Homophonic-harmonic texture. Musical texture and its types (23)

13.04.2019

Musical texture (lat. factura - device , structure) - method of presentation, structure of musical fabric, musical structure.

Historically in music there have been three main types of texture:

Polyphony (lat. polyphonia from Greek πολυφωνία - polyphony) - melodic polyphony, consisting of the simultaneous sound of relatively independent melodic lines. Polyphonic texture developed in the Middle Ages. There are three main types of polyphony: contrasting, imitative (canon, motet, invention, fugue), subvocal (or variant heterophony, characteristic of folk polyphony).

Homophony or homophonic-harmonic texture A originates in polyphony. Domestic musicologist Asafiev called it “the cooled lava of Gothic polyphony.” Within the framework of homophony, a distinction is made between chordal (Protestant chorale) and homophonic-harmonic texture, which consists of several layers (for example, melody and accompaniment).

One of the ways to dynamize and colorize the homophonic-harmonic texture is harmonic figuration – sequential rather than simultaneous presentation of chord sounds. There are quite a few varieties of harmonic figuration. Here are some of them:

1) arpeggiated presentation of chords (J. S. Bach. Prelude in C major, HTC, volume I)

2) waltz-like accompaniment (F. Schubert. Waltz op.77, No. 2)

3) Albertian basses, named after the Italian composer Domenico Alberti (1710-1740) in the Sonata in C major, K.545 by W. Mozart

Stable musical and artistic whole

To understand further theory, you need to remember or study the very concept of musical composition. This term characterizes the integrity of the work, its specific embodiment. Distinguishes a completed “opus” from those created in the creative process of the people, or improvisations (for example, in jazz).

A composition always has a specific creator. The composer who provides sound structure, records the work in writing. Notations are done using musical notation or accompanying signs. Authorship, since the 14th century, is preferably indicated on every composition created if the creator is known.

The composition is stable, like a finished and clearly defined work. Tonality, size, rhythm - everything is constant and does not tolerate significant changes. Naturally, each piece requires certain aspects of performance. This is where texture comes into play.

Concept of texture

The music industry is developing, new canons and new trends are emerging that influence the style, form and character of the composition. So, texture in music is the presentation of material to the listener in a certain design, which will reflect the reality described by sounds. Texture is the main link between the author's idea and other people's perception of it.

The word is Latin in origin and means “design”, “structure”, “processing”. Texture in music is a visual definition. An analogy can be drawn with the creation of a fabric product: musical fabric also requires processing in order to become holistic and complete.

Why are the different options needed?

Each work has a theme and a specific focus. Since the work here is purely on perception, you need to convey emotions and situations as accurately as possible. Roughly speaking, give a clear picture.

For example, a composer writes a lullaby. There is a melody and accompaniment, but they could just as easily be used in a military song or dance composition. We need to give them a color of calm, silence, lightness. Therefore, jerky strokes will not be used, legato and lower sounds will be a priority. No squeaking or sudden movements.

Any emotion can be represented by a tool. Whistling flutes will best represent lightness and joy, heavy cellos can show grief and mourning, timpani and bells will add an epic feel. Texture in music is a figment of the author's imagination.

Basic classification of invoices

The most basic division, the two main types of texture in music, are characterized by the number of voices used.

There is no third?

Unlike many terms in which there are only two extremes, here there is also a heterophonic texture. This is a kind of “modernization” of monodic presentation, when polyphonic techniques can be added to it for a more interesting sound. Unison singing is occasionally complicated by a two-voice pattern, the melody is accompanied by rhythm. It turns out that this is an intermediate option.

Types of polyphonic texture

Choral texture involves leading all voices according to one rhythmic pattern. That is, the melody moves along equal durations, without being divided into complex harmonic verticals;
Mensural canons, or complementary polyphony, are defined by a small stratification of voices that are thematically similar but move independently. That is, only the direction of movement of the melody is indicated, in which the durations can be divided into several, and the rhythm of one voice does not depend on the other.
The multi-colored texture creates unusual textures and combines the incongruous. It became popular only at the beginning of the 20th century.
The texture of linear polyphony is based on several voices that do not correspond in rhythm and harmony. The melody is based on the sequential movement of sounds of different heights.
Polyphony of layers - complex polyphonic duplications that create dissonances.
“Dematerialized pointillistic texture, which can be more easily described as “sketchy.” The main line is conveyed not in the form of a motive, but in abrupt sounds with a large scatter. That is, between long pauses there are bright flashes of sound.
The texture of polyphonic heaviness is completely opposite to the previous one. It presents a full-bodied orchestral sound.
The aleatory effect is an element of chance. The composition is based on the "lot" method, where combinations of notes are scattered on the staff. Often, authors write down only the main reference points from which the performer will start, and then it’s up to his discretion.
The texture of sonoristic effects shifts attention to transitions of tones, colors or consonances. The brightness of the sound is conveyed by noise and changes in timbre. Sound and colorful effects are created.

Harmonization

The combination of “texture and warehouse” is indivisible. This aspect is harmony. It involves many types of texture, but is also divided into two main ones:

Types of harmonic textures

Accordo-figurative type - the sounds of the chord are played alternately.
Rhythmic type - repeated repetition of a chord or consonance.
Duplications - in the octave, in the fifth, and other intervals that create a smooth movement of voices relative to each other.
Different types of melodic textures based on giving movement to voices. For example, auxiliary or additional sounds in chords that complicate the composition.

But this is the most general classification, the individual points of which are rarely found in isolation. That is, the music is diluted with separate techniques, stylistic features, taken from different types of textures. Each era is characterized by different so-called features.

Getting Started on the Path to Diversity

The history of the development of texture in music is performance, harmony, orchestration, and most importantly, composition. Some composers have had a huge influence on the variety of textures in the works.

