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A texture consisting of a melody with accompaniment is called. Musical texture and its types (23)


Differences between warehouse and invoice. Warehouse criteria. Monodic, polyphonic and harmonic structures.

Warehouse (German Satz, Schreibweise; English setting, constitution; French conformation) is a concept that determines the specifics of the deployment of voices (voices), the logic of their horizontal, and in polyphony, also vertical organization.

Texture (Latin factura - manufacturing, processing, structure, from facio - I do, carry out, form; German Faktur, Satz - warehouse, Satzweise, Schreibweise - manner of writing; French texture, structure, conformation - arrangement, addition; English. texture, texture, structure, build-up; ital. In a broad sense - one of the sides of the muses. form, is included in the aesthetic and philosophical concept of music. forms in unity with all means of expression; in a narrower way and will use. sense - the specific design of music. fabrics, music presentation.

Warehouse and texture are correlated as categories of genus and type. For example, accompaniment (as a functional layer) in a homophonic-harmonic structure can be made in the form of a chord or figurative (for example, arpeggiated) texture; a polyphonic piece can be kept homorhythmic (
in which each voice of a polyphonic whole moves in the same rhythm) or imitative texture, etc.

Monody and her historical forms. The difference between monodic texture and monophonic texture.

Monody (from Greek - singing or reciting alone) is a musical structure, the main textural feature of which is monophony (singing or
execution on musical instrument, in polyphonic form - with duplications in octave or unison). In contrast to modern European melodies performed monophonically (monophonic texture), which in one way or another outline or imply tonal functions, works of a monodic type do not imply any harmonization - the laws of their pitch structure modern science explains immanently, as a rule, from the standpoint of modality. Thus, monodic compositions are not the same as monophonic compositions (monophonic texture). In music theory, monody is contrasted with homophony and polyphony. Monodic. the warehouse assumes only a “horizontal dimension” without any vertical relationships. In strictly unison monodic. samples (Gregorian chant, Znamenny chant) single-headed. music the fabric and texture are identical. A rich monodic texture distinguishes, for example, Eastern music. peoples who did not know polyphony: in Uzbek and Tajik maqom, singing is duplicated by an instrumental ensemble with the participation of percussionists performing usul. Monodic composition and texture easily transform into a phenomenon intermediate between monody and polyphony - into heterophonic presentation, where unison singing during performance is complicated by various melodic and textural options.

Ancient (ancient Greek and Roman) music was monodic in style. Monodic songs of European minstrels - troubadours, trouvères and minnesingers, ancient traditions liturgical singing in the Christian church: Gregorian chant, Byzantine and Old Russian chants, medieval
paraliturgical songs - Italian lauds, Spanish and Portuguese cantigas, monophonic conductions, all regional forms of eastern maqamat
(Azerbaijani mugham, Persian dastgah, Arabic maqam, etc.).

The word “monody”, by (false) analogy with ancient monody, is used by Western musicologists (since the 1910s) to collectively refer to solo singing with instrumental
accompaniment (usually limited to digital bass), that is, instances of the homophonic-harmonic structure that are observed in Italian and German music early baroque (approximately between 1600 and 1640) - arias, madrigals, motets, songs, etc.

The term “monodic style” (stylus monodicus, instead of the then common stylus recitativus) in relation to the music of Caccini, Peri and Monteverdi in 1647
year proposed by J.B. Doni.

Polyphony and its types. Complex counterpoint.

Polyphony (from the Greek - numerous and - sound) is a warehouse of polyphonic music, characterized by the simultaneous sounding, development and interaction of several voices (melodic lines, melodies in the broad sense), equal in terms of compositional and technical (techniques of motives are the same for all voices). melodic development) and musical-logical (equal bearers of “musical thought”). The word “polyphony” also refers to a musical theoretical discipline that deals with the study of polyphonic compositions (formerly “counterpoint”).

