GENRES OF MUSICAL ART
Students must
Know: classifications of genres, vocal genres, instrumental genres. Large forms of vocal-instrumental, instrumental and choral music. Symphonic music. Opera, ballet. Modern trends in music.
Lecture
Chamber music
In the old days, when there were no concert halls, philharmonic societies, instrumental music and small vocal works were performed b in the homes of music lovers. There were sonatas, trios, quartets, and someone sang to the accompaniment of a harpsichord or other instruments. Among the listeners there were usually only a few relatives and acquaintances.
Thus, they played music both in the modest homes of artisans and in aristocratic salons. This is where the expression came from - chamber music, that is, music is intended to be performed in a room, home music.
Vocal music
Music for voice, for singing - the most ancient look musical art, the same age as human speech. Man has long understood that a drawn-out, long sound is more beautiful and expressive than a short, abrupt sound. Obviously, praying, conjuring invisible spirits for something, he tried to draw out the sound, tried to make his sound melodious. This is how it was, or otherwise, it is unknown, but the most ancient songs that we know are just such spells of spirits. It’s hard to even call them songs, their melodies are very simple and primitive, but still these were already the first songs. of course there were other songs associated with everyday life. Many songs are dedicated to the most important thing in a person’s life – work, work. Many of them are designed to be sung while working. Their melodies and rhythms are adapted to human movements during a particular work.
A man is walking across the field, slowly, slowly, scoops up grain from a basket and scatters it over the plowed ground with a wide, smooth gesture - singing a song to the rhythm of his step.
The grass in the meadows is full, it’s time to mow. The mowers are walking one after another: in unison, they are waving their scythes at once and it is obvious that the song should be more energetic and clearer.
The rye is ripe. Women with sickles came out into the fields - a new song; They thresh rye on the threshing floor - they also sing.
Winter has come - and here you can’t do without a song for a long time. winter evenings behind a spindle or spinning wheel.
Singing without instrumental accompaniment is called - a cappella.
(learning and analysis of folk songs at the teacher's choice)
Vocal music, performed by human voices, is a combination of two types of art: music and poetry
Almost all vocal works have words. That is why their melodies are, to one degree or another, connected not only with the language of words, but also with the expressive intonations of human speech. In any vocal work, the leading role belongs to the melody, which is usually concentrated the main idea work, expresses the essence of the musical image.
Getting acquainted with the folk music of different countries, one can be convinced of the amazing wealth of song genres: work, ritual games, round dances, dances, majestic, lyrical, heroic-epic, comic, satirical. Family and everyday songs include lullabies, weddings, funerals, and lamentations. And all these types of songs were formed in close connection with the social life of a particular people that gave birth to them, their work activity and family and everyday life.
Control test
1.What is vocalization?
A) song with accompaniment;
B) singing with the names of notes;
IN) a play without words.
2.What is a ballad?
A) a song without words;
B) a song of a narrative nature;
C) a song with a sensual, lyrical character.
3. What do they have in common? folk song and romance? (where is the wrong answer?)
C) were created by amateur singers;
G) were created by composers.
4.What is “a cappella”?
A) singing with instrumental accompaniment;
B) singing in chorus;
IN) singing without instrumental accompaniment.
Students must
Know :
varieties of instrumental genre;
characteristic features of these works;
the names of several works and the composers who created them.
method of perception of a musical work.
Be able to:
identify instrumental works of different genres by ear;
draw up a plan for analyzing a piece of music;
conduct an analysis of a piece of music on a given topic with students;
select tasks for students to actively perceive a piece of music;
come up with tasks for associative perception of music;
compose rhythmic movements for plastic intonation;
think over and record a rhythmic score for playing the DMI (children's musical instruments);
carry out various types of musical activity, activating the perception of instrumental music of different genres and styles.
Lecture
Which music developed first, vocal or instrumental?
European instrumental music developed later than vocal music, and for a long time retained its applied character, accompanying ceremonial and funeral processions, city and court balls, and hunting trips.
At home, songs and dances were played on plucked strings string instruments- a multi-stringed LUTNE - the predecessor of the guitar and mondolin. In the 16th century, keyboard instruments became widespread in home life: harpsichord, clavichord, clavicembalo, and in England the virginal.
Everyday urban dances of the 16th – 18th centuries were varied in the nature of movement and rhythm. Among them there were smooth dances - processions (Italian pavane, German allemande, Spanish sarabande), lively, sliding ones (French chime and minuet), fast ones with jumping and skipping (bure, gavotte gigue).
From the alternation and comparison of various dances arose the ancient suite.
Suite(from the French Suite - “row”, “sequence”) - a musical work of several different pieces, united by a single concept. For example, “Carnival” by R. Schumann is a cycle of different piano miniatures. Or “Pictures at an Exhibition” by M.P. Mussorsky is a collection of plays that convey the composer’s impressions of the exhibition of the artist V.A. Hartmann. Suites are often composed from music for theatrical performances, films, ballet and opera excerpts. Such are, for example, the suites “Peer Gynt” by E. Grieg, “Carmen” by R. Shchedrin.
