ (bars 30-31, 38, 46-47, 62-63)). Jumps should be performed carefully, using good breathing and a soft attack. This also applies to movement along the sounds of a major triad in the second viola part (VI step) (bars 4-5, 12-13,20-21,28-29, 52-53, 60-61)
Alterations appear quite often in the melodic lines of these parts: passing (bars 9-10, 25-26, 57-58) and auxiliary (bars 41-42), where the basis of intonation will be modal inclinations.
Proper staging of vocal work in a choir is the key to a clean and stable structure. The quality of intonation of a melody is interconnected with the nature of sound production and the high singing position.
The quality of the horizontal structure is influenced by such factors as a single (covered) manner of formation of vowels and vibrato. Choristers must find a unified manner of sound formation in which the degree of rounding of vowels should be maximum.
The purity of intonation also depends on the direction of the melody. Staying at the same height for a long time can cause a decrease in intonation; it is in this direction that the initial part of the melodic line in the viola part is set out. To eliminate the difficulty, you can ask singers to mentally imagine the opposite movement when singing. This advice can also be used when working with horse racing.
In this work, work on the melodic structure should be carried out in close connection with the harmonic structure. Intonation should be built on a modal basis, on awareness of the modal role of sounds. The tertian mode sound often appears in the soprano part, and here the following performance rule must be followed: a major tertian sound must be sung with a tendency to rise. In order to verify chord sequences, the choirmaster is recommended to sing them not only in the original performance, but also to use them as chanting turns.
When working on the harmonic structure in this work It is useful to use the technique of performing with a closed mouth, which allows you to activate the singers’ musical ear and direct it to the quality of performance.
Particular attention should be paid to working on the general choral unison, which occurs occasionally between parts (bars 8, 16, 24, 32, 39, 40, 44, 48, 56). Often the unison appears at the beginning of formations after pauses, and the choir needs to develop the skill of “pre-hearing” the unison.
Sustained clear intonation and a dense, free sound are facilitated by the diaphragmatic type of breathing and a soft attack of sound. To overcome inaccuracies, it is advisable to sing difficult passages in parts. Singing with your mouth closed or on a neutral syllable is also useful.
An ensemble in any form of art means a harmonious unity and consistency of details that form a single compositional integrity. The concept of “choral ensemble” is based on the coordinated, balanced and simultaneous performance of a choral work by singers. In contrast to the purity of intonation, which can be cultivated individually for each singer, ensemble singing skills can only be developed in a group, in the process of joint performance.
An important aspect of vocal-choral analysis is addressing issues of private and general ensemble. When working on a private ensemble, a unified manner of vocal and choral performance technique, unity of nuance, subordination of the particular and general climaxes of the work, and the overall emotional tonality of the performance are developed. Each choir member needs to learn to listen to the sound of his part, determining its place in the sound of the entire group as a whole, and the ability to adjust his voice to the general choral sound.
As already written, in a private ensemble a single emotional tone of performance is outlined; it involves working on unison within the party. In a general ensemble, when combining unison groups, various options for the ratio of sound strength are possible (in the subvocal texture it is necessary to maintain the balance of all parts, timbre colors, and the nature of the pronunciation of the text). Thus, at the beginning of the work, the main melodic line is in the first soprano part, and the other parts are performed by the supporting line, but the composer indicates a single dynamic relationship between the parts.
Let's turn to other types of ensemble.
The dynamic ensemble is important in this work. In this work we can talk about a natural ensemble, since the voices are in equal tessitura conditions, and the soprano part is slightly higher tessitura. From the point of view of a dynamic ensemble, unison moments are also interesting, where a balanced and uniform choral sound is required. This will require the ability to regulate the dynamics of sound through the active work of singing breathing. In the final part, the echo of three sopranos appears, which should sound quieter, although they are tessitura above the main theme.
A rhythmic ensemble will require performers to have precise and precise intra-lobe pulsation, which will allow them not to shorten the duration, and not to speed up or load the initial tempo. This is due to a single rhythmic organization, where all parts must move from chord to chord as accurately as possible. A moderate pace, without relying on the internal pulse, can lose momentum and slow down. The difficulty in these episodes is the introduction of voices after pauses, on which all the junctions of the episodes are built.
Working on a rhythmic ensemble is closely related to developing the skills of choir members to simultaneously take breath, attack and release sound. A serious drawback for choral singers is the inertia of tempo-rhythmic movement. There is only one way to combat this: to accustom singers to the possibility of every second change in tempo, which automatically entails stretching or shortening of rhythmic units, and to cultivate their performing flexibility.
The following techniques can be used when working on a choir’s metro-rhythmic ensemble:
Clapping a rhythmic pattern;
Pronouncing musical text using rhythmic syllables;
Singing with tapping intralobar pulsation;
Solfaging with division of the main metric beat into smaller durations;
Singing at a slow tempo with crushing the main metric beat, or at a fast tempo with enlargement of the metric beat, etc.
The most common tempo violations in the choir are associated with acceleration when singing at a crescendo and slowing down when singing at a diminuendo.
This also applies to the diction ensemble: in moments of a single textual material, the singers will have to pronounce words together, taking into account the nature of the text, relying on intralobar pulsation. The following points pose difficulties:
pronouncing consonants at the junction of words that must be sung together with the next word, as well as consonants in the middle of words at the junction of syllables (for example: you sing me that song from before, etc.);
pronouncing the text in dynamics p while maintaining diction activity;
clear pronunciation of consonants at the end of a word (for example: mother, sing along, one, rowan, birch, etc.);
performance of words including the letter “r”, where its somewhat exaggerated pronunciation is used (for example: before, dear joy, under the birthmark, birch tree)
Turning to issues of choral diction, it is important to note the need for all choir singers to use common rules and articulation techniques. Let's name some of them.
The beautiful, expressive sound of vowels ensures the beauty of the vocal sound, and conversely, the flat sound of vowels leads to a flat, ugly, non-vocal sound.
Consonants in singing are pronounced at the height of vowels, to
which they are adjacent to. Failure to comply with this rule
leads in choral practice to the so-called “entrances”, and sometimes to impure intonation.
In order to achieve dictionary clarity, in the choir it is necessary to expressively read the text of the choral work in the rhythm of the music, highlighting and practicing difficult to pronounce words and combinations.
The timbre ensemble, like the nature of the text’s pronunciation, is closely interconnected with the nature of the music: a light, warm timbre must be maintained throughout the entire work. The nature of the sound is calm and peaceful.
The work “You Sing Me That Song” is a choral song that combines folk traditions and classical embodiment, and requires greater cover, roundness of sound, performers need to develop a unified manner of forming sound and timbre. To perform it, a small or medium-sized cast of performers is required. It can be performed by an educational or amateur choral group that has a developed range and masters the skills of ensemble singing.
Based on musical-theoretical and vocal-choral analysis, a performance analysis of the work can be made.
The author created an amazingly beautiful choral miniature. Following exactly poetic word and with the help of various means of musical expressiveness: moderate tempo, textural features, expressive moments emphasizing the text, subtle dynamics, the composer paints a picture of his native land, conveys longing and dreams of bygone days. As already written above, “You Sing Me That Song” is a choral miniature. This genre poses certain tasks for performers, the main one of which is to reveal a poetic image in a relatively small work, develop it, and at the same time maintain an even sound and smoothness. The main performing principle is the continuous development and unity of the image.
Agogy in this chorus is closely related to phrasing and climaxes.
Each motive contains its own small peak, from which private culminations are gradually formed.
G. Sviridov very accurately indicated the climactic moments with the help of dynamics and line instructions.
The first climax appears in bar 2 on the word “song”, and the next in bar 6 (“old”), the author indicates them with a tenuto stroke, diminuendo and movements of the melodic line. These small peaks prepare the partial climax of the first verse, which sounds on the words “not regretting the lost hope.” The climax appears suddenly, without long preparation. After this peak, a number of supporting sounds appear.
A long movement from the top can cause some difficulty; you need to calculate the dynamic scale so that the decay is uniform.
The second verse develops similarly, but with bolder dynamics and very expressive (espressivo). Its peak is also at the beginning of the second sentence. Here the composer warns that this moment should be performed tenderly and softly.
The third verse sounds in the dynamics of ppp, which comes suddenly (subito ppp) and the climactic episode, despite the rise in intonation, should sound in the same dynamics (sempre ppp).
The fourth verse contains the main peak. The composer uses tenuto to highlight the words “that is why the heart is not hard”; they sound in the dynamics of mp (espressivo).
Afterwards again a quiet climax in the nuance pp.
Particular attention should be paid to the execution of strokes. The main type of sound control in this choir is light legato (connected). There are many notes in the score under the tenuto (holding) stroke, which indicates the extreme coherence of the notes being played.
In a choral work without instrumental accompaniment, the play of register and timbre colors of singing voices is most clearly manifested, the extraordinary emotional impact of music and words, and the beauty of the human voice are fully revealed.
For performing analysis, it is also important to consider the tasks facing the conductor and determining the stages of work on the work with the performing group.
When working with this choir, the conductor must master the following techniques. Accurate display of the prepared aftertaste to organize the choir’s entry at the beginning of the work and in the future.
The next necessary aftertact is a combined one. With its help, joints between parts will be organized. In a combined aftertact, it is important to accurately show the removal and move on to the entry.
The separation of hand functions is of great importance, since the conductor needs to simultaneously solve several performing tasks, for example, showing a long note (left hand) and maintaining the pulse (right hand). The left hand will also solve dynamic and intonation problems during the execution process. For example, showing a small crescendo, in addition to the gradually extending left hand, the conductor will need to gradually increase the amplitude of the gesture, bringing the choral sonority to a louder nuance. The main type of sound engineering will require the conductor to have a collected brush and an accurate display of the conductor's point and a smooth interlobal aftertaste in a legato stroke.
The conductor must lead the choir, clearly showing the development in phrases and climaxes. More careful attention will be required at the end of the work, where the conductor must correctly and evenly distribute the dynamic “ascent” while maintaining the tempo. Intralobar pulsation will be the support for solving this problem. Performing a long ppp in the third verse will also require the conductor's attention.
Similar documents
Historical and stylistic analysis of the works of choral conductor P. Chesnokov. Analysis of the poetic text “Beyond the River, Beyond the Fast” by A. Ostrovsky. Musical and expressive means of a choral work, ranges of parts. Analysis of conducting tools and techniques.
test, added 01/18/2011
Creative biography of composer R.K. Shchedrin. Main features of the music writing style. Musical theoretical analysis of the work “I was killed near Rzhev”. Vocal and choral analysis and characteristics of the composition from the point of view of artistic embodiment.
test, added 03/01/2016
General information about the work, its composition and main elements. Genre and form of choral work. Characteristics of texture, dynamics and phrasing. Harmonic analysis and modal tonal features, vocal-choral analysis, main ranges of parts.
test, added 06/21/2015
Musical-theoretical, vocal-choral, performance analysis of the work for choral performance "Legend". Familiarization with the history of the life and work of the author of Tchaikovsky's music, Pyotr Ilyich, and the author of the text, Alexey Nikolaevich Pleshcheev.
summary, added 01/13/2015
General information about G. Svetlov’s choral miniature “The Blizzard Sweeps the White Path.” Musical-theoretical and vocal-choral analysis of the work - characteristics of the melody, tempo, tonal plan. The degree of vocal workload of the choir, techniques of choral presentation.
abstract, added 12/09/2014
General information about Lithuanian folk song and its authors. Types of processing of single-voice musical samples. Analysis of literary text and melody. Means of musical expression. Techniques of vocal-choral presentation. Stages of the conductor’s work with the choir.
abstract, added 01/14/2016
General information about the work “We Sing to You” by P.I. Tchaikovsky, part of the composition “Liturgy of St. John Chrysostom”. Analysis of the poetic text of the "Liturgy". Musical and expressive means of the work “We Sing to You.” His vocal and choral analysis.
abstract, added 05/22/2010
Biography of composer, conductor and musical and public figure P.I. Tchaikovsky. Musical theoretical analysis of the choir "Nightingale". Lyrical character, mode-harmonic and metro-rhythmic features of the chorus. Vocal, choral and conducting difficulties.
course work, added 03/20/2014
Studying the features of S. Arensky's choral work on the poems of A. Pushkin "Anchar". Analysis of literary text and musical language. Analysis of conducting performance means and techniques. Ranges of choral parts. Development of a rehearsal work plan.
course work, added 04/14/2015
Theoretical analysis of the peculiarities of the formation of the choral concert genre in Russian sacred music. Analysis of the work - choral concert by A.I. Krasnostovsky's "Lord, Our Lord", which contains typical genre features of a partes concert.
(Toolkit)
Nizhny Novgorod - 2012
Introduction…………………………………………………………………………………3
Metrorhythm……………………………………………………………...5
Melodics………………………………………………………..11
Harmony……………………………………………………………...15
Warehouse and invoice………………………………………………………...17
Tempo, timbre, dynamics……………………………………………...20
Period…………………………………………………………………………………..24
Simple forms………………………………………………………...28
Complex forms………………………………………………………..33
Variations………………………………………………………..37
Rondo and rondo-shaped forms…………………………………….....43
Sonata form………………………………………………………...49
Varieties of sonata form……………………………………54
Rondo Sonata………………………………………………………...…..57
Cyclic forms…………………………………………………….59
References……………………………………………………..68
Test tasks………………………………………………………..70
Questions for tests and exams…………………………………………..73
Introduction
Perhaps only art distinguishes man from the world of living nature. Human (verbal) language differs only in its verbal form, but not in its function (means of communication, communication). In most mammals, like in humans, “language” has a sound and intonation basis.
Different senses convey different amounts of information about the world around us. There is much more visible, but the audible influence is much more active.
In physical reality, TIME and SPACE are inseparable coordinates; in art, one of these sides can often be artistically accentuated: SPATIAL in the fine arts and architecture, or TEMPORARY in verbal art and music.
TIME has opposite qualities - unity (continuity, continuity) is combined with dismemberment (discreteness). All time processes, whether in life or in art, unfold in stages, phases that have different stages of development BEGINNING. CONTINUATION. COMPLETION, as a rule, repeated several times, increasing in duration.
Music has a processual development and its stages (BEGINNING, CONTINUATION, COMPLETION) are usually denoted by the initial letters of Latin words (initio, movere, temporum) - I M T.
In all processes, their deployment is controlled by opposing forces, the ratio of which can have THREE options: EQUILIBRIUM (stable or mobile, dynamic), and two options of PREMIUMORITY of one of the forces.
The names of forces and their manifestations in various processes are not the same.
The unfolding of music is controlled by two formative forces CENTRIFUGAL (CB) and CENTRIPETAL (CS), which are in stage I in dynamic equilibrium (mobile, unstable, changeable) in stage M - activation of the CENTRIFUGAL force (CB) pushes aside the action of the CENTRIPETAL (CS), in stage T The CENTRIPUTAL force (CF) is activated, pushing aside the CENTRIFUGAL force.
CENTRIFUGAL force manifests itself in music as CHANGE, RENEWAL, continuation of movement and evokes associations with INSTABILITY in the broad sense of the word. CENTRIPETAL force CONSERVES, REPEATS what is said, stops movement and is associated with STABILITY in the broad sense of the word. These forces act, as a rule, in multi-layered and multi-temporal ways in all means of musical expression. The action of formative forces is especially noticeable in HARMONY, since stability and instability are manifested in it in a concentrated and varied manner.
All types of DEVELOPMENT (movement in time) are also associated with the action of formative forces. Thanks to the properties of time (unity and dismemberment), there is always a comparison of the NEXT with the PREVIOUS.
The types of development form a SPECTRAL series (without hard boundaries between different types), the extreme points of which reveal the predominance of one of the formative forces, EXACT REPEATMENT - the action of the CENTRIPETAL force, CONTINUED DEVELOPMENT (maximum renewal, presentation of a NEW THEME) of the CENTRIFUGAL force. Between them are types of development that rely on the flexible interaction of BOTH FORCES. This development is VARIANT and VARIANT-CONTINUING.
REPEATMENT (exact) VARIANT VARIANT-CONTINUOUS.
The range of changes in variant development is very wide. Therefore, within the variant development, private varieties are formed. more specific in terms of change parameters. IN VARIATIONAL DEVELOPMENT, changes DO NOT AFFECT THE HARMONIC BASIS and EXTENSION of the altered repeat. IN DEVELOPMENT DEVELOPMENT VARIANTS sound in conditions of harmonic or tonal-harmonic INSTABILITY and, often, structural fragmentation. Only developmental development has semantic certainty, creating a feeling of growing tension and excitement.
As a rule, two LEVELS of development are distinguished: INTRA-THEMATIC - within the presentation of a polyphonic or homophonic theme (within the homophonic period), and THEMATIC (outside the presentation of the topic).
Intra-thematic development can be anything (not regulated). Few musical forms have a strong connection with one type of thematic development or another. Only the verse song relies primarily on the EXACT REPEATMENT of the verse music, and all types of variations fit within the framework of VARIANT development. The forms mentioned above are among the most ancient in origin. The remaining musical forms are varied in thematic development. One can only note a fairly stable TREND towards CONTINUING DEVELOPMENT in CYCLIC and COMPLEX FORMS - in the ratio of parts of cycles and large sections of complex forms.