The essence of polyphony. warehouse - correlation at the same time. melodious sounding lines are relatively independent. the development of which (more or less independent of the consonances arising vertically) constitutes the logic of the muses. forms. In polyphonic music vocal tissues show a tendency towards functional equality, but can also be multifunctional. Among the qualities of polyphonic. F. creatures. What matters is density and rarefaction (“viscosity” and “transparency”), which are regulated by the number of polyphonic. voices (masters of a strict style willingly wrote for 8-12 voices, maintaining one type of f. without a sharp change in sonority; however, in masses it was the custom to set off the lush polyphony with light two- or three-voices, for example, Crucifixus in the masses of Palestrina). Palestrina only outlines, but in free writing, polyphonic techniques are widely used. condensation, condensation (especially at the end of the piece) with the help of increase and decrease, stretta (fugue C-dur from the 1st volume of Bach's Well-Tempered Clavier), combinations of different themes (coda to the finale of Taneyev's C-moll symphony). The example below is characterized by textural thickening due to the rapid pulse of the introductions and textural expansion of the 1st (thirty-second) and 2nd (chords) elements of the theme: F. d ​​"Ana. Excerpt from the motet.

The opposite case is polyphonic. F., based on complete meter-rhythm. independence of voices, as in the mensural canons (see example in Art. Canon, column 692); the most common type of complementary polyphonic. F. is determined thematically. and rhythmic similar to themselves. voices (in imitations, canons, fugues, etc.). Polyphonic F. does not exclude sharp rhythmic. stratification and unequal ratio of voices: counterpointing voices moving in relatively small durations form the background for the dominant cantus firmus (in masses and motets of the 15th-16th centuries, in Bach’s organ choral arrangements). In the music of later times (19th-20th centuries), multi-themed polyphony develops, creating an unusually picturesque composition (for example, the textured interweaving of the leitmotifs of fire, fate and Brünnhilde’s sleep at the conclusion of Wagner’s opera “Walkyrie”).

Among the new phenomena of music of the 20th century. should be noted: F. linear polyphony (movement of harmonically and rhythmically uncorrelated voices, see “Chamber Symphonies” by Milhaud); P., associated with complex dissonant duplications of polyphonic. voices and turning into polyphony of layers (often in the works of O. Messiaen); "dematerialized" pointillist. F. in Op. A. Webern and its opposite polygon. the severity of the orc. counterpoint by A. Berg and A. Schoenberg; polyphonic F. aleatory (in W. Lutoslawski) and sonoristic. effects (by K. Penderecki).

O. Messiaen. Epouvante (Rhythmic Canon. Example No. 50 from his book "Technique of My Musical Language").

Polyphony is divided into types:

Subvocal polyphony, in which, along with the main melody, its sub-voices are heard, that is, slightly different options (this coincides with the concept of heterophony). Characteristic of Russian folk song.

Imitation polyphony, in which the main theme is heard first in one voice, and then, possibly with changes, appears in other voices (there may be several main themes). A form in which a theme is repeated without change is called canon. The pinnacle of imitative polyphony is fugue.

Contrasting polyphony (or polymelodism), in which different melodies are heard simultaneously. It first appeared in the 19th century.


Complex counterpoint- a polyphonic combination of melodically developed voices (different or when simulating similar ones), which is designed for contrapuntally modified repetition, reproduction with a change in the ratio of these voices (in contrast to simple counterpoint - German einfacher Kontrapunkt - polyphonic combination of voices, used only in one , given their combination). Abroad, the term "S. k." not applicable; in it. Musicological literature uses the related concept mehrfacher Kontrapunkt, which denotes only triple and quadruple vertically mobile counterpoint. In S. k. the initial (given, initial) connection of melodic words is distinguished. voices and one or more derivative compounds - polyphonic. variants of the original. Depending on the nature of the changes, there are, according to the teachings of S. I. Taneyev, three main types of counterpoint: movable counterpoint (divided into vertically movable, horizontally movable, and doubly movable), reversible counterpoint (divided into complete and incomplete reversible ) and counterpoint that allows doubling (one of the varieties of moving counterpoint). All of these types of S. to. are often combined; for example, in the fugue Credo (No. 12) from J. S. Bach's mass in B minor, two openings of the response (in measures 4 and 6) form the initial connection - a stretta with an entry distance of 2 measures (reproduced in measures 12-17), in in bars 17-21 a derivative connection sounds in doubly mobile counterpoint (the entry distance is 11/2 bars with a vertical shift of the lower voice of the original connection up by duodecimus, the upper voice down by a third), in bars 24-29 a derivative connection is formed from the connection in bars 17-21 in vertical-moving counterpoint (Iv = - 7 - double octave counterpoint; reproduced at a different pitch in measures 29-33), from measure 33 follows stretta in 4 voices with an increase in the theme in the bass: top. the pair of voices represents a compound derived from the original stretta in doubly-movable counterpoint (intro distance 1/4 bar; played at a different pitch in bars 38-41) with the top doubling. voices sixth from below (in the example, polyphonic voices not included in the above connections, as well as the accompanying 8th voice, are omitted).