The suite is characterized by pictorial representation and a close connection with song and dance. What distinguishes a suite from a sonata and symphony is the greater independence of its parts and the less strictness and regularity of their relationships.
In Germany, at the end of the 17th century, the exact sequence of parts was formed: . for example, G. F. Handel, J. B. Luly, J. S. Bach.
The suites of the 17th-18th centuries were dance; orchestral non-dance suites appeared in the 19th century; The most famous are “Scheherazade” by N. A. Rimsky-Korsakov, “Pictures at an Exhibition” by M. P. Mussorgsky
Along with suites for keyboard and organ music characterized by two-part cycles consisting of preludes and fugues or toccatas and fugues.
Toccata(Italian - touch, touch) - the name of a piece of a virtuoso character, based on fast and rhythmically smooth movement without melodious lyrical episodes.
Prelude(lat. prae... - before and lat. ludus - play) - a short piece of music that does not have a strict form. In its infancy, preludes always preceded a longer, more complex and strictly structured work (hence the name), but later composers began to write preludes as independent works.
J. S. Bach wrote “The Well-Tempered Clavier”
consisting of preludes and fugues and influenced almost all significant composers of subsequent eras. Many of them wrote their own cycles of 12 or 24 preludes, which, like Bach’s, were arranged according to keys. Frederic Chopin wrote a cycle of 24 preludes without fugues, thus freeing the prelude from its original purpose - an introductory piece. Since then, many composers have written preludes as independent works. The two volumes of impressionist preludes by Claude Debussy had a particularly great influence on subsequent composers.
Famous cycles of preludes
J. S. Bach - two volumes of “The Well-Tempered Clavier”, Each volume contains 24 preludes and fugues in 12 major and 12 minor keys, with a prelude and fugue for each piano key.
F. Chopin - 24 preludes,
K. Debussy - two volumes of 12 preludes. At the end of each prelude there is its name, while before it there is only a Roman numeral indicating its number.
S. V. Rachmaninov -24 preludes, among them the world famous prelude in C sharp minor.
A. N. Scriabin - 24 preludes
P. Hindemith - Ludus Tonalis, prelude, 11 interludes
D. D. Shostakovich - a cycle of 24 preludes and fugues, and an earlier cycle of 24 preludes for piano.
Test.
B).musical exercises with virtuoso passages;
B) a short musical greeting.
2. March is:
A) a piece with a measured, clear rhythm;
B) a musical piece in which the main part is repeated several times;
B) a virtuoso piece.
A) a virtuoso piece of a whimsical nature;
B) a play of a sad nature;
B) a jazz piece.
4. Fugue is:
A) free form play;
B) a piece in fast motion with a clear rhythm;
5. The concert is:
A) public speaking;
B) a work for symphony orchestra consisting of four movements;
C) a piece for solo instrument and orchestra.
Sonata
If we compare the sonata with a literary genre, then the most suitable comparison is with novel or story. Like the imsonata, it is divided into several parts. Usually there are three or four. Like a novel, the sonata is populated by various “heroes” and musical themes.
Themes do not just follow one another, but interact, influence each other, and sometimes even come into conflict.
The first part of the sonata is characterized by the greatest tension and sharpness. Therefore, it developed its own, special sonata form.
First, the composer introduces the main characters - musical themes. It's like the beginning of a drama. Then the action develops, intensifies, reaches its peak, after which the denouement occurs. Thus, the sonata form consists of 3 sections.
1st. Exposition, in which the main themes appear in different keys, the action itself is 2 - development and outcome 3-reprise. In a reprise, what was in the exposition is repeated, but with changes caused by development events. All musical themes in the reprise appear in one, main key, sometimes completing the first movement of the sonata. It contains passages of the most important topics parts, the main tonality is established,
Part II composed, as a rule, in slow motion. The music conveys a leisurely flow of thought, glorifies the beauty of feelings, and paints sublime landscapes.
Part III (final) usually maintained at a fast pace, sometimes even rapid movement. This is the result, conclusions from the previous parts: it can be optimistic and life-affirming, but sometimes it can also be dramatic and even tragic.
Classical sonatas arose at the same time as symphonies, in the second half of the 18th century. The term "sonata" arose earlier in the 16th century from the Italian word to sound. Initially, this was the name given to any instrumental piece of music.
Sounds part III
What associations emerged?
It sounds like a storm, sweeping away everything in its path. Four waves of sounds rolling in with enormous pressure. Each wave ends with two sharp blows - the elements are raging. But here comes the second topic. Her upper voice is wide and melodious: she complains, protests. The state of extreme excitement is maintained thanks to the accompaniment - in the same movement as during the stormy beginning of part 3. Sometimes it seems that complete exhaustion sets in, but the person rises again to overcome suffering.