METRORITHM
RHYTHM is associated with all time relationships in music: from adjacent durations to the relationship between parts of cyclic works and acts of musical and theatrical works.
METER - THE BASIS OF RHYTHM - has two sides: time-measuring (creating a feeling of pulsation, beats, uniform counting of time) and accent, uniting these beats around supporting moments, enlarging the units of the flow of musical time.
Music means expressiveness have a variety of possibilities for creating emphasis: in RHYTHM, a larger DURATION is accentuated; in MELODY, emphasis is created with the help of jumps or with any change in pitch after it remains unchanged; in HARMONY, emphasis is achieved by changing harmony, resolving dissonance and, especially, the presence of DELAY; accent properties are very diverse SPEAKERS (letter and graphic). Both TEXTURE and TIMBRE have various accentual properties, and in music with text, grammatical and semantic accents of the text are added. Thus, through the accentuated side, the metrhythm unites and permeates all means of music. Expressiveness is similar to the circulatory and nervous system of the human body.
The type of relationship between the time-measuring and accent sides gives rise to two types of metro-rhythmic organization: STRICT and FREE, which have different expressive capabilities.
The criterion for their difference is the DEGREE OF REGULARITY of time measurement and accent.
STRICT METER has multi-layered regular timing and fairly regular accents. Music in strict meter evokes associations with organized differentiated action, movement, process, dance, rhymed verse and has a positive psychophysiological effect on living organisms.
In FREE METER, time measurement is few-layered and, often, inconsistent and the emphasis is irregular, as a result of which such a meter-rhythmic organization of music evokes associations with a monologue, improvisation, free verse (unrhymed verse) or prose statement.
Despite all the differences, both metrorhythmic types are like... As a rule, they interact with each other, which gives the flow of music a living, non-mechanistic character.
Numerical relationships in meter also have different expressive preconditions: BINARY (division by 2) is characterized by clarity, simplicity and regularity. TERNARY (division by 3) – greater smoothness, wave-likeness, freedom.
In the tactometric system of music notation, SIZE is a NUMERICAL EXPRESSION OF A METER, where the lower digit indicates the PRINCIPAL TIME UNIT, and the upper digit indicates the ACCENT SIDE.
The influence of the meter extends “DEPTH” (with pulsations of durations shorter than those indicated in the size, an INTRALOBAL METER is formed, even or odd) and “WIDE”, FORMED FROM SEVERAL WHOLE BEATS UNITED BY A POWERFUL, COMPLEX ACCENT. This is possible thanks to the accentual capabilities of expressive means. The more expressive means involved in creating an accent, the “broader” its formative action is, the longer the musical construction it unites around itself. METER OF THE HIGHER ORDER (combining several whole bars) enlarges the flow of music and has great formative significance. Typically, higher order meter can appear and disappear quite freely, and is more typical of music associated with movement or measured lyrical music. Combining an even number of bars (2-4) occurs noticeably more often than an odd number, which occurs less frequently and more sporadically.
The location of accented and unaccented moments coincides with the three main TYPES OF FOOT: CHOREIC FEET have an ACCENTENT BEGINNING, IAMBIC FEET have an ACCENTENT ENDING, and in AMPHIBRACHIC FEET there is an ACCENT IN THE MIDDLE. The expressive premises of the two types of feet are quite definite: IAMBIC feet are distinguished by measured aspiration and completeness; AMPHIBRACHIC – smooth undulation, lyricism in the broad sense of the word. HOREIC FEET are found in music of a very different nature: in energetic, imperative themes: and. In lyrical music, associated with the intonation of a sigh, drooping, weak-willed intonations.
Due to the various accentual capabilities of expressive means, in music, as a rule, a multi-layered, complexly woven network of accents of varying intensity and weight develops. The tactometric system is just a convenient system for recording music, and the bar line in it designates the first, initial beat of the bar, the “strong” “Only specific, accentuated musical content can make it meaningful. Therefore, in music, in addition to the above-mentioned metric levels: INTRA-BEAT, BEAT and METER OF THE HIGHER ORDER, CROSS METER often appears, which does not coincide with either the BEAT or METER OF THE HIGHER ORDER. It can capture the entire musical fabric, or part of it (line, layer), giving the movement of music greater freedom and flexibility.
In music of a homophonic-harmonic nature, the tendency of the background layers of texture to regular metric timing, often multi-layered, and trochaic is often clearly manifested, while MELODY, as a rule, is distinguished by greater rhythmic variability and freedom. This is undoubtedly a manifestation of the interaction between STRICT and FREE METER.
The perception of a specific metric level, or a combination of several levels, depends on the rhythm in the strict sense of the word (certain DURATIONS) in relation to the bar line. The ratio of rhythm and meter develops into THREE OPTIONS.
NEUTRAL meter and rhythm means rhythmic uniformity (all durations are the same, there are no rhythmic accents). Accents are created by OTHER EXPRESSIVE MEANS. In this regard, manifestations of the TACT METER, METER OF THE HIGHER ORDER or CROSS are possible (examples: Bach's small prelude in D minor, Chopin's 1st etude).
SUPPORT OF METER AND RHYTHM (a) – the first beat INCREASES, b) subsequent beats ARE DIVIDED, c) both TOGETHER) most clearly reveals the BEAT METER, and sometimes the METER OF A HIGHER ORDER, ALONG WITH THE BEAT.
THE OPPOSION OF METER AND RHYTHM (the first beat is Fragmented; subsequent beats are ENGINEERED; BOTH TOGETHER) reveals a CROSS METER, and also, often, a METER OF A HIGHER ORDER.
Of the phenomena that complicate the temporal organization of music, the most common is POLYRHYTHM - a combination of DIFFERENT INTRALOBAL METERS
(two or more). Giving the movement of rhythmic lines detail and differentiation. Widespread in classical music, POLYRHYTHM reaches significant complexity and sophistication in the music of CHOPIN and SCRIABIN.
A more complex phenomenon is POLYMETRY - a combination of DIFFERENT METERS (sizes) in different layers of musical fabric. POLYMETRY can be DECLARED
Thus, the announced polymetry first appears in Mozart’s opera “Don Giovanni”, where in the ball scene in the score the opera orchestra and the orchestra on stage have DIFFERENT SIZES. The declared polymetry is often found in the music of twentieth-century composers, Stravinsky, Bartok, Tishchenko, for example. However, much more often, polymetry is unannounced and short-lived (the beginning of the second part of Beethoven’s 2nd sonata, the second section of “The Harvest,” fragments of “Christmas time” from Tchaikovsky’s “The Seasons,” for example).
POLYMETRY creates a feeling of significant diversity, complexity, and often tension.
The formative role of meter rhythm is not limited to meter of the highest order. Interacting with thematics, it continues in SYNTACTIC STRUCTURES (similar to poetic ones), covering SIGNIFICANT MUSICAL CONSTRUCTIONS WITH SIMPLE AND CLEAR RHYTHMIC RELATIONSHIPS.
The simplest structure is PERIODICITY, similar to rhythmic UNIFORM. The frequency can be one-time or long-term. Always creates a feeling of regularity. orderliness. consistency. Some “monotony” of long periodicity, in folk and professional music, is diversified by inventive melodic structures (periodicity with a change in one or another structure, a pair of periodicities, alternation periodicity) and variant changes that do not affect the length of the structures. Based on periodicity, other structures arise. SUMMATION (two-beat, two-beat, four-beat) creates a feeling of growth, ascent of the output. CRUSHING (two-stroke, single-stroke, single-stroke) - clarification, detailing, development. The structure of CRUSHING WITH CLOSURE (two-stroke, two-stroke, single-stroke, single-stroke, two-stroke) is distinguished by the greatest variety and completeness.
SUMMATION, FRUGGING, and CRUSHING WITH CLOSURE can be repeated (a PERIODICITY OF CRUSHING WITH CLOSURE is formed, for example), and the alternation of two structures can also be repeated (the entire first section of Tchaikovsky’s Barcarolle is united by the periodicity of alternating crushing and crushing with closure).
REPEATMENT (SIGN OF REPRISE) - a widespread phenomenon in instrumental music, starting from the Baroque era, forms the largest periodicities that organize the flow of musical form by simple rhythmic relationships and organize perception.
MELODICS
MELODY is the most complex, complex, free means of musical expression, often identified with music itself. Indeed, the melody contains the essential properties of music - intonational concentration and the temporal nature of the unfolding.
Conditionally abstracting from the timbre-dynamic side and RHYTHM, which has a huge and expressive and formative meaning in the melody, there are two more in it own side who have independent expressive capabilities, HAVING THEIR OWN LEGAL TENDENCIES. The FRAMED side determines its character, and the MELODIC DRAWING (“linear” side) determines the content-plastic appearance.
The formation of the modal side was a historically extended and nationally individualized process. The most widespread in European music are seven-step modes of two moods - major and minor.
The huge variety of options for combining different steps increases many times due to the processes of intratonal alteration and modulation chromatism. The pattern is as follows: THE MORE STABLE STEPS, THE MORE DIRECTLY (that is, immediately) THE UNSTABLE STEPS ARE RESOLVED IN THEM - THE CLEARER AND MORE DEFINITE THE CHARACTER OF THE MELODY, THE FEWER THE STABLE SOUNDS, THE MORE INTERMEDIATELY (not immediately) THE UNSTABLE WALK IN THEM – THE MORE DIFFICULT AND MORE INTENSIVE CHARACTER OF THE MUSIC.
The role of MELODIC DRAWING IS AS DIFFERENT AS IN THE FINE ARTS and is based on the expressive premises of two types of lines: straight and curved. Straight lines have a certainty of spatial direction, and curves have freedom and unpredictability. Of course, this is the most general division into line types.
Behind the melodic pattern there are meaningful intonation-rhythmic prototypes (prototypes): cantilena, declamation and one that can be conditionally called instrumental, which conveys all the limitless variety of movement.
Different types of melodic pattern evoke different parallels with the visual arts and differ from each other most noticeably in rhythmic terms.
Thus, cantilena melody is distinguished not only by the predominance of narrow intervals over wide ones, but also by the smoothness of rhythmic relationships, fairly long durations, and a combination of diversity and repetition of rhythmic patterns. Associations with fine art - a portrait, an image of an object or phenomenon, combining individual uniqueness with generality.
Declamatory melody, on the contrary, is distinguished by sharpness of pitch and rhythmic relationships, non-periodicity of melodic structures and rhythmic patterns, and “discontinuity” with pauses. Graphic associations – graphics, with their sharpness and sharpness of lines. Both cantilena and declamatory melody, as a rule, unfold in the natural ranges of human voices.
The instrumental melody evokes ornamental arabesque associations. It is characterized by motority or periodicity of rhythm, as well as exact or variant periodicity of melodic cells, unfolding over a wide range. Often, instrumental melody is based on chord intonations.
For a long time, different types of melody have been actively interacting with each other. Declamatory rhythmic intonations penetrate the cantilena melody. When varying the cantilena melody (in reprises of ancient arias da capo, for example), it acquired a virtuosic instrumental character. At the same time, a melody that sounds outside the actual vocal range, filled with wide intervals, but in a large, weighty rhythm (a side part from the 1st movement of the 5th symphony by Shostakovich) is perceived as a cantilena.
Often, a melody that is purely instrumental in range and rhythm rests entirely on the narrow, smooth intervals characteristic of a cantilena.
The most general property of a melodic pattern is NON-STRAIGHTNESS. “Straight lines” in the melody, as a rule, are fragments of a more complex, individualized pattern (the melody of Chopin’s etude in A flat major, the theme of enmity from Prokofiev’s ballet Romeo and Juliet, for example). Occasionally there are very expressive straightforward themes, themes-scales (a whole-tone scale - the theme of Chernomor in Glinka's "Ruslan and Lyudmila", a tone-semitone scale in the volume of several octaves - the theme of the underwater kingdom in "Sadko") In such themes, expressiveness comes to the fore , first of all, modal features, as well as RHYTHMIC, TIMBRO-REGISTER, DYNAMIC, ARTICULATIVE, etc.
Often, the melodic pattern is WAVE-SHAPED. The profile (outline) of the waves is not the same, and each has its own expressive preconditions (a wave with a longer rise and a short decline is the most stable and complete).
The regularities of the melodic pattern reveal the dependence between the height-spatial profile of the melodic and the time of development of its constructions. The more direct the melodic rises and falls are, the more laconic the phases of melodic development are (for example, in the two initial melodic phrases of Chopin’s Prelude in B Minor), the more flat and sinuous the melodic profile is, the longer the stages of melodic development are (the third phrase of Chopin’s Prelude in B Minor, melody of his own Prelude in E minor).
The climax in the melody has important formative significance. Climax is understood PROCESSALLY, AS THE MOST STRESSED MOMENT REACHED IN THE PROCESS OF DEVELOPMENT. Due to the great diversity of the nature of music, the intensity of expression in culminations varies widely and depends on a number of circumstances. The climax does not always coincide with the concept of melodic peak. The peak (the source peak is one of the oldest types of melodic intonation) can be at the beginning of the melody, but the culmination is a procedural and dramatic concept.
The degree of tension of the climax depends on the MODE VALUE of the sound, or several sounds (there are climaxes of the “point” and climaxes of the “zone”.). Climaxes on unstable sounds are characterized by a greater degree of tension. The LOCATION of the climax is also important. The climaxes on the verge of the third-fourth quarter of the temporal structure (similar to the spatial “golden section point”) have the greatest spatio-temporal balance. Climaxes at the very end have an ecstatic imbalance and are quite rare. The degree of tension also depends on the melodic method of achieving it (progressive or jumping): Climaxes taken by jumping are similar to a “bright, short-term FLASH”, ACHIEVED IN FORWARD MOVEMENT are distinguished by greater “strength” of expression. And finally, the degree of tension depends on the response (resonance) of other expressive means (harmony, texture, rhythm, dynamics). There can be several melodic climaxes, then their own line of relationships develops between them.
The relationship of a melody with other means of musical expressiveness is ambiguous and depends not only on its intonation and rhythmic side, but also on the musical STORAGE (the principle of organizing the musical fabric) and the musical image itself (more specific or multifaceted). MELODY can DOMINATE, MANAGING OTHER EXPRESSIVE MEANS, SUBJECTING THEM TO ITSELF, it can itself grow out of HARMONY - BE ITS “DIAGONAL” PROJECTION, a more independent and “autonomous” development of melody and other expressive means is possible, which, as a rule, is characteristic of complex, multifaceted images , tense (for example, a diatonic melody has a tense-chromatic harmonization, or a modally dynamic melody unfolds for a long time against the background of a harmonic ostinato).
The formative role of melody is difficult to overestimate. Intonationally the most concentrated, the melody has enormous impact. All changes occurring in the melody, or its immutability, make the flow of musical time very convex.
HARMONY
The broad meaning of this word means the deepest internal consistency and proportionality, extending from the cosmic movement of the planets to harmonious coexistence, proportionality of combination, including musical sounds in consonance.
In music, HARMONY is also considered a more specific phenomenon - the science of consonances (chords) and their relationships with each other. The formation of harmony was no less a long historical process than the formation of melodic modes; from the depths of melodic polyphony, harmony is born, which in the relationship of consonances is based on modal gravity.
There are two sides to harmony: PHONIC (STRUCTURE OF CONSONANCE AND ITS CONTEXTUAL IMPLEMENTATION) and FUNCTIONAL (relationships of consonances with each other, unfolded in time).
The PHONIC side depends not only on the STRUCTURE of the consonance, but on its register, timbre, dynamic embodiment, location, melodic position, doublings, as a result of which the expressive role of even the same consonance is infinitely varied. The more complex the consonance in terms of the number of sounds, the structure of the consonance, the MORE SIGNIFICANT IS THE ROLE OF THE FACTORS LISTED ABOVE. It is known that acute dissonance SOFTENS with register distance of dissonant sounds. A twelve-voice CLUSTER within one octave gives the impression of a united sound “SPOT”, and three seventh chords, or four triads, spaced in different registers – a feeling of POLYHARMONY.
The FUNCTIONAL side has an important FORM-GENERATING significance, creating, thanks to the gravity of consonances, a feeling of real continuity of time, and harmonic CADENCES create the deepest CAESURES, marking its dismemberment. The formative role of the functional side of harmony is not limited to harmonic turns (their length can be different), but continues in the tonal plane of the work, where the relationships of tonalities form FUNCTIONS OF A HIGHER ORDER.
The phonic and functional sides have a feedback: the complication of the phonic side weakens the CLARITY of the functional side, which to a certain extent can be compensated by other means of expressiveness (rhythmic, timbre, dynamic, articulatory) that support the SIMILARITY of functional connections or subordinate the consonance to the melodic direction of movement..
WAREHOUSE AND INVOICE
Texture - otherwise, musical fabric, can have both generalized and CONTEXTUAL meaning. Texture is closely related to musical structure and the fundamental coordination of musical means.
The earliest of the main musical structures is MONODY (one-voice), in which intonation, rhythmic, timbre and dynamic characteristics exist as an inseparable whole.
