The most general characteristic of genres, directly addressing their content, is given already in the names: lyrical, dramatic, epic music. This also includes program music.
For more specific genre characteristics, many special names have historically been developed. Sonata, symphony, overture, suite, concerto, poem, fantasy, ballad - all these are genre names of more or less large works.
Opera, cantata, oratorio, symphony - here we mean not only performing means, but also the essence of these genres.
A more specific genre characteristic is given by double titles. For example, lyrical-psychological, epic, opera or symphony; pastoral sonata or dramatic poem.
There are countless genre titles for works of a smaller scale. For example, songs without words by Mendelssohn; preludes, etudes, nocturnes, ballads by Chopin; Rhapsodies by Liszt; etudes-paintings by Rachmaninov, fairy tales by Medtner and Prokofiev.
Some of these titles are general in nature, while others are more genre specific. For example, the French and English suites of Bach, " Norwegian dances"Grieg, "Italian Capriccio" by Tchaikovsky, "Aragonese Jota" by Glinka.
In the works of romantics there are a wide variety of software titles with a more individualized genre characteristic. Programmaticity is the most characteristic feature of the romantic era. The appeal to programming was caused by the desire of romantic composers to directly express a specific idea, image, character in the language of music, and to bring music closer to other arts, literature, and painting. The complexity of the reflected phenomena, the novelty of means and forms - all this required the author's instructions that would direct attention and help to correctly understand the meaning of the work. Composers have embodied this common desire in different ways. Berlioz himself wrote an extensive program for his symphonies, like an opera libretto. Liszt's works were inspired by images of world literature and took their names. For example, the symphonies “Faust” (each part has a name: “Faust”, “Gretchen”, “Mephistopheles”), “Dante” by “ Divine Comedy» Dante; symphonic poems "Orpheus" - ancient mythology, “Hamlet” based on Shakespeare, “Battle of the Huns” based on a fresco German artist Katzlbach. Schumann came up with a title characteristic of a given play, indicating a specific content, or expressed a general poetic idea or intention in the title. For example, the piano cycles “Butterflies”, “Flowers”. And sometimes, detailing the content, he gives each play in the cycle an individual title. This applies to the miniatures “Pierrot”, “Pleasant Meetings”, “Tender Confessions”, “Coquette”, etc., included in the piano cycle “Carnival”.
In non-programmed music, the names of dance genres are most defined. Chopin in his piano creativity limited himself only to defining the genre of the work: nocturne, ballad, polonaise, mazurka, waltz.
Genre, as a generalization of musical and social practice, is an essential means of expression artistic image V musical literature. For example:
In the works of Beethoven and Schubert great value purchased march – genre associated with the era of the French Revolution, revolutionary movement masses, with the era Napoleonic wars;
Folk song and dance genres in the works of Russian composers of the 19th-20th centuries. For example: the dance “mazurka” - as a means of creating national color - Glinka. Opera “Ivan Susanin”, Act II; ditties - as a means of musical characterization of the image in connection with the text in the song - Sviridov. Poem “In Memory of S. Yesenin”, part VII “Peasant Children”.
As the content of social thought changes, musical genres typical of a given time also change - some die out (for example, Gregorian chant, ricercar) and others appear (art song, rock opera).
A musical work, like a work of any other form of art, is unity of content and form.
Option I
Music content– display of reality in specific musical images. Artistic, etc. musical images appear in the creative imagination not on their own, but as a result perception reality. This perception does not automatically transfer the phenomena of reality into art (naturalism), but transforms them into artistic images through the creative processing of life impressions. Therefore, the artistic reflection of reality (even in the fine arts) is a reflection of the artist’s generalized attitude to reality, his worldview.
Musical images- the result of this kind of sensory generalization, which takes place in the spiritual world of man and creates the basis for both the creative imagination of the composer and the ethical perception of the listener. Music the image is born in musical form and is perceived as a phenomenon of a musical order. Therefore, musical images are not only a product of reality, but also a product of musical culture with all its historically developing musical expressive means that form a “musical language.”
Option II
Reality is reflected in art in form artistic images. The main features of an artistic image are usually given at the beginning of the work, but the artistic image is fully revealed in the process of developing the content. The initial presentation of an artistic image in music is called theme song(a construction that serves as the basis for a further development process).
Concept musical form has two meanings: broad, general aesthetic and narrow, technological.
IN in a broad sense – the form represents a holistic organized system of musical expressive means, with the help of which the content of the work is embodied (a set of musical and expressive means that reveal the ideological and figurative content of the work). The components of musical form in this meaning are not only the structure (type of composition) of the work as a whole and its parts, but also texture - the way of presenting musical material - (melody, harmony, rhythm - in their unity), timbre and register means, dynamic shades, tempo, methods of sound production, etc.
In a narrow sense- structure of the work (type of composition - the structure of a musical or other artistic work, arising on the basis of the relationship of its most important elements. The composition of the work is purposeful and helps to express the composer’s intention); construction of a musical work, the relationship of its parts.
Option I
Musical development in the work continuously. Continuity is maintained by internal dynamics, causing constant anticipation of further development, until its final completion.
At the same time, music is characterized articulation, dismemberment through cadences, stops at long durations, pauses. These musical punctuation marks, forming roundness and completeness of individual constructions, are called caesuras (the moment of separation between any parts of the form).
Due to its similarity in this respect to verbal speech (chapters, paragraphs, phrases and even words), musical development is called musical speech(phrases, sentences, period).
The main signs of caesura:
Stopping on a long sound;
Repetition of melodic-rhythmic figures;
Changing dynamic shades, registers, etc.
The caesura is usually most clearly expressed in the main voice.