This is the dominant part of the sonata and the natural conclusion of its dramatic events. Everything here is like in the lives of many people, for whom living means fighting and overcoming suffering.
"Pathétique Sonata" " № 8
The sonata was written by L. Beethoven in 1798. The title belongs to the composer himself. From the Greek word “pathos” - with an elevated, elevated mood. This name applies to all three parts of the sonata, although this “elation” is expressed differently in each part.
Part I written at a fast tempo in the form of a sonata allegro. The beginning of the sonata is unusual: “The slow introduction sounds gloomy and at the same time solemn. Heavy chords, from the lower register an avalanche of sound gradually moves upward. Formidable questions sound more and more insistently. They are answered by a gentle, melodious melody with a hint of prayer against the backdrop of calm chords.
After the introduction, a rapid sonata allegro begins.
Main party resembles stormy waves. Against the background of a restless bass, the melody of the upper voice rises and falls anxiously.
Linking party gradually calms the excitement of the main theme, and leads to a melodic and melodious side party.
Contrary to the established rules in sonatas of Viennese classics, the side part of the Pathetique Sonata does not sound in parallel major, and in the minor of the same name.
Tests
1. In what year was L, Beethoven born?
A).1670,
B). 1870
IN). 1770
2. Where was Beethoven born?
A). In Bonn,
B). In Paris,
IN). In Bergen.
3. Who was Beethoven's teacher?
A). Handel G. F.
B). Nefe K.G.
IN). Mozart V.
4. At what age did Beethoven write “ Moonlight Sonata»?
A). At 50 years old.
B). At 41 years old.
IN). At 21 years old.
5 . Just in time for the love of which woman did Beethoven write the Moonlight Sonata?
A). Juliet Guicciardi.
B).Juliet Capulet.
IN). Josephine Dame.
6. Which poet gave the name to sonata No. 14 “Moonlight”?
A), and Schiller.
B). L. Relshtab.
IN). I. Shenk.
7. Which work does not belong to the work of Beethoven?
A). "Pathetique Sonata"
B). "Heroic Symphony".
IN),."Revolutionary sketch".
8. How many symphonies did Beethoven write?
Exercise 1.
Listen to two works, determine by style which one is by L. Beethoven, explain your opinion.
They sound: “Prelude No. 7” by F. Chopin and “Sonata” No. 14, 3rd movement by L. Beethoven.
Symphony
Symphony(from the Greek συμφωνία - “consonance”) - a genre of symphonic instrumental music of a multi-part form with fundamental ideological content.
Due to the similarity in structure with sonata, sonata and symphony are combined under common name « sonata-symphonic cycle " A classical symphony (as represented in the works of the Viennese classics - Haydn, Mozart and Beethoven) usually has four movements.
The 1st movement, at a fast tempo, is written in sonata form;
2nd, in slow movement, written in the form of variations, rondo, rondo sonata, complex three-movement
3rd - scherzo or minuet - in tripartite form
4th movement, at a fast tempo - in sonata form, in the form of a rondo or rondo sonata.
A program symphony is one that is associated with known content, set out in the program and expressed, for example, in the title or epigraph - Beethoven’s “Pastoral Symphony”, Berlioz’s “Fantasy Symphony”, Tchaikovsky’s Symphony No. 1 “Winter Dreams”, etc.
Assignments for students
Listening and analyzing fragments from symphonies Kritskaya E. D. program “Music”.
In Mozart Symphony No. 40, exposition.
1. Sing the main solfege melody, vocalise, to a text you have invented yourself.
2. Listen and draw melodic line main topic.
3. While listening, draw an artistic image that arises.
4. Compose a rhythmic score for DMI.
5. Learn the proposed rhythmic movements and compose rhythmic improvisations.
A. P. Borodin Symphony No. 2 “Bogatyrskaya”
1. Main theme: sing, play metallophones, piano.
2. Compare the musical image with the artistic one - A. Vasnetsov “Bogatyrs”.
P. Tchaikovsky Symphony No. 4 finale
1. Sing main topic with pauses for the words of the song “There was a birch tree in the field.”
2. Perform rhythmic accompaniment on noise musical instruments.
Theater.
Opera.
Students must:
know:
What is opera?
Types of opera: (heroic, lyrical, fairy-tale, comic, folk drama).
What constitutes the basis of an opera; (aria, cavatina, arioso, ensembles - duets, trios, quartets, quintets; recitatives, overture, choir)
Most famous operas Russians and foreign composers;
musical fragments from various operas.
Be able to:
Prepare a story for younger schoolchildren about opera, about composers, about everything that makes up opera.
Have a conversation with students about this genre.
Prepare a story about an opera, listening to and analyzing fragments.