In the 17th century, receptions and warehouses were quite simple and very logical. A mixture of harmonic and polyphonic textures was used - polyphony with various layouts. Passages and arpeggios were popular. The arpeggiated accompaniment created just the right mood, without overwhelming the ear with the depth of heavy chords. The texture of the accompaniment in this case ideally complemented the main theme and did not require the use of other means. This method was actively used by I.S. Bach, for example, in the Goldberg Variations. Other composers of the Romantic era distinguished themselves here: Georges Bizet, Giuseppe Verdi,

The “figuration” variety of arpeggio was often used by Mozart and sounded active, cheerful and sharp. It is convenient because it clearly conveys harmonies and creates a certain rhythm without jumps. The music of the Austrian romantic is characterized as lightweight, sunny and unburdened precisely because of its texture. Both broken and straight figuration were used.

Transition to bright style

As innovations were introduced and the imagination of the authors of works expanded, by the 19th century there were at least three times more types of texture. Because the different types mixed, adopted and combined details, completely new musical arrangements appeared. The harmonic structure became much smoother and more melodic, and expressiveness was conveyed not by the set of sounds themselves, but by their order and arrangement.

A striking example is F. Liszt, who used mixed textural presentations in plays, for example, “Grey Clouds”, and in the entire cycles “The Years of Wanderings” and “Poetic and Religious Harmonies”. The pitch of the chords faded into the background, and a texture-timbre appeared, which became popular with Mussorgsky.

Separately, it is worth noting the music of Chopin, who used piano texture. Among his favorite techniques were the octave technique and fluent playing of scales. In his waltzes ("Brilliant Waltz", Waltz in A minor) he spread harmonic figurations, decomposed into long rows of sounds. Such works require high performing technique, but are easy to listen to and understand. In the side part of the First Ballad for Piano, the composer fully introduced a polyphonic structure into the harmony.

Period of innovation

The 20th century in art marked a transition from traditional forms to completely new and non-standard ones. Therefore, this era is characterized by a departure from harmonic and polyphonic texture. It becomes unconnected, divided into layers. A wide range of dynamics and timbres becomes common in the works of avant-garde artists K. Stockhausen, L. Berio and P. Boulez. Controlled aleatorics, that is, improvised texture, are often found. It is limited only by rhythm and height limits. This move was supervised by V. Lutoslawski.

Shape formation played a big role, because in a torn and scattered texture it is important to maintain a coherent structure of the composition. Even if poorly visible, the drawing creates an image. How to determine the type of texture in music new era- an open question for art historians, since there are too many interactions and exchanges of techniques.

Emotions, emotions, emotions...

All of the above leads to the fact that what kind of texture there is in music is directly determined by the emotions and desired response of the listener. To states of mind transfer, different registers are used:

low, conveying terrible and powerful sounds, reflecting mystery or mourning (darkness, night, heavy steps, sounds of a locomotive, the roar of troops);
middle, which is close to the human voice, tuning in calm and some slowness (narratives, routine, rest and reflection);
high-pitched, motivating and bright, depending on the instrument it can be both cheerful and tense (screams and squeals, bird trills, bells, fussy movements);

Thanks to this distribution, music can create a calming mood, lift one’s spirits, or make the hair on one’s head stand up in fear. And the texture solution directly depends on the one used in main topic register.

That's why different kinds“tissue” processing of the composition helps people to imbue themselves with the composer’s experiences, to draw pictures of the world in their heads as it was in the eyes of the authors of the works. Feel lightness while enjoying the music of Chopin, belligerence in Beethoven’s opuses or the dynamics of movements in Rimsky-Korsakov. Texture in music is a communicator across eras and differences in perception.

Texture

(Latin factura - manufacturing, processing, structure, from facio - I do, carry out, form; German Faktur, Satz - warehouse, Satzweise, Schreibweise - manner of writing; French facture, structure, conformation - device, addition; English facture , texture, structure, build-up; ital. IN in a broad sense- one of the sides of the muses. form, is included in the aesthetic and philosophical concept of music. forms in unity with all means of expression; in a narrower way and will use. sense - the specific design of music. fabrics, music presentation.
The term "F." is revealed in connection with the concept of “music warehouse”. Monodic. the warehouse assumes only a “horizontal dimension” without any vertical relationships. In strictly unison monodic. samples (Gregorian chant, Znamenny chant) single-headed. music fabric and f. are identical. Rich monodic. F. distinguishes, for example, Eastern music. peoples who did not know polyphony: in Uzbek. and Taj. makome singing is duplicated by the instrument. ensemble with the participation of percussionists performing usul. Monodic. composition and f. easily transform into a phenomenon intermediate between monody and polyphony - into heterophonic presentation, where unison singing becomes more complex during the performance process. melodic and textural options.
The essence of polyphony. warehouse - correlation at the same time. melodious sounding lines are relatively independent. the development of which (more or less independent of the consonances arising vertically) constitutes the logic of the muses. forms. In polyphonic music vocal tissues tend to be functionally equal, but can also be multifunctional. Among the qualities are polyphonic. F. creatures. What matters is density and rarefaction (“viscosity” and “transparency”), which are regulated by the number of polyphonics. voices (masters of a strict style willingly wrote for 8-12 voices, maintaining one type of f. without a sharp change in sonority; however, in masses it was the custom to set off the lush polyphony with light two- or three-voices, for example, Crucifixus in the masses of Palestrina). Palestrina only outlines, but in free writing, polyphonic techniques are widely used. condensation, condensation (especially at the end of the work) with the help of increase and decrease, stretta (fugue in C major from the 1st volume of Bach's Well-Tempered Clavier), combinations of different themes (coda to the finale of Taneyev's symphony in C minor). The example below is characterized by textural thickening due to the rapid pulse of the introductions and textural expansion of the 1st (thirty-second) and 2nd (chords) elements of the theme:

J. S. Bach. Fugue in D major from Volume 1 of The Well-Tempered Clavier (bars 23-27).
For polyphonic F. is characterized by unity of pattern, absence of sharp contrasts in sonority, and a constant number of voices. One of the remarkable properties of polyphonic. P. - fluidity; polyphony. F. is distinguished by constant updating, the absence of literal repetitions while maintaining a complete thematic theme. unity. Defining value for polyphonic. F. has a rhythmic and thematic vote ratio. With equal durations in all voices, a choral rhythm appears. This rhythm is not identical to the chord-harmonic one, since the movement here is determined by the development of melodic elements. lines in each of the voices, rather than functional harmonious relationships. verticals, for example:

F. d" Ana. Excerpt from the motet.
The opposite case is polyphonic. F., based on full meter-rhythm. independence of voices, as in the mensural canons (see example in Art. Canon, column 692); the most common type of complementary polyphonic. F. is determined thematically. and rhythmic similar to themselves. voices (in imitations, canons, fugues, etc.). Polyphonic F. does not exclude sharp rhythmic. stratification and unequal ratio of voices: counterpointing voices moving in relatively small durations form the background for the dominant cantus firmus (in masses and motets of the 15th-16th centuries, in Bach’s organ choral arrangements). In the music of later times (19th-20th centuries), multi-themed polyphony develops, creating an unusually picturesque composition (for example, the textured interweaving of the leitmotifs of fire, fate and Brünnhilde’s sleep at the conclusion of Wagner’s opera “Walkyrie”). Among the new phenomena of music of the 20th century. should be noted: F. linear polyphony (movement of harmonically and rhythmically uncorrelated voices, see Milhaud's "Chamber Symphonies"); P., associated with complex dissonant duplications of polyphonic. voices and turning into polyphony of layers (often in the works of O. Messiaen); "dematerialized" pointillist. F. in op. A. Webern and its opposite polygon. the severity of the orc. counterpoint by A. Berg and A. Schoenberg; polyphonic F. aleatory (in W. Lutoslawski) and sonoristic. effects (by K. Penderecki).

