Summary-cheat sheet on the topic "genres of choral music." Topic seven: musical genres associated with words (vocal genres) What is a choral miniature definition?

30.10.2019

The first secular works for a cappella choir appeared in Russia in the 30-40s of the 19th century (choirs by A. Alyabyev, the cycle “St. Petersburg Serenades” by A. Dargomyzhsky to texts by A. Pushkin, M. Lermontov, A. Delvig, etc.) . These were mainly works of a three-voice style, reminiscent of cantes in the Partes style. The secular choral genre a cappella emerged in earnest only in the second half of the 19th century. Such a later turn of Russian composers to the genre of unaccompanied choir was associated with poor development in the country there are no non-theatrical organizations and a small number of secular choirs. Only in the 50-60s of the 19th century, in connection with the intensification of the activities of choral groups, mainly amateur ones, composers began to actively write music for them. During this period and in the first decade of the 20th century, P. Tchaikovsky, N. Rimsky-Korsakov, Ts. Cui, S. Taneev, S. Rachmaninov, A. Arensky, M. Ippolitov-Ivanov, A. worked in the genre of secular a cappella choir. Grechaninov, Vik. Kalinnikov, P. Chesnokov are mainly composers of the Moscow and St. Petersburg school. The golden age of Russian lyric poetry played an important role in the development of the genre. It was the flourishing of lyric poetry that stimulated composers to turn to musical and poetic genres and, in particular, to the genre of lyrical choral miniature. After the October Revolution of 1917, the choral culture of Russia and the republics that make up the USSR acquired an exclusively secular (not related to the church) direction. The leading church choirs (the Court Singing Chapel of St. Petersburg and the Moscow Synodal Choir with their regency schools) were transformed into Folk Choral Academies. New professional choirs are being organized. The range of themes, images and expressive means of choral music is expanding. At the same time, many achievements of composers of the second half of the 19th century and the traditions of performing their works are deliberately consigned to oblivion. The a cappella choir genre was not popular during this period, because At first it was associated with cult singing, and then was pushed aside by mass song. Until the 50s of the 20th century, the leading choral genres remained choral song, arrangements of folk songs, choral arrangements of vocal and instrumental pieces, and choral suites. Only from the middle of the 20th century did composers begin to turn to the genre of a cappella choir and, in particular, to the genre of lyrical miniature. M. Koval was one of the first to write a cappella choirs. Then V. Shebalin, A. Novikov, A. Lensky, D. Shostakovich, R. Boyko, T. Korganov, B. Kravchenko, A. Pirumov, S. Slonimsky, V. Salmanov, A. Flyarkovsky began to actively work in this genre , Y. Falik, R. Shchedrin, G. Sviridov, V. Gavrilin, M. Partskhaladze. The revival of the genre of a cappella choral music was largely associated with the revival of lyrics - one of the leading figurative spheres of Russian classics in the past (Tchaikovsky, Taneyev, Rachmaninov, Kalinnikov, Chesnokov), since it is in it that the expressive possibilities inherent in the genre are optimally realized: the variety of shades of vocal intonation, harmonic and timbre colors, flexibility of the melodic cantilena of wide breathing. It is no coincidence that the attention of authors of choral music for the first time in post-war years concentrated mainly on Russian classical poetry. The most important creative achievements of those years are represented mainly by works based on texts by Pushkin, Lermontov, Tyutchev, Koltsov, Yesenin, and Blok. Then, along with the desire to enter new poetic worlds, to enrich the content of choral works with creative contact with original literary styles, choral music increasingly includes poets who were previously almost never involved as co-authors by composers: D. Kedrin, V. Soloukhin, A. Voznesensky, R. Gamzatov. Innovation in the content of choral music and the expansion of the figurative sphere immediately affected the musical language, style, and texture choral works. It is noteworthy in this regard that in the 60s of the 20th century, Soviet music was generally characterized by an intensive renewal of means of expression, the use of a number of the latest technical techniques - atonal and polytonal thinking, complex chord structures, sonoristic effects, aleatorics, etc. This is due, first of all, to the democratization of the country’s public life and greater openness to world contacts. The process of updating traditions and searching for new means of expression continues in the 70s and 80s. The folklore direction received further development, the traditional genre of choral lyrics was completely restored and updated. Composers of different ages, aesthetic beliefs and schools began to actively turn to the choral genre. One of the reasons for this is the creation large number new professional and amateur choirs, the growth of their skills. The well-known market formula - “demand creates supply” is also valid in the field of art. Having made sure that choral groups had appeared in the country capable of performing works written in a rather complex modern language, composers began to write works for them in the genre of a cappella choir. The new, interesting repertoire, in turn, contributed to the intensification of the concert and performing activities of choral groups. A very important factor that positively influenced choral creativity was the emergence and development of chamber choral performance in the country. Our first chamber choirs arose after the tour of the American chamber choir in Russia under the direction of Robert Shaw, the Romanian and Filipino “Madrigals”. These are relatively small vocal groups that have the qualities inherent in chamber performers (soloists, ensembles): special subtlety, detailed performance, dynamic and rhythmic flexibility. In the early and mid-70s, simultaneously with the emergence of many chamber choirs in the country and the growth of their performing skills, there was a revival of new choral music, which had a beneficial effect on composers' creativity. Chamber choirs developed new layers of repertoire, and composers, in turn, dedicated their works to these groups. Thanks to this, a whole series of works appears in Soviet choral literature, designed not so much for the chamber sound of the choir, but for its performing technique. The main genre and stylistic trends of this period can be divided into two groups. The first is associated with the direct continuation of the traditions of Russian and Soviet choral music within the framework of established forms, the second outlines new paths and makes an attempt to carry out a synthesis of old and new genre features. A special stylistic branch from this channel is formed by works that are in one way or another connected with folklore - from arrangements of folk songs to original composer's opuses with borrowing only folklore text. Along with this, in the 70s, trends emerged such as the use of ancient genres and forms - choral concert, madrigal, cant. Another new trend is the desire to enrich choral writing by bringing it closer to instrumental texture and introducing special forms of vocalization. In the samples of textless music representing this line - all kinds of vocalises and choral solfeggios - an attempt is made to achieve a synthesis of instrumental music and modern choral texture, harmony, and vocal-choral techniques. The main line of development of Russian choral music remains the direction associated with the continuation of classical traditions. The most important features of this trend are the authors’ commitment to national themes and the associated focus mainly on Russian poetry, following the established canons of the genre (as opposed to other trends that, on the contrary, reveal a desire to go beyond the stable range of expressive means). Among the works of this group are cycles and separate choruses based on poems by A. Pushkin (cycles by G. Sviridov, R. Boyko), F. Tyutchev (cycles by An. Alexandrov, Y. Solodukho), N. Nekrasov (cycle by T. Khrennikov), S. .Yesenin, A.Blok, I.Severyanin (Yu.Falik’s cycle), A.Tvardovsky (R.Shchedrin’s cycle). Along with the traditional principle of combining poems by one author in a choral cycle, mixed cycles have recently become increasingly widespread - poems by poets whose work sometimes belongs not only to different movements, schools, but also to different countries and eras. These, in general terms, are the main milestones in the formation and development of the genre of secular choral miniature a cappella in Russia. Choral miniature, like any miniature, is a special genre. Its essence lies in the fact that diverse and changeable content is put into a small-scale form; behind the laconicism of statements and means of expression lies a full-fledged dramaturgy. Within this genre one can find works of various directions - a song, a romance, a poetic statement, a game, love, contemplative and landscape lyrics, philosophical reflection, an etude, a sketch, a portrait. The first thing a conductor needs to know when starting to learn and perform a Russian choral miniature is that almost all Russian composers, regardless of whether they are adherents of the realistic or impressionistic movement, remain romantics. Their work embodies the most characteristic features romanticism - exaggerated intensity of feelings, poetry, lyricism, transparent picturesqueness, harmonic and timbre brightness, colorfulness. And it is no coincidence that the bulk of the works of Russian composers in the genre of secular choral miniatures are landscape lyrics based on texts by Russian lyric poets. And since in most choral miniatures the composer acts as an interpreter of the poetic text, in the process of comprehending the composition it is important for the performer to carefully study not only the music, but also the poem. It is known that a highly artistic poetic work, as a rule, has figurative and semantic ambiguity, thanks to which each composer can read it in his own way, placing his own semantic accents, highlighting certain aspects of the artistic image. The performer’s task is to comprehend as deeply as possible the interpenetration of music and words, which is of extremely great importance for the realization of the expressive, emotional and dramatic possibilities inherent in a musical and poetic composition. The synthetic nature of choral music influences not only the content and form of the composition, but also its performing intonation. The laws of musical form in the choral genre interact with the laws of poetic speech, which causes specific nuances of form, meter, rhythm, phrasing, and intonation. The conductor's attention to the size of the verse, to the number of stressed and unstressed syllables and their location, to punctuation marks can provide significant assistance in the metrorhythmic organization of the musical text, the placement of pauses and caesuras, and phrasing. In addition, one must keep in mind that at the performing level, music has much in common with speech, with speech intonation. Both the reader and the musician influence the listener by changing the tempo-rhythm-timbro-dynamic and pitch characteristics of sound, i.e. intonation. The art of a musician, and the art of a reader, is the art of storytelling, utterance. Both arts are procedural and temporal in nature and therefore unthinkable without movement and taking into account temporal patterns. Both in literary expression and in musical performance, the fundamental concepts of the time domain are “meter” and “rhythm”. The metrical stress in verse is similar to the “raz” in music (the heavy beat of a bar, metrical stress). The logical semantic emphasis in poetry is similar to the rhythmic semantic emphasis in music. The foot is similar to the beat. Simple and complex poetic meters are similar to simple and complex meters in music. Finally, a common property of musical and poetic speech is phrasing - a way of separating speech and musical flows, combining sounds, merging them into intonations, sentences, phrases, periods. A poetic and musical text, differentiated by its logical and semantic weight, appears in execution in the form of phrasing waves, where the accentuated elements act as “peaks”. Determining the boundaries of a phrase, duration and limits of phrasing breathing in a choral composition is usually associated not only with the meaning of the poetic text, but also with the relationship between musical and verbal stress. I would especially like to dwell on the importance of careful attention to punctuation marks, since in poetic works punctuation performs not only logical and grammatical, but also artistic and expressive functions. Comma, full stop, dash, semicolon, colon, ellipsis - all these signs have an expressive meaning and require special embodiment both in live speech and in musical performance. A word, a poetic image, an intonation tone can suggest to the conductor not only phrasing, but also dynamic nuance, timbre, stroke, and articulatory technique. It is the word that makes the performance truly “live”, frees it from the routine shell and cliches. Only with a careful, attentive, respectful attitude towards the word can one achieve “music being expressed” as expressive speech, and the word was sung and sounded like music, the light of which plays in the diamond facets of poetry; to achieve that the music of Pushkin, Lermontov, Tyutchev, Blok, etc. the verse merged with the meaning and figurative-sound beauty of Taneev’s, Cheschenkov’s, Sviridov’s (etc.) intonation. The third very important point that the interpreter of Russian choral music must take into account is the specific Slavic vocal style, which is characterized by richness and fullness of the singing tone, decorated with multi-colored dynamics, and emotional brightness. Polarly opposite is the Western European style, typical of the Baltic and northern countries. This manner is usually defined by the term “non vibrato”. The absence of vibrato creates a kind of “average” sound in tone, devoid of individual originality, but ensuring the rapid fusion of many singers into a harmonious ensemble. What is important for us is the fact that, being primarily a timbre feature of sound, vibrato gives the voice a certain emotional coloring , expressing the degree of internal experience. By the way, about timbre. In choral practice, timbre most often means a certain coloring of the voices of choral parts and the entire choir, some constant quality of the voice, a singing style. We would like to remind you that there are also more subtle modifications of timbre depending on the content, mood of the poetic and musical text and, ultimately, on the feeling that needs to be expressed. The same musical intonation can be sung tenderly, affectionately, lightly, sternly, courageously, dramatically in the same rhythm and tempo. But in order to find the necessary paint, you need to understand the meaning of this intonation, the image and character that it embodies. It is naive to believe that the richness of the timbre palette of a choir depends on the strength of its voices. Not always strong voices have a valuable timbre for the choir (many light voices give the ensemble an interesting coloring). The fat, fleshy, loud sound, so revered in some choirs, is usually associated with an underestimation of the spiritual principle, without which the choir loses its most important strength. In addition, and this is important, the gain in loudness is associated with a loss of flexibility, mobility and ensemble compatibility. This does not mean that strong voices are not needed in the choir. Musically gifted singers with strong voices are a godsend for the choir. However, the main expressive capabilities and power of influence of the choir lie in the richness of choral colors, in the charm, beauty and variability of the choral sound. In general, it should be said that in the area of sound referred to as forte, exaggeration and excess are very dangerous. This is especially true for the choir, since its participants, alas, very often consider the strength of the voice to be the main advantage of the vocalist, and sometimes they flaunt it, trying to sing louder than their partner. Of course, a powerful, strong sound enriches the dynamic palette of the choir, but at the same time the sound should not lose its expressiveness, beauty, nobility, and spirituality. The main thing in any type of musical performance is not the absolute strength of the sound, but the dynamic range. While dynamic changes give the sound vitality and humanity, holding a constant volume for a long time often creates a feeling of rigidity, static, and mechanicalness. The dynamic range of the choir depends on the breadth of the range of each singer. Practice shows that for inexperienced singers the difference in voice strength between forte and piano is very small. Most often they perform everything at the same dynamic level - approximately in a mezzo-forte nuance. Such singers (and such choirs) resemble an artist using one or two colors. It is clear that the expressiveness of singing suffers from this. Therefore, conductors should develop piano and pianissimo singing skills in choral singers. Then the boundaries of the choir's dynamic range will expand significantly. Choral dynamics are wider and richer than the dynamics of solo performance. The possibilities of various dynamic combinations here are almost limitless, and there is no need to be shy about using them. In Russian choral music, for example, an articulatory technique reminiscent of a bell hum or echo is often used. It is based on mastery of the technique of gradually changing dynamics. Its essence is the smooth decay of sound after an attack. Finishing this brief overview, I would like to say that the key to a correct, objective interpretation of a choral work lies in the conductor’s deep penetration into the style of the authors of the work being performed - the composer and poet.