Play and sing some popular themes from operas;
Learn fragments of opera arias with students; choirs
Lecture
Opera- this is a large and complex muse 
a performance in which singing, symphonic music, dramatic action, ballet, and painting are organically intertwined. The action of the opera, like any theatrical performance, takes place on stage. The audience sees the heroes of the work, their actions, and follows the unfolding of events. scenery and costumes give an idea of the era, determine the location of the action and the appearance of each character. However, the leading place in opera belongs to music. It is the main means of expression: it reveals the characters of the characters, their relationships, and conveys the tension of the action. Opera has a rich historical past. She was born about 400 years ago in Italian city Florence.
And all this time, the debate continues about whether the main thing in it is music or text. There was a period in the history of opera when the poet and librettist were considered its author, and the composer - a secondary person - had to obey the authors of the text and singers.
There was also a time when they stopped paying attention to the content. The opera became a "concert" in costumes. In the 18th-19th centuries, the genre of opera was finally formed in the form as we know and love it now.
The main thing in opera- after all music
Having been born in Italy in the 16th century, the opera became large and complex and spread to other countries in Europe and the world. Having originated as a mythological work - based on the plot of the ancient Greek myth about the struggle of the god Apollo with the serpent Python - now it is surprisingly rich in plots.
In the 19th century, national opera schools emerged in different countries. Their most prominent representatives in Italy are Rossini’s “The Marriage of Figaro”, “The Barber of Seville”, Verdi’s “Rigaletto” “La Traviata”, Puccini’s “Cio-Cio-San”.
In Russia, the art of opera has reached its highest peaks in the works of Glinka “Ivan Susanin”, “Ruslan and Lyudmila”, Dargomyzhsky “Rusalka”, Borodin “Prince Igor”, Musorsky “Boris Godunov”, Rimsky-Kopsky “The Snow Maiden”, Tchaikovsky “Eugene Onegin” , "Queen of Spades".
The composer writes an opera based on some plot, content, i.e. libretto.
Libretto- This full text musical and stage composition, those. opera, operetta, ballet. As a rule, librettos are composed by authors who specialize in this field – librettists. Often a literary or dramatic work serves as the primary source for the libretto. For example, the popular works “Eugene Onegin”, “The Queen of Spades”, “La Traviata”, “Rigaletto”, “Carmen”, “Snow Maiden”, “Boris Godunov”, “War and Peace”... these are Russian, foreign and Soviet operas, in based on which famous works Pushkin, Tolstoy, Ostrovsky, Merimee, Hugo, Dumas the Son. However, these works are greatly changed, because the opera genre has its own specifics. The text of the opera must be very laconic: after all, the sung word sounds much longer than the spoken word. In addition, the basis dramatic play – dialogue. An opera must have arias, ensembles, and choruses. All this also requires processing. The libretto can be independent, not based on a literary work. Sometimes the composer himself becomes the author of the libretto. A.P. Borodin - “Prince Igor”, M.P. Mussorsky – “Boris Godunov”, “Khovanshchina”
A. Dargomyzhsky for the opera “The Stone Guest” chooses a dramatic work by A.S. Pushkin, without changing a single word in it. The opera has arias.
1.Aria - this is the main characteristic of the character, musical portrait hero. The aria contains the main musical thematic material that characterizes the hero. From the point of view of plot development and stage action, the aria most often coincides with important point in the life of a hero. The structure of the aria is varied - two-part, three-part, rondo and others. In most cases, an aria contains two different musical material(for a complete description of the hero). The aria is obligatory in the parts of the main characters.
2. Arioso – differs from the aria in content and size. This is a partial description of the character in connection with an event. This conveys the hero’s attitude towards another character or his reaction to an event. The form is most often three-part.
3. Arietta - Italian small aria, small in size, reminiscent of an arioso, but distinguished by a simpler, song-like melody. Form - one-part, simple two- and three-part.
4. Ballad associated with the narrative nature of the presentation (verse or through form).
5. Romance, serenade most often convey the lyrical experiences of the hero (form - simple three-part, rondo, verse, verse-variation).
6. Cavatina – small lyrical aria. Since the end of the 18th century, the exit aria has been performed in opera. For example, the sparkling cavatina of Figaro from Rossini’s opera “The Barber of Seville”, Lyudmila from Glinka’s opera “Ruslan and Lyudmila”, Antonida in “Ivan Susanin”.
7. Ensembles– duets, trios, quartets, quintets and so on are of great importance in opera. Among them, the most common are the duets of “agreement” and “disagreement.” In the first case, both heroes react to events in the same way and this is reflected in the similar melody of their statements. In the second, the characters have different attitudes towards the same phenomenon, as a result of which their melodic material is contrasting and independent.
Choir in opera it is most often associated with crowd scenes, and characterizes a group of people. The form of choirs is varied and depends on the content and plot significance.
TO orchestral Music in opera includes the following genres: overture, introduction, introduction, prelude – these are the introductory pieces to the opera; intermission - introduction to the next actions or scenes; intermezzo - inside the action.
In addition, in a number of cases in opera there are ballet numbers.