The part of the form delimited by caesurae is called construction(regardless of the duration - from a beat to hundreds of beats). Parts of the form, i.e. constructions separated from each other by caesuras are at the same time in unity, thanks to which together they form musical whole.
The division of a relatively complete musical thought into parts and their subordination to each other (unity) - musical syntax.
Option II
Syntax(Greek - composition) is an area in grammar devoted to the study of semantic connections in verbal speech, the doctrine of phrases, of sentences.
In music there are also connections between the individual sounds that form musical phrases, and between the phrases themselves. These connections arise on the basis of mode, meter rhythm, form of melodic movement, etc. - all this speaks about syntax of musical speech.
A piece of music can be compared to literary work. A story, a novel, has a plan, an idea and content, which becomes clear with gradual presentation. Moreover, each thought is expressed in complete sentences, which are separated from each other by dots. Parts of a sentence are separated by commas.
In a musical work, the content is also not presented in a continuous stream of sounds. Listening to music, we perceive in it moments of division - caesura. Caesura is the moment at which the separation of one construction from another occurs. Caesuras have characteristic features:
Change of registers, texture, melodic movement, tempo, timbre;
The emergence of new melodic material or its repetition;
A caesura between a construction and its literal or varied construction.
Just as in colloquial speech a thought is expressed in sentences that consist of individual words, so in melody sentences are divided into smaller structures - phrases And motives(component elements of musical forms, cells that form the basis of a melody).
Motive- the smallest part of the melody, an indivisible cell of musical speech, which has a certain expressive meaning and which can be recognized when it appears.
Mozart. Symphony No. 40, chapter;
Tchaikovsky “German Song” (d.a.);
Tchaikovsky. May. “White Nights” (d.a.);
Haydn. Minuet;
Mozart. Minuet;
Purcell. Aria;
Mordasov. Old motive.
Sequences of 2-3 motives form a relatively closed structure - musical phrase. Phrases, in turn, are combined, and the sequence of 2 phrases constitutes an even larger construction, called offer. The sequence of 2 sentences constitutes a complete section, which is called period - a simple one-part form.
Many of the smaller pieces are period pieces. But for the most part, musical works consist of a chain of periods.
So the succession of two periods forms a simple two-part form (A+A 1, A+B). In vocal music this form is called verse.
- Tchaikovsky. May. “White Nights” (d.a.) - A+B;
Maykapar. In the kindergarten - A+B;
Schumann. March - A+B;
- Shulgin. March of the October - A+B;
- Handel. Minuet - A+A 1;
- Purcell. Aria - A+A 1 ;
- Bach. Aria - A+A 1
Tripartite form consists of three sections (most often three periods): the 1st and 3rd sections are the same; middle - either continues the development of the thematic material of the 1st part, or is built on new, often contrasting material (A+A 1 +A, A+B+A).
Tchaikovsky. “March of the Wooden Soldiers” (d.a.) - A+A 1 +A;
Tchaikovsky. “New doll” (d.a.) - A+A 1 +A;
Tchaikovsky. "Lark" (d.a.) - A+A 1 +A;
- Mozart. Minuet - A+A 1 +A;
Tchaikovsky. “Sweet Dream” (d.a.) - A+B+A;
- Rubinstein. "Melody" - A+B+A;
- Mussorgsky. “Baba Yaga”, “Ballet of the Unhatched Chicks” (“Pictures at an Exhibition”) – sl. 3-part with a contrasting middle;
Grieg. "Procession of Dwarves" - words 3-part with a contrasting middle;
- Prokofiev. Dance of the Knights - lyrics. 3-part with a contrasting middle;
- Mozart. Symphony No. 40, Part III - lyrics. 3-part with trio
Variations- a musical form consisting of a theme and several repetitions of it in a modified form ( A + A 1 + A 2 + A 3 ...).
- Handel. Passacaglia g moll – 2957 (basso ostinato);
Mozart. Variations on a French theme. Songs. – 572;
Grieg. In the Cave of the Mountain King – 3641 (soprano ostinato);
Ravel. Bolero – 3139 (double variations);
Glinka. Kamarinskaya - 3578 (double variations)
Shostakovich. Symphony No. 7, Part I, invasion episode – free variations on a constant theme
Rondo(French – round dance, walking in a circle) – a musical form consisting of repeated repetition of one theme – refrain(the topic is taught at least 3 times), with which sections of other content alternate - episodes. The rondo form begins and ends with a refrain, forming a kind of vicious circle (A+B+A+C+D+A).
Couperin. Chaconne “Beloved” - 2874;
Mozart. Arioso Figaro “Frisky Boy...”, I d. “The Marriage of Figaro” -
Glinka. Romance “Night Marshmallow” -
Glinka. Rondo Farlafa, II building “Ruslan and Lyudmila” –
Borodin. Lamentation of Yaroslavna, IV d. “Prince Igor” -
Prokofiev. "Juliet is a girl" -
Mussorgsky. "Pictures at an Exhibition" - rondo with suite features.
Large works consisting of separate parts united by a common concept are classified as cyclic forms.
Music genres – historically established genera and species musical works, united by common content, form, conditions (place) of performance and composition of performers.
In musical science, various classifications of genres of compositional creativity have developed. They depend on which of the genre-determining factors is considered as the main one. By composition of performers genres are divided into instrumental and vocal (including vocal-instrumental). In turn, in each group one can distinguish solo, ensemble, orchestral/choral genres.
At the place of execution genres can be chamber (for performance in small rooms by a solo or ensemble), concert (for performance from a concert stage by an orchestra and/or choir), musical theater. Everyday genres (song, dance, march) stand apart.