As a manuscript

Grinchenko Inna Viktorovna

CHORAL MINIATURE IN RUSSIAN MUSICAL CULTURE: HISTORY AND THEORY

Specialty 17.00.02 - musical art

Rostov-on-Don - 2015

The work was carried out at the Department of Music Theory and Composition of the Rostov State Conservatory. C.B. Rachmaninov

Scientific supervisor:

Official opponents:

Lead organization:

Doctor of Cultural Studies, Candidate of Art History, Professor

Krylova Alexandra Vladimirovna

Malatsay Lyudmila Viktorovna,

Oryol State Institute of Arts and Culture, Professor of the Department of Choral Conducting

Nemkova Olga Vyacheslavovna,

Doctor of Art History, Associate Professor,

Tambov State Musical Pedagogical Institute, Professor of the Department of Choral Conducting

Ufa State Academy of Arts named after Zagir Ismagilov, Department of Music Theory

The defense will take place on June 24, 2015 at 16.00 at a meeting of the dissertation council D 210.016.01 at the Rostov State Conservatory named after S.B. Rachmaninov at:

344002, Rostov-on-Don, Budennovsky Ave., 23.

The dissertation can be found in the library of the Rostov State Conservatory. C.B. Rachmaninov and on the website http://\vww.rostcons.ru//discouncil.html

Scientific secretary of the dissertation council

Dabaeva Irina Prokopyevna

GENERAL CHARACTERISTICS OF WORK

Relevance of the study. Choral art is a fundamental part of Russian culture. The abundance of bright groups is direct evidence of the vitality of domestic choral traditions, confirmed today by many festivals and competitions of choral music at various levels. Such “bubbling content” of choral performance is a natural source of unabated composer interest in this genre area.

In the variety of genres of choral music, choral miniature occupies a special place. Its development and demand for practice are due to a number of reasons. One of them is reliance on the root basis of the entire array of choral genres - the primary genre of Russian folk song, representing the basic small form from which other, more complex genre types developed. The other is in the specificity of miniature forms, with a characteristic focus on one emotional state, deeply felt and meaningful, with a finely detailed nuance of feelings and moods conveyed through an exquisite sound-colored choral palette. The third is in the peculiarities of perception of the modern listener, endowed, as a result of the influence of television, with a clip consciousness, gravitating towards fragmentation, the short length of sound “frames”, and the beauty of the “surface”.

However, the demand for the genre in performing practice has not yet been supported by scientific justification of its nature. It can be stated that in modern Russian musicological literature there are no works devoted to the history and theory of this phenomenon. It should also be noted that in modern art the desire to miniaturize form with depth of content is one of the characteristic general trends, predetermined by a new round of understanding of the philosophical problem of the relationship between the macro and micro worlds.

In the genre of choral miniatures, this problem is particularly acute due to the fact that the embodiment of the macroworld within this genre is the choral principle, but, thanks to the special laws of compression of form and meaning, it turns out to be collapsed into the format of the microworld. Obviously, this complex process requires its own study, since it reflects

general patterns of modern culture. The above determines the relevance of the research topic.

The object of research is Russian choral music of the 20th century. The subject of the research is the formation and development of the genre of choral miniatures in the Russian musical culture.

The purpose of the study is to substantiate the genre nature of choral miniatures, allowing for the identification of small-volume choral works with the principles and aesthetics of miniatures. The goal identified the following tasks:

To identify the genesis of miniatures in the traditions of Russian culture;

Describe the main parameters that allow you to attribute

Consider the choral miniature as an artistic object of art;

Explore the path of evolution of the genre in the context of Russian musical culture of the 20th century;

To analyze the features of the individual interpretation of the choral miniature genre in the works of Russian composers of the second half of the 20th century.

The purpose and objectives of the work determined its methodological basis. It is built comprehensively on the basis of theoretical scientific developments and works of scientists - musicologists and literary critics, as well as an analysis of the work of composers of the 19th - 20th centuries. The dissertation uses methods of cultural-historical, structural-functional, axiological, and comparative analysis.

Research materials. Due to the breadth of the problem field of the stated topic, the scope of the dissertation research is limited to consideration of the process of development of choral miniatures in Russian secular art of the 19th - 20th centuries. The empirical material was a cappella choirs, as they most clearly embody the idea of miniaturization in choral music. The work uses works by M. Glinka, A. Dargomyzhsky, P. Tchaikovsky, N. Rimsky-Korsakov, M. Mussorgsky, S. Taneyev, A. Arensky, P. Chesnokov, A. Kastalsky,

B. Shebalina, G. Sviridova, V. Salmanova, E. Denisova, A. Schnittke, R. Shchedrina,

S. Gubaidullina, S. Slonimsky, V. Gavrilin, Y. Falik, R. Ledenev, V. Krasnoskulov, V. Kikty, V. Khodosh.

The degree of scientific development of the topic. Problems of the history and theory of the choral miniature genre have not been sufficiently developed in musicology. In co-

There are no works in temporary scientific research that would allow the identification of a small choral work with the principles and aesthetics of a miniature. However, art criticism, literary studies, cultural studies and musicology works of various problematic orientations contain a number of ideas and provisions that are conceptually significant for this dissertation.

In this work, a philosophical generalization of the phenomenon, positioning the choral miniature as a semblance of a macrosystem and allowing us to determine its place in culture, its role in human experience, was formed on the basis of the works of M. Bakhtin, X. Gadamer, M. Druskin, T. Zhavoronkova, M. Kagan, S. Konenko, G. Kolomiets, A. Korshunova, Y. Keldysh, I. Loseva, A. Nozdrina, V. Sukhantseva, P. Florensky.

Identification of the stages of assimilation of the experience of miniaturization by various types of Russian art required turning to the works of musical, historical and cultural content by B. Asafiev, E. Berdennikova, A. Belonenko, G. Grigorieva, K. Dmitrevskaya, S. Lazutin, L. Nikitina, E. Orlova , Y. Paisov, V. Petrov-Stromsky, N. Sokolov. The sociological aspect was included in the problem area, which led to the involvement of the ideas of A. Sokhor and E. Dukov.

The presentation of the genre as a multi-component gene structure, with interdependent and interdependent levels, was based on the multi-aspect approach to the category of genre that had emerged in musicology, which entailed turning to the research of M. Aranovsky, S. Averintsev, Yu. Tynyanov, A. Korobova, E. Nazaikinsky, O . Sokolov, A. Sokhor, S. Skrebkov, V. Zuckerman.

A. Khakimova about the theory of the a cappella choir genre. The means of expressiveness of choral texture were considered on the basis of the works of V. Krasnoshchekov, P. Levando, O. Kolovsky, P. Chesnokov, collections of scientific articles edited

B. Protopopova, V. Fraenova.

When studying samples of choral music from the perspective of the musical and poetic nature of the genre and their close interaction with other types

arts, the provisions and conclusions contained in the works of S. Averintsev, V. Vasina-Grossman, V. Vanslov, M. Gasparov, K. Zenkin, S. Lazutin, Yu. Lotman, E. Ruchevskaya, Yu. Tynyanov, B. Eikhenbaum were used , S. Eisenstein.

The scientific novelty of the study lies in the fact that for the first time:

A definition of the genre of choral miniatures has been formulated, allowing for genre attribution of small-form choral works;

A study of the nature of the genre of choral miniatures was carried out through the prism of philosophical knowledge about the macro and microworlds, revealing endless semantic possibilities for the embodiment of artistic ideas in a compressed content field, up to the reflection in the phenomenon of miniatures of significant attributes of the image of culture;

Small forms of various types of Russian art are considered in order to identify them birth characteristics and features that, in a melted and indirect form, constituted the genotype of the genre.

The role of various musical genres - the historical predecessors of choral miniatures - in the formation of its genre features is revealed;

The historically changing configuration of genre features of choral miniatures in the socio-cultural context of the 20th century has been studied.

The following provisions are submitted for defense:

The genre of choral miniature is a small-scale musical work a cappella, based on a multi-level syncresis of words and music (background, lexical, syntactic, compositional, semantic), providing a time-concentrated, deep disclosure of the lyrical type of imagery, reaching symbolizing intensity.

The miniature is a kind of analogy to the macrosystem in which it is inscribed - art, culture, nature. Being a microcosm in relation to the actually existing macrocosm of man, it is capable of reflecting the complex properties of living matter as a result of the concentration of multifaceted meanings in a small literary text. As a result of the process of miniaturization, a compression of the sign system occurs, where the sign acquires the meaning of an image-symbol. Thanks to semantic coding, the possibility of operating with entire “semantic complexes”, their comparison and generalization is created.

The genetic roots of choral miniatures are inextricably linked with examples of small forms of various arts, their poetics and aesthetics. Within the framework of miniature genres and forms of Russian art, significant features for choral miniature were formed, such as the refinement of a small form, a high level of artistry stemming from the filigree, sophisticated craftsmanship of the manufacturer, the specificity of the content - emotional and ideological concentration, the depth of understanding of the world and human feelings, functional purpose .

The process of crystallization of the genre took place on the basis of active inter-genre interaction, as well as increasing mutual influence of the musical and poetic arts. As a result of these processes, at the beginning of the 20th century, a genre was formed in which the musical element reaches the limit of artistic expressiveness in synthesis with the poetic form.

The author's approaches to creating a new type of imagery in choral miniatures of the second half of the 20th century are characterized by the expansion of genre boundaries due to transformations musical language and saturation of the genre model with extra-musical factors. The use of different types of techniques by composers in synthesis with old traditions, giving genre elements a new semantic coloring has formed the modern facets of the choral miniature genre.

The theoretical significance of the study is determined by the fact that a number of developed provisions significantly complement the accumulated knowledge about the nature of the genre under study. The work provided a detailed argumentation and analytical evidence base for questions that underpin the possibility of further scientific search for the features of this genre type. Among them are the analysis of the phenomenon of miniaturization in art from the point of view of philosophical knowledge, the identification of the poetics of miniatures in various types of Russian art, the justification of the genre characteristics of choral miniatures in its difference from small forms, the special role in the process of crystallization of the genre of individual interpretation of the genre model by Russian composers of the second half of the 20th century and others.

The practical significance of the study is due to the fact that the presented materials will significantly expand the possibilities of application scientific knowledge in the field of practice, since they will be able to become an integral part of courses in the history of music and analysis of forms of music schools and universities, in music programs for secondary schools, and will also be useful in the work of choirmasters.

Structure of the dissertation. The dissertation consists of an introduction, three chapters, a conclusion, and a list of references from 242 sources.

The Introduction contains a rationale for the relevance of the topic, reveals the main problems of the study and the degree of its scientific development, defines goals and objectives, material, methodological foundations, argues the degree of scientific novelty, and provides information about approbation of the results of the work.

In the first chapter, “Choral miniature in historical and cultural context,” the essence of the phenomenon of miniaturization in art is outlined through the prism of philosophical knowledge. The understanding of this essence, so important for choral miniature, is revealed in the light of Russian philosophical thought. The role of the miniature as an artifact of modern culture is considered, the features of miniature poetics are identified in small forms of various types of art, in which the experience of miniatures was assimilated by musicians, representing a kind of silent period in the development of the genre. Scientific approaches to considering this phenomenon are outlined.

1.1. Miniaturization in musical and choral art: philosophical

grounds

Starting from Asafiev’s understanding of the essence of music as a reflection of the “picture of the world”, as “a worldview that gives birth to a microcosm - a system that synthesizes the maximum into the minimum”e1, in this section of the work, based on the analysis of philosophical approaches to the problem of macro and microworlds, the nature of the choral miniature is explored. It is emphasized that the miniature, being a product of art and a cultural artifact, is similar to space, culture, man, that is, it is a reflected microcosm in relation to the really existing macrocosm of man, that the object of the miniature (as an object of art built into culture) is the microcosm with all its elements ,

1 Asafiev, B.V. (Igor Glebov) The value of music [Text]: collection of articles / B.V. Asafiev (Igor Glebov); edited by Igor Glebov; Petrograd State Academic Philharmonic. -Petrograd: De música, 1923. - P. 31.

processes, patterns, which is similar to the macrocosm in its principles of organization, the boundlessness of phenomena.

It has been revealed that in miniature the reflection of the complex, fleeting properties of living matter is a “folded up” process of the formation of meaning literary text, that is, its miniaturization. Its essence is the compactness of the sign system, where the sign acquires the meaning of an image-symbol. Thanks to semantic coding, the possibility of operating with entire “semantic complexes”, their comparison and generalization is created.

It is also noted that the depth of philosophical knowledge contained in the miniature of Russian composers is derived from the idea of conciliarity, and the dominance of the ideas of macro and micro worlds in Russian philosophy determined significant ideas, under the sign of which choral art evolved from large choral canvases to miniature, from the collective choral principle - to the subjective and individual. It is concluded that the art of miniature, born in past centuries, strengthens its importance in modern culture, concentrates in itself all the experience and diversity of artistic traditions of Russian art, enriching them and proving the viability of its historical heritage. And the substantive depth and capacity, communicative potential, multiplicity of musical and extra-musical connections include the miniature in the evolutionary process.

1.2. Choral miniature in the context of Russian art traditions

The emergence of the phenomenon of Russian choral miniature was due to romantic trends that came from Western art. Lyrical self-expression, which determined a new sense of self in art, influenced the national culture at the turn of the 18th - 19th centuries. The idea of the deep unity of all types of art allows us to consider the prehistory of choral miniatures in order to determine the principles of concentration of meaning in their small forms. This was facilitated by the expressiveness and skill of book graphics - the decoration of capital letters, the creation of small drawings and illustrations that give special meaning and emotional content to the text, the capacity and aphorism of words, honed in small forms literary creativity, the depth of psychological expressiveness of Russian intonations

Chinese plangent song, the desire for spatiality and filigree decoration in miniature forms of fine art.