Sometimes the opera contains short phrases separated by stops. This is singing, but very similar to recitation, it is called recitative- from the Latin word - to read aloud, to pronounce loudly. Recitative is the basis for the development of action in opera. After all, when completed musical numbers sound - arias, ensembles - the action usually stops.
In the first half of the 19th century, the exit aria, i.e. the first aria in the course of action, the one with which the hero entered the stage, was called
Choir– (Greek – crowd, meeting) – a work for a fairly large group of singers, as well as the name of the singing group, crowd scenes at the opera.
There are homogeneous choirs (children's, women's, men's) and mixed single-voice and multi-voice choirs. A singing group without instrumental accompaniment is called a cappella, not a choir. All choir members are divided into several groups, most often into four.
IN mixed choir All main voices are present: soprano altos, tenors, basses.
The peculiarity of choral music is that it makes it possible to vividly embody the ideas and experiences of large masses of people.
Overture -(French ouyerture - beginning, opening) instrumental introduction to a major work - opera, ballet, oratorio, theater performance, gives an idea of the nature of the upcoming action and its content. It is built on musical themes that later appear in the work and play an important role there. Many of the new type of overtures became actually concert pieces, for example " Aragonese jota"Glinka, "Romeo and Juliet" by Tchaikovsky.
Famous musical theaters :
Moscow - Bolshoi Theater
Saint Petersburg - Mariinskii Opera House
Paris - Grant Opera
Odessa Opera and Ballet Theater
Milan (Italy) – La Scala
Famous opera performers:
F. Shalyapin, I Kozlovsky L. Lemeshev, B. Shtokolov E Obraztsova, G. Vishnevskaya, Borisenko, Firsova, L. Kazarnovskaya.
Questions and assignments for students
Control test
1.Opera is:
A) stage action, where music, dance, and painting are organically intertwined;
B) stage action, where music, singing, choreography, and painting are organically intertwined;
C) a major musical work for symphony orchestra and choir and soloists
2. The libretto is:
A) full text of the musical and stage work;
B) introduction to the opera;
C) a literary work that served as the basis for the creation of the opera.
3.Overture is:
A) instrumental intermission between actions;
B) solo number in the opera;
IN) introduction to the opera.
4. Aria is:
A) a work for a large number of singers;
B) declamatory singing;
IN) a solo number in an opera that characterizes the hero.
A) tenor;
B) baritone;
B) mezzo-soprano;
D) soprano;
.ON THE. Rimsky-Korsakov
(1844-1908)
Tikhvin, where N.A. was born and spent his childhood years. Rimsky-Korsakov is a city of the free Russian North. Here Tsar Ivan the Terrible built the Mother of God Monastery, where the sovereign governors did not have access - there were few of them in Rus'. Here the Old Believers spread in a wide wave, colorful rituals, poetic customs, and the people were independent, lively in language and quick to kill.
Father of Nikolai Andreevich - a man of rare decency and kindness, modest, free of money, prone to reading books and philosophical reflection. He helped the Decembrists with money during their passage to Siberian exile.
Rimsky-Korsakov's house stood on the high bank of the Tikhvinka River opposite the monastery. Behind the large garden the fields began. You didn’t have to go far to hear the lark’s song during the day and the nightingale’s trills at night. Everything attracted the boy's attention. The walls of the Vvedensky Monastery, where the fourth wife of Ivan the Terrible, forcibly tonsured as a nun, once languished for 52 years.
Nika's older brother, Voin Andreevich, is already sailing in the seas of the Far East. His attractive letters about China, Japan, and Sakhalin spark children's imaginations. He takes music lessons. At the age of 9 he tries to compose, at the age of 12 the boy breaks up with Tikhvin.
All his life he will remember the singing of birds, the ringing of bells, northern forests and lakes, Tikhvin customs and legends.
In the meantime, military-bureaucratic St. Petersburg, the naval cadet corps, where Nika was assigned. But there was something else that helped the teenager not to lose himself and not become depersonalized in conditions of drill, cruelty, and humiliation. That something was music. Knowing nothing about music theory, he tries to compose, without knowing the technique of string and wind instruments, he tries to “orchestrate”. This musical chaos begins to clear up from the moment Nika meets the understanding of a real musician, pianist-teacher F.A. Canille. Nika's overall musical development has taken a huge step forward. He recognized Schumann. Bach, Beethoven, new works by Glinka.
When Rimsky-Korsakov was 17 years old, Canille brought him to a musician who was to play an exceptional role in N.A.’s life. - it was Mily Alekseevich Balakirev.
Questions and assignments for students
Control test
1. Where was Rimsky Korsakov born and spent his childhood?
A) in the village of Novospasskoye;
B) in Votkinsk;
IN) in Tikhvin.
2. Where does a future composer go to study at the age of 12?
A) at the school of law;
B) to the naval military corps;
C) to the school of guards ensigns.
3. Who influenced the development of Rimsky-Korsakov as a professional composer?
A) Borodin;
B) Balakirev;.
B) Mussorgsky.