The cumulative effect of these criteria in relation to the main genres of academic music can be presented in the following table:
| Vocal genres | Instrumental genres | ||
| Song | Dance March | Everyday genres | |
| Solo genres | Romance | Instrumental piece Sonata | Chamber genres |
| Ensemble genres | Vocal duets, trios, quartets, etc. | Instrumental duets, trios, quartets, etc. | |
| Choral/orchestral genres | Cantata Oratorio | Instrumental concert Symphony Overture Symphonic poem (picture) Symphonic suite | Concert genres |
| Opera Operetta Musical | Ballet | Musical and theatrical genres |
By shape genres are divided into miniatures (small one-part works - songs, romances, plays), large one-part works (overture, symphonic poem), cycles (works consisting of several parts - sonata, concert, symphony, suite).
By content musical works, like literary works, are lyrical, dramatic and epic. However, the classification of musical genres according to this criterion is the least accurate, since in music the qualities of narrative, expressiveness, and effectiveness are sometimes difficult to differentiate. Thus, a romance can go beyond the lyrical genre if there is dramatic development. And a dramatic symphony can acquire the quality of a confessional lyrical statement.
Summarizing several criteria, we can give the following definitions to the main musical genres:
The song is the most common genre of vocal music, folk and professional (author's). Solo or choral musical and poetic work. It can be intended for performance at home, for chamber or concert performance.
Romance is a chamber vocal work for voice with instrumental accompaniment. Lyrical miniature.
Cantata is a concert vocal-instrumental genre, a work for a choir, one or more solo singers and an orchestra. Includes arias, recitatives, choruses.
Oratorio is a large vocal and instrumental work for choir, solo singers and orchestra. Includes arias, recitatives, choruses. It differs from the cantata in its larger size, and from the opera in that it is intended for concert performance.
Opera is a musical and theatrical genre based on the synthesis of words, stage action and music. Includes arias (solo forms with chanting melody), recitatives (solo forms with melody approaching natural speech), ensembles, and choirs. Opens with an overture (orchestral introduction), may contain other instrumental episodes (introductions to individual actions, dances)
An instrumental piece is a general name for chamber, mostly solo instrumental miniatures. It has dozens of genre varieties and author’s designations (nocturne, impromptu, musical moment, “song without words”, “leaf from an album”, etc.)
Sonata is one of the main genres of chamber music instrumental music, a work for soloist or small ensemble. A three-part (rarely four-part) cycle with fast outer parts.
Symphony is one of the main genres of concert instrumental music, a work for a symphony orchestra. The cycle usually consists of 4 parts.
Concerto – a work for one, or less often several, solo instruments with symphony orchestra. A cycle of 3 parts, contrasting in tempo (fast, slow, fast). There are also concerts for one instrument (without orchestra), for orchestra (without soloists), for voice with orchestra, for a capella choir (without instrumental accompaniment).
Suite is a genre of instrumental music, chamber and concert. Work for solo instrument, ensemble, orchestra. A cycle consisting of an arbitrary number of parts, usually contrasting in tempo, rhythm, and character.
Compiled by:
Solomonova N.A.
In musicological literature, scientists turn to the development of such concepts as style and genre less often than, for example, in literary criticism, as many researchers have repeatedly pointed out. It was this circumstance that prompted us to write this summary.
The concept of style reflects the dialectical relationship between the content and form of a work, the commonality of historical conditions, worldviews of artists, and their creative method.
The concept of “style” arose at the end of the Renaissance, at the end of the 16th century, and it includes many aspects:
Individual characteristics creativity of this or that composer;
general features letters from a group of composers (school style);
features of the work of composers of one country (national style);
features of works included in any genre group - the style of the genre (this concept was introduced by A.N. Sokhor in his work “The Aesthetic Nature of Genre in Music”).
The concept of “style” is widely used in relation to the performing apparatus (for example, the vocal style of Mussorgsky, the piano style of Chopin, the orchestral style of Wagner, etc.). Musicians and conductors also bring their unique interpretation to the style of the work being performed, and we can also recognize especially gifted and brilliant performers by their unique interpretation, by the nature of the sound of the work. These are such great musicians as Richter, Gilels, Sofronitsky, Oistrakh, Kogan, Kheifetz, conductors Mravinsky, Svetlanov, Klemperer, Nikish, Karoyan and others.
Among the most famous studies devoted to the problems of musical style, the following works should be mentioned in this vein: “Beethoven and his three styles” by A.N. Serov, “Characteristics of Shostakovich’s style” (collection of articles), “Style of Prokofiev’s symphonies” by M.E. Tarakanova, “On the Problem of I. Brahms’ Style” by E.M. Tsareva, or “Artistic Principles of Musical Styles” by S.S. Skrebkov, “Classical Style in Music of the 1111th - Early 19th Centuries; Self-awareness of the era and musical practice" by L. V. Kirillina, "Research on Chopin" by L. A. Mazel, where he rightly notes that analysis of a specific work is impossible without taking into account the general historical patterns of a given style, and revealing the content of the work is impossible without a clear understanding about the expressive meaning of certain formal techniques in this style. An exhaustive analysis of a musical work, claiming scientific impeccability, according to the scientist, should be a prerequisite for a deep and comprehensive acquaintance with this style, its historical origin and meaning, its content and formal techniques.
Scientists offer a number of definitions.
A musical style is a system of artistic thinking, ideological and artistic concepts, images and means of their implementation that arises on a certain socio-historical basis. (L.A. Mazel)
Musical style is a term in art history that characterizes a system of means of expression that serves to embody one or another ideological content. (E.M. Tsareva)
Style is a property (character) or main features by which one can distinguish the works of one composer from another or a work of one historical period... from another (B.V. Asafiev)
Style is a special property, or better said, the quality of musical phenomena. It is possessed by a work or its performance, an edition, a sound design solution, or even a description of a work, but only when in this, that, the third, etc. the individuality of the composer, performer, and interpreter behind the music is directly felt and perceived.