The methods and principles with the help of which small works of art were created, which gained their usefulness in a person’s life, closely intertwined with his inner aspirations, everyday life, full of meanings that were significant to him, formed the experience of embodying the deep concentration of an artistic image.

1.3. Research approaches to the study of choral miniatures

Text approach. Since a specific feature of the choral miniature is the highly informative content, formed in the synthesis of words and music, there is a need to consider it using a textual approach, which involves addressing the text from the point of view of its communicative nature. The textual approach to the study of choral miniature as a multi-element structure of a synthetic text makes it possible to analyze the figurative and expressive language means used in the text, which are identified and correlated with the content they signify, that is, they have semantic meanings.

The interaction of semantic complexes of musical and poetic texts creates a special artistic and semantic content of the image, as a result of which the process of enriching the range of expressive means of the language of one art occurs at the expense of the other. Structural-semantic complexes formed as a result of the interaction of poetic and musical texts sometimes reach the intensity of symbols in their synthesis. They are the basis of a structural-semiotic system in which “the organization and meaning of the elements of musical matter depend on at least two features: the era in which Man lives, and Man’s individual vision-perception-understanding of the world.” Consideration of the artistic text of a choral miniature should be based on the correlation of the principles of the formation of structural-semantic relations of artistic signs of the poetic source and the musical text. This is important because

1 Kornelkzh, T. A. Musicology as an open system: experience in posing a problem: based on the material of domestic music science [Text]: dis. ...cand. art history: 17.00.02. / T.A. Kornelyuk; Novosibirsk State conservatory - Novosibirsk, 2007. -P.147

The distinctive feature of the miniature is the concentration of content and its close connection with the outside world, that is, the significance of extra-textual connections that carry the semantic meanings of both texts increases multidimensionally for it.

The structural-systemic approach provides consideration of ways to construct an artistic whole by combining its elements based on the concept of structural poetics. She points out that in a poem, a language organized in a special way acquires the properties of an artistic system, as a result of which the weight of the word as a significant segment in the text increases. Consequently, the implementation of an artistic idea occurs through the mechanism of linking these elements endowed with semantic meaning. According to this, the structural and artistic process of the formation of musical content is based on a high degree of expressiveness of the elements of musical language and their complex combination. The constructions of the “coupling” of thematic elements form the basis of the projective space of the artistic text of the choral miniature. In choral polyphony, this is a dramaturgically determined change in the textural functions of the voices, their interaction. Within the framework of the indicated approach, attention is focused on the artistic-structural relationships and interaction of musical and literary texts, which is so necessary when studying the nature of the genre of choral miniatures.

The second chapter, “Choral miniature in the work of composers of the Russian school: historical and cultural background, formation and development of zhapra,” highlights the historical and artistic processes that influenced the formation of invariant features of the genre. These are features of the development of Russian culture, trends that determined the interaction of poetry and music, the influence of analogue genres on the formation of the characteristic features of choral miniature. Based on theoretical concepts of domestic musicology, the concept of genre is formulated.

2.1. Musical and poetic mutual influence and its role in the formation of the genre

choral miniatures

The mutual influence of poetry and music in historical retrospect was aimed at searching for concentration and deepening of artistic meaning. IN

The basis of this process was the desire of both arts to achieve the truthfulness of reflection in art of the natural intonation of human speech, which contains the meaningful and emotional depth of the word. Innovations of this kind in poetry, which made themselves known in the 18th century, led to the formation of a syllabic-tonic system of versification, which in turn served as an impetus for the creation of laws of musical form. Further close contact between the two arts in the field of small vocal and choral genres contributed not only to the development of free poetic forms in poetry, but also to the formation in music of immanent ways of increasing meaningful information content. Among them are the principles of end-to-end development, dividing the text into small fragments with detailed nuances, and increasing the complexity of the rhythmic, modal, and harmonic aspects of the musical text. In line with these processes, the influence of Russian cultural traditions could be traced, which determined the formation of the characteristic features of the genre of choral miniatures, namely, melodicity, melodiousness, and integration of properties into the melody poetic language, associative connections of both arts.

2.2. Choral miniature as a theoretical definition

The theoretical setting that sets the vector of research should be considered the definition of genre, which belongs to A. Korobova. It emphasizes that the genre “is distinguished by a historically flexible coordination of common features of content, construction and pragmatics, based on a dominant feature”1. The essence of this position is indirectly confirmed in the interpretation of the genre by S. Averintsev, who notes that “the category of genre is mobile”, “subject to fundamental changes, historically determined”2. S. Aranovsky also points to “the amazing ability of the genre to persist, adapting to changing conditions”3.

"Korobova, A.G. Modern theory of musical genres and its methodological aspects [Text] / A.G. Korobova // Musicology. - 2008. - No. 4. - P. 5.

2 Averintsev, S. S. Historical mobility of the genre category: experience of periodization [Text]:

collection of articles / S.S. Averintsev // Historical poetics. Results and prospects of the study. -M.: Nauka, 1986.-S. 104.

3 Aranovsky, M. G. The structure of the musical genre and the current situation in music [Text]: collection of articles / M. G. Aranovsky // Musical contemporary. Vol. 6 - M.: Soviet composer, 1987.- P. 5.

In order to identify the genre paradigm in different types of historical existence of the genre, the etymology of its name was investigated. The key word in this concept is “miniature”. The quintessence of the terminological essence of “miniature” in temporary arts is the criterion of scale (small form) and the effect of compacting the information flow (structural model). This artistic compression is based on the “collapse” in time of the plot organization layer and the transfer of its functions to the intonation layer.

Because of this, according to E.V. Nazaikinsky, a double assessment of syntactic time turns out to be significant for the miniature: both the actual syntactic-intonation time and the compositional one. The dual nature of time in the miniature genre leads to the effect of special tension, richness, and concentration of the musical form and the development processes occurring within its framework. The complexity and versatility of this phenomenon gave rise to turning to the ideas of outstanding Russian musicologists, whose theoretical concepts are associated with approaches to determining the nature of the genre, the poetics of small forms, and the problem of the interaction of words and music. Refracting the results of these theoretical developments to the specifics of the choral miniature, in this section of the work several definitions were artificially constructed, which led to an understanding of how and on what fundamental principles the compression of meaning is carried out in the choral miniature.

A comparison of the given characteristics made it possible to place important semantic accents. It is so obvious that the criterion of scale is common to all. Another, fairly stable parameter for characterizing a choral miniature is how the idea is embodied, on what fundamental principles the synthesis of arts is based. Also noted as significant for the essence of the genre are the specificity of the compositional whole (syntactic level) and its openness to stylistic modifications, susceptibility to the influence of non-choral musical genres. As a result of identifying the internal specific composition of the genre structure, in which the most mobile is the synthetic language, formed in the interaction of music and words and realizing itself in the artistic system of polyphony, a definition of the genre was formulated, which allows for the genre attribution of choral works of small forms, highlighting samples in their totality genre of choral miniature.

The genre of choral miniature is a small-scale musical work a cappella, based on a multi-level syncresis of words and music (phono-pitch, lexical, syntactic, compositional, semantic), providing a time-concentrated, deep disclosure of the lyrical type of imagery, reaching symbolizing intensity.

2.3. Crystallization of the features of the choral miniature genre in the works of Russian composers of the 19th century

Understanding the genre as a moving category, drawing evolutionary impulses from the depths of the adjacent genre system, made it possible to expand the range of interacting genres under consideration and identify the features introduced into the choral miniature from church music, romance, opera, and piano miniature. Among them are attention to the poetic word, its deep meaning, inextricably linked “with the quality of Russian music: bringing the personal outward”1, expanding the range of emotional states, developing original ways of concretizing the image with program content, the desire to connect intimacy and scale in an artistic image.

The features of the genre paradigm, in our opinion, acquired their clear contours in the works of S. Taneyev. The combination of several melodies in the simultaneous sound, each of which is equal and artistically significant, allowed the artist, with the help of their total intonational and psychological effect, to create enormous dynamic tension in the choral fabric. To deeply reflect the poetic text, the composer was the first to use the multidirectional expressive potential of vocal music. On the one hand, discreteness in the presentation of words, syntactic dismemberment associated with speech genesis, on the other hand, dynamic tension due to intonational coherence and dissonant aggravation of polyphonic polyphony. A legitimate illustration of these theoretical conclusions are choral miniatures based on poems by Ya. Polonsky, which embody the basic principles of the genre. The composer's individual style most clearly reflected his work aimed at condensing and deepening the meaning in the musical component of the small choral form.

1 Zenkin, K. V. Piano miniature and paths musical romanticism[Text]: monograph / K.V. Zenkin. -M.: Music 1997. - P. 314.

Important components of this process are the processing of the poetic text by S. Taneyev in order to identify its dramatic potential, making it possible to build an adequate compositional form, as well as the use of techniques that ensure the collapse of artistic musical “information”, manifested at the level of content and semantics (generalization through genre) . choirs of S. Taneyev, which provides a “starting point” for the development of the genre in Russian choral art.

The third chapter, “Choral miniature in the domestic musical culture of the 20th century,” is devoted to evolutionary processes in which the features of stylistically new types of choral miniature were determined by the cultural and historical context and individual composer approaches in the embodiment of the genre.

3.1. Genre situation of the 20th century: Sociocultural context of existence

This section of the work examines the situation of mutual influence of the cultural context on the development of small choral forms at the beginning of the century. It is noted that the specifics of the choral genre are largely predetermined by socio-demographic factors. This made it possible to state that, due to changes in the social function of art in the first half of the century, choral miniatures are leaving the practice of public music-making. The new aesthetics of socialist art, cultivating collective forms of creativity, brought mass song onto the historical stage. It became one of the emblematic cultural phenomena of the first half of the 20th century.

Her choral arrangements were widely represented in the works of M. Antsev, D. Vasiliev-Buglai, M. Krasev, K. Korchmarev, G. Lobachev, A. Pashchenko, A. Egorov and others. A large layer in the newly formed choral repertoire of the post-revolutionary decades was formed by choral arrangements of Russian folk songs. Arrangements by A. Glazunov became popular,

A. Kastalsky, P. Chesnokov, A. Davidenko and others, as well as conductors A. Arkhangelsky, M. Klimov and others. Composers continued their work in line with the old traditions of the choir school. Within the framework of this direction, works by A. Kastalsky, V. Kalinnikov, A. Arensky, P. Chesnokov and others were created. The above allows us to conclude that in the historical time of the revolutionary and post-revolutionary events of the 20th century, secular choral miniature of the Taneev type gave way to mass song and choral treatment, which can be seen as a crisis of the genre.

The restructuring of public consciousness in the 60s transformed the cultural life of the country. The ability of art to openly return to the sphere of the spiritual and personal changes the social purpose of choral music, which leads to the revival of choral miniatures as a genre, the demand for which was determined by the fact that in its genetic structure countless artistic forms of reflection of lyrical content could be created. The renaissance of choral miniatures contributed to the restoration of the genre's memorized content. The miniature “...itself acted as one of the blocks of this memory and ensured the creation of a most favored nation regime to preserve the development of the natural characteristic features of the genre”1. The semantics of the genre determined the renewal of the communicative functions of its existence, which was associated with the conditions and means of execution. We are talking about the revival of the chamber branch of choral art.

The change in the political climate, the restoration of the traditions of Russian spirituality, and contacts with world culture contributed to the development of a figurative and meaningful panorama, the renewal of means of expression, and the emergence of new synthetic genres. Choral music becomes a reflection of not just life, but the life of modern man at a specific historical stage. A “foreign genre” factor and patterns drawn from other types of art are introduced into the musical and choral context. Composer's styles are characterized by the growth of integrative qualities, which made it possible to increase the level of information content of the choral miniature, reflecting the desire to concentrate thoughts, and, consequently, to concentrate means. Methods of concentrating information contributed to the improvement of artistic forms

1 Nazaykinsky, E.V. Style and genre in music [Text]: textbook for university students / E.V. Nazaykinsky. -M.: Humanitarian Publishing Center VLADOS, 2003. - P. 105.

reflection of reality, which ultimately determined the emergence of a musical component that represents artistic independence and usefulness poetic image, which has the possibility of large-scale generalization. The process of updating the musical language has emerged at all levels of interaction between the musical and poetic text. Complex relationships have emerged, characterized by increasing attention to the articulation of the verbal text along with its intonation. Sound creation, relying on multiple articulatory techniques, was aimed at conveying verbal meaning: clear, precise presentation of the word, expanding the methods of pronunciation and intonation, combining relief intonation-speech microstructures into a single semantic whole. In the context of the development of polystylistic tendencies, the frequent involvement of foreign genre elements in the internal structure of choral miniatures, with the spread of individualized reading of the poetic text, the process of expanding the semantic field of the work is developing. Activation of interaction between various structural and semantic plans in the figurative concept was decisive in the accumulation of informativeness of artistic content, capacity, and artistic versatility of the choral miniature. Thus, evolutionary processes were aimed at searching for techniques that have the ability to convey increasingly subtle nuances in the disclosure of emotional and psychological states, the broad and deep construction of the artistic context.

3.2. The evolution of choral miniatures in the second half of the 20th century

Within the framework of this paragraph, the development of the choral miniature genre is considered from the perspective of a new understanding of the principles of genre formation, which were developed under the influence of modern creative practice in the second half of the century. The formation of the meaningful volume of a choral miniature occurs at the epicenter of inter-genre interaction, which includes different spheres of art. Among them are instrumental music, theater and cinema. From this perspective, a striking example of the influence of symphonic and film drama on choral miniature is the work of G. Sviridov. The analysis of the composer’s works carried out in the work indicates that the concept of constructing an image is based on the use of editing technology

frames. Thanks to this, the formation of an artistic image is presented as “a chain of stringed images of individual aspects”1. This methodology for constructing an artistic image is also applicable to other forms of art, in particular poetry, which made it possible to consider the compositional structure of a miniature using frame montage, where the “frame” of the poetic text corresponds to the musical “frame” that summarizes the meaning of the poetic stanza.