Listening and analyzing a piece of music
Opera "The Snow Maiden"
The creation of "The Snow Maiden" amazes with its utmost swiftness. A huge work of rare beauty and originality was written in two and a half months. The passion for content and images also affected" spring fairy tale"and the fact that creatively, technically, emotionally, the composer was fully prepared for this work. Having created only the first sketches, Rimsky-Korsakov postponed the composition until the summer: together with his family, he spent it in exceptionally favorable conditions in the Stelevo estate near Luga. The composer described it this way This is a happy time for him - working on "The Snow Maiden".
“For the first time in my life I had the opportunity to spend a summer in a real Russian village. I liked everything here, admired everything. Beautiful location, lovely groves, a huge forest, fields of rye, buckwheat, oats, flax, many scattered villages, a small river where we swam , proximity to a large lake.
Off-road, desolation - everything delighted me. Some thick, gnarled branch or stump, overgrown with moss, seemed to me to be a goblin or his home. A triple echo, heard from our balcony, as if from the voices of goblin and other monsters.”
Having begun work on May 30, the composer completed a draft of the entire opera by mid-August. “Not a single composition was given to me with such ease and speed as “The Snow Maiden.”
The composer spent six months on the instrumentation of the opera, and on January 29, 1882, its premiere took place in St. Petersburg at the Mariinsky Theater. Successful stage life"The Snow Maiden" continues to this day.
Prologue
1.ved.- The orchestral introduction paints a picture of the last winter night. In a deep snowy forest, the owner Frost rules; its gloomy, stern theme reigns in the orchestra.
(Listening to a fragment).
But flocks of birds are already flying from the south, and Spring-Red itself is flying with the birds. Its soft, deep theme is becoming clearer. The faithful servant of Frost, Leshy, proclaims the approach of Spring. And the birds are still flying and the whole orchestra is filled with chirping. But it’s not fun in the gloomy forest.” “The forests are silent, the thick paws of spruce trees are lowered under the snow. And it’s all just light and a cold shine - and there’s no warmth.”
Vesna admits her guilt: “It’s my own fault that it’s cold for me, Vesna, and you. Sixteen years ago, when, as a joke and to amuse my fickle, changeable and whimsical temper, I began to flirt with Frost, and since then I have been in captivity with the old one! I would like to leave the gray-haired one, but here’s the problem: the old one and I have a daughter, Snegurochka. I love the Snow Maiden, although I feel sorry for her in her unhappy lot with the old one, I’m afraid to quarrel. And he’s glad of that: he’s chilling and freezing me, Vesna and the Berendeys. The jealous sun looks angrily at us and frowns at everyone, and this is the reason for the cruel winters and cold springs.”
The birds are cold, and Spring advises them: “Tremble, you poor things! Dance and warm up! I’ve seen more than once that people warmed up by dancing!” And the birds dance more and more cheerfully and carefree.
Sounds Fragment " Songs and dances of birds"
2.ved- Frost is ready to go to the North. But what should they do with their daughter Snegurochka?
“The sweetest thing in the world for a girl is freedom!” - Mother Spring thinks so, but Frost is afraid of this will: “Listen! I know that the sun is going to destroy the Snow Maiden! Just waiting to plant the fire of love in her heart with his ray! Then there is no salvation for the Snow Maiden! As long as her soul is pure as an infant, he has no power to harm the Snow Maiden!”
Reluctantly, the parents decide to send the Snow Maiden to the Berendey village.
And then their daughter, a snowy beauty, comes out of the forest. Oh, she will gladly go to people!
The aria “Walk for berries with friends” sounds…»
That's all the half-child, half-girl dreams of for now.
But Moroz is alarmed by this confession:
“Where did Lelya find out? And the Snow Maiden, worried, describes the shepherd’s singing to her parents:
Mom! I heard, I heard
And the singing of larks...
I also heard the loud peals of nightingales,
Your favorite singers.
Lelya's songs are dearer to me!
I'm ready to listen day and night
His shepherd songs
And you listen and melt...
But the word “melting” alarmed Frost. “There is a terrible meaning hidden in this word!” Mother Spring promises the Snow Maiden her help - just let her come to the Yarilin Valley, to the lake and call out to her mother!
The Snow Maiden goes to the Berendey settlement, Bobyl and Bobylikha take her into their house
First action
Shepherd Lel sings songs to the Snow Maiden. The first sad one about "Strawberry" brings the girl to tears. Then Lel begins to sing a cheerful dance song, “Like the forest rustles through the forest.” The Snow Maiden barely had time to cheer up when the shepherd leaves her! Other girls beckon to him, and having thrown the flower given by the Snow Maiden, Lel is already running towards them
“How painful it is here! How heavy my heart has become!”
With a heavy insult, like a stone,
A flower crushed by Lelem fell on my heart.
The shepherd runs to others, they are nicer,
Their laughter is louder, their speech warmer.
I stand and cry with grief,
That Lel left me...