O. Messiaen. Epouvante (Rhythmic Canon. Example No. 50 from his book "Technique of My Musical Language").
Most often the term "F." applied to harmonic music. warehouse In the immeasurable variety of types of harmonious. The first and simplest is its division into homophonic-harmonic and actually chordal (the latter is considered as a special case of homophonic-harmonic). Chord F. is monorhythmic: all voices are presented with sounds of the same duration (the beginning of the fantasy overture “Romeo and Juliet” by Tchaikovsky). In homophonic-harmonic F. drawings of the melody, bass and complementary voices are clearly separated (the beginning of Chopin's nocturne in C minor). The following basic types are distinguished: types of presentation harmonious. consonances (Tyulin, 1976, chapters 3rd, 4th): a) harmonious. figuration of the chord-figurative type, representing one or another form of alternate presentation of chord sounds (prelude in C major from the 1st volume of Bach's Well-Tempered Clavier); b) rhythmic. figuration - repetition of a sound or chord (poem D major op. 32 No. 2 by Scriabin); c) decomposition duplications, e.g. per octave at orc. presentation (minuet from Mozart’s g-moll symphony) or long doubling into third, sixth, etc., forming a “ribbon movement” (“Musical Moment” op. 16 No. 3 by Rachmaninov); d) various types of melodies. figurations, the essence of which is to introduce melodiousness. movement in harmonious voices - complication of chord figuration by passing and auxiliary. sounds (Chopin’s etude op. 10 No. 12), melodization (choral and orc. presentation of the main theme at the beginning of the 4th scene “Sadko” by Rimsky-Korsakov) and polyphonization of voices (introduction to Wagner’s “Lohengrin”), melodic-rhythmic "revival" org. point (4th painting "Sadko", number 151). The given systematization of types of harmonics. F. is the most common. In music there are many specific textural techniques, the appearance of which and methods of use are determined stylistically. the norms of this musical-historical eras; therefore, the history of f. is inseparable from the history of harmony, orchestration (more broadly, instrumentalism), and performance.
Harmonic warehouse and f. originate in polyphony; for example, Palestrina, who perfectly sensed the beauty of sobriety, could use the figuration of emerging chords over many bars with the help of complex polyphonic (canons) and the choir itself. means (crossing, doubling), admiring the harmony, like a jeweler with a stone (Kyrie from the Mass of Pope Marcello, bars 9-11, 12-15 - quintuple counterpoint). For a long time in instr. prod. composers of the 17th century dependence on chorus The rhythm of strict writing was obvious (for example, in the organizational work of J. Sweelink), and composers were content with relatively simple techniques and designs of mixed harmonics. and polyphonic F. (eg G. Frescobaldi). F.'s expressive role is enhanced in production. 2nd floor 17th century (in particular, spatial-textural comparisons of solo and tutti in the work by A. Corelli). The music of J. S. Bach is marked by the highest development of F. (chaconne in d-moll for solo violin, “Goldberg Variations”, “Brandenburg Concertos”), and in some virtuoso op. (“Chromatic Fantasy and Fugue”; Fantasy in G major for organ, BWV 572) Bach makes textural discoveries that were later widely used by the Romantics. The music of the Viennese classics is characterized by clarity of harmony and, accordingly, clarity of textured patterns. Composers used relatively simple textural means and were based on general forms movements (for example, figures such as a passage or arpeggio), which did not conflict with the attitude towards F. as a thematically significant element (see, for example, the middle in the 4th variation from the 1st movement of sonata No 11 A-dur Mozart, K.-V. 331); in the presentation and development of themes from the Allegri sonatas, motivic development occurs in parallel with textural development (for example, in the main and connecting parts of the 1st movement of Beethoven’s sonata No. 1). In the music of the 19th century, primarily among Romantic composers, there is an exception. variety of types of F. - sometimes lush and multi-layered, sometimes homely, sometimes fantastically whimsical; strong textural and stylistic differences arise even in the work of one master (cf. the diverse and powerful f. sonata in h-moll for piano and the impressionistically exquisite drawing of the f. piece "Grey Clouds" by Liszt). One of the most important trends in music of the 19th century. - individualization of textured patterns: the interest in the extraordinary and unique, characteristic of the art of romanticism, made it natural to reject standard figures in F. Special ways of multi-octave highlighting of a melody were found (Liszt); The musicians found opportunities for updating the fresco primarily in the melodization of broad harmonics. figurations (including in such unusual shape like in the FP finale. Chopin's sonata in B minor), which sometimes turned almost into a polyphonic one. presentation (the theme of the side part in the exposition of the 1st ballad for f. Chopin). Textural diversity maintained the listener's interest in the wok. and instr. cycles of miniatures, it to a certain extent stimulated the composition of music in genres directly dependent on F. - etudes, variations, rhapsodies. On the other hand, there was a polyphonization of F. in general (the finale of Frank’s violin sonata) and harmonics. figurations in particular (8-chapter canon in the introduction to Wagner's Das Rheingold). Rus. musicians discovered a source of new sonorities in Eastern textural techniques. music (see, in particular, “Islamey” by Balakirev). Some of the most important. achievements of the 19th century in the field of F. - strengthening its motivic richness, thematic. concentration (R. Wagner, J. Brahms): in some op. in fact, there is not a single bar that is not thematic. material (for example, symphony in C minor, Taneyev’s quintet, late operas by Rimsky-Korsakov). The extreme point in the development of individualized f. was the emergence of P.-harmony and F.-timbre. The essence of this phenomenon is that when defined. conditions, harmony, as it were, turns into f., expressiveness is determined not so much by the sound composition as by the picturesque arrangement: the correlation of the “floors” of the chord with each other, with the registers of the piano, with the orchestra takes precedence. in groups; What is more important is not the pitch, but the textural content of the chord, i.e. how it is played. Examples of F.-harmony are contained in op. M. P. Mussorgsky (for example, “Clock with Chimes” from the 2nd act of the opera “Boris Godunov”). But in general, this phenomenon is more typical for music of the 20th century: F.-harmony is often found in production. A. N. Scriabin (beginning of the reprise of the 1st movement of the 4th fp. sonata; the culmination of the 7th fp. sonata; the last chord of the fn. poem “To the Flame”), C. Debussy, S. V. Rachmaninov. In other cases, the fusion of f. and harmony determines the timbre (fn. play "Scarbo" by Ravel), which is especially clearly manifested in the orc. the technique of “combining similar figures”, when sound arises from the combination of rhythmic. variations of one textured figure (a technique known for a long time, but which received brilliant development in the scores of I. F. Stravinsky; see the beginning of the ballet “Petrushka”).
In art of the 20th century. different methods of updating f. coexist. The most general trends are noted: strengthening the role of f. in general, including polyphonic. F., due to the predominance of polyphony in music of the 20th century. (in particular, as a restoration of paintings from past eras in works of the neoclassical direction); further individualization of textural techniques (the composition is essentially “composed” for each new work, just as an individual form and harmony are created for them); opening - in connection with new harmonious. norms - dissonant duplications (3 etudes of Scriabin's op. 65), the contrast of a particularly complex and "sophisticatedly simple" f. (1st part of the 5th fp. Prokofiev concert), improvisational drawings. type (No. 24 “Horizontal and Vertical” from Shchedrin’s “Polyphonic Notebook”); combination of original textured features of national. music with the latest harmonics. and orc. technology by Prof. art (brightly colorful “Symphonic Dances” by Moldavian composer P. Rivilis and other op.); continuous thematization of f. c) in particular, in serial and serial works), leading to the identity of thematicism and f.
Occurrence in new music 20th century non-traditional composition, not related to either harmonic or polyphonic, determines the corresponding varieties of f.: the following fragment of the production. shows the fragmentation and incoherence of the f. characteristic of this music - register stratification (independence), dynamic. and articulation. differentiation:

P. Boulez. Piano Sonata No. 1, beginning of the 1st movement.
The meaning of F. in the art of music. the avant-garde is brought to its logical level. limit when F. becomes almost the only one (in a number of works by K. Penderecki) or unities. the purpose of the composer's work itself (the vocal sextet "Stimmungen" by Stockhausen is a textural and timbre variation of one B major triad). F.'s improvisation in given pitches or rhythms. within - basic technique of controlled aleatorics (op. W. Lutoslawski); The area of Physics includes an incalculable number of sonoristics. inventions (collection of sonoristic techniques - “Coloristic Fantasy” for f. Slonimsky). Toward electronic and concrete music created without tradition. instruments and means of performance, the concept of f. is apparently inapplicable.
F. has means. formative capabilities (Mazel, Zuckerman, 1967, pp. 331-342). The connection between f. and form is expressed in the fact that maintaining a given f. drawing promotes unity of construction, while changing it promotes dismemberment. F. has long served as the most important transformative tool in section. ostinato and neostaina variational forms, revealing in some cases large dynamic. possibilities (“Bolero” by Ravel). F. is capable of decisively changing the appearance and essence of muses. image (carrying out the leitmotif in the 1st part, in the development and code of the 2nd part of the 4th fp. Scriabin’s sonata); textural changes are often used in reprises of tripartite forms (the 2nd movement of Beethoven's sonata no. 16; Chopin's nocturne in c-moll op. 48), in the performance of a refrain in a rondo (the finale of Beethoven's sonata No. 25). The formative role of f. in the development of sonata forms (especially orchestral works) is significant, in which the boundaries of sections are determined by a change in the method of processing and, consequently, the f. thematic. material. Changing F. becomes one of the main. means of dividing form in works of the 20th century. (Honegger's "Pacific 231"). In some new works, F. turns out to be decisive for the construction of the form (for example, in the so-called repetent forms, based on the variable return of one construction).
Types of F. are often associated with a definition. genres (for example, dance music), which is the basis for combining in production. different genre characteristics, giving the music an artistically effective polysemy (examples of this kind in Chopin’s music are expressive: for example, Prelude No. 20 in c-moll - a mixture of features of a chorale, a funeral march and a passacaglia). F. retains the signs of a particular historical or individual music. style (and, by association, era): so-called. guitar accompaniment makes it possible for S.I. Taneyev to create a subtle stylization of early Russian. elegies in the romance “When, whirling, autumn leaves”; G. Berlioz in the 3rd movement of the symphony "Romeo and Julia" to create a national and historical the color skillfully reproduces the sound of a 16th century a cappella madrigal; R. Schumann writes authentic music in Carnival. portraits of F. Chopin and N. Paganini. F. is the main source of music. figurativeness, especially convincing in those cases when a person is depicted. movement. With the help of F., visual clarity of music is achieved (introduction to “Das Rheingold” by Wagner), at the same time. full of mystery and beauty (“Praise to the Desert” from “The Tale of the Invisible City of Kitezh and the Maiden Fevronia” by Rimsky-Korsakov), and sometimes amazing trepidation (“the heart beats in ecstasy” in M. I. Glinka’s romance “I Remember a Wonderful Moment” ).
Literature: Sposobin I., Evseev S., Dubovsky I., Practical course of harmony, part 2, M., 1935; Skrebkov S.S., Textbook of polyphony, parts 1-2, M.-L., 1951, 1965; his, Analysis of musical works, M., 1958; Milshtein Ya., F. List, part 2, M., 1956, 1971; Grigoriev S.S., About the melodics of Rimsky-Korsakov, M., 1961; Grigoriev S., Muller T., Textbook of polyphony, M., 1961, 1977; Mazel L. A., Tsukkerman V. A., Analysis of musical works, M., 1967; Shchurov V., Features of the polyphonic texture of songs in Southern Russia, in: From the history of Russian and Soviet music, M., 1971; Tsukkerman V. A., Analysis of musical works. Variational form, M., 1974; Zavgorodnyaya G., Some features of texture in the works of A. Honegger, "SM", 1975, No. 6; Shaltuper Yu., About Lutosławski’s style in the 60s, in: Problems of Music Science, vol. 3, M., 1975; Tyulin Yu., The doctrine of musical texture and melodic figuration. Musical texture, M., 1976; Pankratov S., On the melodic basis of the texture of Scriabin’s piano works, in the collection: Questions of polyphony and analysis of musical works (Proceedings of the Gnessin State Musical-Pedagogical Institute, issue 20), M., 1976; his, Principles of textured dramaturgy of Scriabin’s piano works, ibid.; Bershadskaya T., Lectures on harmony, Leningrad, 1978; Kholopova V., Faktura, M., 1979; Demuth N., Musical forms and textures, L., 1964; Poniatowska I., Faktura fortepianowa Beethovena, Warsz., 1972; Delone R., Timbre and texture in twentieth-century music, in: Aspects of twentieth-century music, Englewood Cliffs, New Jersey, 1975; Berry W., Structural functions in music, Englewood Cliffs (New Jersey), (1976); Verger R., Poznbmky k sonbtbm Ludwige van Beethovena, "Hudebnnö rozhledy", 1977, No. 9. V. P. Fraenov.

Musical encyclopedia. - M.: Soviet encyclopedia, Soviet composer. Ed. Yu. V. Keldysh. 1973-1982 .

With all the variety of textures, it is possible to identify and systematize typical forms of presentation based on one or another specific principle. Such forms are called musical warehouses. It is necessary to distinguish between four main types: monodic, polyphonic, chordal, homophonic. This or that warehouse can be maintained throughout the entire work or throughout most of it, or it can be carried out episodicly, replaced by another warehouse. In instrumental music there is often a combination different ways presentation, forming mixed warehouses or free invoice. Monodic structure is a single-voice (unison or with octave doubling) melodic movement without accompaniment. Single-voice folk songs are typical in this regard. The polyphonic structure is a polyphony in which the voices have generally equal expressive value. Each voice is individualized to one degree or another and forms an independent melodic pattern. This independence does not mean complete freedom, but is indirectly subject to the harmonic consistency of sound. The chord structure is characterized by such a harmonic combination of sounds that forms chords as a monolithic whole. This solidity is mainly created by the rhythmic homogeneity of all voices. Homophonic voice is characterized by a combination of a solo voice and an accompaniment. Thus, unlike other warehouses, it is based on a two-plane structure. Having originated in folk music, in singing with instrumental accompaniment, the homophonic warehouse moved into the secular everyday music of the Middle Ages in its in simple form. Naturally, he did not find his place in the church music of that time, which cultivated choral polyphonic polyphony. There is a homophonic-harmonic structure (in its simplest form, accompaniment is a clearly expressed harmony). Above we discussed musical warehouses in their characteristic form. But very often there is a combination and interpenetration of different methods of presentation, leading to complicated and mixed warehouses. For example, mixed chord-polyphonic structure, homophonic-chord, homophonic-polyphonic.