A comparative analysis of the choral miniatures of S. Taneyev and S. Sviridov made it possible to identify the latter’s innovations at all levels of the relationship between poetic and musical texts: background pitch, lexical, semantic, compositional. In the process of analysis, S. Sviridov’s desire to convey the nuances of speech intonation, identify the dramatic potential of textural plans, stratify the choral texture, its instrumentalization, introduce elements of the sonata allegro form, use symphonic development techniques, etc. is emphasized. Despite the fact that the choral miniature retains structural and semantic orientation of genre typification in the works of both composers, Sviridov observes its stylistic renewal. Modernization processes reflected new composer's thinking in the field of musical language, a new algorithm for building an imaginative concept, namely, the embodiment of an artistic image through the dramaturgy of frame editing. The refraction of the method of constructing an artistic whole in cinematic art, which uses in its arsenal visual ways of understanding the world, has revealed new forms of interaction between poetry and music.

3.3. Main vectors of development of the genre

Section 3.3.1. “Choral miniature cultivating classical reference points” is dedicated to works of the classical style. Among the composers who wrote choral miniatures in the spirit of classical traditions in the second half of the 20th century were G. Sviridov (“Winter Morning” based on lyrics by A. Pushkin from the choral cycle “Pushkin’s Wreath”), E. Denisov (“Autumn” based on lyrics. A. Feta from the choral cycle “The Coming of Spring”), R. Ledenev (“Beloved Land” to lyrics by S. Yesenin from the choral

1 Eisenstein, S.N. Montage 1938 [Text] / S.N. Eisenstein // The Art of Cinema. - 1941. - No. 1.-S. 39.

th cycle “Wreath to Sviridov”), V. Salmanov (“The fields are compressed” to the words of S. Yesenin), V. Krasnoskulov (“The Tsarskoye Selo statue” to the words of A. Pushkin) and others.

The features of this type of miniatures are considered in the work using the example of a comparative analysis of the works of P. Tchaikovsky and V. Shebalin, written on the text of M. Lermontov’s poem “The Cliff”. The parameters of the analytical review were chosen in such a way that, by comparing the expressive capabilities used by composers, to highlight the features of a new artistic approach to the creation of a musical and poetic image by V. Shebalin, to emphasize what was special that ensured the artistic independence and usefulness of the musical component of his composition. Analytical procedures made it possible to identify differences in the interpretation of the image at all levels of interaction between words and music. The following illustrates the new composer's thinking. At the syntactic level, P. Tchaikovsky has a clear correspondence between the phonetic structure of a word and its intonation delivery, which leads to a complete coincidence of melodic and verbal microstructures. In V. Shebalin this connection is more indirect. The composer strives for a general presentation of the word, a large stroke. At the content-semantic level, we emphasize the wider palette of expressive means of V. Shebalin. If P. Tchaikovsky uses only the harmonic, dynamic, tempo-rhythmic characteristics of the image to describe the image, then V. Shebalin applies the principle of genre generalization and demonstrates mastery of the expressive and visual potential of the texture. The vertical-horizontal flow of the sound flow and the layering of textured layers reflected the complementary correspondence between words and music. With the help of the richness of timbrophonic colors that arises due to the variety of texture solutions, V. Shebalin achieves a subtle psychological nuance of the image. At the compositional level of interaction between texts, we note that in P. Tchaikovsky’s work there is a strophic form, while in V. Shebalin the form is “contracted” to a musical tripartite. Note that V. Shebalin created a secondary poetic form. We will also point out the use of choral groups, expansion of the register range of singers, articulatory features of the delivery of words, the use of expressive qualities of sonorous singing, which is not observed in P. Tchaikovsky’s choral miniature.

Accordingly, the path from P. Tchaikovsky to V. Shebalin is the path of concretizing the word through the means of music, finding an increasingly subtle parity

strong relationship and interaction with the musical component, built on unity and equivalence. The foregoing allows us to conclude that the musical component in V. Shebalin’s “Cliff” is the richest in terms of the implementation of expressive resources. It confirms the thesis that the evolutionary processes of the second half of the 20th century increasingly established in choral miniature its leading genre feature - the collapse of meaning in the process of interaction of musical and poetic texts.

Section 3.3.2. “Choral miniature, focused on Russian national traditions” is dedicated to the stylistic modification of the genre associated with the rethinking and recreation of the features of Russian folk art through modern compositional techniques. Within the framework of this section, an attempt has been made, using the material of V. Gavrilin’s choral miniature “Nonsense” from the symphony-action “Chimes,” to consider the structural processes that determined the development of figurative content. The focus of special attention is on musical and linguistic means that form semantic complexes in which the artistic text information of the choral miniature is encoded. In the process of analysis, an interpretation of the semantic meanings of the elements of the musical text is given, the mechanism of their coupling is described, in which, with the help of their contrasting opposition, each of the meanings is clarified and the meaning is revealed as a result of their comparison.

In section 3.3.3. “Choral miniature in the context of new stylistic trends of the 60s” indicates that this most interesting period of the 20th century is characterized by a significant radicalization of musical language. Individual stylistic concepts of Russian composers are formed in the process of a permanent search for new means of expression. The main directions in this area were related to: expanding the range of expressive means in presenting the word, finding ways to instrumentalize choral texture, and using the resources of timbrophonics. These processes are also reflected in the works of composers working in the genre of choral miniatures. In line with new trends, Y. Falik created their works (“Habanera”, “Intermezzo”, “Romance” from the concert for choir “Poems of Igor Severyanin”), R. Ledenev (“Prayer” from the choral cycle “Wreath to Sviridov”), S. . Gubaidullina (cycle “Dedication to Marina Tsvetaeva”), E. Denisov (“Autumn” to the words of V. Khlebnikov), A. Schnittke (“Three Spiritual Choirs”), V. Kikta

(“Winter Lullaby”), S. Slonimsky (“Evening Music”), etc. Interesting in this regard is the artistic experience of implementing the genre by R. Shchedrin.

In the artist’s creative works in the genre of choral miniatures, a new poetics of the genre emerged. It was rooted mainly in a historically determined stylistic renewal of structural and semantic unity, a more subtle relationship between music and the poetic word, which was based on “mixed technique”,1 a synthesis of means of expression characteristic of modern art. The purpose of the analysis is to identify methods and techniques of compositional technique that are deeply connected with other types of art and aimed at creating artistic structures, on a small scale of which the semantic potential of their elements reaches the intensity of a symbol. The subject of the analysis was choral miniatures from the cycle “Four Choirs to Poems by A. Tvardovsky”.

An analysis of R. Shchedrin’s choral miniatures from the cycle “Four Choirs to Poems by A. Tvardovsky” allowed us to draw the following conclusions. The compositional thinking of artists of the second half of the 20th century formed new features of the genre model, in which there is a radical renewal of the ways of forming artistic content. Strengthening the processes of mutual influence of verbal and musical components - expanding topics, addressing different musical styles, innovative compositional techniques - led to the renewal of musical semantics. The consequence of the intensified interaction between various structural and semantic plans in the figurative concept was the accumulation of informative content, capacity, and artistic versatility of the choral miniature.

The conclusion of the dissertation contains conclusions that are significant for the characteristics of the choral miniature. A miniature is a microcosm in relation to the really existing macrocosm of a person; it is capable of reflecting the complex properties of living matter in a large-scale compressed artistic text. It embodies a high level of artistic skill and depth of content, which reflects the subtle facets of the world and human feelings.

The process of genre crystallization occurred on the basis of active inter-genre interaction, which made it possible to identify

1 Grigorieva, G.V. Russian choral music of the 1990-80s [Text] / G.V. Grigorieva. - M.: Music, 1991. - P.7.

means and elements of musical language that contribute to the formation of structures that maximize semantic potential.

Comparison of the ontology of the name of the genre (choral miniature) with genetic code, determined their identity and made it possible to develop approaches to the attribution of the genre. Based on the developments of the most prominent musicologists in the field of poetics of small forms, genre theory and the relationship between poetic and musical texts, a definition of the concept of “choral miniature” was formulated and its theoretical justification was given. Analysis of the evolution of this genre type revealed the “starting point” of the historical life of the genre in Russian culture - the work of S. Taneev, the “crisis” of the genre in the first half of the 20th century, due to socio-historical circumstances, and its revival in the second half of the century. The study of the existence of the genre showed that, under the influence of polystylistic trends, multidirectional “vectors” emerged that determined its “image” in the second half of the 20th century. Evolutionary processes during this period were associated with coordination between musical factors and external determinants; their analysis revealed the ability of choral miniatures to assimilate a variety of stylistic trends and find a resource for expanding and deepening content in the diversity of musical languages.

At the conclusion of the dissertation, it is noted that, despite the level of scientific understanding of the topic achieved in the work, it remains open to a broad time perspective, since the change of generations of composers passing on their knowledge and creative developments to subsequent generations makes obvious the fact of the inevitable continuation of the life of the studied genre in its new interpretations .

Articles in peer-reviewed scientific journals recommended by the Higher Attestation Commission:

1. Grinchenko, I.V. The origins of choral miniatures of the era of romanticism in the context of the traditions of Russian art [Text]: scientific journal / I.V. Grinchenko // World of science, culture of education. - Gorno-Altaisk, 2012. - No. 3 (34). - P. 226-228.-0.4 p.l.

2. Grinchenko, I.V. Choral miniature: a structural approach to the analysis of poetic and musical texts [Text]: scientific, theoretical and applied journal: in 2 parts. Part II. / I.V. Grinchenko // Historical, philosophical, political

and legal sciences, cultural studies and art history. Questions of theory and practice. - Tambov: Certificate, 2013. - No. 4 (30). - P. 47 -51.-0.4 p.l.

3. Grinchenko, I.V. The interaction of poetic and musical texts in the genre of choral miniature (using the example of the choir “Spring” from V. Khodosh’s cycle “The Seasons”) [Text]: specialized scientific journal / I.V. Grinchenko // Problems of musical science. Ufa: publishing house of the Ufa State Academy of Arts, 2013. - No. 2 (13). - P. 273 - 275. - 0.4 p.l.

4. Grinchenko, I.V. Choral miniature in Russian music of the second half of the 20th century [Electronic resource]: scientific journal / I.V. Grinchenko // Fundamental Research. - 2014. - No. 9 - 6. - P. 1364 - 1369. - Access mode: http://vak.ed.gov.ru. -0.4 p.l.

Other publications on the topic of dissertation research:

5. Grinchenko, I.V. The genre of choral miniature in Russian music at the turn of the 19th - 20th centuries (using the example of Twelve a cappella choirs op. 27 by S. Taneev) [Text]: scientific journal / I.V. Grinchenko // South Russian musical almanac: Rostov State Conservatory (Academy) named after S.B. Rachmaninov."-Rostov n/D., 2013.-No. 1 (12).-P. 18-25.-1p.l.

6. Grinchenko, I.V. Updating the meaning of a musical and poetic text as a technology for working with a children’s choir [Text]: conference materials / I.V. Grinchenko // Modern choral performance: traditions, experience, prospects: International scientific and practical conference [g. Rostov n/d., April 28 - 29, 2014]. - Rostov n/d.: publishing house of the Rostov State Conservatory (Academy) named after S.B. Rachmaninov, 2014. - P. 94 -101.-0.5 pp.

Digital printing. Offset paper. Times typeface. Format 60x84/16. Volume 1.0 academic publication-l. Order No. 3896. Circulation 100 copies. Printed in the CMC "COPITSENTR" 344006, Rostov-on-Don, st. Suvorova, 19, tel. 247-34-88

-- [ Page 1 ] --

Federal State Educational Institution

higher education

"Rostov State Conservatory

named after S.V. Rachmaninov"

As a manuscript

Grinchenko Inna Viktorovna

CHORAL MINIATURE IN RUSSIAN MUSICAL CULTURE:

HISTORY AND THEORY

Specialty 17.00.02 – art history

Thesis

for the degree of candidate of art history

Scientific supervisor:

Doctor of Cultural Studies, Candidate of Art History, Professor Alexandra Vladimirovna Krylova Rostov-on-Don

Introduction

Chapter 1. Choral miniature in historical and cultural context.

philosophical foundations

1.2. Choral miniature in the context of the traditions of Russian art.................. 19

1.3. Research approaches to the study of choral miniatures........... 28 1.3.1. A textual approach to the study of the choral miniature genre

1.3.2. Choral miniature: a structural approach to the analysis of poetic and musical texts.

Chapter 2. Choral miniature in the works of composers of the Russian school: historical and cultural background, formation and development of the genre

2.1. Musical and poetic mutual influence and its role in the formation of the genre of choral miniature

2.2. Choral miniature as a theoretical definition.

2.3. Crystallization of the features of the choral miniature genre in the works of Russian composers of the 19th century

Chapter 3. Choral miniature in the musical culture of the twentieth century.

3.1. Genre situation of the 20th century:

sociocultural context of the genre’s existence.

3.2. The evolution of the choral miniature genre in the second half of the 20th century

3.3 Main vectors of development of the genre.

3.3.1. Choral miniature cultivating classical reference points.

3.3.2. Choral miniature, focused on Russian national traditions.

3.3.3. Choral miniature influenced by new stylistic trends of the 60s

Conclusion

List of used literature.

INTRODUCTION

Relevance research. Choral art is a fundamental part of Russian culture. The abundance of bright groups is direct evidence of the vitality of domestic choral traditions, confirmed today by many festivals and competitions of choral music at various levels. Such “bubbling content” of choral performance is a natural source of unabated composer interest in this genre area.

In the genre of choral miniatures, this problem is particularly acute due to the fact that the embodiment of the macroworld within this genre is the choral principle, but, thanks to the special laws of compression of form and meaning, it turns out to be collapsed into the format of the microworld. It is obvious that this complex process requires its own study, since it reflects the general patterns of modern culture. The above determines the relevance of the research topic.

The object of research is Russian choral music of the twentieth century.

Subject of research– formation and development of the genre of choral miniatures in domestic musical culture.