Musical style is a distinctive quality of musical creations that are part of a particular genetic community (the heritage of a composer, school, movement, era, people, etc.), which allows you to directly feel, recognize, determine their genesis and manifests itself in the totality of all without excluding the properties of perceived music, united into an integral system around a set of distinctive characteristic features. (E.V.Nazaikinsky).
According to the scientist, the most stylistically striking means and features of music are distinctive and can be attributed to the characteristic features of the style.
The individual style of a composer’s work, as a rule, is most attractive to researchers. “Style in music, as in other forms of art, is a manifestation of character creative personality creating music or interpreting it” (E.V. Nazaikinsky). Scientists pay serious attention to the evolution of composer style. In particular, the three styles of Beethoven that attracted Serov’s attention were mentioned above. Researchers carefully study the early, mature and late style of Scriabin, etc.
“The effect of stylistic certainty” (E. Nazaikinsky) provides the most stylistically striking means and features of music, which are distinctive and can be attributed to the characteristic features of the style. From them, listeners will recognize the style of a particular work, the composer’s style, and the performing style of a particular interpreter. For example, a mode-harmonic revolution characteristic of Grieg is the transition of the opening tone not to the tonic, but to the fifth degree of the mode (Piano Concerto with Oschestra - opening chords, the famous “Solveig’s Song” from the suite “Peer Gynt”, or the descending move to fifth degree through the sixth raised degree (Lyric pieces, “Waltz” in A minor), or the famous “Rachmaninov harmony” - a chord formed in minor by the fourth, sixth, seventh raised and third degrees with resolution to the tonic in the melodic position of the third (initial phrases his famous romance “Oh, don’t be sad!” - there are a lot of examples, they can be continued endlessly.
Very important feature style is the fixation and expression of a certain content, as pointed out by E.V. Nazaikinsky, M.K. Mikhailov, L.P. Kazantseva, A.Yu. Kudryashov.
The specificity of the national style can be seen primarily in how they relate folklore origins and professional composing within the framework of the national style. As E.V. Nazaykinsky rightly notes, both folklore material, and the principles of folk music, and its specific elements can serve as a source of originality of the general national style. The extent and nature of the awareness of belonging to a particular nation, as well as the reflection of this in creativity, largely depend on the interaction of the native culture with foreign cultures and their elements, on what other nations and cultures a person comes into contact with. Even the strongest, brightest individual style in the process of its formation and development is mediated by the styles of the school, era, culture, and people. I recall the wonderful words of V. G. Belinsky, “if the process of cultural development of one people passes through borrowing from another, it nevertheless occurs nationally, otherwise there is no progress.”
Analysis musical language of a particular work - the features of melody, harmony, rhythm, form, texture are a prerequisite for characterizing the style.
In the musicological literature, many theories have developed that describe individual historical stages in the formation of various styles - baroque, rococo, classicism, romanticism, impressionism, expressionism, etc. The content of these studies reveals the leading, fundamental principles that are united within one historical era musical works created in different countries, different national schools, etc. , which gives an idea of the aesthetics of a certain historical stage, musical language and the era itself as a whole. In his famous book “Chronicle of My Life” I.F. Stravinsky wrote: “every doctrine requires for its implementation a special way of expression, and therefore a special technique; It’s impossible to imagine a technique in art that does not flow from a certain aesthetic system.”
Each style has its own special features. Thus, baroque is characterized by monumental forms, including large-scale cyclic forms, multifaceted contrasts, and a comparison of polyphonic and homophonic principles of musical writing. The Baroque suite of dances, as noted by A.Yu. Kudryashov, generally represented the movement simultaneously in two forms - as the embodiment of the four main human temperaments and as stages in the flow of human thought (melancholic allemande - “thesis”, choleric chime - “development of the thesis”, a phlegmatic saraband is an “anti-thesis”, a sanguine gig is a “refutation of a thesis”.
As O. Zakharova noted, the public performance of soloists began to play a large role, their allocation to the first, visible places for the public, while the choir and instrumental ensemble, which were previously located directly in front of the listeners, move to the background.
In the Baroque era, the opera genre developed rapidly, and as V. Martynov rightly notes, opera became the way of existence of music, its substance... And when Baroque composers write masses and motets, then their masses and motets are the same operas, or opera fragments, with the only difference that they are based on sacred canonical texts, which become the object of “musical performance”.
The core of Baroque music is the effect, understood in that era as the expression of a feeling containing the idea of eternity. “The purpose of music is to give us pleasure and arouse various affects in us,” wrote R. Descartes in his treatise “Compendium of Music”. The classification of affects was made by A. Kircher - love, sadness, courage, delight, moderation, anger, greatness, holiness, then - by I. Walter - love, suffering, joy, anger, compassion, fear, cheerfulness, amazement.
Composers of the Baroque era paid great attention to the intonational pronunciation of words according to the laws of rhetoric. According to Y. Lotman, “the rhetoric of a baroque text is characterized by a collision within the whole of areas marked by different degrees of semioticity. In the clash of languages, one of them invariably appears as “natural” (not a language), and the other as a distinctly artificial one.”
Here are the most famous musical and rhetorical figures in Baroque art:
the ascending movement of the melody (as a symbol of ascension, resurrection);
the downward movement of the melody (as a symbol of sinfulness or the transition to the “lower world”);
circular movement of the melody (as a symbol of “hellish whirlwinds” (Dante), or, on the contrary, divine enlightenment);
scale-like ascending or descending movement of the melody at a fast tempo (as a symbol of inspiration, on the one hand, or anger, on the other);
movement of the melody along narrow chromatic intervals (as a symbol of horror, evil);
the melody progresses over a wide chromatic, increased or decreased interval, or a pause in all voices (as a symbol of death).