Imitation polyphony. Subject. Simulation characteristics (interval and distance). Types of imitation. Counteraddition.Canon. Proposta and risposta.

Imitation (from Latin imitatio - imitation) in music is a polyphonic technique in which, after presenting a theme in one voice, it is repeated in other voices. In canons and fugues, the elements of imitation are called proposta and risposta, theme and response. The initial voice is called proposta (from Italian proposta - sentence (i.e. topic)), the imitating voice is called risposta (from Italian risposta - answer). There can be several risposts, depending on the number of votes. A distinction is made between the imitation interval (based on the initial sound), the distance (based on the length of the proposta), and the side (above or below the proposta). Imitation can be simple and canonical.

Canonical imitation is a type of imitation in which the imitating voice repeats not only the monophonic part of the melody, but also the counter-additions that appear in the initial voice. This type of simulation is often called continuous.

Simple imitation differs from canonical imitation in that it repeats only the monophonic part of the proposta.

Risposta can be different: in circulation (each interval in the proposta is taken in the opposite direction); in increase or decrease (in relation to the rhythm of proposta); in combination of the first and second (for example, in circulation and increase); in a rakhod (movement in a rispost from the end to the beginning of a rispost); inaccurate (incomplete match with the proposta).

Opposition (lat. contrasubjectum, from contra - against, and subjicio - to put) in music - a voice accompanying the theme, in multi-themed or imitative polyphony. The main property of counter-composition is aesthetic value and technical independence in relation to the topic. Achieved using a different rhythm, a different melodic pattern, articulation, register, etc. At the same time, the counter-addition must form an ideal connection with the main voice.

Canon. A polyphonic form based on the technique of canonical imitation.

Translated from Greek, the term canon means rule, law. The voices of the canon have specific names: Proposta and Risposta. Proposta is the initial voice of the canon, translated as a proposal, I propose. Risposta - imitating the voice of the canon, translated means continuation, I continue.

In terms of composition techniques, canon and canonical imitation are close; in the process of analyzing these polyphonic techniques, a strict delineation of terms is not always observed. However, it should be borne in mind that the term “canon” does not only refer to the technique of continuous imitation. This is the name given to an independent composition - a completed form of canonical imitation in the form of a completed section or a separate work. Note that the canon as an independent composition refers to the most ancient forms of polyphony. As with canonical imitation, the canon is characterized by such an element as a link. The number of links from the minimum two can reach up to twenty or more.

Fugue. Subject. The answer and its types. Sideshows. The composition of the fugue as a whole. Fugues are simple and complex (double, triple). Fugato. Fuguetta.

Fugue (Latin fuga - “run”, “escape”, “fast flow”) is a musical work of an imitative polyphonic nature, based on the repeated performance of one or several themes in all voices. Fugue was formed in the 16th-17th century from a vocal and instrumental motet and became the highest polyphonic form. Fugues come in 2, 3, 4, etc. vocal.

The theme of the fugue is an isolated structural unit that very often develops without any caesura into a codetta or counterposition. The main sign of the closedness of a polyphonic theme is the presence in it of a stable melodic cadence (at steps I, III or V). Not every theme ends with this cadence. Therefore, there are closed and open topics.

The main sections of a fugue are the exposition and the free part, which can in turn be subdivided into the middle (development) and final (recapitulation).

Exposition. Theme (T) in the main key is the leader. Carrying out the theme in the key of Dominant - answer, companion. The answer can be real - an exact transposition of the theme into the key of D; or tonal - slightly changed at the beginning to gradually introduce a new key. Contradiction is a counterpoint to the first answer. The opposition can be withheld, i.e. unchangeable to all themes and responses (in complex counterpoint of the octave - vertically mobile) and unrestrained, i.e. new every time.

A combination from a theme to an antithesis (two or more sounds) - codetta.