Renaissance

Renaissance, or Renaissance, is a period in the history of culture, covering approximately the XIV-XVI centuries. This period received its name in connection with the revival of interest in ancient art, which became an ideal for cultural figures of modern times. Composers and music theorists - J. Tinktoris.,

J. Tsarlino and others - studied ancient Greek musical treatises; in the works of Josquin Despres, who was compared to Michelangelo, according to contemporaries, “the lost perfection of the music of the ancient Greeks was revived”: which appeared at the end of the 16th and beginning of the 17th centuries. the opera was guided by the laws of ancient drama.

The development of Renaissance culture is associated with the rise of all aspects of society. A new worldview was born - humanism (from the Latin "humanos" - "human"). The emancipation of creative forces led to the rapid development of science, trade, and crafts, and new, capitalist relations took shape in the economy. The invention of printing contributed to the spread of education. Great geographical discoveries and the heliocentric system of the world of N. Copernicus changed ideas about the Earth and the Universe.

Reached unprecedented prosperity art, architecture, literature. The new attitude was reflected in the music and transformed its appearance. She gradually departs from the norms of the medieval canon, style is individualized, and the very concept of “composer” appears for the first time. The texture of the works changes, the number of voices increases to four, six" or more (for example, the 36-voice canon attributed to the largest representative Dutch school J. Okegem). In harmony, consonant consonances dominate, the use of dissonances is strictly limited by special rules. Major and minor scales and a clock system of rhythms characteristic of later music.

All these new means were used by composers to convey the special structure of feelings of the Renaissance man - sublime, harmonious, calm and majestic.

In the era of the Renaissance (Renaissance), professional music loses the character of a purely church art and is influenced by folk music, imbued with a new humanistic worldview. The art of vocal and vocal-instrumental polyphony reaches a high level in the work of representatives of "Ars nova" ("New Art") in Italy and France of the 14th century, in the new polyphonic schools - English (XV centuries), Dutch (XV--XVI centuries), Roman, Venetian, French, German, Polish, Czech, etc. (XVI century).

Appear various genres secular musical art - frottola and villanella in Italy, villancico in Spain, ballad in England, madrigal, which originated in Italy (L. Marenzio, J. Arkadelt, Gesualdo da Venosa), but became widespread, French polyphonic song (C. Janequin , K. Lejeune). The Renaissance ends with the emergence of new musical genres - solo song, cantata, oratorio and opera, which contributed to the gradual establishment of a homophonic style.

Translated from Italian, the word "toccata" means "touch", "blow". During the Renaissance, this was the name given to the festive fanfare for wind instruments and timpani; in the 17th century - fanfare-type introductions to operas and ballets.

A toccata is also a virtuoso piece for lute, clavier, and organ. Initially, the toccata for keyboard instruments was composed as an introduction (prelude) to a choral work, such as a motet, and was a genre of church music, and then it became an independent concert genre of secular music. Composers include it in a suite and make it the initial part of a polyphonic cycle (toccata and fugue in D minor for organ by J. S. Bach).

Toccata and Fugue in D minor for organ by J. S. Bach

The toccata is characterized by a texture that reflects the style of finger and keyboard playing, that is, playing with chords, passages, melodic and harmonic figurations. Chord and passage sections alternate with imitative polyphonic ones. In Bach's toccatas, beauty of form and unprecedented virtuosity were combined with depth and significance of content.

In the XIX--XX centuries. The toccata developed as an independent virtuoso piece of an etude plan (toccatas for piano by R. Schumann, C. Czerny, C. Debussy, M. Ravel, S. S. Prokofiev, A. I. Khachaturian). The toccata as part of the cycle is found in Prokofiev's 5th piano concerto, in the Pulcinella suite by I. F. Stravinsky.

Music of the Renaissance.

The musical aesthetics of the Renaissance was developed by composers and theorists as intensively as in other forms of art. After all, just as Giovanni Boccaccio believed that Dante, through his work, contributed to the return of the muses and breathed life into dead poetry, just as Giorgio Vasari spoke about the revival of the arts, so Josepho Zarlino in his treatise “Establishments of Harmony” (1588) wrote:

“However, whether it is the fault of insidious time or human negligence, people began to place little value not only on music, but also on other sciences. And, exalted to the greatest heights, she fell to the extreme low; and, after she was given unheard of honor, her began to be considered pitiful, insignificant and so little revered that even learned people barely recognized her and did not want to give her her due.”

At the turn of the 13th-14th centuries, the treatise “Music” by Master of Music John de Groheo was published in Paris, in which he critically revised medieval ideas about music. He wrote: “Those who are inclined to tell fairy tales said that music was invented by the muses who lived near water. Others said that it was invented by saints and prophets. But Boethius, a significant and noble man, holds other views... He in his book says that the beginning of music was discovered by Pythagoras. People sang from the very beginning, since music was innate to them, as Plato and Boethius claim, but the foundations of singing and music were unknown until the time of Pythagoras..."

However, John de Groheo does not agree with the division of music into three types of Boethius and his followers: world music, human music, instrumental music, because the harmony caused by movement celestial bodies, no one even heard the singing of angels; In general, “it is not the business of a musician to interpret angelic singing, unless he is a theologian or prophet.”

"So, let's say that the music that is current among the Parisians can apparently be reduced to three main sections. One section is simple, or civil (civilis) music, which we also call folk; the other is music complex (composed - composita), or correct (learned - regularis), or canonical, which is called mensural. And the third section, which follows from the two above and in which they both are combined into something better, is church music, intended to praise the creator. ".

John de Grogeo was ahead of his time and had no followers. Music, like poetry and painting, acquired new qualities only in the 15th and especially in the 16th centuries, which was accompanied by the appearance of more and more new treatises on music.

Glarean (1488 - 1563), author of the essay on music "The Twelve-Stringed Man" (1547), was born in Switzerland, studied at the University of Cologne at the artistic faculty. The Master of Liberal Arts is engaged in teaching poetry, music, mathematics, Greek and Latin in Basel, which speaks of the pressing interests of the era. Here he became friends with Erasmus of Rotterdam.