The rock-coco style is characterized by a world of fragile, graceful or scherzo images of a gallant, salon character, and the musical language is replete with fragmented melodic patterns, melismas, and transparency of texture. Composers strive to embody not established moods, but their development, not calmly pouring out affect, but feelings with sharp changes in tension and release. For them, verbal clarity of expression of musical thought becomes habitual. Unshakable, static images give way to variability, peace to movement.
Klassicism - according to academician D. Likhachev - is one of the possible “great styles of the era”. In an aesthetic aspect classic style it is important to emphasize the carefully verified balance of the sensual-immediate, rational-logical and ideologically sublime inherent in the work, the classical self-awareness of the artist, overcoming the “power of dark vital forces” and turned to “light, sensual beauty” (E. Kurt), and therefore in tune with the classical same examples of art of the past, primarily ancient, the intensification of interest in which is one of the indicative signs of the formation of any classicism (A.Yu. Kudryashov). Special significance in the era of classicism there was the formation of a four-part sonata-symphonic cycle. As M.G. Aranovsky believes, he defines the semantics of the four main hypostases of the human personality: an active person, a thinking person, a playing person, a social person. The four-part structure acts, as N. Zhirmunskaya writes, as a universal model of the world - spatial and temporal; it synthesizes the macrocosm - the universe - and the microcosm - man. “Various refractions of this model are united by emblematic and symbolic connections, sometimes translated into the language of familiar mythological images and plots: the elements symbolically reflect the seasons, days, periods of human life, countries of the world (for example: winter - night - old age - north - earth, etc.) p.)"
A whole group of semantic figures with Masonic meaning appears, which E. Chigareva identified in Mozart’s work “Melody: rising to a major sixth - hope, love, joy; detentions, pairs of joined notes - bonds of brotherhood; gruppeto - Masonic joy; rhythm: dotted rhythm,... accentuated staccato chords, followed by a pause - courage and determination; Harmony: parallel thirds, sixths and sixth chords - unity, love and harmony; “modal” chords (side steps – VI, etc.) – solemn and religious feelings; chromaticisms, diminished seventh chords, dissonances – darkness, superstition, chloe and discord.”
The central content complex of Beethoven's artistic world is the beauty and balance of form, a strictly organized flow of musical and rhetorical eloquence, a high ethical idea, a large role of opposites - both at the level of musical syntax and at the level of form.
R omanticism is a style dominant in the 19th century. One of the researchers musical romanticism, Y. Gabay identifies three ways of interpreting the romanticism of the 19th century: in contrast to the classical, it denotes Christian art; secondly, it is associated with the Romanesque linguistic tradition, namely the Old French poetic novel, thirdly, it defines truly poetic animation, that which makes great poetry always alive (in the latter case Romantics, peering into history as a mirror of their ideals, found them in Shakespeare, and Cervantes, and Dante, and Homer, and Calderon).
In the musical language, researchers note the increasing expressive and colorful role of harmony, the synthetic type of melody, the use of free forms, the desire for end-to-end development, and new types of piano and orchestral textures. Novalis's idea of romantic prose, highly changing, wonderful, with special turns, quick leaps - can be extrapolated to music. The most important way of musical expression of the idea of formation and change, universal for romanticism, is the increased chanting, songfulness, and cantilence present in Schubert, Chopin, Brahms, Wagner and others.
Programming as a phenomenon of musical thinking
romantic era, entails special means musical expressiveness. One should keep in mind the complex relationship between program and non-program music, since, as Chopin admitted, “there is no real music without hidden meaning" And Chopin's Preludes - according to the statements of his students - are a confession of their creator. Sonata in B-flat minor with the famous “funeral march”, according to Schumann, “not music, but something with the presence of a terrifying spirit”, according to A. Rubinstein - “the night blowing of the wind over the coffins in the cemetery”...
In the music of the twentieth century, we observe a special variety of techniques of musical composition: free atonality, pitch-undifferentiated sonorism, timbre-noise effects, aleatorics, as well as the twelve-tone system, neomodality, seriality, seriality. The openness of individual components of the music of the twentieth century is distinctive feature modern culture as a whole, as the French culturologist A. Mol rightly said: “modern culture is mosaic, ... is composed of many adjacent but not forming fragments, where there are no points of reference, there is not a single truly general concept, but there are many concepts, having great weight."
In music, chanting-cantilena thematicism is destroyed, other means of musical expression are liberated (Stravinsky, Bartok, Debussy, Schoenberg, Messiaen, Webern, etc.), and unusual performing features appear, shocking contemporaries, as, for example, in the play by H. Cowell “ Harmonic Adventures" - the use of clusters (chords consisting of seconds), techniques for playing the piano with a fist, palm or entire forearm...