Interlude - construction between the presentation of the topic (and the answer). Interludes can occur in all sections of a fugue. They can be sequential. An interlude is a tense section of action (a prototype of the development of sonata forms). The order of entry of voices (soprano, alto, bass) may be different. Additional topics are possible.

Counter-exposure is possible - a second exposure.

Middle part. A sign is the appearance of a new tonality (not expositional, not T or D), often parallel. Sometimes its sign is the beginning of active development: a theme in magnification, stretted imitation. Stretta is a compressed imitation where the theme enters in a different voice before it ends. Stretta can be found in all sections of a fugue, but is more typical in the final movement, or middle movement. It creates the effect of “thematic condensation.”

Final part (reprise). Its sign is the return of the main key with the implementation of a theme in it. There may be one execution, 2, 3 or more. T – D implementation is possible.

There is often a coda - a small cadence formation. Possible T organ point, possible addition of voices.

Fugues can be simple (on one theme) and complex (on 2 or 3 themes) - double. triples. The presence of a free part in which all themes are contrapuntally combined - prerequisite formation of a complex fugue.

There are 2 types of double fugues: 1) Double fugues with a joint exposition of themes sounding simultaneously. Usually four-voice. They are similar to fugues with a retained counterposition, but, unlike the latter, double fugues begin with two voices of both themes (the counterposition in ordinary fugues sounds only with a response). Themes are usually contrasting, structurally closed, and thematically significant. Note "Kyrieeleison" from Mozart's Requiem.

2) Double fugues with separate exposure of themes. The middle part and the final part are usually common. Sometimes there is a separate exposition and middle part for each topic with a common final part.

Numerous forms are based on imitation, including canons, fugues, fugetta, fugato, as well as such specific techniques as stretta, canonical sequence, endless canon, etc.

Fugetta is a small fugue. Or a fugue of less serious content.
Fugato - exposition of a fugue. Sometimes exposition and middle part. Often found in developments of sonatas, symphonies, in sections of cycles (cantatas, oratorios), in polyphonic (basso ostinato) variations.

Harmonic warehouse. Types of textures in it. Chord definition. Classification of chords. Invoicing techniques. Non-chord sounds.

Most often, the term “Texture” is applied to music of a harmonic nature. In the immeasurable variety of types of harmonic Textures, the first and simplest is its division into homophonic-harmonic and actually chordal (both are considered as a special case of homophonic-harmonic). Chord F. is monorhythmic: all voices are presented with sounds of the same duration (the beginning of the fantasy overture “Romeo and Juliet” by Tchaikovsky). In homophonic-harmonic F. drawings of the melody, bass and complementary voices are clearly separated (the beginning of Chopin's nocturne in C minor).

There are the following main types of presentation of harmonic consonances (Tyulin, 1976, chapters 3, 4):

a) harmonic figuration of the chord-figurative type, representing one or another form of sequential presentation of chord sounds (prelude in C major from the 1st volume of Bach’s Well-Tempered Clavier);

b) rhythmic figuration - repetition of a sound or chord (poem D major op. 32 No 2 by Scriabin);

c) coloristic figuration - diff. doubling, for example, into an octave in an orchestral presentation (minuet from Mozart’s g-moll symphony) or long doubling into a third, sixth, etc., forming a “ribbon movement” (“Musical Moment” op. 16 No 3 by Rachmaninov);

d) various types of melodies. figurations, the essence of which is to introduce melodiousness. movement in harmonious voices - complication of chord figuration by passing and auxiliary. sounds (Etude in c-moll op. 10 No. 12 by Chopin), melodization (choral and orc. presentation of the main theme at the beginning of the 4th picture “Sadko” by Rimsky-Korsakov) and polyphonization of voices (introduction to “Lohengrin” by Wagner), melodic-rhythmic "revival" org. point (4th painting "Sadko", number 151).

The given systematization of types of harmonic textures is the most general. In music, there are many specific textural techniques, the appearance of which and methods of use are determined by the stylistic norms of a given musical-historical era; therefore, the history of Faktura is inseparable from the history of harmony, orchestration (more broadly, instrumentalism), and performance.