– to identify the genesis of miniatures in the traditions of Russian culture;

– characterize the main parameters that allow one to attribute the genre;

– consider the choral miniature as an artistic object of art;

– explore the path of evolution of the genre in the context of Russian musical culture of the 20th century;

– analyze the features of the individual interpretation of the choral miniature genre in the works of Russian composers of the second half of the twentieth century.

Goal and objectives The works determined its methodological basis. It is built comprehensively on the basis of theoretical scientific developments and works of scientists - musicologists and literary critics, as well as analysis of the work of composers of the 19th - 20th centuries. The dissertation uses methods of cultural-historical, structural-functional, axiological, and comparative analysis.

Research materials. Due to the breadth of the problem field of the stated topic, the scope of the dissertation research is limited to consideration of the process of development of choral miniatures in Russian secular art of the 19th – 20th centuries. The empirical material was a cappella choirs, as they most clearly embody the idea of miniaturization in choral music. The work used works by M. Glinka, A. Dargomyzhsky, P. Tchaikovsky, N. Rimsky-Korsakov, M. Mussorgsky, S. Taneyev, A. Arensky, P. Chesnokov, A. Kastalsky, V. Shebalin, G. Sviridov, V. Salmanova, E. Denisova, A. Schnittke, R. Shchedrin, S. Gubaidullina, S. Slonimsky, V. Gavrilin, Y. Falik, R. Ledeneva, V. Krasnoskulov, V. Kikty, V. Khodosha.

The degree of scientific development of the topic. Problems of the history and theory of the choral miniature genre have not been sufficiently developed in musicology.

In modern scientific research there are no works that make it possible to identify a small choral work with the principles and aesthetics of a miniature. However, art criticism, literary studies, cultural studies and musicology works of various problematic orientations contain a number of ideas and provisions that are conceptually significant for this dissertation.

In this work, a philosophical generalization of the phenomenon, positioning the choral miniature as a semblance of a macrosystem and allowing us to determine its place in culture, its role in human experience, was formed on the basis of the works of M. Bakhtin, H. Gadamer, M. Druskin, T. Zhavoronkova, M. Kagan, S. Konenko, G. Kolomiets, A. Korshunova, Y. Keldysh, I. Loseva, A. Nozdrina, V. Sukhantseva, P. Florensky.

Identification of the stages of assimilation of the experience of miniaturization by various types of Russian art required turning to the works of musical, historical and cultural content by B. Asafiev, E. Berdennikova, A. Belonenko, G. Grigorieva, K. Dmitrevskaya, S. Lazutin, L. Nikitina, E. Orlova, Yu . Paisov, V. Petrov-Stromsky, N. Sokolov. The sociological aspect was included in the problem area, which led to the involvement of the ideas of A. Sokhor and E. Dukov.

The analysis of musical works, with the help of which the features of the vocal-choral form were identified, was carried out based on the works of K. Dmitrevskaya, I. Dabaeva, A. Krylova, I. Lavrentieva, E. Ruchevskaya, L. Shaimukhametova. Valuable clarifications were gleaned from the work of A. Khakimova on the theory of the a cappella choir genre. The means of expressiveness of choral texture were considered on the basis of the works of V. Krasnoshchekov, P. Levando, O. Kolovsky, P. Chesnokov, and collections of scientific articles edited by V. Protopopov, V. Fraenov.

When studying samples of choral music from the position of the musical and poetic nature of the genre and their close interaction with other types of arts, we used the provisions and conclusions contained in the works of S. Averintsev, V. Vasina-Grossman, V. Vanslov, M. Gasparov, K. Zenkin, S. Lazutin, Y. Lotman, E. Ruchevskaya, Y. Tynyanov, B. Eikhenbaum, S. Eisenstein.

Scientific novelty The research is that for the first time:

– a definition of the genre of choral miniatures has been formulated, allowing for genre attribution of small-form choral works;

– a study of the nature of the choral miniature genre was carried out through the prism of philosophical knowledge about the macro and micro worlds, revealing endless semantic possibilities for the embodiment of artistic ideas in a compressed content field, up to the reflection of significant attributes of the image of culture in the miniature phenomenon;

– small forms of various types of Russian art are considered in order to identify their generic characteristics and features, which in a melted and indirect form constitute the genotype of the genre.

– the role of various musical genres – the historical predecessors of choral miniature – in the formation of its genre features is revealed;

– the historically changing configuration of genre features of choral miniatures in the socio-cultural context of the 20th century has been studied.

Submitted for defense the following provisions:

– The genre of choral miniature is a small-scale musical work a sarpella, based on a multi-level syncresis of words and music (background, lexical, syntactic, compositional, semantic), providing a time-concentrated, deep disclosure of the lyrical type of imagery, reaching symbolizing intensity.

– A miniature is a kind of analogy of the macrosystem in which it is inscribed - art, culture, nature. Being a microcosm in relation to the actually existing macrocosm of man, it is capable of reflecting the complex properties of living matter as a result of the concentration of multifaceted meanings in a small literary text. As a result of the process of miniaturization, a compression of the sign system occurs, where the sign acquires the meaning of an image-symbol. Thanks to semantic coding, the possibility of operating with entire “semantic complexes”, their comparison and generalization is created.

– The genetic roots of choral miniatures are inextricably linked with examples of small forms of various arts, their poetics and aesthetics. Within the framework of miniature genres and forms of Russian art, significant features for choral miniature were formed, such as the refinement of a small form, a high level of artistry stemming from the filigree, refined craftsmanship of the manufacturer, the specificity of the content - emotional and ideological concentration, the depth of understanding of the world and human feelings, functional purpose .

– The process of crystallization of the genre took place on the basis of active inter-genre interaction, as well as increasing mutual influence of the musical and poetic arts. As a result of these processes, at the beginning of the twentieth century, a genre was formed in which the musical element reaches the limit of artistic expressiveness in synthesis with the poetic form.

– The author’s approaches to creating a new type of imagery in choral miniatures of the second half of the twentieth century are characterized by the expansion of genre boundaries due to transformations of the musical language and the saturation of the genre model with extra-musical factors. The use of different types of techniques by composers in synthesis with old traditions, giving genre elements a new semantic coloring has formed the modern facets of the choral miniature genre.

Theoretical significance The research is determined by the fact that a number of developed provisions significantly complement the accumulated knowledge about the nature of the genre under study. The work provided a detailed argumentation and analytical evidence base for questions that underpin the possibility of further scientific search for the features of this genre type. Among them are the analysis of the phenomenon of miniaturization in art from the point of view of philosophical knowledge, the identification of the poetics of miniatures in various types of Russian art, the justification of the genre characteristics of choral miniatures in its difference from small forms, the special role in the process of crystallization of the genre of individual interpretation of the genre model by Russian composers of the second half of the twentieth century and others.

Practical significance The research is due to the fact that the presented materials will significantly expand the possibilities of applying scientific knowledge in the field of practice, since they can be an integral part of courses in the history of music and analysis of forms of music schools and universities, in music programs for secondary schools, and will also be useful in the work of choirmasters.

Dissertation structure. The dissertation consists of an introduction, three chapters, a conclusion, and a list of references from 242 sources.

CHORAL MINIATURE

IN THE HISTORICAL AND CULTURAL CONTEXT

The problems of the first chapter, at first glance, are far from studying the choral miniature in its immanent musical properties. However, the questions introduced here from the perspective of the dissertation and related to the philosophical foundations of the genre, the general cultural context that reveals its genesis, as well as methodological approaches to the analysis of the phenomenon being studied are of paramount importance. From our point of view, they are the foundation of those theoretical conclusions about the nature of the genre that were made in the second and third chapters of the work and form the basis for the analysis of specific musical material. In support of this, we emphasize that the interdisciplinary approach, which determined the logic of the dissertation research from the general to the specific, is predetermined not only by the nature of the chosen topic. It is based on the principles of classical Russian musicology, brilliantly substantiated in his time by L.A. Mazelem. Let us point out two positions that are significant for this work. Firstly, the researcher pointed to the philosophical and methodological basis of all sciences

Which he took for granted, and secondly, he adhered to the position that “... the achievements and methods of other sciences, which are now of greatest importance for musicology, are determined ... by the closely interconnected ideas of the three areas of knowledge.” It was about psychology, sociology, semiotics, and L.A. Mazel emphasized that “for musicology, the achievements of the theory of other arts and aesthetics are important, often, in turn, associated with the psychological and systemic-semiotic approach...”.

In accordance with the stated guidelines, the first paragraph of this chapter is devoted to the general philosophical foundations of the processes of miniaturization1 in art. The second explores the commonality of miniature forms in different types of Russian art, emphasizing their common theoretical and aesthetic essence, and the third is devoted to the analysis of research approaches, among which semiotics plays a special role, in accordance with the musical and poetic nature of the choral miniature genre.

1.1. Miniaturization in musical and choral art:

philosophical foundations What is the significance of the philosophical aspect of the problem? Philosophical reflection gives an understanding of art as a whole, as well as its individual work, from the point of view of fixing in it the deep meanings associated with the nature of the universe, the purpose and meaning of human life.

It is no coincidence that the beginning of the 21st century was marked by the special attention of music science to philosophical thought, which helps to comprehend a number of categories that are significant for the art of music. This is largely due to the fact that, in the light of changes in the modern concept of the picture of the world, in which Man and the Universe are mutually determined and interdependent, anthropological ideas have acquired new significance for art, and the most important directions of philosophical thought have turned out to be closely related to axiological problems.

It is significant in this regard that also in the work “The Value of Music”

B.V. Asafiev, philosophically interpreting music, gave it a broader meaning, interpreted it as a phenomenon that unites “the deep structures of existence with the human psyche, which naturally exceeds the boundaries of the type of art or artistic activity.” The scientist saw in music not a reflection of the reality of our lives and experiences, but a reflection of the “picture of the world.” He believed that through knowledge the term “miniaturization” is not the author’s own, but is generally accepted in modern art criticism literature.

analysis of the musical process, one can come closer to understanding the formalized world order, since “the process of sound formation in itself is a reflection of the “picture of the world”, and he placed music itself as an activity “in a series of world positions” (constructions of the world), giving rise to a microcosm - a system, synthesizing maximum into minimum.

The last remark is especially significant for the topic under study, since it contains a focus on the analysis of arguments that reveal the relevance of trends in modern culture, focused on miniatures in art. The foundations of these processes were primarily comprehended in the field of philosophical knowledge, within the framework of which the problem of the relationship between the big and the small - the macro and microworld - runs through it. Let's look at this in more detail.

At the end of the 20th century, in world philosophy and science, there was an active revival of traditional philosophical concepts and categories that reflect the integrity of the world and man. Using the macrocosm-microcosm analogy allows us to consider and explain the relationships “nature-culture” and “culture-human”. This reflection of the structure of life led to the emergence of a new methodological position, where Man comprehends the laws of the surrounding world and recognizes himself as the crown of nature’s creation. He begins to penetrate into the depths of his own psychological essence, “breaks”

the sensory world into a spectrum of different shades, grades emotional states, operates with subtle psychological experiences. He tries to reflect the variability of the world in himself in the sign system of language, to stop and capture its fluidity in perception.

Reflection, from the point of view of philosophy, is “the interaction of material systems, where the systems mutually imprint each other’s properties, the “transfer” of the features of one phenomenon to another, and, first of all, “transfer” structural characteristics". Therefore the reflection life meaning in a literary text can be interpreted as “the structural correspondence of these systems established in the process of interaction.”

In the light of these provisions, we will determine that miniaturization is a reflection of the complex, fleeting properties of living matter, “folding,” or a fragmentarily captured process of interaction between systems, conveyed in the formation of the meaning of an artistic text. Its essence is the compactness of the sign system, where the sign acquires the meaning of an image-symbol. Thanks to semantic coding, the possibility of operating with entire “semantic complexes”, their comparison and generalization is created1.

Having outlined the problem of the relationship between the macro and microworlds, which is fundamentally important for understanding the essence of miniatures, and which took shape as an independent concept by the twentieth century, we will point out that philosophy has accumulated a lot of valuable information that allows us to deeply imagine the essence of the genre of choral miniatures. Let's look at them in historical retrospect.

The meaning of the concept of macro and microcosm dates back to ancient times. In the philosophy of Democritus, the combination mikroskosmos (“man is a small world”) first appears. A detailed doctrine of the micro- and macrocosm was already presented by Pythagoras. Related in the ideological sense was the principle of knowledge put forward by Empedocles - “like is known by like.” Socrates argued that knowledge of the cosmos could be gained "from within man." Assumptions about the commonality of existing man and the universe Penetrating into the essence of the phenomenon of text miniaturization, let us compare it with a similar phenomenon in internal human speech. Modern science has obtained experimental data that specifies the mechanism of interaction between words and thoughts, language and thinking. It has been established that internal speech, which, in turn, arises from external speech, accompanies all processes of mental activity. The degree of its significance increases with abstract-logical thinking, which requires detailed pronunciation of words. Verbal signs not only record thoughts, but also operate on the thinking process. These functions are common to both natural and artificial languages. A.M. Korshunov writes: “As a generalized logical scheme of the material is created, inner speech collapses. This is explained by the fact that generalization occurs through selection keywords, in which the meaning of the entire phrase, and sometimes the whole text, is concentrated. Inner speech turns into a language of semantic support points."

can be traced in the works of Plato. Aristotle also talks about the small and large cosmos. This concept developed in the philosophy of Seneca, Origen, Gregory the Theologian, Boethius, Thomas Aquinas and others.

The idea of macrocosm and microcosm became especially flourishing during the Renaissance. Great thinkers - Giordano Bruno, Paracelsus, Nikolai Cusansky - were united by the idea that nature, in the person of man, contains mental and sensory nature and “contracts” the entire Universe within itself.

Based on the historically developing postulate about the correspondence of the macro and microworlds, we conclude that the macrocosm of culture is similar to the microcosm of art, and the macrocosm of art is similar to the microcosm of miniatures. It, reflecting the world of the individual in contemporary art, is a semblance of the macrosystem into which it is inscribed (art, culture, nature).