Polyphony has been formed from monody for a long time historically and in it the prerequisites are created for the emergence of different musical styles - both polyphonic and homophonic-harmonic. HETEROPHONY (subvocal warehouse) precedes POLYPHONY, and BOURDON'S TWO- AND THREE-VOICES IS A HOMOPHONIC-HARMONIC WAREHOUSE.
IN HETEROPHONY, heterophony arises EPISODICALY, FROM DIFFERENT VARIANTS OF ONE melodic voice, which is completely natural for the music of the oral tradition. Bourdon polyphony presupposes sharp differences between different layers: long-lasting sound or consonance (instrumental, bagpipe origin), against the background of which a more mobile MELODIC VOICE unfolds.
The very principle of MULTIFUNCTIONALITY is, of course, the forerunner of the homophonic warehouse. Ribbon two-voice also foreshadows polyphony, although both voices have the same melodic meaning (ribbon two-voice is the DOUBLE of the melodic voice initially in the same interval, initially in perfect consonance, later categorically banished by the norms of later polyphony) Later, freer and more varied doublings occur ( dubbing at variable intervals), which gives the voices somewhat greater independence, although it retains their general MELODIC nature. In folk music, much earlier than in professional music, the CANON arises, a two-voice or three-voice performance of the same melody, starting at the same time. Later, the canon (the basis of IMITATION POLYPHONY) becomes one of the important factors of development in professional music.
POLYPHONY – polyphony of melodically equal voices. In polyphony (another name is COUNTERPOINT in the broad sense of the word), the functions of voices at the same time are DIFFERENT. There is a function of a MAIN voice and a COUNTERPOINT, or COUNTERPOINTS (depending on the number of voices). The equality and independence of voices is ensured by the transition of these functions from voice to voice (circulation), as well as by MUTUALLY COMPLEMENTARY RHYTHMICS, INDIVIDUALIZING MOVEMENT (rhythmic inhibition in one of the voices is compensated by the rhythmic activity of the others, which on the one hand enhances the independence of each line, and on the other - enhances time-measuring regularity of the metrhythm). The polyphonic texture is distinguished by intonation unity and a special “democratic” relationship of voices (due to the looseness of functions, their constant movement from voice to voice), evokes associations with conversation, communication, discussion of a topic, free movement-walk.
In mature polyphony, the important dynamic formative role of HARMONY crystallizes, activating the development of INDEPENDENT MELODIC VOICES.
HOMOPHONIC-HARMONIC WAREHOUSE is a polyphony of MULTIFUNCTIONAL (i.e., unequal voices). THE FUNCTION OF THE MAIN VOICE - MELODY - IS CONSTANTLY (or for a long time) ASSIGNED TO ONE OF THE VOICES (most often the upper one, sometimes the lower one, less often the middle one). ACCOMPANYING VOICES ARE FUNCTIONALLY DIFFERENTIATED - this is the function of BASS, harmonic support, “foundation”, like the melody, highlighted in register and rhythm, and the function of HARMONIC FILLING, which, as a rule, has the most diverse rhythmic and register embodiment. The homophonic texture is somewhat similar to the coordination of a ballet stage: in the foreground there is a soloist (melody), deeper - the corps de ballet - where there is a corps de ballet soloist (bass), performing a more complex, significant part, and corps de ballet dancers (harmonic filling) - ( different characters, whose costumes and roles change in different ballet acts). Homophonic texture is strictly coordinated and functionally differentiated, in contrast to polyphonic texture.
Both in polyphonic and homophonic texture DUPLICATIONS are often encountered (most often - doublings at one or another interval, simultaneous or sequential). In polyphonic music, duplications are more typical for organ music (mostly achieved by turning on the appropriate register); in clavier music they are more rare. In homophonic music, duplications are more widespread in relation to individual textural functions or cover all functions. This is especially typical of orchestral music, although it is widespread in piano and ensemble music as well.
The CHORD warehouse is most accurately classified as intermediate. It is similar to polyphony due to the identical nature of the voices (harmonic), and to homophonic - the function of the bass, harmonic support. But in the chord structure, all voices move in the same rhythm (isorhythmic), which, along with the register compactness of the voices, does not allow the UPPER VOICE to BECOME THE MAIN VOICE (melody). The votes are equal, but this is the equality of marching in formation. There are also duplications in the chord structure: most often, the bass, which enhances its function, or duplications of all voices. The expressiveness of such music is distinguished by great restraint, severity, and sometimes asceticism. From the chord structure there is an easy transition to the homophonic-harmonic one - a sufficiently rhythmic individualization of the UPPER VOICE (see, for example, the beginning of the slow movement from Beethoven's 4th sonata).
Musical structures very often interact with each other, both sequentially and SIMULTANEOUSLY. This is how MIXED WAREHOUSES or COMPLEX POLYVOICES are formed. This can be the interaction of homophonic-harmonic and polyphonic warehouses (enrichment of the homophonic warehouse with counterpoint functions of one kind or another, or a polyphonic form unfolding against the background of homophonic accompaniment), but also the combination of several different musical warehouses in a textural context.
The formative role of texture has significant potential for creating both cohesion, unity, and dismemberment of music. In classical and romantic music, the formative role of texture is manifested, as a rule, in close-up, to create unity and contrasts of large sections of form and parts of cycles. . The expressive meaning of changes in short constructions, widespread in classical and romantic music, have an expressive rather than a formative meaning, emphasizing the versatility of the image. Significant changes in the formative role of texture in the process of historical development, perhaps, did not occur.
TEMPO, TIMBRE, DYNAMICS.
TEMP in music has strong psychophysiological life roots, and therefore has a great direct impact. Its formative role, as a rule, is manifested in a close-up, in the relationship of parts of cyclic works, often typified and regularly organized in terms of tempo (for example, in a classical symphonic cycle, a concert for solo instruments with orchestra, a baroque orchestral concert). For the most part, fast tempos are associated with movement, action, and slow tempos are associated with meditation, reflection, and contemplation.
Most cyclic works of baroque and classical music are characterized by tempo stability within each movement. Occurring episodic tempo changes have an expressive meaning, giving lively flexibility to the flow of music.
The expressive and formative role of TIMBRE and DYNAMICS HAS BEEN HISTORICALLY VARIABLE. In these means, which also have a direct and strong impact, the inverse relationship between their expressive and formative roles is clearly manifested. THE MORE DIVERSE THE EXPRESSIVE APPLICATION IS, THE LESS SIGNIFICANT IS THEIR FORM-BUILDING ROLE.
Thus, in Baroque music, orchestral compositions are very diverse and unstable. In the development of the timbre side, essentially ONE PRINCIPLE dominates: THE COMPARISON OF THE SOUNDS OF TUTTI (the sound of the entire orchestra) and SOLO (individual or group), the shifts of which coincided with the large relief of the musical form. These changes are also associated with DYNAMIC comparisons: louder sonority in tutti, and quieter sonority in solo. We can say that all Baroque orchestral music, in terms of dynamics and sonority, repeats the timbral and dynamic capabilities of the CLAVIER, which had the ability to create only TWO TIMBRAL and DYNAMIC GRADES due to the design features of this group of keyboard instruments, although the dynamic capabilities of string and wind instruments are much more diverse. Thus, changes in timbres and dynamics are of significant importance in shaping.
In classical and romantic music, the EXPRESSIVE side of these means, of course, PREMIUMS, characterized by enormous diversity and changeability, while the FORMING side LOSES any noticeable significance. The leading formative role in the music of that time belongs to individualized thematicism and tonal-harmonic plan.
In the process of historical development, a general TENDENCY OF INDIVIDUALIZATION is manifested in almost all means of expression.
In the field of mode-melodic, it begins in the 19th century (whole tone mode, Rimsky-Korsakov mode). In the twentieth century, the trend intensifies. It can rely on various interactions of the traditional mode-tonal system (as, for example, in the music of Hindemith, Prokofiev, Shostakovich and many other composers of the twentieth century, whose music is distinguished by its unique individuality). The tendency to individualization finds its extreme expression in dodecaphonic and serial music, where modal melodic phenomena acquire a CONTEXTUAL CHARACTER, LOSSING THE UNIVERSALITY of possibilities. The metaphorical connection between LANGUAGE and MUSIC (music is a language whose words are formed in context) can be continued (in dodecaphonic and serial music, not words, but LETTERS are formed in context). Similar processes occur in harmony, where both the consonances themselves and their connections with each other have a CONTEXTUAL (single, “disposable”) meaning. The flip side of uniqueness is the loss of universality.
Significant individualization in the music of the twentieth century is also manifested in METRORITHM. The influence of non-European musical cultures and the author's ingenuity are evident here (Messiaen, Xenakis). In many works by various composers, the traditional notation of metrhythm is abandoned, and the HRONOS line is added to the score, measuring time in real physical units: seconds and minutes. The timbre and texture parameters of the music are significantly updated. The patterns and properties of time (its unity and dismemberment) remain the same. The rejection of traditional pitch and meter-rhythmic organization leads to an increase in the formative role of such means as timbre and dynamics. It was in the twentieth century that the formative role of timbre and dynamics became truly independent in some works by Lutosławski, Penderecki, Schnittke, Serocki and others. Although the formative capabilities of these means are less diverse, flexible and universal than traditional ones (in the broad sense of the word), they cope with the task of embodying the essential properties of time - its unity and discreteness.
Means of musical expression always complement each other. However, the structure of this complementarity can be different, depending on the nature of the musical image, more clear, integral, definite, or multifaceted, more complex. Given a certain nature of music, as a rule, the structure of complementarity can be conditionally called MONOLITHIC or RESONATING. When in music there is a kind of “stratification” of expressive means into several layers-plans, the structure of mutual complementarity can be called MULTIPLANE, DETAILING, DIFFERENTIATING. For example. In Chopin's Prelude in E minor, the repeatedly repeated melodic intonation is accompanied by a steadily pulsating, chromatically rich harmony, in which many suspensions pass from voice to voice, creating considerable tension. Often, music contains signs of several genres at the same time. So, for example, in the same Chopin the genre characteristics of the chorale are combined with the characteristics of the march and barcarolle; genre combination of march and lullaby. A chromatically rich melody can sound against the background of a harmonic ostinato, or with an invariably repeated melody, harmonic variation occurs. Detailed complementarity is found both in baroque music (most of all in ostinato variations) and in classical music, increasing quantitatively in romantic and later music. But even in the music of the twentieth century, monolithic complementarity does not disappear. It is worth recalling once again that everything depends on the degree of clarity or complex diversity of the musical image.
PERIOD
Period is one of the most flexible, universal, diverse musical forms. The word period (cycle, circle) suggests some completeness or internal unity.
This word comes to music from literature, where it means a common statement, similar to a paragraph of printed text. Literary paragraphs can be concise or detailed, consisting of one or more sentences, simple or complex, with varying degrees of completeness. We find the same diversity in music.
Due to the significant diversity in the structure of the period, it is difficult to give it anything other than a FUNCTIONAL definition in homophonic music.
THE PERIOD has developed as a TYPICAL FORM OF PRESENTATION OF A HOMOPHONE THEME, OR ITS MAIN INITIAL STAGE.
In the historical development of music, not only the intonation side and the genre origins of the musical theme changed, but, what is much more significant, the material side of the theme (its WAREHOUSE, EXTENT). In polyphonic music, the presentation of the THEME is, as a rule, ONE-VOICE and, often, LACONIC. The PERIOD OF DEVELOPMENT TYPE, widespread in Baroque music, represents a long stage of inventive variant development and varying degrees of completion of the previously outlined BRIEF POLYPHONIC THEME. Such a period often tends towards unity or disproportionate dismemberment, towards tonal-harmonic openness. Of course, in the music of Bach and Handel there are periods of another type: short, of two equal sentences, often starting the same way (in suites and partitas, for example). But there are much fewer such periods. In homophonic music, a period is a presentation of the entire theme or its main first section.
The basis of the period is the HARMONIC SIDE, from which flow the STRUCTURAL and THEMATIC SIDE. The RHYTHMIC SIDE is quite independent from the above.
From the HARMONIC SIDE, what is important is the tonal plan (SINGLE-TONE or MODULATING period) and the degree of completeness (CLOSED - with a stable cadence, and OPEN - with an unstable, or without cadence). Large parts of a period that have a harmonic cadence are called SENTENCES, which determines the next, STRUCTURAL SIDE. If there are several sentences in a period, then the cadences in them are often different. There are many options for their relationships and degrees of difference. The same cadences are less common in musically different sentences (exact repetition of a period DOES NOT FORM). IN CLASSICAL MUSIC, BUILDINGS ARE NOT REPEATED FOR LESS THAN A PERIOD. The period often has a designated or written (usually modified) repetition. Repetition organizes the rhythmic aspect of music (periodicity) and organizes perception.
STRUCTURALLY there are periods. INDIVISIBLE INTO SENTENCES. It is quite appropriate to call them PERIOD-SENTENCE, SINCE THE HARMONIC CADENCE IS AT THE END. The name CONTINUOUS PERIOD is WORSE, since within such a period there may be clear and deep caesuras that are not supported by harmonic cadences (the main part of Haydn's E-flat major sonata, for example). Periods of TWO SENTENCES are common. They can be simple and COMPLEX. In a complex period there are two stable cadences in DIFFERENT KEYS. There are also simple periods of THREE SENTENCES. If there are several sentences, the question arises about their THEMATIC RELATIONSHIP.
IN THE THEMATICAL PLAN, THE PERIODS CAN BE REPEATEDLY RELATED (simple and complex periods of two sentences, periods of three sentences). In them, the sentences begin in the same way, it seems, or CONSEQUENTLY (same beginnings in DIFFERENT KEYS, sequence at a distance). The tonal relationships of two sentences are already very diverse in classical music. In further historical development they become even more diverse and complex. Simple periods of two and three sentences can be of NON-REPEATED THEMATIC RELATIONSHIP (their beginnings do not have obvious similarities, especially melodic ones). PARTIALLY REPEATED RELATIONSHIP can only be periods of THREE SENTENCES (similar beginnings in two sentences out of three - 1-2, 2-3, 1-3).
The RHYTHMIC SIDE of the period is not so directly related to the three sides discussed earlier. SQUARE (degrees of number 2 – 4, 8. 16, 32, 64 bars) creates a feeling of proportionality, balance, strict proportionality. NON-SQUARE (other extensions) – greater freedom, effectiveness. Within a period, the functional triad unfolds repeatedly and unregulatedly. The intensity of manifestation of formative forces depends, first of all, on the nature of the music.
SQUARE and NON-SQUARE are formed depending on TWO REASONS - THE NATURE OF THEMATISM (often ORGANICALLY NON-SQUARE) and THE INTENSITY OF THE DISPLAY OF FORM-BUILDING FORCES. ACTIVATION OF CENTRIFUGAL FORCE causes EXPANSION (development that occurs before a stable cadence), followed by possible activation of CENTRIPETAL FORCE, causing ADDENDUM (affirmation of achieved stability after cadence). These phenomena (addition, expansion), seemingly clearly demarcated, are often closely intertwined with each other. Thus, expansion is not always balanced by addition. Sometimes an extension occurs within an addition that has already begun (see, for example, the main part of the finale of Beethoven's "Pathetique" sonata). The addition may be interrupted before a stable ending (the end of the first section of Chopin's Nocturne in F major). This is typical both for individual means of expression and for music in general. VARIABILITY OF FUNCTIONS.
In classical instrumental music, the period does not occur as an independent form (occasionally you can find the period as the form of a small aria). In romantic and later music, the genre of instrumental and vocal MINIATURE (preludes, album leaves, various dances, etc.) is widespread. In them, the period is often used as an independent form (sometimes it is called a SINGLE-PART form). Preserving all the diversity of structural, thematic and rhythmic aspects, in tonal-harmonic terms the period becomes monotonal and complete, practically without exception (although internal tonal-harmonic development can be intense and complex - in Scriabin and Prokofiev, for example). In a period as an independent form, the length of expansions and additions can increase significantly. In additions, moments of reprisal often arise. In predominantly vocal music, instrumental introductions and postlude codas are possible.
The universal flexibility of the form of the period is confirmed by the frequent presence in it of signs of other, larger musical forms: two-part, three-part, sonata exposition, signs of rondo-likeness, sonata form without development. These signs are already found in classical music and intensify in later music (see, for example, Chopin’s Nocturne in E minor, his Prelude in B minor, Lyadov’s Prelude op. 11, Prokofiev’s Fleetness No. 1)
The diversity in the structure of the period is due to the DIFFERENT SOURCES OF ITS ORIGIN AND THEIR INTERACTION WITH EACH OTHER. It is worth recalling that one of them is the POLYPHONIC PERIOD OF THE DEPLOYMENT TYPE with its tendency toward unity or disproportionate dismemberment, tonal-harmonic openness, and the intensity of variant development. The other is the STRUCTURES OF FOLK MUSIC with their clarity and simplicity of thematic and rhythmic relationships.
SIMPLE FORMS.
This is the name of a large and diverse group of forms consisting of several parts (usually two or three). They are united by a similar function (impulse for the form as a whole) and the form of 1 part (the period of a particular structure). Next comes the stage of THEMATIC DEVELOPMENT and completion, expressed in one way or another.