Chord (French accord, lit. - agreement; Italian accordo - consonance) - 1) a consonance of three or more sounds, capable of having a different intervallic structure and purpose, which is the leading structural element of the harmonic system and necessarily has in relation to its similar elements three properties such as autonomy, hierarchy and linearity; 2) a combination of several sounds different heights, acting as a harmonious unity with an individual colorful essence.

chord classification:

by ear impression

by position in the music system

by position in key

according to the position of the fundamental tone.

by the number of tones included in the triad chord, etc.

according to the interval that determines the structure of the chord (tertian and non-tertian structure. The latter include consonances of three or more sounds, arranged in fourths or having a mixed structure).

chords whose sounds are arranged in seconds (tones and semitones), as well as in intervals of less than a second (quarter, third tones, etc.), are called clusters.

Non-chord sounds - (German akkordfremde or harmoniefremde Töne, English nonharmonic tones, French notes еtrangеres, Italian note accidentali melodiche or note ornamentali) - sounds that are not part of the chord. N. z. enrich the harmonious consonances, introducing melodiousness into them. gravity, varying the sound of chords, forming additional melodic-functional connections in relations with them. N. z. are classified primarily depending on the method of interaction with chord sounds: whether N. z. on the heavy beat of the bar, and the chord ones on the light beat, or vice versa, does the N. Z. return? to the original chord or goes into another chord, does N. Z appear? in a forward movement or is taken in an abrupt manner, is N. Z. allowed? with a second movement or is thrown, etc. The following main ones are distinguished. types of N. z.:
1) detention (abbreviated designation: з);
2) appoggiatura (ap);
3) passing sound (p);
4) auxiliary sound (c);
5) cambiata (k), or auxiliary thrown abruptly;
6) jump tone (sk) - detention or auxiliary, taken without preparation and abandoned. without permission;
7) lift (rm).

Mixing of warehouses (polyphonic-harmonic). Warehouse modulation.

The canon may be accompanied by harmonic accompaniment. In this case, a mixed polyphonic-harmonic structure arises. A work that begins in one warehouse may end in another.

Warehouse history and history musical thinking(the era of monody, the era of polyphony, the era of harmonic thinking). New phenomena of the 20th century: sonorous-monodic structure, pointillism.

The evolution and changes in musical style are associated with the main stages in the development of European professional music; Thus, the eras of monody (ancient cultures, the Middle Ages), polyphony (late Middle Ages and Renaissance), and homophony (modern times) are distinguished. In the 20th century new varieties of musical structure have arisen: sonorant-monodic (characterized by a formally polyphonic, but essentially a single line of indivisible, timbre-valued harmonies, see Sonorica), pointillistic musical structure (individual sounds or motifs in different registers, formally forming a line, actually belong many hidden voices), etc.

Harmonic warehouse and texture originate in polyphony; for example, Palestrina, who perfectly sensed the beauty of the triad, could use the figuration of emerging chords over many bars with the help of complex polyphonic (canons) and the choir itself. means (crossing, doubling), admiring the harmony, like a jeweler with a stone (Kyrie from the Mass of Pope Marcello, bars 9-11, 12-15 - quintuple counterpoint). For a long time in instr. prod. composers of the 17th century dependence on chorus The style of strict writing was obvious (for example, in the organizational work of J. Sweelink), and composers were content with relatively simple techniques and designs of mixed harmonics. and polyphonic F. (eg G. Frescobaldi).