The dominance of the ideas of macro and micro worlds in Russian philosophy determined the significant guidelines under the sign of which choral art evolved. Thus, to develop the problem of miniaturization in art, the idea of conciliarity is essential, introducing an element of philosophical creativity into Russian music. This concept is initially associated with the choral principle, which is confirmed by its use in this perspective by Russian philosophers. In particular, “K.S. Aksakov identifies the concept of “conciliarity” with a community where “the individual is free as in a choir.” N.A. Berdyaev defines conciliarity as an Orthodox virtue, Vyach. Ivanov – as an ideal value. P. Florensky reveals the idea of conciliarity through a Russian plangent song. V.S. Solovyov transforms the idea of conciliarity into the doctrine of unity."

It is obvious that conciliarity is the fundamental national basis of Russian art, “reflecting the worldwide unity of people on the basis of a special spiritual creativity", which deeply affects the spiritual world of a person, "expands the boundaries of the capabilities of an individual."

These sides national culture identified the specific features of the Old Russian choral tradition: “the first is conciliarity, i.e. the unification of the heavenly and earthly forces of the universe in one matter and one task on the basis of Truth, Goodness and Beauty; the second is cordiality, the ability to unite hearts, singing in a feeling of openness to divine truth; third - multi-chanting (great znamenny, travel, demesne chants); fourth - melody, breadth, smoothness, length, melodiousness, majestic slowdowns in the finales of choral works."

Humanistic ideas of Renaissance philosophy, which placed the center of attention creative personality, caused the emergence of a new musical picture peace. The anthropological principle also found its manifestation in Russian art of the 18th – 19th centuries. Thus, the development of secular professional music in the 17th century reaches qualitatively new achievements, which concerns, first of all, the area of content. Moreover, the secular penetrates into church music itself, changing its character and methods of implementation. “Polyphonic partes singing with its clear rhythmicity of musical structures, cadences and sound effects (contrasting the sonority of solo and tutti) introduces a person into a limited current time, directs his attention outward - into space, into the surrounding sensory world.”

A.P. Nozdrina characterizes this period as follows: “The reflection of the direction of time descends from the ideal to the material sphere. It is filled with the sensory world of man, the affirmation of his power, and the beauty of the human voice gains independence. The musician’s creativity, his artistic “I” is perceived through the realities of the objective world. As a result of this, different musical directions appear, in line with which the process of miniaturization develops in various types of art: portrait sketches, narrative lyrics, expressive and figurative miniatures. IN musical creativity At this time, the ancient musical traditions of church choral music, expressing collective consciousness, and new trends, reflecting the personal principle, human psychology and everyday life, intersected... Thus, Russian philosophers and musicians of the 19th and early 20th centuries sought to create a “new humanism”, in which the question was raised not only a person, but also society, relationships between people, the combination of personal freedom with social liberation."

The musical art of this period is also a reflection of the complex processes of socio-political life. The idea of conciliarity began to acquire an exaggerated interpretation. Choral creativity, being the oldest tradition of Russian musical culture, which has the character of conciliarity, continues to develop only on a secular basis.

The worldview crisis that emerged at the turn of the century under the influence of scientific and technological progress defines a new perspective for understanding the spiritual kinship of the human world and the natural world. The pathos of scientific works of foreign thinkers is close to the saying of N.A. Berdyaev: “Personality is not a part of the world, but a correlative of the world. Undoubtedly, personality is a whole, not a part. Personality is a microcosm." Because of this, miniaturization acquires the features of a stable trend in the development of certain spheres of culture of the 20th century, and becomes a phenomenon that captures a special artistic attitude to the world on a modern historical basis. Small objects carry the spiritual image of the era through artistic and figurative forms of reproducing reality. S.A. Konenko writes that miniature “discovers a unique feature not observed in other types of art: compression of the signs of culture to an extremely concentrated form, giving it a bright expressive form of value quintessence. Signs of culture in this form become iconic, symbolic in a certain sense: in conciseness the most significant and indicative attributes of the image of culture reveal themselves.”

Indeed, by the middle of the twentieth century, miniature to a certain extent became one of the signs of modern culture, demonstrating its value dominants, the level of development of science, technology, art, and spirit.

Let us give reasons for what has been said. Modern culture as the sum of cultural sentiments and philosophical concepts is called postmodern culture. Among the most relevant achievements of philosophical thought of this type of culture is the idea of a plurality of ways of knowing, which elevates art to the rank of the latter and gives it extraordinary value in shaping the worldview of mankind. Using the macrocosm-microcosm analogy, postmodern thinking presents it as a method of understanding the world and puts forward the thesis about the unity of the entire flow of life (plant, animal, and the life of consciousness). The specificity of postmodern art is the expansion of the range of artistic vision and techniques of artistic creativity, a new approach to classical traditions. N.B. writes about this. Mankovskaya, Yu.B. Borev, V.O. Pigulevsky. One of these postmodern trends is choral miniature.

Because of this, starting from the second half of the 20th century, the genre of choral miniatures acquired a new quality. It is closely connected with general cultural processes, in particular, with the strengthening of the social function of art, the conditions that have arisen for its openness to the world cultural space, the recognition of works of this type of creativity as public domain, in connection with the development of means of communication, addressed not to a narrow circle of connoisseurs, but to a wide listening audience. Choral miniature - “a micro-similarity of the macrocosm of culture, with its characteristic characteristics and qualities”, modern man able to perceive not only as a culturally significant object, but “as an expression of a cultural and philosophical concept in general.”

So, concluding our brief excursion, let us once again emphasize the main thing that allows us to understand the nature of the genre under study, considered through the prism of the philosophical doctrine of macro and micro worlds:

– a miniature, being a product of art and a cultural artifact, is similar to space, culture, man, that is, it is a reflected microcosm in relation to the really existing macrocosm of man;

– the object of a miniature (as an object of art embedded in culture) is a microcosm with all its elements, processes, patterns, which is similar to the macrocosm in its principles of organization, the boundlessness of phenomena;

– a reflection of the complex, fleeting properties of living matter is a “collapse” of the process of formation of the meaning of an artistic text, that is, its miniaturization. Its essence is the compactness of the sign system, where the sign acquires the meaning of an image-symbol. Thanks to semantic coding, the possibility of operating with entire “semantic complexes”, their comparison and generalization is created;

– the depth of philosophical knowledge contained in the miniatures of Russian composers is derived from the idea of conciliarity;

– the dominance of ideas of the macro and micro worlds in Russian philosophy determined the significant ideas under the sign of which choral art evolved - from large choral canvases to miniatures, from the collective choral principle - to the subjective-individual;

– the art of miniature, born in past centuries, strengthens its importance in modern culture. The content of “information”, the multiplicity of musical and extra-musical connections includes the miniature in the evolutionary process of complication of the cultural space. A miniature in modern art is a kind of analogy to the macrosystem in which it is inscribed: art, culture, nature.

1.2. Choral miniature in the context of Russian art traditions

Consideration of the miniature from the point of view of the projection of the philosophical problem of the relationship between the micro and macro worlds, which made it possible to identify the pattern of development of art in the direction of miniaturization of forms with their meaningful multidimensionality, allows us to assert that the world of the Russian choral miniature genre, full of the brightest artistic discoveries of the past and present, has an extraordinary appeal. However, here it is necessary to emphasize the special role of the culture of romanticism and voice the idea that the phenomenon of musical miniature is a concentrated “formula” of the poetics of romanticism, which arose in Western European piano music at the turn of the 18th century. XIX century and reflected in Russian art.

It is interesting that the roots of this phenomenon, having sprouted in Russian choral music, were distinguished by the originality of the national “reworking” of romantic trends.

For example, choral miniatures created at the beginning of the century by S.I. Taneyev cannot be compared with the works of piano miniatures by F. Mendelssohn, F. Chopin and others in terms of concentration of romantic impulse. In the choral fabric of Taneiev's choirs, the deep revelation of personality is assimilated in the special restraint of the polyphonic principle, combined with folk melodies, with echoes of cult chants. In this regard, before considering the general context of the traditions of Russian art associated with the genres and forms of miniatures, and tracing the general cultural roots of the genre under study, let us turn to the pages of history concerning the introduction of romantic trends into Russian art.

Communication with Western European romanticism was filled with a tense dialectic of attraction and repulsion. Back in the 17th century, signs of acceptance of Western European culture with a negative attitude towards their own, traditional culture appeared in Russia. This process began with the reign of Peter I. “Peter attached extremely great importance to the Russian borderland, moving the capital of the state to the very edge of the state... he attached primary importance to the piers of this capital... The piers of St. Petersburg, however, marked not only the acceptance of a “different” culture, but also negative attitude towards one’s own, traditional one.

It is important, however, that this did not lead to the complete destruction of traditional ancient Russian culture, but only to the bifurcation of Russian culture into two channels.

One channel led culture along the very border with Western Europe, and the other separated hostilely from the West - this is the culture of the Old Believers and the peasantry, which survived until the twentieth century, in which the life of folk culture continued.” Thus, comprehending the historical fate of Russia, which gave it a vector of two-basic development of culture, in the process of the formation of Russian romantic consciousness, we can state the absorption of the general experience of European romanticism, on the one hand, and the emergence of Russian romanticism in the depths of national culture, on the other.

The romantic mood of Russian society was promoted by the victory in the War of 1812, which showed the greatness and strength of the Russian people. Russian social consciousness of the 19th century developed and developed new ideas that revealed a rational view of the world, drew attention to the problem of man - to the meaning of his life, morality, creativity, aesthetic views, which, of course, prepared the way for the perception of a new direction. Russian philosophical thought continued to resolve the controversial issue of Western (P.Ya. Chaadaev) and original Russian views (A.S. Khomyakov, I.V. Kireevsky) on the past, present and future of Russia, which went down in history as a confrontation between Westerners and Slavophiles. But the historical and philosophical ideas of Western European culture (F.V. Schelling, G.V. Hegel) have already declared an understanding of the essence of style, which so deeply reflected the time: “In the romantic period, form falls under the power of content. The image of a god is replaced by the image of a knight. The extinction of classical art is not a decline, but only a transition from contemplation to representation... The spiritual principle triumphs over the material, the balance of the spiritual and material, as it was in the classical era, is disrupted, music and poetry begin to predominate. In music, an artist can show more freedom than in other types of art."

Intense communication with Western European romanticism, its philosophical concept (F.V. Schelling, G.V. Hegel), mature ideas of Russian thought about the national peculiarities of the development of Russia, the preparedness of public consciousness led to the emergence of a certain Russian understanding of the essence of this artistic phenomenon. “Romanticism,” wrote Apollo Grigoriev, “and, moreover, ours, Russian, developed and distinguished itself in our original forms, romanticism was not a simple literary, but a life phenomenon, an entire era of moral development, which had its own special color, putting into practice a special view... Let the romantic trend came from outside, from Western literature and Western life, it found in Russian nature soil ready for its perception - and therefore was reflected in phenomena that were completely original...”

First of all, these phenomena were different from Western ones - less implementation of the subjectivity of creative consciousness and orientation towards the fundamental tradition of Russian Orthodoxy - the subordination of individual consciousness to ideas developed collectively in the distant past.

Perhaps that is why, having brought the genre of choral miniatures to the cultural and historical arena, Russian art, in its original romantic worldview, combined the traditions of song, as a national feature of its culture, and the pathos of Orthodoxy, based on “conciliarity,” which represented the principles of organizing individuals with a common goal , but choosing an individual path to it. K. Zenkin, defining the essence of a piano miniature, writes that it is “instantaneity, the immediacy of an image, the time of lyrical experience, the crystallization of a single state during its internal development.”

Correlating these definitions with the choral appearance of the miniature, it is possible to assume that all these features are present to one degree or another in the genre we are studying. For example, the crystallization of a single emotional mode was developed in ancient psalmodic singing, in Znamenny chant, where there was a concentration on the psychological state of the person praying, on a certain mental experience. The special spirituality of Znamenny chant was further preserved in partes singing. Of significant importance, in our opinion, was the peculiarity of the liturgical rite, in which the singer could creatively, with the help of melodic chants, highlight “this or that idea of the text, according to the spiritual tone in which he perceived it.”

He revealed his feelings to the praying parishioners, calling them to corresponding emotions in the process of prayer. Hence the genetic roots of the “inner, psychological” revealed in the public atmosphere.

All this contributed to the emergence of the choral type of miniature - a new variety of miniature genres, in which the ancient traditions of national musical culture were melted.

The result of the evolution of Russian culture not only endowed the choral miniature with all the achievements of choral art, but also presented it as a vivid reflection of romantic aesthetics, new ideas about the deep unity of all types of arts, about the possibility of their mixing and synthesis. As a result, it would be logical to consider the origins of the choral miniature not only from the perspective of its development in one generic art, but also to determine the role of prototype genres in other types of artistic creativity. They are like small precious grains, scattered in different historical eras and arts, carrying the aesthetic essential beauty of the genre of small form, absorbing and synthesizing the principles of expressiveness different types arts, present a “biography” of the artistic phenomenon of choral miniatures.

Let us turn to some types of Russian art, in small forms of which the features of the miniature genre were formed, adopted by the choral miniature of the era of romanticism. Its genetic roots go back to ancient times, appealing to the work of Russian icon painters of the 10th – 12th centuries. As you know, the icon and fresco were designed to depict the divine world. The artistic quality of any image in the temple was understood as secondary to its main purpose - the reproduction of a sacred event. The truth of images (both verbal and colorful), understood in the spirit of sensory-material identity with the prototype, is infinitely more important than their beauty. The similarity of the face of the icon to a human image, its appeal to the inner world of the person praying, that is, the deep human essence of art will be “absorbed” by subsequent eras, and will become, in particular, an important component of the aesthetics of romanticism.

I.N. Loseva writes: “In ancient times, the word was given extraordinary importance. ““Say” and “create” were identical concepts.

The word, as defined by ancient philosophy, was considered a model of the world, including material, sensory and ideal elements."