Glarean approaches music, in particular church music, like the artists who continued to paint paintings and frescoes in churches, that is, music, like painting, should, outside of religious didactics and reflection, first of all give pleasure, be the “mother of pleasure.”

Glarean substantiates the advantages of monodic music versus polyphony, while he talks about two types of musicians: phonos and symphonists: the former have a natural tendency to compose a melody, the latter - to develop a melody for two, three or more voices.

Glarean, in addition to developing the theory of music, also considers the history of music, its development, as it turns out, within the framework of the Renaissance, completely ignoring the music of the Middle Ages. He substantiates the idea of the unity of music and poetry, instrumental performance and text. In the development of music theory, Glarean legitimized, with the use of twelve tones, the Aeolian and Ionian modes, thereby theoretically substantiating the concepts of major and minor.

Glarean is not limited to the development of music theory, but considers creativity contemporary composers Josquin Depres, Obrecht, Pierre de la Rue. He talks about Josquin Despres with love and delight, like Vasari about Michelangelo.

Gioseffo Zarlino (1517 - 1590), with whose statement we are already familiar, 20 years old entered the Franciscan order in Venice with its music concerts and the flourishing of painting, which awakened his vocation as a musician, composer and music theorist. In 1565 he headed the chapel of St. Brand. It is believed that in the composition “Establishment of Harmony” Zarlino expressed in classical form the basic principles of the musical aesthetics of the Renaissance.

Zarlino, who spoke of the decline of music, of course, in the Middle Ages, relies on ancient aesthetics in developing his doctrine of nature musical harmony. “How much music was glorified and revered as sacred is clearly evidenced by the writings of the philosophers and especially the Pythagoreans, since they believed that the world was created according to musical laws, that the movement of the spheres is the cause of harmony and that our soul is built according to the same laws, awakens from songs and sounds, and they seem to have a life-giving effect on its properties."

Zarlino is inclined to consider music the main one among the liberal arts, as Leonardo da Vinci exalted painting. But it's a hobby certain types art should not confuse us, because we are talking about harmony as a comprehensive aesthetic category.

“And if the soul of the world (as some think) is harmony, can our soul not be the cause of all harmony in us and our body not be united with the soul in harmony, especially when God created man in the likeness of the greater world, called the cosmos by the Greeks , that is, an ornament or adorned, and when he created a semblance of a smaller volume, in contrast to that called mikrokosmos, that is small world? It is clear that such an assumption is not without foundation."

In Tsarlino, Christian theology turns into ancient aesthetics. The idea of the unity of the micro- and macrocosmos gives rise to another idea in him - about the proportionality of the objective harmony of the world and the subjective harmony inherent in the human soul. Highlighting music as the main liberal arts, Zarlino speaks of the unity of music and poetry, the unity of music and text, melody and words. To this is added “history,” which anticipates or justifies the origin of opera. And if there is dance, as will happen in Paris, we will see the birth of ballet.

It is believed that it was Zarlino who gave the aesthetic characteristics of major and minor, defining the major triad as joyful and bright, and the minor triad as sad and melancholy. He also defines counterpoint as “a harmonic whole containing various changes in sounds or singing voices in a certain pattern of correlation and with a certain measure of time, or that it is an artificial combination of different sounds brought to consistency.”

Josephfo Zarlino, like Titian, with whom he was associated, gained wide fame and was elected a member of the Venetian Academy of Fame. Aesthetics clarifies the state of affairs in music during the Renaissance. Founder Venetian school music was Adrian Willaert (between 1480/90 - 1568), Dutch by birth. Tsarlino studied music with him. Venetian music, like painting, was distinguished by a rich sound palette, which soon acquired Baroque features.

Besides the Venetian school, the largest and most influential were the Roman and Florentine. The head of the Roman school was Giovanni Palestrina (1525 - 1594).

The community of poets, humanist scientists, musicians and music lovers in Florence is called the Camerata. It was led by Vincenzo Galilei (1533 - 1591). Thinking about the unity of music and poetry, and at the same time with the theater, with the action on stage, the members of the Camerata created new genre- opera.

The first operas are considered to be “Daphne” by J. Peri (1597) and “Eurydice” based on texts by Rinuccini (1600). Here a transition was made from a polyphonic style to a homophonic one. The oratorio and cantata were performed here for the first time.

The music of the Netherlands of the 15th - 16th centuries is rich in the names of great composers, among them Josquin Despres (1440 - 1524), about whom Zarlino wrote and who served at the French court, where the Franco-Flemish school developed. It is believed that the highest achievement of Dutch musicians was the a capella choral mass, corresponding to the upward thrust of Gothic cathedrals.

Organ art is developing in Germany. In France, chapels were created at the court and musical festivals were organized. In 1581, Henry III established the position of "Chief Intendant of Music" at court. The first "chief intendant of music" was the Italian violinist Baltazarini de Belgioso, who staged the "queen's comedic ballet", a performance in which music and dance were presented as stage action for the first time. This is how court ballet arose.

Clément Janequin (c. 1475 – c. 1560), eminent composer French Renaissance, is one of the creators of the polyphonic song genre. These are 4-5-voice works, like fantasy songs. The secular polyphonic song - chanson - became widespread outside France.

During the Renaissance, widespread development instrumental music. Among the main musical instruments they call the lute, harp, flute, oboe, trumpet, organs of various types (positives, portables), varieties of harpsichord; The violin was a folk instrument, but with the development of new string instruments such as the viol, the violin became one of the leading musical instruments.