The expressive role of Faktura is enhanced in production. 2nd floor 17th century (in particular, spatial-textural comparisons of solo and tutti in the work by A. Corelli). The music of J. S. Bach is marked by the highest development of F. (chaconne in d-moll for solo violin, “Goldberg Variations”, “Brandenburg Concertos”), and in some virtuoso op. (“Chromatic Fantasy and Fugue”; Fantasy in G major for organ, BWV 572) Bach makes textural discoveries that were later widely used by the Romantics. For music Viennese classics characterized by clarity of harmony and, accordingly, clarity of textured patterns. Composers used relatively simple textural means and were based on general forms movements (for example, figures such as a passage or arpeggio), which did not conflict with the attitude towards F. as a thematically significant element (see, for example, the middle in the 4th variation from the 1st movement of sonata No 11 A-dur Mozart, K.-V. 331); in the presentation and development of themes from the Allegri sonatas, motivic development occurs in parallel with textural development (for example, in the main and connecting parts of the 1st movement of Beethoven’s sonata No. 1). In the music of the 19th century, primarily among Romantic composers, there is an exception. variety of types of F. - sometimes lush and multi-layered, sometimes homely, sometimes fantastically whimsical; strong textural and stylistic differences arise even in the work of one master (cf. the diverse and powerful pianoforte of the H-moll sonata for piano and the impressionistically exquisite drawing of the pianoforte of Liszt’s play “Grey Clouds”). One of the most important trends in music of the 19th century. - individualization of textured patterns: the interest in the extraordinary and unique, characteristic of the art of romanticism, made it natural to reject standard figures in F. Special ways of multi-octave highlighting of a melody were found (Liszt); The musicians found opportunities for updating the fresco primarily in the melodization of broad harmonics. figurations (including in such unusual shape like in the FP finale. sonatas in b minor Chopin), which sometimes turned almost into a polyphonic one. presentation (the theme of the side part in the exposition of the 1st ballad for f. Chopin). Textural diversity maintained the listener's interest in the wok. and instr. cycles of miniatures, it to a certain extent stimulated the composition of music in genres directly dependent on F. - etudes, variations, rhapsodies. On the other hand, there was a polyphonization of F. in general (the finale of Frank’s violin sonata) and harmonics. figurations in particular (8-chapter canon in the introduction to Wagner's Das Rheingold). Rus. musicians discovered a source of new sonorities in Eastern textural techniques. music (see, in particular, “Islamey” by Balakirev). Some of the most important. achievements of the 19th century in the field of F. - strengthening its motivic richness, thematic. concentration (R. Wagner, J. Brahms): in some op. in fact, there is not a single bar that is not thematic. material (for example, symphony in C minor, Taneyev’s quintet, late operas by Rimsky-Korsakov). The extreme point in the development of individualized f. was the emergence of P.-harmony and F.-timbre. The essence of this phenomenon is that when defined. conditions, harmony, as it were, turns into f., expressiveness is determined not so much by the sound composition as by the picturesque arrangement: the correlation of the “floors” of the chord with each other, with the registers of the piano, with the orchestra takes precedence. in groups; What is more important is not the pitch, but the textural content of the chord, i.e. how it is played. Examples of F.-harmony are contained in Op. M. P. Mussorgsky (for example, “Clock with Chimes” from the 2nd act of the opera “Boris Godunov”). But in general, this phenomenon is more typical for music of the 20th century: F.-harmony is often found in production. A. N. Scriabin (beginning of the reprise of the 1st movement of the 4th fp. sonata; the culmination of the 7th fp. sonata; the last chord of the fn. poem “To the Flame”), C. Debussy, S. V. Rachmaninov. In other cases, the fusion of f. and harmony determines the timbre (fn. play "Scarbo" by Ravel), which is especially clearly manifested in the orc. the technique of “combining similar figures”, when sound arises from the combination of rhythmic. variations of one textured figure (a technique that has been known for a long time, but received brilliant development in the scores of I. F. Stravinsky; see the beginning of the ballet “Petrushka”).

In art of the 20th century. different methods of updating f. coexist. The most general trends are noted: strengthening the role of f. in general, including polyphonic. F., due to the predominance of polyphony in music of the 20th century. (in particular, as a restoration of paintings from past eras in works of the neoclassical direction); further individualization of textural techniques (F. is essentially “composed” for each new work, just as an individual form and harmony are created for them); opening - in connection with new harmonious. norms - dissonant duplications (3 etudes of Scriabin's op. 65), the contrast of a particularly complex and "sophisticatedly simple" f. (1st part of the 5th fp. Prokofiev concert), improvisational drawings. type (No. 24 “Horizontal and Vertical” from Shchedrin’s “Polyphonic Notebook”); combination of original textured features of the national music with the latest harmonics. and orc. technology by Prof. art (brightly colorful “Symphonic Dances” by Moldavian composer P. Rivilis and other op.); continuous thematization of f. c) in particular, in serial and serial works), leading to the identity of thematicism and f.

Emergence in new music of the 20th century. non-traditional composition, not related to either harmonic or polyphonic, determines the corresponding varieties of F.: the following fragment of the production. shows the fragmentation and incoherence of the f. characteristic of this music - register stratification (independence), dynamic. and articulation. differentiation: P. Boulez. Piano Sonata No. 1, beginning of the 1st movement.