In simple forms there are ALL TYPES OF DEVELOPMENT (VARIANT, VARIANT-CONTINUING, CONTINUING). Often, sections of simple forms are repeated exactly or varied. Forms with CONTINUING development should be called TWO-THEMIC.
The diversity in the structure of simple forms is due to the same reasons as the diversity of the structure of the period (different sources of origin: forms of baroque polyphony and structures of folk music).
It can be assumed that the varieties of the simple two-part form are somewhat “older” than the three-part form, so we will consider them first.
Of the three varieties of the simple two-piece form, one is closest to the ancient two-piece form. THIS IS A SIMPLE TWO-PART SINGLE TOPIC WITHOUT REPRISE FORM. In it, the first part very often happens to be a MODULATING (usually in the dominant direction) period (in this there is an undoubted similarity with the 1st part of the OLD TWO-PART form, and the 2nd part gives its variant development, ending in the MAIN TONE. As in the ancient two-part form, in the 2nd part, the DEVELOPMENT function is expressed more clearly, and, often, longer than the COMPLETION function, manifested in TONAL CLOSEDNESS. Another proposed model of a SIMPLE TWO-THEMIC NON-REPRISE FORM is a period of two sentences of non-repetitive thematic correlation, where the 2nd sentence also performs the DEVELOPMENT function in relation. to 1 (development is usually VARIANT). The ratio of the length of parts both in the ancient two-part and in the two-part single-theme homophonic two-part form can be different: there are equal proportions, but often the 2nd part is greater than 1, sometimes significantly. The functional ratio of the parts is as follows. : 1 hour –I, 2 –MT.
Two other varieties of the simple two-part form have roots in FOLK MUSIC.
SIMPLE TWO-PART TWO-THEMIC FORM is based on the principle of simple comparison, on the principle of CONTRASTING PAIRING, very typical for folk art (song - dance, solo - choral). A prototype of such a form can also serve as one of the syntactic structures - a pair of periodicities. The semantic relationship of two themes can have three options: DIFFERENT EQUAL (the main part of the 1st part of the 12th piano sonata by Mozart / K-332 /; MAIN – ADDITIONAL (chorus – chorus) – (the theme of the finale of Beethoven’s sonata 25); OPENING – MAIN (MAIN PARTY OF THE FINAL 12 SONATAS by Mozart /K-332/). It is in this type of form that the 2nd movement is often written in the form of a period, since CONTINUING development is the EXECUTION OF A NEW THEME, and the period is the most typical form for this. Thus, the function of development and completion (mt) is veiled by the function of PRESENTING a new topic (I). The length of topics can be the same or different.
A SIMPLE TWO-PART REPRISE form is distinguished by FUNCTIONAL COMPLETENESS and DEGREEMENT, RHYTHMIC PROPORTIONALITY, which is very important in this variety. 1 part in it, as a rule, is a period of 2 sentences (often modulating, repeated or non-repeated ratio of equally extended sentences). Part 2 is divided into two sections: MIDDLE (M), equal in length to one sentence, and REPRISE (t), repeating exactly or with changes one of the sentences of part 1. IN THE MIDDLE, VARIANT or VARIANT-CONTINUING development of 1 part most often occurs, usually without a stable ending. Changes in the REPRISE can be either purely harmonic (an exact repetition is impossible, and 1 sentence is due to an unstable cadence, and 2 - due to modulation), or more significant and varied (in the 1st section of the slow movement of the 1st Beethoven sonata, for example). In REPRISE, extensions and additions are quite rare, since the balance of proportions typical of this variety is disrupted (see, for example, the slow movement of Haydn’s sonata in E flat major, Scriabin’s prelude op. 11 no. 10). Due to the short length of the MIDDLE, continued development and deep contrast in it are very rare (see, for example, 11 Prokofiev’s Fleetness).
It can be assumed that from a SIMPLE TWO-PART REPRISE FORM, A SIMPLE THREE-PART FORM “GROWS”.
IN THE SIMPLE THREE-PART FORM there are also DIFFERENT TYPES OF DEVELOPMENT. It can be SINGLE TOPIC (with variant development in part 2 - THE MIDDLE), TWO TOPIC (with continuing development), and with MIXED development (with variant-continuing, or successive continuing and variant, in one order or another.
A significant difference from the simple two-part reprise form is the LENGTH OF THE MIDDLE. It is not less than 1 movement, and sometimes more than it (see, for example, 1 section of the Scherzo from Beethoven's 2nd sonata). The middle of a simple three-part form is characterized by a significant increase in tonal-harmonic instability and openness. There are often connections that are precursors to a reprise. Even in the two-theme three-part form (with continuing development), a new theme is rarely presented in period form (see, for example, Chopin's A-flat major mazurka op. 24 no. 1). A rare exception is Chopin's Mazurka in G minor op.67 No. 2, where the 2nd movement is a theme in the form of a period. After this repeated theme there is an extended monophonic link to the reprise.
Reprises can be divided into two types: EXACT and CHANGED. The range of changes encountered is very wide. DYNAMIC (or DYNAMIZED) can only be considered those modified reprises in which the tone of expression and tension increases (see, for example, the reprise of the 1st section of the minuet from Beethoven’s 1st sonata). The tension of expression may also decrease (see, for example, the reprise of the 1st section of Allegretto from Beethoven’s 6th sonata). In the changed reprises, it is necessary to talk about the nature of the changes that have occurred, since the semantic meaning of the reprises is broad and ambiguous. In modified reprises, the centrifugal force retains and is active, therefore the completion function (T), associated with the activation of the centripetal force, continues in the SUPPLEMENT or CODE (their meaning is the same, but the code is distinguished by greater semantic significance, independence and extension).
In addition to varieties of simple two-part and three-part forms, there are forms similar to one or the other, but not coinciding with them. For them, it is advisable to use the one proposed by Yu.N. Kholopov's name: SIMPLE REPRISE FORM. In this form, the middle is equal to half of 1 part (as in SIMPLE TWO-PART REPRISE FORM), and the reprise is equal to 1 part or more. This form is often found in the music of classics and romantics (see, for example, the theme of the finale of Haydn’s sonata in D major No. 7, 1 and 2 minuets from Mozart’s sonata No. 4 /K-282/, 1st section of Chopin’s mazurka op. 6 No. 1) . There are also several other options. The middle may be more than half of the 1st movement, but less than the entire 1st movement, while the reprise contains an intense expansion - the 2nd movement of Beethoven's 4th sonata. The middle is as in two-part form, and the reprise is extended almost to the length of the 1st movement - Largo appassionato from Beethoven's 2nd sonata.
In simple forms, repetitions of parts, exact and varied, are widespread (precise are more typical for moving music, and varied for lyrical music). In two-part forms, each part can be repeated, only 1, only 2, both together. Repetitions in the three-part form indirectly confirm its origin from the reprise two-part form. The most common repetitions of parts are repeating 1 and 2-3 together, repeating only 1 part, only 2-3 together. Repeating the entire form. Repeating each part of a three-part form, only 2 parts (Mazurka in G minor by Chopin op. 67 No. 2), or only 3 parts – occurs VERY RARE.
Already in classical music, simple forms are used both as independent forms and as forms of developed presentation of themes and sections in others (in complex forms, variations, rondo, sonata form, rondo-sonata). In the historical development of music, simple forms retain both meanings, although due to the spread of the MINIATURE genre in instrumental and vocal music of the 19th–20th centuries, their independent use increases.
COMPLEX FORMS
This is the name for forms in which 1 section is written in one of the simple forms, followed by another stage of thematic development and completion, expressed in one way or another. The second part in complex forms, as a rule, sharply contrasts 1. and the thematic development in it is usually CONTINUING.
The prevalence of simple forms (two-part, three-part, simple reprise) is approximately the same, which cannot be said about complex forms. Thus, COMPLEX TWO-PART FORM is quite rare, especially in instrumental music. Examples of complex two-part forms in vocal-instrumental music are far from indisputable. In the duet of Zerlina and Don Giovanni, the first section, repeated in verses, is written in a simple reprise form, while the second section is undoubtedly an expanded coda. The function of the coda is also obvious in the second part of Don Basilio’s aria about slander from Rossini’s opera The Barber of Seville. In Ruslan’s aria from Glinka’s opera “Ruslan and Lyudmila” in the 1st part, the function of the introduction is noticeable, since the next section of the aria (Dai, Perun, damask sword) is much more complex and lengthy (a rare sonata form for vocal music without development).
A striking example of a complex two-part form in instrumental music is Chopin's Nocturne in G minor op.15 no.3. The first section is a simple two-part, one-topic, non-reprise form. Its first period is of considerable length. The character is lyrical and melancholic, the signs of the serenade genre are noticeable. In the second part, intensive tonal-harmonic development begins, lyrical excitement increases, and expressive tone increases. A brief attenuation of the dynamics leads to the repetition of one sound in the deep bass register, which serves as a transition to the SECOND PART OF A COMPLEX TWO-PART FORM. Also written in a simple two-part, one-subject, non-reprise form, it contrasts strongly with the first part. The music is closest to a chorale, but not harshly ascetic, but light, softened by a three-part meter. This two-part form is tonally independent (alternating F major - D minor), modulation to G minor occurs in the last bars of the work. The correlation of images turns out to be the same as one of the variants of the correlation of themes in a simple two-part two-theme form - DIFFERENT - EQUAL.
COMPLEX TRIPLE FORM is extremely widespread in music. Its two varieties, differing in the STRUCTURE OF THE SECOND PART, HAVE DIFFERENT GENRE ROOTS IN Baroque MUSIC.
The complex technical part form with TRIO comes from the double insert (mainly gavotte, minuet) dances of the ancient suite, where at the end of the second dance there was an instruction to repeat the first dance. In a complex three-part form, unlike a suite, the trio introduces a modal tonal contrast, often supported by timbre-register and rhythmic contrast. The most typical tonalities of the trio are the SAME AND SUBDOMINATORAL TONALS, so CHANGES OF KEY SIGNS often occur. Verbal designations (TRIO, MAGGORE, MINORE) are also common. TRIO is distinguished not only by its thematic and tonal independence, but also by its CLOSED STRUCTURE (PERIOD, OR, MORE FREQUENTLY, ONE OF THE SIMPLE FORMS, often with repetition of parts). When there is a tonal contrast in the trio, after it there may be a modulating link to the REPRISE, which is introduced more smoothly. The complex three-part form with a trio is more typical for moving music (minuets, scherzos, marches, other dances), less common in lyrical music, slow movement (see, for example, the 2nd movement of Mozart’s piano sonata in C major, K-330). “Remnants” of the Baroque can be found in some works of the classics (two minuets in Mozart’s piano sonata in E-flat major, K-282, Haydn’s sonata for violin and piano in G major No. 5).
THE COMPLEX THREE-PART FORM WITH AN EPISODE comes from the ancient Italian aria da capo, in which the second part, as a rule, was distinguished by much greater instability and changeability of moods. The reprise of such an aria was always filled with variational improvisational changes in the soloist's part.
A complex three-part form with an EPISODE, which at the beginning, as a rule, relies on independent thematic material (continuing development), in the process of its unfolding often involves the development of the thematic material of part 1 (see, for example, part 2 of Beethoven’s Fourth Piano Sonata).
The EPISODE, unlike the TRIO, is OPEN tonally, harmoniously and structurally. The episode is introduced more smoothly, prepared by a link, or beginning in a closely related key (parallel). A complete typical structure is not formed in the episode, but a modulating period may occur at the beginning of the episode). The complex three-part form with an episode is more typical of lyrical music, although in Chopin, for example, it is also found in dance genres.
REPRISES, as in simple forms, are of two types - EXACT and CHANGED. Changes can be very varied. Abbreviated reprises are very common, when one initial period is repeated from part 1, or the developing and reprise sections of a simple form. In a complex three-part form with a trio, both exact reprises and abbreviated ones are often INDICATED. Of course, in the complex three-part form with a trio there are modified reprises (variation is more common than other changes), they, i.e., modified reprises) are more common in the complex three-part form with an EPISODE. In classical music, dynamic reprises are less common in complex tripartite form than in simple tripartite form (see the previous example from Beethoven's Fourth Sonata). Dynamization can extend to the coda (see, for example, Largo from Beethoven's Second Sonata). In a complex three-part form with an episode, the codes, as a rule, are more developed, and in them there is an interaction of contrasting images, when, as in a complex three-part form with a trio, contrasting images are compared, and the codes, usually very laconic, are reminiscent of the music of the trio.
A mixture of the features of a trio and an episode is already found in the Viennese classics. Thus, in the slow movement of Haydn’s large sonata in E-flat major, the second movement contrasts brightly, like a trio (the same tonality, a relief texture-register contrast, a clearly outlined simple two-part reprise form, harmoniously opened at the very end). Intonationally and thematically, the theme of this section is a modal and new in texture version of the theme of the first part. It happens that when repeating parts of a standard trio form, variant changes are introduced that turn the repeated section into a bunch (see, for example, the scherzo from Beethoven’s Third Piano Sonata). In the music of the 19th and 20th centuries one can also find a complex three-part form with a trio, an episode, and a mixture of their structural features.
Strictly speaking, complex forms should be considered only those in which not only 1 part is one of the simple forms, but also 2 the second does not go beyond the scope of simple forms. Where the second section is larger and more complex, it is more appropriate to talk about a LARGE TRIPLE PART, SINCE THE FORM FORMATION IN THEM IS MORE INDIVIDUAL AND FREE (Scherzo from Beethoven's Ninth Symphony, Chopin's Scherzo, Overture to Wagner's Tannhäuser, Taneyev's Minuet).
Repetitions of parts of complex forms, similar to repetitions in simple forms, are not so common, but they can be either exact or modified (usually varied). If changes during repetition go beyond the scope of variation, affecting the tonal plane, and (or) extension, DOUBLE FORMS are formed (examples of double forms can be Chopin's Nocturnes op. 27 No. 2 - a simple double three-part form with a coda, op. 37 No. 2 - complex double three-part form with episode). In double forms there are always signs of other forms.
In addition to simple and complex forms, there are also INTERMEDIATE IN DEGREE OF COMPLEXITY forms. In them, the first part is a period, as in simple forms, and the next section is written in one of the simple forms. It should be noted that the TWO-PART FORM, INTERMEDIATE between COMPLEX AND SIMPLE, is found more often than the complex two-part form (see, for example, Balakirev’s romance “Bring me in, O night, secretly,” Chopin’s Mazurka in B minor No. 19 op. 30 No. 2). The three-part form, intermediate between simple and complex, is also quite common (Musical Moment in F minor by Schubert op.94 no. 3, for example). If the middle section in it is written in a simple three-part or simple reprise form, tangible features of symmetry appear, adding special completeness and beauty (see, for example, Chopin's Mazurka in A minor No. 11 op. 17 No. 2).
VARIATIONS
Variations are one of the most ancient musical forms in origin. Different types of variations developed in the 16th century. However, the further historical development of some types of variations was uneven. Thus, in the late Baroque era there are practically no variations on soprano ostinato, and ornamental variations are quantitatively inferior to variations on basso ostinato. In classical music, ornamental variations quantitatively predominate, almost completely replacing variations on basso ostinato (certain features of variations on basso ostinato are noticeable in Beethoven’s 32 variations and his 15 variations with fugue.). Variations on soprano ostinato occupy a very modest place (the 2nd movement of the “Kaiser” of Haydn’s quartet, single variations within many ornamental cycles, a group of three variations in Beethoven’s 32 variations), or interact with other principles of formation (the 2nd movement of Beethoven’s Seventh Symphony).
In the depths of ornamental variations, the traits of the free ones, widely represented in romantic music, “ripen.” Free variations, however, do not displace other types of variations from artistic practice. In the 19th century, soprano ostinato variations experienced a real flourishing, especially in Russian operatic music. Towards the end of the 19th century, there was a revival of interest in variations on the basso ostinato, which continued into the 20th century. The genres of chaconne and passacaglia acquire an ethically deep meaning of expressing generalized grief.
The themes of the variations, according to their origin, can be divided into two groups: those of the author and those borrowed from folk or popular music (there are also auto-borrowings, as exemplified by the 15 variations with Beethoven’s fugue).
The expressiveness of variation cycles is based on the dynamics of the relationship between the UNCHANGING and the RENEWING, in connection with which the concept of INVARIANT (unchangeable in the process of variation) should be introduced. An invariant, as a rule, includes constant components that are preserved throughout all variations, and variables that are not preserved in some variations.
The “material” side of the musical theme is historically changeable. Therefore, different types of variations differ from each other in THE STRUCTURE OF THE THEME and THE COMPOSITION OF THE INVARIANT.
There is a kind of dialectical tension between the integrity of form and the cyclical features inherent in variations. Already by the 17th century, two different methods for completing variation cycles had developed. One of them is the PRINCIPLE OF CHANGE FOR THE LAST TIME, characteristic of folk art. In this case, in the last variation there is a sharp transformation of the invariant. The second one can be called “REPRISE CLOSURE”. It consists in returning the topic to its original form, or something close to it. In some variation cycles (Mozart's, for example), both methods are used at the end.
Let's start with the cycles of variations on the basso ostinato.