To this it is legitimate to add one more identical concept “to represent”. Confirmation of this is the accompaniment of capital letters in handwritten books with drawings that reveal the deep ideological meaning of the texts. Later, book miniature materialized spiritual content in the depiction of symbols, in ornaments and, finally, in the characters of the book font themselves. As the researcher of Novgorod art E.S. writes. Smirnov, this is “a sign, a symbol of the holiness of the text, a warning and accompaniment to the deep content of the book.” Some front manuscripts contain miniature decorations that authentically illustrate the text.

They really have the qualities of a special art, as if aware of their small size and not inclined to copy techniques monumental painting. The objectification of the semantic and emotional content of the book text, in combination with the decorative function, will be perceived by the choral miniature and will subsequently introduce figurative features into it, which will be expressed in a tendency towards programmatic and decorative features.

Another important source shaping the genesis of the future choral miniature was folklore. Epics, fairy tales, proverbs, sayings created the poetics of small forms in ancient Russian literature, they revealed the capacity of the word, the aphorism of the statement, collecting the most valuable meaning for a person, “the connection with the situation, everyday life, developed compositional structure text, speech intonation was honed” 1. All this experience of literary art will be absorbed by the choral miniature. In this regard, it is interesting to note that the originality of the compositions of epics and fairy tales was associated with such “microelements” as “chorus”, “outcome” and “saying”. For example, a fairy-tale saying, small in size, set the listener up for an entertaining narrative, emphasizing the fictionality and fantastic nature of the fairy tale. And the epic choruses, despite their laconicism, painted majestic pictures of nature, conveyed solemn pathos, and set the listener up to perceive something important and significant. The functional role of these sections was to foreshadow, anticipate the plot, and create a certain mood in a small poetic structure. The indicated features that existed in the art of music in the form of introductions to various forms, preludes undoubtedly exhibited features that indirectly influenced the genre of miniatures.

Let's turn to musical art. E.M. Orlova points out that by the 15th century, the genre of lyric lingering song was being formed in Russian folklore. Unlike epics and fairy tales, which necessarily had a detailed plot, the lingering song was based on a compressed plot situation, close to the way of life of people, which was the reason for you. more details: In folk lyrical songs, along with the wealth of expressed thoughts and feelings, those life circumstances, all kinds of plot-descriptive situations that caused them, are quite vividly depicted.

expressions of certain feelings and thoughts. In the synthesis of words and musical intonation, the Russian song cantilena gave birth to an inexhaustible potential of psychological expressiveness, which had an undoubted influence on the nature of choral miniatures.

Considering the context of different types of art, within the framework of which certain principles of expressiveness were formed, essential for the formation of the characteristics of the miniature, it becomes obvious that this process continued in the 16th century. The art of this time rushed from church asceticism to secularism, from abstraction to real human emotions and clarity of thought. These themes were clearly manifested in Russian architecture. “The architect-poet... combined sculpture, which covered the facades he created with carvings, and painting,... and music, which set the bells in motion.” The reliefs that decorated the cathedrals of Moscow, Vologda, Novgorod were plastic carvings, which revealed a desire for three-dimensional volume and bold angles of figures. The sculptural talent of Russian masters was also reflected in small sculptures: icons, stonework, panagia crosses (wood, stone, bone). By the nature of the interpretation of the form, they can be compared with a sculptural relief; by the thoroughness of the work, the miniature of the details - with the art of jewelry.

These examples of small forms of fine art also carried specific features, which later manifested themselves indirectly in the choral miniature. First of all, this is the desire for spatiality, the subtle filigree of finishing the work.

The accumulation of artistic experience in small forms of various arts leads to the emergence of miniatures as an independent art form, which occurs at the turn of the 17th - 18th centuries in painting. Its heyday occurred in the 18th – 19th centuries and was associated with the development of the genre of portrait and landscape. At the very beginning of their journey, portrait and landscape miniatures were closely connected with oil painting. This connection was traced in the plots, in subordination to common aesthetic canons, and in general stylistic features. Because of this, at the beginning of the 18th century, miniatures were characterized by the pomp and decorativeness characteristic of painting. But gradually the miniature flows into the general mainstream of the development of graphic chamber portraiture. Miniatures are painted from life, become more spontaneous, convey the characteristic features of the model more vividly, and become democratic. The flourishing of this genre was associated with the advent of the chamber portrait, which revealed the seriousness and depth of the depicted image. The intimate and lyrical nature of the embodiment of themes originated from the traditions of painting by V.L. Borovikovsky and A.G. Venetsianova.

The miniature drew its special features not only from professional fine art, but also from folk art. It is connected with applied art with strong threads. In ancient times, miniatures were made on stone, wood, silver and copper casting. In a later period, craftsmen used porcelain, bone, gold, silver, terracotta, ceramics and other atypical materials. The development of traditional peasant and decorative-applied ancient Russian art, iconography and painting in the 18th century prepared the emergence of such an artistic phenomenon as Russian lacquer miniatures. The centers of this original art were Fedoskino, Palekh, and Mstera. Small engravings pasted onto boxes and snuff boxes, made from artistic originals, conveyed the fullness of the feeling of their native land, were saturated with emotional depth, in tune with the inner world of a person, and bore unique features of local color.

The pictorial techniques of artistic miniatures were formed in accordance with the Russian icon-painting tradition and Western European engraving, with Russian painting, which allowed it to combine religious feelings and secular views. The miniature bore the stamp of high fine art and at the same time was created in the format of applied folk art. This explained the appeal to fairy-tale, epic-epic, historical, mythological subjects, or to paintings stylized in the same spirit from modern life. “Miniature painting is imbued with a special internal dynamics. In the complex play of rhythm, in the intersecting lines of figures, in the consonances of color masses and plans, echoes of folk song images are heard.” The musical image of the folk song was reflected in the artistic design and contributed to the emergence of the musical, rhythmic structure of the painting. Palekh lacquer miniatures are known for images written on the themes of Russian folk songs “Down along Mother, along the Volga”, “Here is the daring troika rushing”, etc. The miniature gave things not only spiritual significance. Precious in a spiritual sense, it was often made of high quality material, which gave it value in the literal sense of the word. The material used was associated with domestic gold and silver, porcelain and bone work, and with enamel skills. Particularly noteworthy is the exquisite painting with small dots, which developed in parallel with the stipple technique in metal engraving. The volume and spatiality of the image, the subtle technique of writing on precious materials, decorativeness, the “choral” method of execution, representing the experience of the school, the creative team, the continuity of traditions are the main aesthetic principles of varnishes, which were later embodied in the choral miniature.

Concluding the analysis of the genetic foundations of the genre of choral miniatures, it should be emphasized that the appearance of the first examples of choral miniatures in the 19th century, during the era of Russia’s assimilation of the achievements of Western romanticism, was undoubtedly associated with the generalization in it of the artistic experience of small forms of various types of Russian art. In artistic and creative activity, not only musical, but also far from the art of singing, while developing the ideology of small forms, significant features and generic features have developed for the genre of choral miniature. Namely: the refinement of a small form, a high level of artistry resulting from the filigree, sophisticated craftsmanship of the manufacturer, the specificity of the content - emotional and ideological concentration, the depth of understanding of the world and human feelings, functional purpose.

9. Genres of choral music

Choral singing has the same ancient history as single-voice singing. Let us remember that ancient ritual songs are sung collectively. True, everyone sings the same melody, sings in unison. For many centuries in a row, choral singing remained unison, that is, in fact monophonic. The first examples of choral polyphony in European music date back to X century.

IN folk music have you encountered polyphony in lingering songs. From folk polyphony came the tradition of singing songs in chorus. Sometimes these are simply transcriptions of single-voice songs for choir, and sometimes songs specifically intended for choral performance. But choral song this is not an independent genre, but one of varieties genre songs.

Genres of choral music include:
choral miniature
choir concert
cantata
oratorio

Choral miniature

Choral miniature is a small piece for choir. Unlike a song, in a choral miniature the polyphonic choral texture is more developed, and polyphony is often used. Many choral miniatures were written for unaccompanied choir (the Italian term is used to refer to unaccompanied choir a cappella“a cappella”).

This is how the Russian composer uses choral texture in a choral miniature “ winter road» based on poems by A. S. Pushkin (original in B-flat minor):

Allegro moderato. Leggiero [Moderately fast. Easily]

Here the composer singles out the soprano part as the main melody, and the other voices “echo” their phrases. They sing these phrases with chords that support the first soprano part like an instrumental accompaniment. In the future, the texture becomes more complex, and at times the leading melodic line will appear in other voices.

Choir concert

Despite such a “concert” name, this genre not intended for concert performance. Choral concerts were performed in Orthodox Church during a solemn, festive service. This is a genre Russian Orthodox sacred music.

A choral concert is no longer a miniature, but a large multi-part work. But not a series of miniatures either. It can be called a musical “story” in several “chapters”; each new part of the choral concert is a continuation of the previous one. There are usually short pauses between parts, but sometimes parts flow into each other without interruption. All choral concertos are written for choir a cappella, because musical instruments prohibited in the Orthodox Church.

The great masters of choral concert of the 18th century were.

In our time, secular choral concerts have also appeared. For example, in the works of G.V. Sviridov.

Cantata

You probably already felt that this word has the same root as the word “cantilena”. “Cantata” also comes from the Italian “canto” (“singing”) and means “a piece that is sung.” This name arose in the early 17th century, along with the names “sonata” (a piece that is played) and “toccata” (a piece that is played on keyboard instruments). Now the meaning of these names has changed a little.

WITH 18th century under cantata They don’t understand every piece they sing.

In its structure, the cantata is similar to a choral concert. Like choral concerts, the first cantatas were spiritual works, but not in the Orthodox, but in Catholic Western European Church. But already in XVIII century appear and secular cantatas intended for concert performance. J. S. Bach wrote many spiritual and secular cantatas.

In the 19th century, the cantata genre became less popular, although many composers continued to write cantatas.

In the twentieth century, this genre is being revived again. Wonderful cantatas were created by S. S. Prokofiev, G. V. Sviridov, an outstanding German composer, a modern St. Petersburg composer.

Oratorio

The word “oratorio” originally did not mean a musical genre at all. Oratories were rooms for prayer in churches, as well as prayer meetings that took place in these rooms.

The service in the Catholic Church was held in Latin, which no one spoke anymore. Only educated people understood him, mainly the priests themselves. And so that the parishioners also understood what was being said in the prayers, theatrical performances on religious subjects were organized liturgical dramas. They were accompanied by music and singing. It was from them that arose in XVII century genre oratorios.

As in the cantata, the oratorio is attended by solo singers, choir And orchestra. An oratorio differs from a cantata in two ways: much larger size(up to two, two and a half hours) and coherent narrative plot . Ancient oratorios were created, as a rule, on biblical the plots were intended both for church, and for secular execution. In the first half, #null became especially famous for his oratorios #null a German composer who lived in England for many years. At the end of the 18th century, interest in oratorio waned, but in England Handel’s oratorios are still remembered and loved. When the Austrian composer Haydn visited London in 1791, he was captivated by these oratorios and soon wrote three huge works in this genre himself: "Seven Words of the Savior on the Cross", "Seasons" And "Creation of the World".

In the 19th century, composers created oratorios, but they were not successful, just like cantatas. They were supplanted by opera. In the twentieth century, significant works of this genre appeared again, such as "Joan of Arc at the stake" French composer, Pathetic oratorio Sviridov based on the poem “Good”. In 1988, a significant event in the musical life of St. Petersburg was the performance of the oratorio "The Life of Prince Vladimir" on an ancient Russian plot.

Introduction. Choral miniature

Lepin's work "Forest Echo" was written in the genre of choral miniature.
Miniature (French miniature; Italian miniature) is a small musical piece for various performing groups. Similar to pictorial and poetic miniatures, musical miniatures are usually refined in form, aphoristic, predominantly lyrical in content, landscape or pictorially characteristic (A.K. Lyadov, “Kikimora” for orchestra), often on a folk genre basis (F. Chopin’s mazurkas, choral processed by A.K. Lyadov).
The basis of a vocal Miniature is usually a Miniature. The flourishing of instrumental and vocal miniatures in the 19th century was determined by the aesthetics of romanticism (F. Schubert, F. Mendelssohn, R. Schumann, F. Chopin, A. N. Scriabin); Miniatures are often combined into cycles, including in music for children (P. I. Tchaikovsky, S. S. Prokofiev).
A choral miniature is a small piece for a choir. Unlike a song, in a choral miniature the polyphonic choral texture is more developed, and polyphony is often used. Many choral miniatures were written for unaccompanied choirs.

Brief bibliographic information about the composer S. Taneev

Sergei Ivanovich Taneyev (November 13, 1856, Vladimir - June 6, 1915, Dyutkovo near Zvenigorod) - Russian composer, pianist, teacher, scientist, musical and public figure from the noble family of Taneyev.

In 1875 he graduated from the Moscow Conservatory with N. G. Rubinstein (piano) and P. I. Tchaikovsky (composition) with a gold medal. He performed in concerts as a solo pianist and ensemble player. The first performer of many of Tchaikovsky's piano works (the Second and Third Piano Concertos, the latter was finalized after the composer's death), and the performer of his own compositions. From 1878 to 1905 he worked at the Moscow Conservatory (from 1881 he was a professor), where he taught classes in harmony, instrumentation, piano, composition, polyphony, and musical form; in 1885-1889 he served as director of the Moscow Conservatory. He was one of the founders and teachers of the People's Conservatory (1906).

A staunch follower of the classics (in his music they found the implementation of the traditions of M. I. Glinka, P. I. Tchaikovsky, as well as J. S. Bach, L. Beethoven), Taneyev anticipated many trends in the musical art of the 20th century. His work is marked by the depth and nobility of his ideas, high ethics and philosophical orientation, restraint of expression, mastery of thematic and polyphonic development. In his writings he gravitated toward moral and philosophical issues. Such, for example, is his only opera “Oresteia” (1894, after Aeschylus) - an example of the implementation of an ancient plot in Russian music. His chamber instrumental works (trios, quartets, quintets) belong to the best examples of this genre in Russian music. One of the creators of the lyrical-philosophical cantata in Russian music (“John of Damascus,” “After the Reading of the Psalm”). He revived the popular in Russian music of the 17th-18th centuries. genre - a cappella choirs (author of more than 40 choirs). In instrumental music, he attached particular importance to the intonation unity of the cycle, monothematicism (4th symphony, chamber instrumental ensembles).
He created a unique work - “Movable counterpoint of strict writing” (1889-1906) and its continuation - “The Doctrine of the Canon” (late 1890s - 1915).