Father Frost, you offended the Snow Maiden!
But I will take it from my mother - Spring
A little warmth from the heart,
So that your heart just warms up a little.
3.ved.- As if in order to further provoke the Snow Maiden’s grief, her friend Kupava comes running to her and talks about her happiness, about her meeting with Mizgir, about her love for him, about the wedding that will take place on Yarilin’s day.
Mizgir arrives, the girls start Kupava’s wedding song. Unable to take his eyes off the wonderful girl, Mizgir, without hesitation, refuses Kupava - he no longer loves her! He stays with the Snow Maiden!
Passionately addressing the Snow Maiden, Mizgir promises her priceless gifts and his life in
In a broad sense, a musical work is a piece (instrumental or vocal) that is the result of composer activity. It is characterized by internal completeness, individualization of form and content, and fixation of musical notation for the purpose of subsequent performance.
It can be single-voice (melody and accompaniment) or multi-voice (polyphony, homophony). It can be either an independent number or part of a certain cinematic or dramatic action. The peculiarity and uniqueness of each composer's creation is achieved nearby expressive means, such as mode, tempo, harmony, meter, dynamics, rhythm, melody.
The concept of “musical genre” is used to characterize various works depending on their origin and method of execution.
Since ancient times, various songs (round dances, rituals, labor, etc.) have accompanied the life of the people and inspired soldiers to victory. This is how numerous vocal genres appeared. A characteristic feature of the songs is the repeated repetition of the tune, the main melody.
Romance is a genre of vocal music that emerged in the 19th century. This is a piece for a singer with instrumental accompaniment.
Unlike romance, choral works are intended to be performed by a large singing group with accompaniment or a cappella (without accompaniment).
A cantata is a rather voluminous piece of music intended to be performed by a singer - soloist (or choir) and orchestra. For a long time, works of this genre were written in honor of some significant date and were of a solemn nature. However, there are also lyrical, narrative cantatas.
An oratorio is a large musical and dramatic composition. It does not involve stage action and is intended to be performed by a choir, soloist and orchestra.
Opera is a musical and dramatic composition that combines theatrical action and music. The main feature of this genre is that the characters are replaced by singing.
Instrumental genres of works were formed later than vocal ones. They have practical value. Instrumental music accompanied parades, marches, religious processions, and city balls. In the 17th century, new genres, deeper in meaning and content, appeared.
A sonata is an instrumental piece that usually consists of three parts of contrasting tempo (fast-slow-fast). A little later, four-part works of this genre appeared in the work of L. Beethoven.
Symphony is a musical composition intended to be performed as a whole symphony orchestra. Just like the sonata, this work V classic version consists of three parts. It is distinguished by its large volume, versatility of content and accessible melodic language.
A concert is a musical work intended to be performed by an orchestra and a solo instrument. Most often, works of this genre are written in a cyclic three-part form, but sometimes one-part concerts can also be found.
Musical form
This concept characterizes the relationship of parts in a work. Thus, the two-part form consists of two sections, usually contrasting in nature. Three-part - of three, with the first and third parts being similar in melodic language and mood, and the middle being contrasting in relation to them. Variations are a modified repetition of the main motive (theme).
There are other musical forms, such as rondo (the theme is periodically repeated in an unchanged form), cyclic (consists of several independent parts united by a single concept) and free (found in modern music).
We immediately warn you that it is very difficult to answer in one article the question of what genres of music there are. Over the entire history of music, so many genres have accumulated that it is impossible to measure them with a yardstick: chorale, romance, cantata, waltz, symphony, ballet, opera, prelude, etc.
For decades, musicologists have been trying to classify musical genres (by the nature of content, by function, for example). But before we dwell on the typology, let’s clarify the very concept of genre.
What is a musical genre?
Genre is a kind of model with which specific music is correlated. It has certain conditions of execution, purpose, form and nature of content. So, the purpose of a lullaby is to calm the baby, so “swaying” intonations and a characteristic rhythm are typical for it; c – all expressive means of music are adapted to a clear step.
What are the genres of music: classification
The simplest classification of genres is based on the method of execution. These are two large groups:
- instrumental (march, waltz, etude, sonata, fugue, symphony)
- vocal genres (aria, song, romance, cantata, opera, musical).
Another typology of genres is related to the performance environment. It belongs to A. Sokhor, a scientist who claims that there are genres of music:
- ritual and cult (psalms, mass, requiem) - they are characterized by generalized images, the dominance of the choral principle and the same mood among the majority of listeners;
- mass household (varieties of song, march and dance: polka, waltz, ragtime, ballad, anthem) - characterized by a simple form and familiar intonations;
- concert genres (oratorio, sonata, quartet, symphony) – typically performed in concert hall, lyrical tone as the author’s self-expression;
- theatrical genres (musical, opera, ballet) - require action, plot and scenery.