Often this type of variation is associated with the genres of the passacaglia and chaconne - ancient dances of Spanish origin (however, in Couperin and Rameau these dances are not such variations at all, while in Handel the passacaglia from the keyboard suite in G minor is a variation of a mixed type, but it has nothing to do with this dance has due to its BILOBAL size). Variations on basso ostinato are also found in vocal-instrumental and choral music without genre specifications, but in spirit and, most importantly, metrorhythmic to these genres.
The constant components of the invariant are the SOUND PITCH LINE of a short (not longer than a period, sometimes a sentence) monophonic or polyphonic theme, from which a bass line is taken as an ostinato repeat, extremely intonationally generalized, with a descending chromatic direction from degree I to V, the endings are more diverse.
THE FORM OF THE THEME is also a constant component of the invariant (until the last variation, which in organ passacaglia, for example, is often written in the form of a simple or complex fugue).
TON can be a constant component of an invariant (Bach's Chaconne from the partita for solo violin in D minor, Bach's organ passacaglia in C minor, Dido's second aria from Purcell's opera "Dido and Aeneas" and other examples), but it can also be a VARIABLE (Vitali's Chaconne, first aria Didos, organ passacaglia of Buxtehude in D minor, for example). HARMONY is a VARIABLE component, RHYTHM is also, as a rule, a variable component, although it can be constant (Dido’s first aria, for example).
The brevity of the theme and the polyphonic composition of the music contribute to the unification of variations into groups by certain intonation, texture, and rhythmic features. Contrasts form between these groups. The most striking contrast is introduced by the group of other mode variations. However, in a number of works there is no modal contrast even in large cycles (for example, in Bach’s organ passacaglia in C minor, in Dido’s first aria the contrast is tonal, but not modal).
VARIATIONS ON SOPRANO OSTINATO, as well as BASSO OSTINATO, in the CONSTANT COMPONENTS OF THE INVARIANT, have a MELODIC LINE and FORM of the theme, which can be presented either monophonically or polyphonically. This type of variation is very strongly associated with the genre of the song, in connection with which the length and form of the theme can be very different, from very laconic to very detailed.
TONALITY can be a CONSTANT COMPONENT OF INVARIANT, but it can also be VARIABLE. HARMONY is more often a VARIABLE component.
It must be admitted that variations of this type are most common in opera music, where orchestral accompaniment has enormous potential to colorfully comment on the updated textual content of the repeated melody (Varlaam’s song from Mussorgsky’s opera Boris Godunov, Marfa’s aria from Khovanshchina, Lel’s third song from The Snow Maiden Rimsky-Korsakov, Volkhov’s lullaby from “Sadko”). Often, small cycles of such variations approach the verse-variation form (Vanya’s song “How the Mother Was Killed” from Glinka’s “Ivan Susanin”, the chorus of the boyar’s glorification from “Scene under Kromi” from “Boris Godunov”, etc.).
In instrumental music such cycles, as a rule, include not a large number of variations (Introduction to “Boris Godunov”, Intermezzo from “The Tsar’s Bride” by Rimsky Korsakov, for example). A rare exception is Ravel's "Bolero" - variations on a double ostinato: melody and rhythm.
Individual variations on soprano ostinato are often included in ornamental and free variations, as mentioned earlier, or interact with other formative principles (mentioned II movement from Beethoven's Seventh Symphony, II movement of Franck's Symphony in D minor, II movement of Rimsky's Scheherazade). Korsakov).
ORNAMENTAL VARIATIONS are based on a HOMOPHONE THEME, written, as a rule, in one of the simple forms, often with typical designated repetitions of parts. The object of variation can be the entire polyphonic whole, as well as individual aspects of the theme, harmony, for example, or melody. The melody is subject to the most varied methods of variation. We can distinguish 4 main types of melodic variation (ornamentation, chant, re-intonation and reduction), each of which can dominate throughout the whole variation or a significant part of it, and interact with each other sequentially or simultaneously.
ORNAMENTATION introduces a variety of melodic-melismatic changes, with abundant use of chromatics in whimsical rhythmic movement, making its appearance more refined and sophisticated.
CHANT “stretches” the melody into an extended smooth line in a motor or ostinato rhythmic pattern.
REINTONATION makes the most free changes in the intonation-rhythmic appearance of the melody.
REDUCTION “enlarges” and “straightens” the rhythmic intonation of the theme.
The interaction of different types of melodic variation creates endlessly varied possibilities of change.
The significantly greater length of the theme and, consequently, each variation contributes to the independence of each of them. Which does not at all exclude combining them into small (2-3 variations) groups. Noticeable genre contrasts arise in the ornamental variations. Thus, in many of Mozart’s variations there are usually arias of different types, duets, and finales. Beethoven has a more noticeable inclination towards instrumental genres (scherzo, march, minuet). Approximately in the middle of the cycle, the most striking contrast is introduced by the variation in the SAME MODE. In small cycles (4-5 variations) there may not be any modal contrast.
THE CONSTANT COMPONENTS OF INVARIANT are TONE and FORM. HARMONY, METER, TEMPO can only be constant components, but much more often they are VARIABLE components.
In some variation cycles, virtuoso-improvisational moments arise, cadences that change the length of individual variations, some become harmonically open, which, along with relief genre contrasts, comes close to free (characteristic) variations.
FREE VARIATIONS regarding themes are no different from ORNAMENTAL VARIATIONS. These are the same original or borrowed homophonic themes in one of the simpler forms. Free variations integrate the trends of ornamental variations and variations on the basso ostinato. Vivid genre contrasts and frequent names of individual variations (fugato, nocturne, romance, etc.) reinforce the tendency to transform a variation into a separate piece of cyclic form. This results in an expansion of the tonal plane and a change in form. A feature of INVARIANT IN FREE VARIATIONS is the ABSENCE OF CONSTANT COMPONENTS; all of them, including tonality and form, are variable. But there is also an opposite tendency: harmonically open variations occur, the expansion of the tonal plane leads to connections that change shape. Free variations are relatively more often “disguised” under other names: “Symphonic Etudes” by Schumann, “Ballad” by Grieg, “Rhapsody on a Theme of Paganini” by Rachmaninov. The object of variation becomes not the theme as a whole, but its individual fragments and intonations. In free variations, no new methods of melodic variation arise; an arsenal of ornamental ones is used, only in an even more inventive way.
Variations on two themes (double variations) are much less common. They are found both among ornamental and free ones. Their structure may be different. The alternate presentation of two, usually contrasting, themes continues with their alternating variations (II movement of Haydn's symphony with timpani tremolo). However, in the process of variation, the strict alternation of themes can be violated (II movement of Beethoven's Fifth Symphony). Another option is the appearance of the second theme after a number of variations on the first theme (“Kamarinskaya” by Glinka, “Symphonic Variations” by Frank, Finale of the Symphony-Concerto for Cello and Orchestra by Prokofiev, “Islamey” by Balakirev). Further development can also proceed differently. Usually, in double variations the “secondary form” (ronda-shaped, large three-part, sonata) is felt even more clearly.
Variations on three themes are rare and are necessarily combined with other principles of form-building. Balakirev’s “Overture on Three Russian Themes” is based on a sonata form with an introduction.
RONDO AND RONDO-SHAPED FORMS
RONDO (circle) in the most generalized and mediated form is the idea of cosmic rotation, which has received various embodiments in folk and professional art. These include circular dances, found among all peoples of the world, and the structure of the text of a verse song with the same text of the chorus, and the poetic form of the rondel. In music, the manifestations of rondo-formation appear, perhaps, in the most diverse manner and reveal a tendency towards historical variability. This is due to its temporary nature. The “translation” of a spatial “idea” into the temporal plane is quite specific and is most clearly manifested in the repeated return of one theme (unchanged or varied, but without a significant change in character) after music that differs from it in one degree or another of contrast.
Definitions of the RONDO form exist in two versions: generalized and more specific.
The generalized definition is a FORM IN WHICH ONE THEME IS CONDUCTED AT LEAST THREE TIMES, SEPARATED BY MUSIC DIFFERENT FROM THE REPEATED THEME, corresponds to both all historical varieties of rondo and the entire variety of rondo-like forms, including the rondo sonata.
Specific definition: A FORM IN WHICH THE SAME THEME IS CONDUCTED AT LEAST THREE TIMES, SEPARATED BY DIFFERENT MUSIC, corresponds only to a significant part of the verse rondos and classical rondos.
The repeated return of the theme creates a feeling of completeness and roundness. External signs of rondality can occur in any musical form (the sound of the opening theme in the development and coda of a sonata form, for example). However, in many cases such returns occur organically (with the traditional repetition of the middle and reprise for three-part forms, as well as in some others, which will be discussed later). Rondality, like variation, easily penetrates into a variety of principles of shape formation.
The first historical variety, the “VERSE” RONDO, became widespread in the Baroque era, especially in French music. This name appears quite often in music text (verse 1, verse 2, verse 3, etc.). Most rondos begin with a REFRAIN (repeating theme), with EPISODES between its returns. Thus, the number of parts turns out to be odd, even rondos are less common.
The verse rondo is found in music of a very different nature, lyrical, dance, energetic scherzo. This variety, as a rule, does not contain relief contrasts. Episodes are usually built on a variant or variant-continuing development of the theme of the refrain. The refrain, as a rule, is short (no more than a period) and, completing the verse, sounds in the main key. The verse rondo tends to be multi-part (up to 8-9 verses), but is often limited to the 5 necessary parts. Most of all seven-part rondos. In a fairly large number of examples, there is a repetition of verses (episode and refrain) in their entirety, except for the last verse. In many verse rondos, one can note an increase in the length of the episodes (in Rameau, Couperin). The tonal plan of the episodes does not reveal any natural trends; they can begin in the main key and in other keys, be harmoniously closed or open. In dance rondos, the episodes can be melodically more independent.
In German music, the verse rondo is less common. At I.S. Bach there are few such examples. But rondality is noticeable in the old concert form, although it is subject to a different rhythm of development (in the verse rondo the episode gravitates towards the refrain, “falls” into it; in the old concert form the repeated theme has various continuations arising from it), it lacks the regularity of stable cadences and structural the clarity of the verse rondo. In contrast to the strict tonal “behavior” of the refrain in the old concert form, the theme can begin in different keys (in the first movements of Bach’s Brandenburg Concertos, for example).
A special phenomenon are the rather numerous rondos of Philipp Emmanuel Bach. They are distinguished by significant freedom and boldness of tonal plans and, in fact, anticipate some features of the free rondo. Often, the refrain becomes more developed structurally (simple forms), which brings it closer to the classical rondo, but further development moves away from classical structural patterns.
The second historical variety - CLASSICAL RONDO - reveals the influence of other homophonic forms on it (complex three-part, variation, partly sonata), and itself actively interacts with other homophonic forms (it was during this period that the rondo-sonata form took shape and actively spread).
In classical music, the word RONDO has a double meaning. This is both the name of a FORM-STRUCTURE, very clear and definite, and the name of a GENRE of music with song-dance, scherzo origins, where there are signs of ronda-likeness, sometimes only external. Written in sheet music, the word RONDO, as a rule, has a genre meaning. The structure of the classical rondo is often used in a different genre plane, in lyrical music, for example (Mozart’s Rondo in A minor, the second movement from Beethoven’s Pathetique Sonata, etc.).
A classical rondo is limited to a minimum number of parts: three refrains separated by two episodes; in addition, a coda is possible, sometimes quite lengthy (in some rondos by Mozart and Beethoven).
The influence of the complex three-part form is manifested primarily in the bright, relief contrast of the episodes, as well as in the “enlargement” of the parts - both the refrain and the episodes are often written in one of the simple forms. The tonal plan of the episodes is stabilized, introducing mode-tonal contrast. The most typical are the tonality of the same name and tonality of subdominant meaning (of course, there are other tonalities).
The refrain, while maintaining tonal stability as in the verse rondo, varies much more often, sometimes varying sequentially. The length of the refrain may also change, especially in the second conduction (repetitions of parts of a simple form that were in the first conduction may be removed or a reduction to one period may occur).
The influence of the sonata form is manifested in the connections in which, as a rule, development of the theme of the refrain occurs. The technical need for a connection arises after a non-tonal episode. In Haydn, the role of the ligaments is minimal; more developed ligaments are found in Mozart and, especially, in Beethoven. They appear not only after the episodes, but also precede the episodes and coda, often reaching a considerable length.
Haydn's rondos are most similar to a complex three- to five-part form with two different trios. In Mozart and Beethoven, the first episode is usually structurally and harmonically open, and the second is more developed and structurally complete. It is worth noting that the form of the classical rondo is represented quantitatively by the Viennese classics very modestly, and even less often has the name rondo (Mozart's Rondo in A minor, for example). Under the name RONDO, which has a genre meaning, other rondo-shaped forms are often found, most often RONDO-SONATA, which is advisable to consider later.
The next historical variety, FREE RONDO, integrates the properties of verse and classical. From the classical there comes a bright contrast and development of episodes, from the verse there is a tendency towards multi-partness and the frequent brevity of the refrain. Its own features lie in the change in semantic emphasis from the immutability of the return of the refrain to the diversity and diversity of the cycle of existence. In a free rondo, the refrain gains tonal freedom, and the episodes have the opportunity to be heard repeatedly (usually not in a row). In a free rondo, the refrain can not only be carried out in an abbreviated form, but also be skipped, as a result of which two episodes appear in a row (new and “old”). In terms of content, a free rondo is often characterized by images of a procession, a festive carnival, a mass stage, or a ball. The name rondo rarely appears. The classical rondo is more widespread in instrumental music, somewhat less often in vocal music; the free rondo quite often becomes a form of expanded opera scenes, especially in Russian music of the 19th century (in Rimsky-Korsakov, Tchaikovsky). The possibility of repeated sounding of episodes equalizes their “rights” with a refrain. The new meaningful perspective of the free rondo allows the form of the classical rondo to be preserved (the classical rondo has almost completely replaced the couplet rondo) and to exist in artistic practice.
In addition to the considered historical varieties of rondo, the main feature of rondo (at least three times the sound of one theme, shared by music that differs from it) is present in many musical forms, introducing signs of rondo-likeness less or more prominently and specifically.
There are signs of rondo-likeness in three-part forms, where the repetition of 1 part and 2-3, or the repetition of 2-3 parts (three-five-part) is very typical. Such repetitions are very typical of simple forms, but are also found in complex ones (in Haydn, for example). Signs of ronda-like appearance also appear in cycles of double variations with alternate presentation and variation of themes. Such cycles usually end with the first theme or a variation on it. These signs are also present in such a complex three-part form with a reprise reduced to one period, in which the first movement was written in a simple three-part form with typical repetitions of parts (Chopin's Polonaise op. 40 No. 2, for example). The rondo-likeness is more clearly felt in double three-part forms, where the middles and reprises differ in tonal plan and/or/ length. Double tripartite forms can be simple (Chopin's Nocturne op. 27 no. 2) or complex (Nocturne op. 37 no. 2).
The most prominent and specific manifestation of ronda-likeness is in the THREE-PART FORM WITH REFRAIN. The refrain, usually written in the form of a period in the main key or the same name to it, sounds after each part of the three-part form, simple (Chopin's Waltz op. 64 no. 2) or complex (finale of Mozart's sonata in A major).
SONATA FORM
Among homophonic forms, the sonata is distinguished by maximum flexibility, variety and freedom (in terms of the amount of thematic material, its structural design, placement of contrasts), strong logical connection of sections, and aspirational development.
The roots of sonata form within Baroque music. In the ancient two-part form, in the fugue and the ancient sonata, the most important role was played by the activity of tonal relationships, creating the preconditions for the organic and striving development of music.
Inside the sonata exposition there is also a relationship between two tonal centers, which give the names to the thematic sections - the MAIN part and the SIDE part. There are moments in the sonata exposition that are distinguished by significant versatility, flexibility, and “elasticity.” This is, first of all, a BINDING party, and often a SIDE party, the course of which can be complicated by a “fracture zone,” which contributes to even greater diversity of structure.
The MAIN part always has the property of CHARACTERISTIC, which largely determines not only the course of the sonata form, but, often, the entire cycle.
In tonal-harmonic terms, the main parts can be monotonal and modulating, closed and open, which determines the greater aspiration of the development or the greater dimensionality and structural dissection of the flow.
In terms of meaning, the main parties are HOMOGENEOUS and CONTRASTING, predetermining greater impulsiveness of development. The length of the main parts varies quite widely - from one sentence (in Beethoven's First Sonata, for example) to expanded simple forms (Mozart's Twelfth Sonata, Tchaikovsky's symphonies) and thematic complexes (Prokofiev's Eighth Sonata, Shostakovich's symphonies). However, more often than not, the main parties represent the PERIOD of a particular structure.