New modernist trends appear in music, coming from painting and other arts. Thus, at the origins of such a phenomenon as bruitism, or the art of noise (from the French word bruit - noise) was the Italian painter Luigi Russolo, who in his manifesto “The Art of Noise” wrote that “musical art seeks an amalgam of the most dissonant, strangest and sharpest sounds... we will have fun orchestrating perfectly creaking shop doors on blocks, the roar of the crowd, various noises railway stations, forges, spinning mills, printing houses, electrical workshops and underground railways... we should not forget the completely new noises of modern war ..., turn them into music and regulate them harmoniously and rhythmically"
Another modernist movement is Dadaism. The modernist essence of Dadaism can be traced in the statements of the artist G. Gross: “Dadaism was a breakthrough that we made, bawling, mocking and laughing, in order to break out of that closed, arrogant and overly valued by us circle that hovered above the classes and was alien to the sense of responsibility and participation in everyday life. The composer and artist, a native of Russia, Efim Golyshev, one of the champions of the twelve-tone composition method of the twentieth century, took an active part in the work of the Berlin Dada club. Among his musical and stage works are “Dada Dance with Masks”, “Chanting Maneuver”, “Rubber” for two timpani, ten rattles, ten ladies and one postman. Urban works by Honegger (“Pacific-231”), Prokofv (ballet “Steel Leap”), Mosolov (Symphonic episode “Factory. Music of Machines” from the ballet “Steel”), Varese (“Ionization” for forty-one percussion instruments and two sirens) - these trends were then refracted in the directions of the post-war musical avant-garde. This is specific and electronic music, ensemble happenings and instrumental theater, sonoristics, multimedia processes (works by P. Schaeffer, K. Stockhausen, M. Kagel, S. Slonimsky, A. Schnittke, S. Gubaidullina, J. Cage, etc.)
At the end of the 19th century, the prerequisites arose for the emergence of neo-classicism, which, according to L. Raben, was the most universal of the new systems of music of the 20th century.
Polystylistic trends in music also appear. P o l i s t i -
l i s t i c a - a conscious combination of various stylistic features in one work. “The definition of polystylistics means the deliberate combination in one work of various stylistic phenomena, stylistic heterogeneity resulting from the use of a number of technical techniques (one of the special cases is collage)” - ( Music Encyclopedia, volume 3, p. 338). One of interesting cases the use of vertical polystylistics is found in “Serenade” for five instruments by A. Schnittke: in score number 17, the motive of Tchaikovsky’s Violin Concerto and the beginning main party his First Piano Concerto, and number 19 combines the leitmotif of the Queen of Shemakha from Rimsky-Korsakov’s “The Golden Cockerel”, the opening chords of Beethoven’s Pathetique Sonata and passages from Bach’s Chaconne for solo violin.
Musical genres are the kinds and types of musical works that have historically developed in connection with certain functions of music, its life purpose, and the conditions of its performance and perception. A very comprehensive definition is given by E. Nazaykinsky: “genres are historically established relatively stable types, classes, genera and types of musical works, delimited by a number of criteria, the main of which are: a) specific life purpose (social, everyday, artistic function), b) conditions and means of execution, c) the nature of the content and form of its implementation. A genre is a multi-component, cumulative genetic (one might even say genetic) structure, a kind of matrix according to which this or that artistic whole is created. If the word style refers us to the source, to the one who gave birth to the creation, then the word genre refers to the genetic scheme according to which the work was formed, born, created. A genre is a holistic standard project, a model, a matrix, a canon, with which specific music is correlated.”
In the works of T.V. Popova, the classification of genres is based on two criteria: the conditions for the existence of music and the features of performance. V.A. Tsukkerman identifies three main genre groups: lyrical genres, narrative and epic genres, and motor genres associated with movement. A.N. Sokhor takes living conditions and the performance environment as the main criterion. The scientist identifies four main groups of genres: cult or ritual genres, popular genres, concert genres, theatrical genres. The systematization of genres made by O.V. Sokolov is based on the connection of music with other arts or extra-musical components, as well as its function. These are pure music, interactive music, applied music, applied interactive music.
T.V. Popova systematizes the main genres of classical music as follows:
Vocal genres (song, hymn, choir, recitative, romance, ballad, aria, arietta, arioso, cavatina, vocalise, ensemble);
Dance music. Ancient dance suite;
Genres of instrumental music (prelude, invention, etude, toccata, impromptu, musical moment, nocturne, barcarolle, serenade, scherzo, jujumoresque, capriccio, rhapsody, ballad, novelette);
Symphonic and chamber music;
Sonata-symphonic cycles, Concert, Symphonic suite of the 19th – 20th centuries;
One-movement (non-cyclic) genres of the 19th-20th centuries (overture, fantasy, symphonic poem, symphonic picture, one-movement sonata;
Musical and dramatic works. Opera and ballet
Cantata, oratorio, requiem.
Literature
Main
1. Bonfeld M. Sh. Analysis of musical works. Structure of tonal music:
at 2 o'clock. M.: Vlados, 2003.
2. Bonfeld M. Sh. Introduction to musicology. M.: Vlados, 2001.
3. Berezovchuk L. Musical genre as a system of functions: Psychological and semiotic aspects // Aspects of theoretical musicology. Problems of musicology. Issue 2. L., 1989. P.95-122.
4. Gusev V. Aesthetics of folklore. L., 1967.
5. Kazantseva L.P. Fundamentals of the theory of musical content: textbook. manual for students of music universities. Astrakhan, 2001.
6. Kazantseva L.P. Polystylistics in music: lecture on the course “Analysis of musical works”. Kazan, 1991.
7. Kolovsky O.P. Analysis of vocal works: textbook. manual for students of music universities / O. P. Kolovsky [etc.]. L.: Music, 1988.
8. Konen V.D. The third layer: New mass genres in the music of the twentieth century. M., 1994.
9. Mazel L., Tsukkerman V. Analysis of musical works: textbook. allowance. M.: Muzyka, 1967.
10. Musical encyclopedic dictionary. M., 1998.
11. Nazaykinsky E.V. Styles and genres in music: textbook. manual for higher education students educational institutions. M.: Vlados, 2003.