As a teacher, Taneyev sought to improve professional music education in Russia and fought for a high level of musical theoretical training for conservatory students of all specialties. He created a school of composition, trained many musicologists, conductors, and pianists.

Brief information about the poet

Mikhail Yuryevich Lermontov (1814-1841) is a great Russian poet, writer, artist, playwright and officer of the Tsarist Army of the Russian Empire. Born on October 15, 1814 in Moscow. His father was an officer, and years later, his son would follow in his footsteps. As a child, he was raised by his grandmother. It was his grandmother who gave him his primary education, after which young Lermontov went to one of the boarding houses of Moscow University. In this institution, the very first, not yet very successful, poems came from his pen. At the end of this boarding school, Mikhail Yuryevich became a student at Moscow University, and only then he went to the school of guard ensigns in the then capital of St. Petersburg.

After this school, Lermontov began his service in Tsarskoye Selo, joining the Hussar Regiment. After he wrote and published the poem “The Death of a Poet” on Pushkin’s death, he was arrested and sent into exile in the Caucasus. On the way to exile, he wrote his brilliant work “Borodin”, dedicating it to the anniversary of the battle.

In the Caucasus, the exiled Lermontov begins to get involved in painting and paints pictures. At the same time, his father goes to officials, asking them to pardon his son. Which is what happens soon - Mikhail Yuryevich Lermontov is reinstated in service. But having gotten into a duel with Barant, he is again sent to the Caucasus into exile, this time to war.

During this time, he wrote many works that were forever included in the Golden Fund of world literature - these are “Hero of Our Time”, “Mtsyri”, “Demon” and many others.

After exile, Lermontov comes to Pyatigorsk, where he accidentally insults his old friend Martynov with a joke. Comrade, in turn,
challenges the poet to a duel, which became fatal for Lermontov. On July 15, 1841 he dies.

Musically theoretical analysis

“Pine” by S. Taneev was written in 2 parts. The first part is one period consisting of two sentences. The content of the first part corresponds to the first four lines of the poem. The music conveys the image of a lonely pine tree, defenseless against the elements of northern nature. The first sentence (vol. 4) introduces the listener to the sound palette of d minor, corresponding to the lyrical mood of this work. The second part consists of three sentences, written in the eponymous D major (the second half of the poem). In the second part, Lermontov described a bright dream, filled with warmth and sunlight: “And she dreamed of everything in the distant desert. In the region where the sun rises..." The music of the second part conveys the heartfelt warmth of the poem. Already the first sentence (vol. 4) is permeated with bright feelings, kind and serene. The second sentence introduces tension, the development of dramatic experiences. The third period seems to logically balance the drama of the second sentence. This is achieved by expanding its dimensions to eight bars, by gradually reducing musical tension (the final line of the poem “The beautiful palm tree grows” runs three times)
The vocal and choral miniature “Pine” was written in a gamophonic-harmonic structure with elements of polyphony. The movement of music, its development is achieved by changing harmonies, the timbre colors of the choir, its textured presentation (close, wide, mixed arrangement of voices), polyphonic techniques, means of developing the melodic line of voices, and the comparison of climaxes.
The organic nature of the work and the harmony of its form depend on where the climax is located in the work. The poetic text is perceived by each person individually. S. Taneev in the music of “Pines” revealed his vision and perception of the poetic word of Lermontov’s poem. The climaxes of a poetic work and a musical work generally coincide. The most striking musical climax occurs with the repeated provision of the lines: “Alone and sad on a cliff, a beautiful palm tree grows.” By means of musical repetition, Taneyev enhances the emotional content of the poem and highlights the climax: the soprano sounds #f of the second octave, the tenors sound #f of the first octave. For both sopranos and tenors, these notes sound rich and bright. The bass approaches the climax gradually: from the first peak (bar 11) through the increasing tension of harmonies, deviations and polyphonic development, they lead the work to its brightest peak (bar 17), rapidly rising up the dominant (melodic line of the bass in bar 16) .
“Pine” is written in D minor (first part) and D major (second part). Minor in the first part and major in the second part is a contrast that is inherent in the content of the verse. First part: the first sentence begins in D minor, there are deviations in G major (the key of the subdominant), the sentence ends on the tonic. The second sentence begins in d minor and ends on the dominant. Second part: begins with the dominant of D minor, moves into D major, ends in the same D major. First sentence: D major, second sentence: starts in D major, ends on its dominant, here there is a deviation into the subdominant (t. 14 G major), into the second degree of D major (same measure e minor). The third sentence begins and ends in D major, there are deviations in it: to the second degree (m. 19 e minor) and to the subdominant key (m. 20 G major). The first movement has an imperfect cadence, ending on the dominant.
The cadence of the second movement consists of altered seventh chords of the second degree, K6/4, dominant and tonic of D major (full, perfect cadence).
Taneyev’s “Pine” is written in four-beat meter, which is maintained until the end of the work.
The texture of “Pine” has a gamophonic-polyphonic nature. Basically, the voices are lined up vertically, but in several bars (bars 12,13,14,15,16,17) the parts sound polyphonically horizontal and the melodic pattern can be heard not only in S, but also in other voices. In these same measures, the solo voice stands out. In measures 12, 13, 16, 17, there are pauses in one or two voices; in measure 12, a blocked tone sounds. Size C assumes execution in four meter lengths.

As it was said, the early work of S. Taneev, “Pine” is written in D minor and the same D major. This is one of the composer's early choral scores, but already contains features generally characteristic of the composer. “Pine” has features of a polyphonic style, which is also characteristic of Taneyev’s work. The harmonies of “Sosna”, the polyphonic conduction of voices, are distinguished by their harmony and melody. In the sequence of chords there is a connection with the Russian folk song (vol. 1, 6, 7 - natural dominant). The use of the sixth degree triad (vol. 2) also resembles a Russian folk song. Features of Russian songwriting are characteristic of Taneyev’s work. Sometimes the harmonies of “Pine” are quite complex, which is due to the composer’s musical language. Here there are altered seventh chords (bars 2, 5, 6, 14, 18, 19, 23), which create intense sounds of consonances. Polyphonic use of voices also often gives a seemingly random dissonant sound (vol. 11, 12, 15). The harmonic language of the work helps to reveal the sublimity of the great poet's poem. Deviations into related keys (vol. 2-g minor, t. 14-e moll, t. 19-e moll, t. 20-G major) impart a special lyrical coloring. The dynamics of “Pine” also correspond to a concentrated sad, and then dreamily bright mood. There is no pronounced f in the work, the dynamics are muted, there are no bright contrasts.

Vocal - choral analysis

Vocal and choral analysis
Polyphonic work by Taneyev “Pine”
created for four-voice mixed choir without accompaniment.
Sopran (S) Alto (A) Tenor (T) Bass (B) Overall range

Let's look at each batch separately.
Tessitura conditions for S are comfortable, vocal tension does not exceed the working range. In bar 4 S they sing the note d of the 1st octave - this is helped by the dynamics of p. The part is jumpy (jump on ch4 vols. 6.13; on ch5 vols 11.19; on b6 19-20 vols.), but the melody is convenient to perform and easy to remember. It often moves along the sounds of the triad (tt.). The composer does not place dynamic shades well; the conductor must approach this issue creatively; in our opinion, dynamics can be made based on the tessitura.
The viola part is written in a convenient tessitura. Difficulties are associated with harmonic loading. For example: t.2 the altos have note d; the rest of the voices have a moving melody; how clean the note d is sung, the purity of the melody will depend on this; t.3-4 the viola has a complex move of two descending fourths. A similar difficulty, when the viola is held on one sound, is found in several places (vol. 5, 6-7, 9-10). The part has a harmonic function, but in the second part, where the character of the work changes, Taneyev uses polyphonic techniques and the middle voices decorate the harmonic texture of the work by carrying out melodic moves not only in the soprano and in all other voices.
The tenor part is also written in a convenient tessitura. Its complexities arise from the chord progression that accompanies the soprano melody. For example: t. 2 the sound f is altered and the purity of the deviation of all voices into G minor will depend on the accuracy of this transition (similar to t. 18). The complexity of the performance is that it is like a harmonic filling of the musical fabric: t. 5-6, the tenor holds the note g on the tone, which creates a certain difficulty for the performers (similar places, t. 21, 23). The harmonic chords of the work carry the emotional connotation of sadness, light sadness, and nostalgic feelings of Lermontov’s poem. In this regard, there are unstable harmonies and altered seventh chords (volumes 2, 5, 6, 14, 18), the accuracy of their performance largely depends on the tenors. The part carries a harmonic and sometimes polyphonic load.
The bass line is written in the usual tessitura for bass. Intonationally, it is not always simple; for example, the moves on the chromatic scale are complex (lines 5-6, 14, 23). One of the most difficult parts of the work for basses is their solo performance in words: “A beautiful palm tree grows..” (vol. 15-16), where there are intonations of ascending thirds and fourths. But in general, the part should not cause any particular difficulties for the performers.
The breathing in the work is phrasal, because the text is poetic. The inside of the phrase is chain-like.
Example:
In the wild north, a pine tree stands alone on a bare top. And she dozes, rocking, and is dressed in loose snow like a robe (1-8 volumes).
The dictionary features of the work also require attention. Vowels and consonants will be reduced. In places where p, you need to pronounce the text very clearly in order to convey to the listener the meaning of the verse. In sound science there must be a cantilena, the vowels must be sung, and the consonants must be added to the next syllable, to the next vowel.
Conducting difficulties. 1) It is necessary to maintain the integrity of the form.
2) Show each party correctly
auftakty.

3) It is necessary to convey the mood of a musical phrase in a gesture.
4) Accuracy of transmission of dynamics.

Conclusion

Sergei Ivanovich Taneyev made a huge contribution to Russian music. He played a major role in creating works for a capella choir and raising this genre to the level of an independent, stylistically distinct composition. Taneyev chose the texts for the choirs with great care; all of them belong to the best Russian poets and are distinguished by high artistry. Taneyev's themes, on which he builds his works, are distinguished by their melody. The voice acting is impeccable. Choral voices, intertwining into sound complexes, create an interesting and unique harmony. The composer never overuses the extreme sounds of the ranges. He knows how to keep his voices in a certain position towards each other, ensuring excellent sonority. Polyphonic vocal performance does not interfere with the unity of sound. This is the result of the mastery of Taneyev's choral style.
Taneyev's choirs present significant difficulties in terms of structure, arising from chromaticisms and complex harmony. The relieving aspect is the strict logic of voice guidance. Taneyev places great demands on the performers of his choirs. His works require choral singers to have a good vocal foundation, allowing them to produce a melodious, drawn-out sound, free in all registers.
The work “Pine” is written on the poetic lines of M. Yu. Lermontov, which reveals the theme of loneliness. A pine tree that stands alone in a cold region, under the snow. She is cold, but not physically, her soul is frozen. The tree lacks communication, someone's support, sympathy. Every day a pine tree dreams of communicating with a palm tree. But the palm tree is far from the wild north, in the hot south.
But the pine tree is not looking for fun, it is not interested in a cheerful palm tree, which would keep it company if it were nearby. Pine realizes that somewhere far away there is a palm tree in the desert and she feels just as bad alone. The pine tree is not interested in the well-being of the surrounding world. She doesn't care about the cold and desert around her. She lives a dream about another such lonely creature.
If the palm tree were happy in its hot south, then the pine tree would not be interested in it at all. Because then the palm tree would not be able to understand the pine tree, to sympathize with it. Taneyev was able to convey all these experiences through music, using such expressive means as: dynamics, tempo, tonality, texture of presentation.

Summary-cheat sheet on the topic "genres of choral music." Topic seven: musical genres associated with words (vocal genres) What is a choral miniature definition?

CHORAL MINIATURE IN RUSSIAN MUSICAL CULTURE:

HISTORY AND THEORY

INTRODUCTION

CHORAL MINIATURE

IN THE HISTORICAL AND CULTURAL CONTEXT

9. Genres of choral music

Choral miniature

Choir concert

Cantata

Oratorio

Introduction. Choral miniature

Brief bibliographic information about the composer S. Taneev

Sergei Ivanovich Taneyev (November 13, 1856, Vladimir - June 6, 1915, Dyutkovo near Zvenigorod) - Russian composer, pianist, teacher, scientist, musical and public figure from the noble family of Taneyev.

As a teacher, Taneyev sought to improve professional music education in Russia and fought for a high level of musical theoretical training for conservatory students of all specialties. He created a school of composition, trained many musicologists, conductors, and pianists.

Brief information about the poet

During this time, he wrote many works that were forever included in the Golden Fund of world literature - these are “Hero of Our Time”, “Mtsyri”, “Demon” and many others.

After exile, Lermontov comes to Pyatigorsk, where he accidentally insults his old friend Martynov with a joke. Comrade, in turn, challenges the poet to a duel, which became fatal for Lermontov. On July 15, 1841 he dies.

Vocal - choral analysis

Vocal and choral analysis Polyphonic work by Taneyev “Pine” created for four-voice mixed choir without accompaniment. Sopran (S) Alto (A) Tenor (T) Bass (B) Overall range

3) It is necessary to convey the mood of a musical phrase in a gesture. 4) Accuracy of transmission of dynamics.

List of used literature

After exile, Lermontov comes to Pyatigorsk, where he accidentally insults his old friend Martynov with a joke. Comrade, in turn,
challenges the poet to a duel, which became fatal for Lermontov. On July 15, 1841 he dies.

Vocal and choral analysis
Polyphonic work by Taneyev “Pine”
created for four-voice mixed choir without accompaniment.
Sopran (S) Alto (A) Tenor (T) Bass (B) Overall range

3) It is necessary to convey the mood of a musical phrase in a gesture.
4) Accuracy of transmission of dynamics.