The main function of the LINKING PARTY - GOING BEYOND THE LIMITS OF TONAL HARMONIC STABILITY - can be carried out even in the absence of this section, shifting to the end of the modulating or open main part. But in addition to the main function, ADDITIONAL ones are also possible. This is - a) DEVELOPMENT OF THE MAIN PARTY, b) COMPLETION OF THE MAIN PARTY, c) - INTRODUCTION OF OVERHAULING CONTRAST, d) INTONATIONAL AND THEMATIC PREPARATION OF THE SIDE PARTY, which can be combined and combined with each other in different ways. The connecting party can be built on elements of the main party or independent material, both relief and background. This section can not only connect the main and secondary parts (serve as an uncut transition between them), but also separate these thematic “territories”, or adjoin one of them. It is not always the case that the connecting part modulates into the secondary key. Usually, in the connecting part, tonal-harmonic instability increases and the presence of some completed structures is considered atypical. However, with a pronounced function of shading contrast, it is not so rare to find a modulating period in the connecting part (in the first and second parts of Beethoven’s Seventh Sonata, for example, in Mozart’s Fourteenth Sonata K-457), and the intonation-melodic relief can be brighter than in the main party. The length of connecting parts varies widely (from complete absence or very brief constructions, in Beethoven’s Fifth Symphony, Schubert’s “Unfinished” Symphony, for example), to constructions significantly exceeding the main part. In this regard, the course of the sonata exposition and its structural division become even more diverse.
The SIDE PARTY, as a rule, unfolds in the keys of the dominant value. It can be represented by a new tonal and textural version of the main part (in a single-theme sonata form) or a new theme or several themes, the relationship of which to each other can be very different. Often the flow of a secondary part is complicated by the intrusion of elements of the main or connecting parts, sharp harmonic shifts, and semantic dramatization. This reduces the stability of the side party, expands it and portends further development. Often, extensive zones of fracture appear in music that is not of a dramatic nature at all, but of a serene and cheerful nature (for example, in Haydn’s piano sonata in D major). Such a phenomenon as a fracture zone is quite common, but not at all necessary. In side parts, typical musical forms are relatively rarely developed, although they are not excluded. Thus, one can find a period form (a repeated period in the side part of the finale of Beethoven’s First Piano Sonata, in the slow movement of his Seventh Sonata), tripartite forms (in Tchaikovsky’s Fifth and Sixth Symphonies).
The FINAL PARTY, which affirms the tonality of the side part, introduces a contradiction between the final nature of the music and the tonal openness of the major section, making the further flow of the musical form logically necessary. In meaning, the final batch can relate directly to a side batch, or to the entire exposition. In classical music, final parts are usually laconic. Repeated cadence is typical for them. Thematic material can be independent (relief or background) or based on elements of already discussed topics. Later, the length of the final parts sometimes increases (in some of Schubert's sonatas, for example) and becomes tonally independent.
A strong tradition in classical and later music was the repetition of sonata exposition. Therefore, in the first volte of the final game there was often a return to the main key. Of course, in classical music, repetition of exposition does not always occur (it is not, for example, in some of Beethoven's late sonatas; exposition, as a rule, is not repeated in sonata forms at a slow tempo).
DEVELOPMENT – a very free section on the use of thematic material, methods of development, tonal plan, structural division and length. The general property of the developments is STRENGTHENING TONAL HARMONIC INSTABILITY. Quite often, developments begin with the development of the “extreme” thematic and tonal points of the exposition - with the development of elements of either the main or final part in the key of the end of the exposition, the same name for it, or the same name for the main key. Along with developmental development, variant and variant-continuing are often used; new themes arise, often presented in the form of a modulating period (see the developments of the first parts of Beethoven’s Fifth and Ninth piano sonatas). The development can develop both the entire thematic material of the exposition, and, predominantly, one theme or thematic element (half of the development of Mozart’s Ninth Piano Sonata K-311 is built on the development of the last motive of the final part). Very typical is the imitative-polyphonic development of thematic elements, as well as the integration of elements of different themes into one. The tonal plans of the developments are very diverse and can be systematically built (according to the tonalities of the tertian ratio, for example) or free. It is very typical to avoid the main tonality and generally neglect the modal coloring. Developments can be merged or divided into several caesurically delimited structures (usually two or three). The length of the developments varies widely, but the minimum is a third of the exposure.
Many developments end with precursors, often quite lengthy ones. Their harmonic structure is not limited to the dominant prefix, but can be much more complex, affecting a number of tonalities. A typical feature of the pre-actual section is the absence of prominent melodic elements, the “exposure” and intensification of harmonic energy, which makes one expect further musical “events”.
Due to the peculiarities of the onset of a reprise, it may be perceived with more or less naturalness or surprise
Unlike other homophonic forms, in the sonata the reprise cannot be exact. At a minimum, it contains changes to the tonal plan of the exposure. The side part, as a rule, is played in the main key, maintaining or changing the expositional mode coloring. Sometimes a side part may sound in a subdominant key. Along with tonal changes in the reprise, variant development may occur, affecting to a greater extent the main and connecting parts. In relation to the length of these sections, both their reduction and expansion can occur. Similar changes are possible in a side batch, but are less common; variant-variational changes are more typical for a side lot.
There are also specific versions of sonata reprises. This is a MIRROR reprise, in which the main and side parts change places; after the side part, which begins the reprise, the main part usually follows, after which comes the final part. The Abridged reprise is limited to the side and final parts. On the one hand, the abbreviated reprise is, as it were, a legacy of the ancient sonata form, where the actual tonal reprise coincided with the sound of the side part in the main key. However, in classical music, an abbreviated reprise is quite rare. This abbreviated reprise can be found in all Chopin's piano and sonatas for cello and piano.
In classical music, repetitions and developments with a reprise together are not uncommon. But this tradition turned out to be less durable than repetition of the exposition. The effectiveness of the sonata reprise, the change in the semantic relationship of thematic sections, and the dramatic interpretation of the sonata form deprive the repetition of development with a reprise of organic naturalness.
CODES in sonata form can be very diverse, both in terms of thematic material and in length (from several bars to detailed constructions comparable to the size of the development).
In the process of historical development of the sonata form, a tendency towards its individualization is revealed, clearly manifested since the era of romanticism (Schumann, Schubert, Chopin). Here, perhaps, two directions are emerging: “dramatic” (Schumann, Chopin, Liszt. Tchaikovsky, Mahler, Shostakovich) and “epic” (Schubert, Borodin, Hindemith, Prokofiev). In the “epic” interpretation of sonatas there is a multiplicity of thematics, leisurely development, variant-variational methods of development
VARIETIES OF SONATA FORM
Of the three varieties (sonata form without development, sonata form with an episode instead of development, and sonata form with double exposure), the latter received historically and genre-limited use, occurring almost exclusively in the first movements of classical concerts for solo instruments and orchestra. Mendelssohn was the first to abandon the double exposure sonata form in his Violin Concerto. Since then, it has ceased to be “obligatory” in the first parts of concerts, although it is found in later music (as, for example, in Dvorak’s Cello Concerto, written in 1900).
The first, orchestral exposition is combined with the function of INTRODUCTION, which often determines the greater brevity, “conciseness” of the thematic material, and the frequent “irregularity” of the tonal plan (a side part can sound in the main key, or at least return to the main key by the time of the final part. The second exposition with the participation of the soloist is, as a rule, supplemented with new thematic material, often in all sections of the exposition, which is especially typical for Mozart’s concerts. In his concerts, the second exposition is often much more developed than in Beethoven’s concerts. The orchestral expositions are larger, but the renewal of thematic material is noticeable in them (for example, in the Second Concerto for Piano and Orchestra, the length of the orchestral exposition is 89 bars, in the second exposition - 124). reveals significant differences from the usual sonata form right up to the end of the reprise or coda, where, during the general pause of the orchestra, the soloist’s CADENCE unfolds, a virtuoso development-fantasy of the themes sounded. Before Beethoven, cadenzas were mostly not written down, but were improvised by the soloist (who was also the author of the music). The “separation” of the professions of performer and composer, which became increasingly noticeable at the beginning of the 19th century, sometimes led to complete thematic alienation of the cadenza, to a demonstration of “acrobatic” virtuosity that had little connection with the thematic theme of the concert. In all Beethoven concertos, the cadenzas are original. He also wrote cadenzas for a number of Mozart concertos. For many Mozart concertos, there are cadenzas by different authors, offered to the performer to choose from (Beethoven cadenzas, D , Albera and others).
SONATA FORM WITHOUT DEVELOPMENT is found quite often in music of a very different nature. In slow lyrical music, variational development of thematics often occurs. In the music of an active movement, elaboration “seeps” into the exposition and reprise (developed, “developmental” connecting parts, a turning point in the side part), and also shifts into the coda. Between the exposition (in classical music of fast movement it is often repeated) and the reprise there can be a developmental connection, the length of which is less than a third of the exposition. Its presence is largely due to the tonal plan (if the secondary and final parts do not sound in the key of the dominant). In some cases, the final part directly develops into the connection (as, for example, in the overtures to “The Barber of Seville” and “The Thieving Magpie” by Rossini). This version of the sonata form (without development) can be found as any part of the sonata-symphonic cycle, opera overtures and individual works. Orchestral music sometimes contains introductions (in the overture to Rossini's The Barber of Seville, for example).
SONATA FORM WITH AN EPISODE INSTEAD OF DEVELOPMENT
This version of the sonata form undoubtedly reveals the influence of the complex tripartite form, introducing a strong contrast of large sections. There is also a connection with different variants of the complex three-part form. Thus, in a sonata form with an episode, instead of developing at a fast tempo, the episode usually resembles a TRIO of a complex three-part form in its tonal independence and structural completeness (as, for example, in the finale of Beethoven’s First Piano Sonata). In slow music there is an EPISODE of a complex three-part form - tonal-harmonic and structural openness (as, for example, in the second part of Mozart's piano sonata K-310). After a structurally closed episode there is usually a developmental connection or a small development (in the finale of Beethoven's First Sonata, for example). In some cases, there is an episode that goes beyond simple forms (in the first movement of Shostakovich’s Seventh Symphony – variations on soprano ostinato). This version of the sonata form is used similarly to others - in parts of sonata-symphonic cycles, operatic overtures and individual works.
RONDO SONATA
IN RONDO SONATA both formative principles are in a state of DYNAMIC EQUILIBRIUM, which creates a large number of options. Ronda-likeness usually influences the genre nature of thematic, song-dance, scherzo. As a result of this - structural completeness - the main parts very often represent simple forms, often with their typical repetition of parts. The dominance of rondalism can manifest itself in underdeveloped and brief side parts (as in the finale of Beethoven’s Ninth Piano Sonata, for example). After the exposition there follows an EPISODE, often structurally closed, or TWO EPISODES, separated by the main part. With a dominant sonata, as a rule, in the exposition there are expanded connecting parts, several themes of a side part, a turning point in them, after the exposition there follows DEVELOPMENT, development processes are also possible in the codes. In many cases, there is a parity between both principles, and after the exposition in the next section, the features of the development and the episode are mixed. Less common is the “SHORTENED” version of the rondo sonata, consisting of an exposition and a mirror reprise. A connection between them is possible (the finale of Mozart’s piano sonata in C minor K-457).
Let us move on to consider the exposition, which differs markedly from the sonata. In the rondo sonata, it is thematically and tonally closed, ending with the MAIN PARTY IN THE MAIN KEY (its ending can be open and serve as a flexible transition to the next section). In this regard, the function of the final game changes. Its beginning establishes the tonality of the side part, and its continuation returns it to the main key, leading to the final exposition of the main part. In Mozart's rondo sonatas, as a rule, the final parts are very developed; in Beethoven, the final parts are sometimes absent (as in the finale of the ninth sonata, for example). The exposition of a rondo sonata is NEVER REPEATED (the repetition of a sonata exposition has been preserved historically for a very long time).
In a reprise of a rondo sonata, both conductions of the main part can be preserved with a change in tonal relationships typical of a sonata reprise. However, one of the main games may be missed. If the second conduction of the main part is missed, the usual sonata reprise develops. If the first conduct of the main part is missed, a MIRROR REPRISE is formed (in the rondo sonata it occurs more often than in the sonata form). CODA is an unregulated section and can be anything.
The rondo sonata form is most often found in the finales of sonata-symphonic cycles. It is the rondo sonata that comes under the genre designation RONDO. Less common is the rondo sonata in individual works (Duc's symphonic scherzo "The Sorcerer's Apprentice", for example, or non-sonata cycles (the second movement of Myaskovsky's Songs and Rhapsodies). If we arrange the variants of the rondo sonata according to the degree of prevalence, we get the following series: rondo sonata with EPISODE , rondo sonata with DEVELOPMENT, rondo sonata with MIXED FEATURES OF DEVELOPMENT AND EPISODE, rondo sonata with TWO EPISODES (or with an episode and development, in one order or another), “CURRENT” rondo sonata.
The exposition of the rondo sonata in the finale of Prokofiev's Sixth Piano Sonata is very individually constructed. The main part appears after each of the three themes of the side part, forming a free rondo (in the reprise the side parts are played in a row).
CYCLIC FORMS
Cyclic forms are those that consist of several, usually independent in thematic and formative parts, separated by unregulated pauses that interrupt the flow of musical time (double bar line with a “bold” right line). All cyclic forms embody more diverse and multifaceted content, united by an artistic concept.
Some cyclic forms in the most generalized form embody a worldview concept, the mass, for example, is theocentric, and later the sonata-symphonic cycle is anthropocentric.
The basic principle of the organization of cyclic forms is CONTRAST, THE EXPRESSION OF WHICH IS HISTORICALLY VARIABLE AND AFFECTS DIFFERENT MEANS OF MUSICAL EXPRESSION.
Cyclic forms became widespread in the Baroque era (late 16th - early 17th centuries). They are very diverse: two-part cycles with fugue, concerti grossi, concertos for solo instrument and orchestra, suites, partitas, solo and ensemble sonatas.
The roots of many cyclic forms lie in two types of operatic overtures of the 17th century, the so-called French (Lully) and Italian (A. Stradella, A. Scarlatti), using standardized tempo contrasts. In the French overture, the most significant was the ratio of the first slow section (of a solemn-pathetic nature) and the fast polyphonic second (usually fugue), sometimes ending with a short Adagio (sometimes based on the material of the first section). This type of tempo relationship, when repeated, becomes quite typical for ensemble sonatas and Concerti grossi, usually consisting of 4 movements. In the concerti grossi of Corelli, Vivaldi, and Handel, the function of the introduction is quite clearly expressed in the first movements. It develops not only due to the slow tempo and relatively short length, but also due to the sometimes occurring harmonic openness.
The 6 Brandenburg Concertos of J.S. stand apart. Bach (1721), in which all the first parts are not only written at a fast pace, but are the most developed, extended, determining the further development of the cycles. This function of the first parts (with differences in internal formation) anticipates the function of the 1st part in the later sonata-symphonic cycle.
The influence of this type of tempo relationships is somewhat less noticeable in the suites and partitas close to them. In the ratio of the “obligatory” dances there is a repeating and intensifying tempo-rhythmic contrast: a moderately slow two-beat allemande is replaced by a moderately fast three-beat chime, a very slow three-beat sarabande is replaced by a very fast gigue (usually in six, twelve-beat measures, combining two and three beats). These cycles, however, are quite free in the number of parts. Often there are introductory movements (prelude, prelude and fugue, fantasia, sinphony), and between the sarabande and the gigue there were so-called “insert”, more modern dances (gavotte, minuet, bure, rigaudon, lur, musette) and arias. Often there were two inserted dances (especially typical for minuets and gavottes), at the end of the second there was an instruction to repeat the first. Bach kept all the “obligatory” dances in his suites, other composers treated them more freely, including only one or two of them.
In partitas, where all the “obligatory” dances are often retained, the genre range of inserted numbers is much wider, for example, rondo, capriccio, burlesque.
In principle, in a suite (row) the dances are equal, there is no functional diversity. However, certain features are beginning to emerge. Thus, the saraband becomes the lyrical center of the suite. It is very different from the restrained, harsh, ponderous and solemn everyday prototype with its sublime tenderness, sophistication, textured grace, and sound in the mid-high register. Often, it is the sarabands that have ornamental doubles, which enhances its function as a lyrical center. In the jig (the most “common” in origin - the dance of English sailors), the fastest in tempo, thanks to its energy, mass character, and active polyphony, the function of the finale is formed.
The tempo relationships of the ITALIAN OVERTURE, which included three sections (extreme - fast, polyphonic, middle - slow, melodious), transform into three-part concerto cycles for a solo instrument (less often, for two or three soloists) with an orchestra. Despite changes in form, the three-part concert cycle remained stable in its general outline from the 17th century to the Romantic era. The active, competitive nature of the first movements is undoubtedly very close to the classical sonata allegro.
A special place is occupied by two-part cycles with fugue, where the fundamental contrast is in different types of musical thinking: more free, improvisational, sometimes more homophonic in the first parts (prelude, toccata, fantasy) and more strictly logically organized in fugues. Tempo relationships are very diverse and defy typification.
The formation of the sonata-symphonic cycle was significantly influenced by the first parts of concerts for solo instrument and orchestra (future sonata Allegri symphonies), lyrical sarabands of suites (prototypes of symphonic Andanti), active, energetic gigs (prototype of finales). To a certain extent, the symphonies also reveal the influence of the Concerti grossi with their slow initial movements. Many symphonies of the Viennese classics begin with slow introductions of varying lengths (especially Haydn). The influence of the suites is also evident in the presence of a minuet before the finale. But the substantive concept and functional definition of the parts in the sonata-symphonic cycle are different. The content of the suite, which was defined as DIVERSITY OF UNITY, in the sonata-symphonic cycle can be formulated as UNITY OF DIVERSITY. The parts of the sonata-symphonic cycle are much more rigidly functionally coordinated. The genre and semantic roles of the parts reflect the main facets of human existence: action (Homo agens), contemplation, reflection ( Homo sapiens), rest, play (Homo ludens), man in society (Homo communis).