12. Popova T.V. Musical genres and forms. 2nd ed. M., 1954.
13. Roitershtein M. Fundamentals of musical analysis: textbook. M.: Vlados, 2001.
14. Ruchevskaya E. A. Classical musical form. St. Petersburg: Composer, 1998.
15. Sokolov A. S. Introduction to musical composition of the twentieth century: textbook. manual for universities. M.: Vlados, 2004.
16. Sokolov O.V. On the problem of the typology of musical genres // Problems of music of the twentieth century. Gorky, 1977.
17. Tyulin Yu. N. Musical form: textbook allowance / Yu. N. Tyulin [etc.]. L.: Music, 1974.
18. Kholopova V. N. Forms of musical works. St. Petersburg: Lan, 2001.
Additional
1. Aleksandrova L. V. Order and symmetry in musical art: logical-historical aspect. Novosibirsk, 1996.
2. Grigorieva G.V. Analysis of musical works. Rondo in the music of the twentieth century. M.: Muzyka, 1995.
4. Kazantseva L.P. Analysis of musical content: method. allowance. Astrakhan, 2002.
5. Krapivina I. V. Problems of shape formation in musical minimalism. Novosibirsk, 2003.
6. Kudryashov A.Yu. Theory of musical content. M., 2006.
7. Mazel L. Free forms of F. Chopin. M.: Muzyka, 1972.
8. Musical encyclopedia. M., 1974–1979. T. 1–6
9. Ovsyankina G. P. Piano cycle in Russian music of the second half of the twentieth century: the school of D. D. Shostakovich. St. Petersburg: Composer, 2003.
10. Tsukkerman V. Analysis of musical works. Variational form: textbook. for students musicologist dept. music universities M.: Muzyka, 1987.
There are a great variety of musical genres and trends. If you start listing the genres of music, the list will simply be endless, since dozens of new musical movements appear on the borders of different styles from year to year. This is due to the development of music technologies, new developments in the field of sound production, sound production, but first of all - with people’s need for a unique sound, with a thirst for new emotions and sensations. Be that as it may, there are four broad musical movements that, in one way or another, gave rise to all other styles. There are also no clear boundaries between them, and yet the production of a musical product, the content of songs and the structure of arrangements are noticeably different. So what are the different genres of vocal music, at least the main ones?
Pop
Pop music is not only a direction, but also a whole popular culture. The song is the only form that is acceptable in the pop genre.
The key points in creating a pop composition are the presence of the most simple and memorable melody, construction on the verse-chorus principle, and the rhythm and human voice are brought to the fore in the sound. The purpose for which pop music is created is purely entertainment. A pop performer cannot do without show ballet, stage performances and, of course, expensive video clips.
Pop music is a commercial product, so it constantly changes in sound depending on the style at the peak of popularity. For example, when jazz was in favor in the United States, performers like Frank Sinatra became popular. And in France, chanson has always been honored, so Mireille Mathieu and Patricia Kaas are unique French pop icons. When there was a wave of popularity of rock music, pop artists widely used guitar riffs in their compositions (Michael Jackson), then there was an era of mixing pop and disco (Madonna, Abba), pop and hip-hop (Beastie Boys), etc.
Modern world stars (Madonna, Britney Spears, Beyonce, Lady Gaga) picked up the wave of rhythm and blues and develop it in their work.
Rock
The lead in rock music is given to the electric guitar, and the highlight of the song is usually the expressive solo of the guitarist. The rhythm section is heavy, and the musical pattern is often complicated. Not only powerful vocals are welcome, but also mastery of the technique of splitting, screaming, growling and all kinds of roars.
Rock is a sphere of experimentation, expression of one's own thoughts, and sometimes revolutionary judgments. The subject matter of the texts is quite broad: the social, political and religious structure of society, personal problems and experiences. It is difficult to imagine a rock performer without his own band, since performances are only performed live.
The most common rock music genres - list and examples:
- rock and roll (Elvis Presley, The Beatles);
- instrumental rock (Joe Satriani, Frank Zappa);
- hard rock (Led Zeppelin, Deep Purple);
- glam rock (Aerosmith, Queen);
- punk rock (Sex Pistols, Green Day);
- metal (Iron Maiden, Korn, Deftones);
- (Nirvana, Red Hot Chili Peppers, 3 Doors Down), etc.
Jazz
When describing modern genres of music, the list would be worth starting with jazz, since it had a huge influence on the development of other genres, including pop and rock. Jazz is a music based on African motifs brought to the United States from West Africa by black slaves. Over the century of its existence, the direction has significantly transformed, but what remains unchanged is the passion for improvisation, free rhythm and widespread use. Jazz legends include: Ella Fitzgerald, Louis Armstrong, Duke Ellington, etc.
Electronic
The 21st century is the era of electronics, and the electronic direction in music today occupies one of the leading positions. Here the bets are placed not on live instruments, but on electronic synthesizers and computer sound emulators.
Here are the most popular and in-demand electronic music genres, a list of which will give you a general idea:
- house (David Guetta, Benny Benassi);
- techno (Adam Beyer, Juan Atkins);
- dubstep (Skrillex, Skream);
- trance (Paul van Dyk, Armin van Buuren), etc.
Musicians are not interested in adhering to the boundaries of style, so the relationship between performers and styles is always quite arbitrary. Music genres, the list of which is not limited to the above-mentioned areas, have recently tended to lose their characteristic features: performers mix musical genres, there is always room for amazing discoveries and unique finds in music, and the listener is interested in getting acquainted with the latest musical novelties every time.
Music genres
Blues(English blues, from blue devils - melancholy, sadness) - initially - a solo lyrical song of African Americans, later - a direction in music. The blues appeared in the second half of the 19th century. in the USA. Blues melody is characterized by a question-and-answer structure and the use of the blues scale. The lyrical lyrics of many blues songs reflect the theme of social and racial oppression.