In addition, the genre itself can be divided into other genres. Thus, opera seria (“serious” opera) and opera buffa (comic) are also genres. At the same time, there are several more varieties that also form new genres (lyric opera, epic opera, operetta, etc.)
Genre names
You could write a whole book about what names music genres have and how they come about. Names can tell about the history of the genre: for example, the dance’s name “kryzhachok” is due to the fact that the dancers were positioned in a cross (from the Belarusian “kryzh” - cross). Nocturne (“night” - translated from French) was performed at night in the open air. Some names originate from the names of instruments (fanfare, musette), others from songs (Marseillaise, Camarina).
Often music is given a genre name when it is transferred to another medium: e.g. folk dance- to ballet. But it also happens the other way around: the composer takes the theme “Seasons” and writes a work, and then this theme becomes a genre with a certain form (4 seasons as 4 parts) and the nature of the content.
Instead of a conclusion
When talking about what genres of music there are, one cannot fail to mention a common mistake. There is confusion in concepts when classical, rock, jazz, hip-hop are called genres. It is important to remember here that genre is a scheme on the basis of which works are created, and style rather indicates features musical language creations.
Music (Greek μουσική, adjective from Greek μούσα - muse) is an art for which the means of embodying artistic images are sound and silence, organized in a special way in time. Musical works can be divided into genres, movements and styles. The criteria for such a division can be rhythm, instruments used, techniques and other parameters.
· Folk music (eng. folk music) - musical and poetic creativity of the people, an integral part folk art(folklore), existing, as a rule, in oral (unwritten) form, passed on from generation to generation.
· Sacred music - musical works associated with texts of a religious nature, intended for performance during church service or in everyday life.
· Classical music– this is often the name given to “academic” music, which is in relation to continuity primarily with the musical genres and forms formed in Europe in the 17th-19th centuries (opera, symphony, sonata, etc.).
· Latin American music - a general name musical styles and genres of Latin American countries, as well as music from these countries.
· Blues - “work song”, shouts in the rituals of African religious cults (English (ring) shout), spirituals (Christian chants in a special manner), shants and ballads (short poetic stories). In many ways he influenced modern popular music, especially such genres as “pop”, “jazz”, “rock and roll”, “soul”.
· Jazz is a form of musical art that arose in the late 19th - early 20th centuries in the USA as a result of the synthesis of African and European cultures and subsequently became widespread. The characteristic features of the musical language of jazz were initially improvisation, polyrhythm and unique complex techniques for performing rhythmic texture - swing.
· Country is the most common variety of North American folk music, in popularity in the United States is not inferior to pop music.
· Chanson, romance, art song - a song genre that arose in the middle of the 20th century in different countries. Its distinctive features are the combination of the author of the music, the text and the performer in one person, guitar accompaniment, the priority of the significance of the text over the music, and the focus on collective singing by non-professionals.
· Electronic music is a broad genre of music that refers to music created using electronic musical instruments and technology (most often using special computer programs).
· Rock is a general name for a number of trends in popular music. The word “rock” - (translated from English as “pump, sway, sway”) - in in this case indicates the rhythmic sensations characteristic of these directions associated with a certain form of movement, by analogy with “roll”, “twist”, “swing”, “shake”, etc.
The most general characteristics genres, directly addressing their content, is already given in the names: lyrical, dramatic, epic music. This also includes program music.
Historically, many special names have been developed for more specific genre characteristics. Sonata, symphony, overture, suite, concerto, poem, fantasy, ballad - all these are genre names of more or less large works.
Opera, cantata, oratorio, symphony - not only performing means are meant here, 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, French and English suites by Bach, “Norwegian Dances” by 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. Software is the most characteristic feature 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 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 by the 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 in musical literature. For example:
The march acquired great importance in the works of Beethoven and Schubert – genre associated with the era french revolution, the revolutionary movement of the masses, with the era of the Napoleonic wars;
Folk song and dance genres in the works of Russian composers of the 19th-20th centuries. For example: the Mazurka dance - 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 musical order. Therefore, musical images are not only a product of reality, but also a product musical culture with all its historically developing musical means of expression, forming 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 is a holistic, organized system of musical expressive means with the help of which the content of the work is embodied (a set of musical 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 the narrow sense– structure of the work (type of composition – structure of musical or other work of art, 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;
Change 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 separate sounds, forming musical phrases, 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, idea and content, which becomes clear during 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.);
Chaikovsky. 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. The phrases, in turn, are combined, and the sequence of 2 phrases makes up an even larger construction, called offer. The sequence of 2 sentences makes up 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.
- Chaikovsky. May. “White Nights” (d.a.) - A+B;
Maykapar. At 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).
Chaikovsky. “March of the Wooden Soldiers” (d.a.) - A+A 1 +A;
Chaikovsky. “New doll” (d.a.) - A+A 1 +A;
Chaikovsky. "Lark" (d.a.) - A+A 1 +A;
- Mozart. Minuet - A+A 1 +A;
Chaikovsky. “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 combined general plan, refer to cyclic forms.