The symphonic cycle has a closed tempo profile based on the principle of JUMP WITH FILLING. The semantic opposition between the Allegri of the first movements and the Andanti is emphasized not only by the sharp tempo relationship, but also, as a rule, by the tonal contrast.
Symphonic and chamber cycles before Beethoven were markedly different from each other. Due to its performing means (orchestra), the symphony always assumed a kind of “publicity” akin to a theatrical performance. Chamber works are distinguished by greater variety and freedom, which brings them closer to narrative literary genres (conditionally, of course), to greater personal “intimacy” and lyricism. Quartets are closest to a symphony; other ensembles (trios, quintets of different compositions) are not so numerous and, often, closer to a freer suite, as well as divertissements, serenades and other genres of orchestral music.
Piano and ensemble sonatas usually have 2-3 movements. In the first movements, the sonata form is most common (always in symphonies), but other forms are also found (complex three-part, variations, rondo in Haydn and Mozart, variations in Beethoven, for example).
The main sections of the first movements of the symphonies are always in Allegro tempo. In chamber sonatas, the Allegro tempo designation is also quite common, but more leisurely tempo designations are also found. In solo and chamber sonatas, it is not uncommon to combine functional-genre roles within one movement (lyrical and dance, dance and finale, for example). In terms of content, these cycles are more diverse; they become, as it were, a “laboratory” for the further development of cycles. For example, the scherzo genre appears for the first time in Haydn’s piano sonatas. Later, the scherzo will become a full-fledged part of the sonata-symphonic cycle, almost replacing the minuet. The scherzo embodies the broader semantic element of play (from everyday playfulness to the play of cosmic forces, as in Beethoven’s Ninth Symphony, for example). If Haydn and Mozart did not have four-movement sonatas, then Beethoven’s early piano sonatas use tempo and genre relationships typical for symphonies.
In the further historical development of the sonata-symphonic cycle (starting with Beethoven), a “branching” occurs (with common “roots”) into a “traditional” branch, which updates the content from the inside and is more radical, “innovative”. In the “traditional” one, lyrical, epic images are strengthened, genre detail is often introduced (romance, waltz, elegy, etc.), but the traditional number of parts and semantic roles are preserved. Due to the new content (lyrical, epic), the first parts lose their rapid pace, maintaining the intensity of the procedural unfolding and the significance of the part that determines the entire cycle. Therefore, the scherzo becomes the second part, shifting the general contrast deeper into the cycle, between the slow part (the most personal) and the fast mass finale, which gives the unfolding of the cycle greater aspiration (the relationship between the minuet and the finale, often also dance-like, is more one-dimensional, reducing the attention of the listeners).
In classical symphonies, the first movements are the most typical in terms of form (sonata and its variations; the greater variety of forms of the first movements of chamber sonatas was mentioned above). In the minuets and scherzos the complex three-part form decisively predominates (of course, not without exceptions). The slowest movements (simple and complex forms, variations, rondo, sonata in all varieties) and finales (sonata with variations, variations, rondo, rondo sonata, sometimes complex three-movement) are distinguished by the greatest variety of formation.
In French music of the 19th century, a type of three-movement symphony developed, where the second movements combine the functions of slow (outer sections) and dance-scherzo (middle). Such are the symphonies of David, Lalo, Franck, Bizet.
In the “innovative” branch (once again it is necessary to recall the commonality of the “roots”) the changes are outwardly more noticeable. They often occur under the influence of programming (Beethoven’s Sixth Symphony, “Fantastic”, “Harold in Italy”, Berlioz’s “Funeral-Triumphal” Symphony), unusual performing compositions and plans (Beethoven’s Ninth Symphony, Mahler’s Second, Third, Fourth Symphonies. They may arise “doubling” of parts, in a row or symmetrically (some Mahler symphonies, Tchaikovsky’s Third Symphony, Scriabin’s Second Symphony, some Shostakovich symphonies), synthesis of different genres (symphony-cantata, symphony-concert).
By the middle of the 19th century, the sonata-symphonic cycle acquired the significance of the most conceptual genre, causing reverence for itself, which leads to a certain quantitative decrease in sonata-symphonic cycles. But there is another reason associated with romantic aesthetics, which sought to capture the uniqueness of every moment. However, the versatility of being can only be embodied by a cyclic form. This function is successfully fulfilled by the new suite, characterized by extraordinary flexibility and freedom (but not anarchy), capturing contrasts in all the diversity of their manifestations. Quite often, suites are created based on music of other genres (for dramatic performances, opera and ballet, and later based on music for films). The new suites are diverse in terms of performing compositions (orchestral, solo, ensemble), and can be programmatic or non-programmatic. The new suite became widespread in the music of the 19th and 20th centuries. The word “suite” may not be used in the title (“Butterflies”, “Carnival”, Kreisleriana, Fantastic Pieces, Vienna Carnival, Album for Youth and other works by Schumann, Tchaikovsky’s Seasons, Pictures from an Exhibition by Mussorgsky). Many works of miniatures (preludes, mazurkas, nocturnes, etudes) are essentially similar to the new suite.
The new suite gravitates towards two poles - a cycle of miniatures, and a symphony (both Grieg suites from the music to Ibsen's drama Peer Gynt, Scheherazade and Antar by Rimsky-Korsakov, for example).
Close in organization to it are vocal cycles, both “plot” (“The Beautiful Miller’s Wife” by Schubert, “The Love and Life of a Woman” by Schumann) and generalized ones (“Winter Reise” by Schubert, “The Love of a Poet” by Schumann), as well as choral cycles and some cantatas.
Often in baroque music, as well as in classical and later music, it is not always possible to determine the number of parts, since the attacca stage direction, which occurs quite often, does not interrupt the flow of perceptual musical time. Also, it often happens that music, independent in thematic and, to a large extent, in form, is divided by two subtle bar lines (Sinphony from Bach’s Partita in C minor, Mozart’s Sonata for violin and piano in A minor /K-402/, Fantasia in C minor /K -457/, Beethoven's Sonatas for cello and piano op. 69, op. 102 No. 1 and many other works by different authors), which leads to the formation of individual (free) forms. They can be called contrast-composite (V.V. Protopopov’s term) or continuous-cyclic.
The performance of individual parts from cyclic works is allowed, but the cycles as a whole are united by an ARTISTIC CONCEPT, THE IMPLEMENTATION OF WHICH IS CARRIED OUT BY MUSICAL MEANS.
Unity can be manifested in a general way: through tempo, figurative roll calls of parts, similar harmonic principles, tonal plan, structure, metro-rhythmic organization, intonation connections in all parts and, especially, in the extreme ones. This type of unity is COMMON MUSICAL. IT DEVELOPED IN THE CYCLIC FORMS OF BAROQUE and is a necessary condition for the artistic usefulness of cyclic forms of any era.
But the unity of the cycle can be achieved more clearly and specifically: with the help of cross-cutting musical themes, reminiscences or, much less often, harbingers. This type of unity arose in the process of development and complexity of forms of instrumental music, first appearing in Beethoven (in the Fifth, Ninth Symphonies, some sonatas and quartets). On the one hand, the THEMATIC principle of unity (discussed in detail by M.K. Mikhailov in the article “On the thematic unification of the sonata-symphonic cycle” // Questions of theory and aesthetics of music: issue 2. - M.: S.K., 1963) arises as “ condensation”, concentration of intonation connections; on the other hand, one can detect the influence of program music and, partly, the leitmotif of operatic dramaturgy.
The thematic principle of unity to some extent violates such a feature of cyclic forms as the independence of thematicity of parts, without affecting the independence of form-building (the transfer of themes, as a rule, occurs in unregulated sections of forms - in introductions and codas, mainly). In further historical development, the thematic principle of unity grew into a DEDUCTIVE one, in which the formation of individual parts more directly depends on the general figurative, content and compositional concept of the cycle. The thematic nature of the preceding parts actively influences the formation of subsequent ones, participating in their main sections (in developments, for example), or causes modulation in the form, transformation of the stereotype.
The material for this article was taken from the work of a fifth-year student at the Shakhty Music School, Alla Shishkina, and published with her permission. Not the entire work is published, but only those interesting points that can help a novice musician or student. In this work, an analysis of a musical work is carried out using the example of the Russian folk song “The bird cherry is swaying outside the window” and is presented as work on a variation form in the senior classes of children's music schools in the specialty of domra, which, however, does not prevent it from being used as a sample for the analysis of any musical work.
Definition of variation form, types of variations, principle of variation.
Variation - variation (variation) - change, change, diversity; in music - the transformation or development of a musical theme (musical thought) with the help of melodic, harmonic, polyphonic, instrumental and timbral means. The variational method of development finds wide and highly artistic application among Russian classics and is associated with variation, as one of the characteristic features of Russian folk art. IN compositional structure a theme with variations is a way of developing, enriching and ever deeper revealing the original image.
In terms of its meaning and expressive capabilities, the form of variations is designed to show the main theme in a versatile and varied way. This topic is usually simple and at the same time contains opportunities for enrichment and disclosure of its full content. Also, the transformation of the main theme from variation to variation should follow a line of gradual increase leading to the final result.
Centuries-old musical practice of peoples different nationalities served as a source the emergence of a variational form. Here we find examples of both harmonic and polyphonic styles. Their appearance is associated with the desire of musicians to improvise. Later, professional performers, for example, when repeating the melody of a sonata or concerto, had a desire to decorate it with various ornaments in order to show the virtuoso qualities of the performer.
Historically three main types of variation form: ancient (variations on basso-ostinato), classical (strict) and free. In addition to the main ones, there are also variations on two themes, the so-called double variations, soprano-astinato variations, i.e. constant upper voice, etc.
Variation of folk melodies.
Variation of folk melodies These are usually free variations. Free variations are a type of variation connected by the method of variation. Such variations are characteristic of the post-classical era. The appearance of the theme was then extremely changeable, and if you look from the middle of the work to its beginning, you might not recognize the main theme. Such variations represent a whole series of variations, contrasting in genre and meaning, close to the main theme. Here the difference prevails over the similarity. Although the variation formula remains A, Al, A2, A3, etc., the main theme no longer bears the original image. The tonality and form of the theme can vary, and can even go as far as polyphonic presentation techniques. The composer can even isolate some fragment of the theme and vary only that.
The principles of variation can be: rhythmic, harmonic, dynamic, timbral, textured, line, melodic, etc. Based on this, many variations can stand apart and resemble more a suite than variations. The number of variations in this form is not limited (as, for example, in classical variations, where 3-4 variations are like an exposition, the middle two are development, the last 3-4 are a powerful statement of the main theme, i.e. thematic framing)
Performance analysis.
Performance analysis includes information about the composer and the specific work.
The importance of the repertoire in the process of educating a student at the Children's Music School is difficult to overestimate. A work of art is both a goal and a means of learning for the performer. Ability to disclose convincingly artistic content of a musical work— and nurturing this quality in a student is the primary task of his teacher. This process, in turn, is carried out through the systematic development of the educational repertoire.
Before a piece of music is offered to a student, the teacher must carefully analyze the methodological direction of his choice, that is perform performance analysis. As a rule, it must be artistically valuable material. The teacher determines the goals and objectives of the chosen work and the ways of its development. It is important to accurately calculate the degree of difficulty of the material and the student’s potential so as not to slow down his progressive development. Any overestimation or underestimation of the complexity of the work must be carefully justified.
At the Children's Music School, a student's first acquaintance with new musical material, as a rule, begins with its illustration. This could be an audition at a concert, a recording, or, preferably, a performance by the teacher himself. In any case, the illustration must be a reference one. To do this, the teacher must inevitably master all the professional aspects of performing the intended work, which will be facilitated by:
- information about the composer and the specific work,
- ideas about style
- artistic content (character), images, associations.
Similar performance analysis is necessary for the teacher not only to convincingly illustrate the artistic aspects of the repertoire to the student, but also for direct work on the student’s work when the need arises to explain the tasks facing him. Wherein dry analysis of the work should be presented in an accessible form, the teacher’s language should be interesting, emotional, and figurative. G. Neuhaus argued: “He who only experiences art remains forever only an amateur; whoever just thinks about it will be a musicologist researcher; the performer needs a synthesis of thesis and antithesis: the most vivid perception and consideration.” ( G. Neuhaus “On the art of piano playing” p.56)
Before starting to study the Russian folk song “The bird cherry tree is swaying outside the window” arranged by V. Gorodovskaya, I must be sure that the child is technically and emotionally ready to perform this work.
The student must be able to: quickly change from one mood to another, hear the colors of major and minor, perform tremolo legato, master changing positions, voice high notes (i.e. playing in a high register), perform legato with a downward playing technique and alternating techniques (downward -up), arpeggiato chords, harmonics, emotionally bright, be able to perform contrasting dynamics (from ff and sharp p). If the child is ready enough, I will invite him to listen to this piece performed by high school students. The first impression is very important for a child. At this stage, he will want to play like his class colleague, at this moment an element of competition will appear, the desire to be better than his friend. If he hears it performed by his teacher or in a recording famous performers, the student will have a desire to be like them and achieve the same results. The emotional perception at the first demonstration leaves a huge mark on the student’s soul. He may love this work with all his soul or not perceive it.
Therefore, the teacher must be prepared to show this work and set the child up accordingly. This will help story about variation form, in which this work is written, about the principles of variation, about the tonal plan, etc.
Some will help to understand the work information about the composer and the author of the arrangement this work. Vera Nikolaevna Gorodovskaya was born in Rostov into a family of musicians. In 1935 she entered Yaroslavl School of Music in piano, where she first became acquainted with folk instruments while working as an accompanist at the same school. She started playing the gusli in the Yaroslavl folk orchestra. From the third year, Gorodovskaya, as a particularly gifted student, was sent to study at the Moscow State Conservatory. In 1938, Vera Gorodovskaya became an artist of the State. Russian folk orchestra of the USSR. Concert activities it began in the 40s, when N.P. Osipov became the head of the orchestra. The pianist accompanied this virtuoso balalaika player in radio broadcasts and at concerts, and at the same time Gorodovskaya mastered the plucked harp, which she played in the orchestra until 1981. Vera Nikolaevna's first compositional experiments date back to the 40s. She created many works for orchestra and solo instruments. For domra: Rondo and the play “Merry Domra”, “The bird cherry tree is swaying outside the window”, “Little Waltz”, “Song”, “Dark cherry shawl”, “At dawn, at dawn”, “Fantasy on two Russian themes” ", "Scherzo", "Concert Piece".
Artistic content (character), images, associations are necessarily present in the performance analysis of the work.
Then you can talk about the artistic content of the song, on the theme of which variations are written:
The bird cherry tree is swaying under the window,
Opening its petals...
A familiar voice is heard across the river
May the nightingales sing all night long.
The girl’s heart beat joyfully...
How fresh, how nice it is in the garden!
Wait for me, my affectionate, my sweet,
I'll come at the appointed time.
Oh, why did you take out your heart?
For whom does your gaze shine now?
There is a trodden path straight to the river.
The boy is sleeping - it’s not his fault!
I won't cry or be sad
The past will not come back.
And, taking a deep breath of fresh air,
I looked back again...
I'm not sorry that you abandoned me,
It's a pity that people talk a lot.
The bird cherry tree is swaying under the window,
The wind tears the leaves of the cherry tree.
You can no longer hear voices across the river,
The nightingales no longer sing there.
The lyrics of the song immediately set up the perception of the character of the melody of the work.
The lyrical, chanting beginning of the presentation of the theme in B minor conveys the sad mood of the person on whose behalf we are listening to the story. The author of the variations follows to some extent the content of the song's lyrics. It is possible to associate the musical material of the first variation with the words of the beginning of the second verse (“How fresh, how good it is in the garden...) and imagine the dialogue between the main character and her beloved, whose relationship has not yet been overshadowed by anything. In the second variation one can still imagine the image of gentle nature, echoes of birdsong, but alarming notes begin to prevail.
After carrying out the theme in a major key, where there was hope for a successful ending, the wind of change blew in the third variation. A change of tempo, the return of a minor key, and a restless alternation of sixteenth notes in the domra part lead to the culmination of the entire work in the fourth variation. In this episode you can relate the words of the song “I’m not sorry that you left me, it’s a pity that people talk a lot...”.
The last chorus after a powerful break musical material on “?”, which sounds like a contrast to “r”, correspond to the words “Across the river, voices are no longer heard, the nightingales no longer sing there.”
In general, this is a tragic work, so the student must already be able to perform and experience emotions of this kind.
A true musician can put a certain meaning into his performance, which attracts attention in the same way as the meaning of the words.
Analysis of the variational form, its connection with the content, the presence of culminations.
Phrasing variational form.
This treatment is written in form of free variations, which makes it possible to show the topic in a diversified and diverse way. In general, the work is a one-bar introduction, theme and 4 variations. The theme is written in the form of a period of a square structure of two sentences (starter and chorus):. The introduction (1 bar) in the piano part introduces listeners into a state of calm.