Vocal music- this is music in which the voice dominates or has equal rights with the instruments, with accompaniment or a cappella. Large genres - musical-dramatic work, oratorio, medium genres - cantata, vocal cycle, liturgy, choral concert, small - vocal miniature (song, romance).
Gospel(English gospel music) is a genre of spiritual Christian music that developed in the first third of the 20th century. in the USA. A distinction is usually made between black gospel and white gospel. What they have in common is that both were born among the Methodist churches of the American South.
Jazz(English jazz) is a form of musical art that arose at the beginning of the 20th century. in the USA as a result of the synthesis of African and European cultures and subsequently became widespread. Characteristics The musical language of jazz initially became improvisation, polyrhythm based on syncopated rhythms and a unique set of techniques for performing rhythmic texture - swing. The further development of jazz occurred due to the development of new rhythmic and harmonic models by jazz musicians and composers.
Country(English country, second name - country and western, English country and western) - the most common type of American folk music of white residents (cowboys) of the South and Southwest of the United States.
Classical music- a concept free from terminological rigor, used, depending on the context, in three meanings.
1. In the meaning of qualitative assessment: music of the past that has stood the test of time and has an audience in modern society. Already today, not only the peaks of high musical art, but also the best examples of entertainment genres of the past are perceived as classical: for example, the peaks of French, Viennese and Hungarian operetta of the 19th - early 20th centuries, waltzes by Johann Strauss, etc.
2. In a narrow historical sense: music of the second half XVII- beginning of the 19th century (this period is traditionally correlated with classicism). The concept of classicism in relation to music is not very widely applicable, so in the stable characterization of Haydn, Mozart and Beethoven as Viennese classics there is also a considerable amount of qualitative assessment of their work as the foundation for the further development of musical composition.
3. In a typological sense: the so-called academic music, which is in relation to continuity primarily with those formed in Europe in the 17th–19th centuries. musical genres and forms (opera, symphony, sonata, etc.), melodic and harmonic principles and instrumental composition.
Musical(sometimes called a musical comedy) is a musical and stage work in which dialogues, songs, music, and dances are intertwined, while the plot is usually simple. The musical was greatly influenced by many genres: operetta, comic opera, vaudeville, burlesque. As a separate genre theatrical arts has not been recognized for a long time and is still not recognized by everyone.
Folk song- the most widespread type of folk music, a product of collective oral creativity. Reflects the character of each nation, customs, historical events, and is distinguished by the originality of genre content, musical language, and structure. The folk song exists in many local versions, gradually changing.
Opera(Italian opera, literally - composition, from Latin opera - work, product, work) - artistic and dramatic form theatrical performances, in which speech combined with music (singing and accompaniment) and stage action have a predominant importance. First opera house was opened for public performances in 1637 in Venice; previously opera served only for court entertainment. First grand opera can be considered "Daphne" by Peri, performed in 1597. The opera soon spread throughout Italy and then throughout the rest of Europe.
Punk rock(English punk rock) is a genre of rock music that emerged in the mid-1970s in the USA and Great Britain, which combined social protest and musical rejection of the then forms of rock: the deliberately primitive playing and fervor of early rock and roll were cultivated.
Pop music(English pop music, from popular music) - a type of modern entertainment music. In general, this term, especially in Western countries, defines the entire spectrum of pop entertainment music, excluding, as a rule, jazz, blues and country. Despite the fact that, thus, rock music is an integral part of this term, it is often contrasted with pop music, seeing in the latter the personification of a purely light music, designed for mass audiences.
Rock and roll(eng. rock’n’roll, from rock and roll) is a style of popular music that was born in the 1950s in the USA and was an early stage in the development of rock music. Also a dance performed to rock and roll music and a musical composition in the style of rock and roll. In English-speaking countries, the term “rock and roll” is often used to refer generally to rock music. The term "rock and roll" in its modern sense is believed to have been coined by Alan Freed, an energetic disc jockey from Cleveland, Ohio. The classic sound of rock and roll was formed in 1954–1955, when Bill Haley, Elvis Presley, Chuck Berry, Little Richard and Fats Domino recorded songs that laid the foundation for rock and roll.
Romance- a vocal composition written on a short poem of lyrical content, mainly love.
Ska(English ska) - musical style, which originated in Jamaica in the late 1950s. The emergence of the style is associated with the advent of sound systems, which made it possible to dance right on the street.
Spiritual(eng. spirituals, spiritual music) - one of the earliest genres of African-American music. Traditionally, spiritual songs are associated with Christian religious themes. How the genre of spirituals took shape in the last thirds of the XIX V. in the USA as modified slave songs among the blacks of the American South.
Hip-hop(English hip-hop) - youth subculture, which appeared in the United States in the late 1970s among African Americans. It is characterized by its own music (also called “hip-hop”), its own jargon, its own fashion, dance styles (breakdancing, etc.), graphic art (graffiti) and its own cinema. Hip-hop music consists of two main elements: rap (rhythmic chant with clearly defined rhymes) and the rhythm set by the DJ; at the same time, compositions without vocals are not uncommon. In this combination, rap performers call themselves “MC” (English MC - Microphone Controller or Master of Ceremony).
Chanson(French chanson) - French pop songs of the late XIX-
XX centuries, performed in cabaret style. From cabaret, this modification of chansons moved into French pop music of the 20th century. (the most famous chansonniers were Maurice Chevalier, Edith Piaf, etc.). Outside of France, almost all pop performers of French-language songs are usually classified as chansonniers. Thanks to this expanded interpretation of the term, P. Dupont, Yves Montand, J. Brassens, C. Aznavour, M. Mathieu, Joe Dassin, P. Kaas fall into this category.
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