If the mentality of a new era first awakens in poetry and receives brilliant development in architecture and painting, then music, starting with folk songs, permeates all spheres of life. Even church music is now perceived to a greater extent, as are paintings by artists on biblical themes, not as something sacred, but something that brings joy and pleasure, which the composers, musicians and choirs themselves cared about.

In a word, as in poetry, in painting, in architecture, a turning point occurred in the development of music, with the development of musical aesthetics and theory, with the creation of new genres, especially synthetic forms of art, such as opera and ballet, which should be perceived as Renaissance, transmitted centuries. The music of the Renaissance sounds in architecture as a harmony of parts and the whole, inscribed in nature, and in the interiors of palaces, and in paintings, in which we always see a performance, a stopped episode, when the voices fell silent, and the characters all listened to the faded melody, which we as if I could hear...

Shader space

The rapid movement of figurational texture in S. Rachmaninov’s romance “Spring Waters”.
The space of texture in the fragment “Morning in the Mountains” from the opera “Carmen” by J. Bizet.

Musical material:

S. Rachmaninov, poems by F. Tyutchev. "Spring Waters" (listening);
J. Bizet. "Morning in the mountains." Intermission to Act III from the opera “Carmen” (listening)

Description of activities:

Understand the meaning of funds artistic expression(textures) in creating a musical work (taking into account the criteria presented in the textbook).
Talk about the brightness of images in music.
Creatively interpret the content and form of musical works in visual activities.

It is known that texture is literally “production”, “processing” (Latin), and in music - the musical fabric of a work, its sound “clothing”. If in a play the leading voice is the melody, and the other voices are the accompaniment, harmony chords, then this texture is called homophonic-harmonic. Homophony (from the Greek Homos - one and phone - sound, voice) is a type of polyphony with a division of voices into the main and accompanying ones.

It has many varieties. The main ones:

Melody with chord accompaniment;
Chord texture; it is a sequence of chords in which the top voice represents the melody;
Unison texture; the melody is presented monophonically or in unison (lat. one sound).

Another important type is polyphonic texture, which means “polyphonic”. Each voice of polyphonic texture is an independent melody. Polyphonic texture is associated primarily with polyphonic music. Two- and three-voice inventions by J. S. Bach are written in polyphonic texture.

Concepts such as “imitation” and “fugue”, mentioned earlier, refer to polyphonic music. The combination of homophonic-harmonic and polyphonic texture can be found in various works.

Thus, texture is a way of presenting musical material: melody, chords, figurations, echoes, etc. In the process of composing a particular work, the composer combines these means musical expressiveness, processes: after all, factura, as we have already said, is processing. Texture is inextricably linked with the genre of a musical work, its character, and style.

Let us turn to the romance by S. Rachmaninov - “Spring Waters”. Written to the words of F. Tyutchev, it not only conveys the image of the poem, but also introduces new swiftness and dynamics into it.

The snow is still white in the fields,
And in the spring the waters are noisy -
They run and wake up the sleepy shore,
They run and shine and shout...
They say all over:
“Spring is coming, spring is coming!
We are messengers of young spring,
She sent us ahead!”
Spring is coming, spring is coming!
And quiet, warm May days
Ruddy, bright round dance
The crowd cheerfully follows her.

A joyful premonition of an imminent spring literally permeates the romance. The key of E-flat major sounds especially light and sunny. The movement of the musical texture is swift, seething, covering a huge space, like a powerful and cheerful stream of spring waters, breaking all barriers. There is nothing more opposite in feeling and mood to the recent torpor of winter with its cold silence and fearlessness.

In “Spring Waters” there is a bright, open, enthusiastic feeling, captivating listeners from the very first bars.

The music of the romance seems to be deliberately constructed in such a way as to avoid everything soothing and lulling. The endings of almost all melodic phrases are ascending; they contain even more exclamations than the poem.

It is also important to note that the piano accompaniment in this work is not just an accompaniment, but an independent participant in the action, sometimes surpassing even the solo voice in the power of expressiveness and visualization!

The love of the earth and the beauty of the year,
Spring is fragrant to us! –
Nature gives creation a feast,
The feast gives goodbye to the sons!..
Spirit of life, strength and freedom
Lifts us up and envelops us! ..
And joy poured into my soul,
Like a review of the triumph of nature,
What a life-giving voice of God! ..

These lines from another poem by F. Tyutchev - “Spring” sound like an epigraph to a romance - perhaps the most joyful and jubilant in the history of Russian vocal lyrics.

Texture plays a huge role in those works where it is necessary to convey the idea of musical space.

One example is the Intermission to Act III from J. Bizet’s opera “Carmen,” which is called “Morning in the Mountains.”

The name itself determines the nature of the music, painting a bright and expressive picture of the morning mountain landscape.

Listening to this fragment, we literally see how the first rays of the rising sun gently touch the high peaks of the mountains, how they gradually fall lower and lower and at the moment of culmination seem to fill the entire vast mountain space with their dazzling radiance.

The initial melody is given in a high register. Its sound in relation to the accompaniment is a range of three octaves. Each subsequent passage of the melody is given along a descending line - the voices come closer, the dynamics increase, and the climax occurs.

So, we see that the texture captures everything related to the expressiveness of musical sound. A lone voice or a powerful choir, the rapid movement of water or an endless mountain space - all this gives birth to its own musical fabric, this “patterned cover” of texture, always new, unique, deeply original.

Questions and tasks:

What feelings are expressed in the romance “Spring Waters” by S. Rachmaninov? How are these feelings expressed in the textural presentation of the work?
What creates the impression of musical space in the musical intermission “Morning in the Mountains” by J. Bizet?
Remember which musical genres use textural space of a significant range. What is this connected with?

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Bizet. Morning in the mountains. Orchestral intermission, mp3;
Rachmaninov. Spring waters in Spain D. Hvorostovsky, mp3;
3. Accompanying article, docx.