Tonic chord harmony (B minor) prepares the appearance of the theme. The lyrical appearance of the theme is in the “Moderato” tempo, performed with a legato stroke. Playing techniques use tremolo. The first sentence (chorus) consists of 2 phrases (2+2 measures) and ends with a dominant.
The climaxes of phrases occur on even-numbered measures. The theme is a verse structure, so the first sentence corresponds to the chorus, and the second sentence corresponds to the chorus. Russian folk songs tend to repeat the chorus. This song also has this repetition. The second chorus begins in two-quarter time. The compression of the meter, the dominant to G minor help to make the main culmination of the entire theme here.
In general, the entire theme consists of 12 measures (3 sentences: 4 - chorus, 4 - chorus, 4 - second chorus)
Next stage: breaking the variation form into phrases.
The first variation is a repetition of the theme in the same tone and in the same character. The theme runs in the piano part, in the domra part there is an echo that continues the lyrical direction of the theme, thereby creating a dialogue between the two parts. It is very important for the student to feel and hear the combination of two voices, and the primacy of each at certain moments. This is subvocal melodic variation. The structure is the same as in the topic: three sentences, each consisting of two phrases. It ends only not in B minor, but parallel major(D major).
The second variation sounds in D major, to consolidate this tonality, one bar is added before the appearance of the theme, and the rest of the structure of the variation preserves the structure of the theme’s exposition (three sentences - 12 bars = 4+4+4). The domra part performs an accompanying function, the main thematic material is in the piano part. This is the most optimistically colored episode, perhaps the author wanted to show that there was hope for a happy ending to the story, but already in the third sentence (in the second chorus) the minor key returns. The second chorus appears not in two-quarter time, but in four-quarter time. Timbral variation occurs here (arpeggiato and harmonics). The domra part performs an accompanying function.
Third variation: subvocal and tempo (Agitato) variation is used. The theme is in the piano part, and in the domra part the sixteenth notes sound in counterpoint, performed by playing downwards with a legato stroke. The tempo has changed (Agitato - excited). The structure of this variation is changed relative to other variations. The chorus has the same structure (4 bars - first sentence), the first chorus is extended by one bar due to the repetition of the last motive. The last repetition of the motive is even layered on top of the beginning of the fourth variation, thereby combining the third and fourth variations into a single climactic section.
Fourth variation: beginning of the theme in the piano part, in the chorus the theme is picked up by the domra part and in the duet the most striking dynamic (ff) and emotional performance occurs. On the last notes there is a break in the melodic line with a constant crescendo, which evokes associations with the fact that the main character of this work “took the breath away” and lacks more emotions. The second chorus is performed on two pianos, as an afterword, as an epilogue to the entire work, where “there is no longer the strength to defend one’s opinion,” submission to one’s fate occurs, and resignation to the circumstances in which a person finds himself occurs. Perhaps a slower tempo performance of the second chorus. The theme sounds in the domra part, and the second voice in the piano part. The structure of the second chorus was expanded to 6 bars, due to the last implementation of the motive in the piano part (addition). This episode corresponds to the words: “Across the river, voices are no longer heard, the nightingales no longer sing there.” In this variation, textural variation is used, since the theme sounds in intervals and chords with the piano, elements of subvocal variation (ascending passages continue the musical line of the piano part).
Strokes, means of articulation and playing techniques are an important component of performance analysis.
Summarizing many years of experience, Neuhaus briefly formulated the principle of working on sound: “The first thing is the artistic image” (i.e. the meaning, content, expression of “what we are talking about”); second - sound in time - reification, materialization of the “image” and, finally, third - technology as a whole, as a set of means needed to solve an artistic problem, playing the piano “as such”, i.e. mastery of one’s muscular-motor system and the mechanism of the instrument” (G. Neuhaus “On the art of piano playing” p. 59). This principle should become fundamental in the work of a teacher-musician of any performing specialty.
An important place in this work is occupied working on the strokes. The entire piece is performed with a legato stroke. But legato is performed using different techniques: in the theme - tremolo, in the second variation - pizz, in the third - playing downwards. All legato techniques correspond to the development of the image of the work.
The student must master all types of legato before beginning to study the piece. The second variation contains arpeggiato and harmonic techniques. In the third variation, at the main culmination of the entire piece, in order to achieve a greater dynamic level, the student must perform the tremolo technique with the whole hand, relying on the pick (hand + forearm + shoulder). When playing repeated notes “fa-fa”, it is necessary to add a “push” movement with an active attack.
Specification of the sound target (stroke) and choosing the appropriate articulatory technique can be made only in a certain episode of the work. How more talented musician The deeper he delves into the content and style of the composition, the more correctly, interestingly and uniquely he will convey the author’s intention. It should be especially emphasized that the strokes should reflect the character of the music. To convey the process of development of musical thought, appropriate characteristic sound forms are needed. However, here we are faced with very limited means of existing musical notation, which has only a few graphic signs, with the help of which it is impossible to reflect the infinite variety of intonation differences and moods of music!
It is also very important to emphasize that the graphic signs themselves are symbols that cannot be identified with either sound or action. They only reflect at the same time, in the most general terms, the supposed character of the sound target (stroke) and articulatory technique to receive it. Therefore, the performer must take a creative approach to parsing the musical text. Despite the paucity of line symbols, we strive to reveal the content of this work. But the creative process must proceed in accordance with certain frameworks, such as the era, the time of the composer’s life, his style, etc. This will help you choose the appropriate specific sound production techniques, articulatory movements and strokes.
Methodological analysis: working on technical and artistic tasks when analyzing a musical work.
We can say that almost the entire piece is performed using the tremolo technique. When studying the tremolo, which is the main sound production technique for playing the domra, we must monitor the uniform and frequent alternation of the pick down and up. This technique is used for continuous sound. Tremolo can be rhythmic (a certain number of beats per duration) or non-rhythmic (the absence of a certain number of beats). You need to start mastering this technique individually when the student has sufficiently mastered the movement of the hand and forearm when playing with a pick down and up the string.
Decide technical task of mastering Tremolo is recommended at a slow tempo and at low sonority, then the frequency is gradually increased. There are hand tremolos and tremolos with other parts of the arm (hand + forearm, hand + forearm + shoulder). It is important to master these movements separately and only alternate after some time. Also, in the future, you can increase the dynamics of the non-tremolo, due to the deeper immersion of the pick into the string. During all these preparatory exercises, you should strictly monitor the uniform sound down and up, which is achieved by precise coordination of the movement of the forearm and hand and the support of the little finger of the right hand on the shell. The muscles of the right hand need to be trained for endurance, gradually increase the load, and when tired, switch to calmer movements or, in extreme cases, shake your hand and give your hand a rest.
Sometimes mastering the tremolo can be helped by working on a “short tremolo”: playing in quartos, quintoles, etc. Then you can move on to playing small sections of music, melodic turns: motives, phrases and sentences, etc. In the process of working on a piece of music, the frequency of the tremolo becomes a relative concept, since the tremolo can and should change the frequency based on the nature of the episode being performed. Inability to use the tremolo gives rise to monotony, flat, inexpressive sound. Mastering this technique requires not only solving purely technological problems, but also developing qualities associated with the development of intonation, harmonic, polyphonic, timbre hearing, the process of sound anticipation, and auditory control.
When performing an artistic task When performing the theme “The bird cherry tree is swaying outside the window” on one string, you need to monitor the connection of the notes on the fingerboard. To do this, it is necessary that the last playing finger slides along the fingerboard before the next one with the help of a movement of the forearm of the right hand that leads the hand. We need to control the sound of this connection so that it is a portable connection and not an obvious gliding connection. At the initial stage of mastering such a connection, a sounding glissando can be allowed so that the student feels sliding along the string, but later the support on the string needs to be made easier. A slight glissando sound may be present, as this is typical for Russian folk songs. It is especially difficult to perform the beginning of the chorus, since the slide occurs on the weak fourth finger, so it must be positioned steadily in the shape of the letter “p”.
Analyzing a piece of music, we can first say the following: the student must intonate well and rhythmically accurately perform the first eighth note. A common mistake students make is shortening the first eighth note, since the next finger reflexively tries to position itself on the string and does not allow the previous note to be heard. To achieve a melodious performance of the cantilena, it is necessary to control the singing of the first eighth notes. The next difficulty can come from playing two repeated notes. Technically, this can be performed in two ways, which the student chooses, and which corresponds to the nature of the performance of the musical material - this is: with stopping the right hand and without stopping, but with relaxation of the finger of the left hand. More often, on quiet sounds, relaxation of the finger is used, and on loud sounds, stopping the right hand.
When performing arpeggiato in the second variation, it is necessary for the student to anticipate the successive appearance of sounds with his inner ear. When performing, I felt and controlled the uniformity of the appearance of sounds, and dynamically highlighted the upper sound.
When performing natural harmonics, the student must control the accuracy of hitting the 12th and 19th frets with the fingers of the left hand, coordinate the alternate sound production of the right hand and the sequential removal of the fingers of the left hand from the string. For a brighter sound of the harmonic at the 19th fret, you should move your right hand to the bridge in order to maintain the division of the string into three parts, in which the entire overtone row is sounded (if less than one third of the string is located in the hand, low overtones sound, if more, high overtones sound, and only when moving exactly to the third part, the entire overtone series sounds in balance).
One of difficulties in solving an artistic problem There may be a problem with the timbre connection of the strings in the first variation. The initial two notes sound on the second string, and the third on the first string. The second string has a more matte timbre than the first. To combine them, to make the difference in timbre less noticeable, you can use the transfer of your right hand with a pick: you need to play the first string closer to the neck, and the second closer to the stand.
You should always pay attention to intonation and sound quality. The sound must be expressive, meaningful, and correspond to a certain musical and artistic image. Knowledge of the instrument will tell you how to make it melodious and timbrally diverse. Of great importance for the education of a musician is the development of internal musical ear, the ability to hear the character of a musical work in the imagination. Performance must be under constant auditory control. Thesis: hear-play-control is the most important postulate of the artistic performing approach.
Analysis of a piece of music: conclusion.
Every child, mastering the world, initially feels like a creator. Any knowledge, any discovery for him is a discovery, the result of his own mind, his physical capabilities, his spiritual efforts. the main task help the teacher to open up to the maximum and create conditions for his development.
Studying any piece of music should bring emotional and technical development to the student. And it depends on the teacher at what point this or that work should appear in the repertoire. The teacher must remember that when starting to study a work, the student must be ready to trust the teacher and understand himself. After all, to improve techniques, skills, mastery, you need to be able to analyze your feelings, record them and find a verbal explanation for them.
The role of the teacher, as a more experienced colleague, is very important here. That is why it is so important for the teacher and student analysis of a piece of music. It will help direct the child’s conscious activity towards solving and implementing the task he has set. It is important that the child learns to analyze and find multi-variant and extraordinary solutions, which is important not only in, but in life in general.
As G. Neuhaus wrote in the book “On the Art of Piano Playing” (p. 197):
“Our task is small and very big at the same time - to play our amazing, wonderful piano literature so that the listener likes it, so that it makes you love life more, feel more strongly, desire more, understand more deeply... Of course, everyone understands that pedagogy, setting such goals ceases to be pedagogy, but becomes education.”
Analysis of a work of art
1. Determine the theme and idea / main idea / of this work; the issues raised in it; the pathos with which the work is written;
2. Show the relationship between plot and composition;
3. Consider the subjective organization of the work /the artistic image of a person, techniques for creating a character, types of image-characters, a system of image-characters/;
5. Determine the features of the functioning of figurative and expressive means of language in a given work of literature;
6. Determine the features of the genre of the work and the style of the writer.
· Note: using this scheme, you can write an essay-review of a book you read, while also presenting in your work:
1. Emotional-evaluative attitude towards what you read.
2. A detailed justification for an independent assessment of the characters of the characters in the work, their actions and experiences.
3. Detailed justification of the conclusions.
________________________________________
Ermakova Vera Nikolaevna
teacher of music theoretical disciplines
highest qualification category
State budgetary vocational educational
institution of the Voronezh region "Voronezh Music and Pedagogical College"
Voronezh, Voronezh region
Example of performing harmonic analysis
choral miniature by A. Grechaninov “In a fiery glow”
The choral miniature “In the fiery glow” by A. Grechaninov to the verses of I. Surikov can be classified as a genre of landscape lyricism. The miniature is written in a simple three-part non-reprise form, consisting of three parts-stanzas. Harmony is an important formative tool in the choir.
The first part is a non-square period of repeated construction and consists of two absolutely identical sentences (5 bars each). The harmonic plan of the period is extremely simple: it is dominated by half authentic turns, decorated with a melodically developed bass line and a tonic pedal in the upper voices. A means of complicating and at the same time “decorating” harmony and the musical fabric as a whole are non-chord sounds - auxiliary sounds (as a rule, abandoned, not returning to their chord ones) and passing sounds, prepared delays (vol. 4, 9).
Both sentences of the first period end with an unstable half-authentic cadence. Such an unstable end to the period is very typical for vocal and choral music.
The second part (second stanza) of the choral miniature as a whole has the following tonal plan: Es-dur - c-moll - G-dur. D9 Es-dur, with which the second movement begins, sounds very colorful and unexpected. Despite the apparent absence of any functional connection between the parts, it can be detected on the basis of the coincidence of the sound composition of D7 G-dur and DVII7 with elevated tert and fifth tones Es-dur.
The harmonic development in the first sentence of the second part is carried out against the background of a dominant organ point in the bass, on which authentic and interrupted turns are superimposed. The interrupted turn (m. 13) anticipates the deviation into the key of c minor (m. 15). With the closest possible relationship between parallel Es-dur and c-moll, the transition itself is carried out using the UV35 anharmonicity (VI6 harmonic Es = III35 harmonic c).
In vols. 15-16 there is an intense tonal-harmonic development associated with the approach and achievement of the climax. The tonality of c-minor is intermediate between Es-dur and G-dur. Climax(t. 16) is marked by the use of the only altered chord in the entire choir - DDVII6 with a lowered third, passing into D7 of the original G-dur (t. 17), from which the dominant prefix is included. At the moment of culmination, harmony operates in parallel with other means of expressiveness - dynamics (increasing from mf to f), melody (jump to a high sound), rhythm (rhythmic stop on a high sound).
The pre-textual construction (vol. 18-22), in addition to preparing the main tonality, also performs a figurative and expressive function, anticipating the image of the pipe, which will be discussed in the third part (stanza) of the choir. The sound-imagery of this construction is connected rather with the melody, rhythm and texture (imitation), which seem to convey the “trembling” of the sound of the pipe; the frozen dominant harmony rather reproduces not the sound of the pipe, but the “harmony” of this sound.
The clear dismemberment of the form of the choral miniature is achieved by textural and tonal-harmonic means. The third part of the choir begins with D7 C-dur, which correlates with the last chord of the second part as DD7 with D7. As at the beginning of the two previous parts, at the beginning of the third part authentic phrases predominate. Tonal plan of the third movement: C-dur - a-moll - G-dur. The deviation into the intermediate key of a-minor occurs extremely simply - through D35, which is perceived in relation to the previous tonic C-dur as a major triad of the third degree. The transition from A-minor to the main key of G-dur is carried out through D6. The imperfect cadence in bar 29 necessitated an addition (bars 30-32), represented by a full harmonic revolution (SII7 D6 D7 T35).
The harmonic language of the choir “In the glow of fire” by A. Grechaninov is distinguished by both simplicity, economy of the means used (authentic revolutions) and at the same time the colorful sound created by the use of modulation through the enharmonism of UV35, elliptical revolutions on the edges of the form, pedal and organ point. The chord structure is dominated by the main triads (T, D); the secondary triads include VI, III, SII. The main seventh chords are represented mainly by D7 and only once - in addition - is SII7 used. The dominant function is expressed by D35, D7, D6, D9.
The tonal plan of the choir as a whole can be depicted schematically:
| IPart | IIPart | IIIPart |
| G major | Es-dur, c-moll, G-dur | С-dur, a-moll, G-dur |
| T35 D7 | D9 D7 | D7 T35 |
In the tonal plan of the choral miniature, almost all tonalities of the subdominant group are represented: the tonality of the VI low level is Es-dur (a manifestation of the major-minor of the same name at the level of the tonal plane), the IV level is c-moll, C-dur and the second stage is a-moll. Returning to the main key allows us to talk about the ronda-like tonal plan, in which the main key of G-dur performs the function of a refrain, and steel keys serve as episodes where parallel keys subdominant direction. The tertian ratio of tonalities in the second and third parts of the choir evokes associations with the characteristic features of the tonal plans of romantic composers.
New tonalities at the beginning of the second and third movements are introduced, at first glance, elliptically, but can always be explained in terms of functional connections. The deviation from Es-dur to c-moll (II part) is made through the anharmonicity of UV35, from C-dur to a-moll - based on the functional equality of T35 C-dur III35 natural a-moll, and the transition from a-moll to the original G -dur (vol. 27-28) - like a gradual modulation. In this case, A-minor acts as an intermediate key between G-dur and G-dur. Of the altered chords in the choir, only a three-voiced double dominant is represented (t. 16 - ДДVII65b3), sounding at the moment of climax.