The meaning of F. in the art of music. the avant-garde is brought to its logical level. limit when F. becomes almost the only one (in a number of works by K. Penderecki) or unities. the goal of the composer's work itself (the vocal sextet "Stimmungen" by Stockhausen is a textural and timbre variation of one B major triad). F.'s improvisation in given pitches or rhythms. within - basic technique of controlled aleatorics (op. W. Lutoslawski); The area of ​​Physics includes an incalculable number of sonoristics. inventions (collection of sonoristic techniques - “Coloristic Fantasy” for f. Slonimsky). Toward electronic and concrete music created without tradition. instruments and means of performance, the concept of f. is apparently inapplicable.

The texture means. formative capabilities (Mazel, Zuckerman, 1967, pp. 331-342). The connection between f. and form is expressed in the fact that maintaining a given f. drawing promotes unity of construction, while changing it promotes dismemberment. F. has long served as the most important transformative tool in section. ostinato and neostanate variation forms, revealing in some cases large dynamic. possibilities (“Bolero” by Ravel). F. is capable of decisively changing the appearance and essence of muses. image (carrying out the leitmotif in the 1st part, in the development and code of the 2nd part of the 4th fp. Scriabin’s sonata); textural changes are often used in reprises of tripartite forms (the 2nd movement of Beethoven's sonata no. 16; Chopin's nocturne in c-moll op. 48), in the performance of a refrain in a rondo (the finale of Beethoven's sonata no. 25). The formative role of f. in the development of sonata forms (especially orchestral works) is significant, in which the boundaries of sections are determined by a change in the method of processing and, consequently, the f. thematic. material. Changing F. becomes one of the main. means of dividing form in works of the 20th century. (Honegger's "Pacific 231"). In some new works, F. turns out to be decisive for the construction of the form (for example, in the so-called repetent forms, based on the variable return of one construction).

Types of Facts are often associated with a definition. genres (for example, dance music), which is the basis for combining in production. various genre characteristics that give the music an artistically effective polysemy (examples of this kind in Chopin’s music are expressive: for example, Prelude No. 20 in c-moll - a mixture of features of a chorale, a funeral march and a passacaglia). F. retains the signs of a particular historical or individual music. style (and, by association, era): so-called. guitar accompaniment makes it possible for S.I. Taneyev to create a subtle stylization of early Russian. elegies in the romance “When, whirling, autumn leaves”; G. Berlioz in the 3rd movement of the symphony "Romeo and Julia" to create a national and historical the color skillfully reproduces the sound of a 16th century a cappella madrigal; R. Schumann writes authentic music in Carnival. portraits of F. Chopin and N. Paganini. F. is the main source of music. figurativeness, especially convincing in those cases when a person is depicted. movement. With the help of F., visual clarity of music is achieved (introduction to “Das Rheingold” by Wagner), at the same time. full of mystery and beauty (“Praise to the Desert” from “The Tale of the Invisible City of Kitezh and the Maiden Fevronia” by Rimsky-Korsakov), and sometimes amazing trepidation (“the heart beats in ecstasy” in M. I. Glinka’s romance “I Remember a Wonderful Moment”).

Texture (from Latin factura - production, processing, structure) - 1) design, structure of musical fabric; 2) a certain set, content, relationships simultaneously and sequentially unfolding various elements musical fabric, including tones, harmonic intervals, consonances, sonors, all kinds of rhythmic, dynamic, line and articulatory structural units involved in the formation of more or less independent simplified linear or melodic voices, sonorous layers or discrete space. In the broadest sense, the term “texture” embraces timbre, all three dimensions of musical space - depth, vertical and horizontal, and is a “sensually perceived, directly audible sound layer of music”, capable of acting as the main carrier of its thought - texture theme, i.e. . as a relatively independent equivalent of “theme-melody” and “theme-harmony”. As a rule, when determining the texture, the following are also characterized: “the volume and general configuration of the sound mass of the musical fabric (for example, “creasing sound flow” and “dominant sound flow”), the “weight” of this mass (for example, the texture is “heavy”, “ massive”, “light”), its density (texture “discrete”, “sparse”, “dense”, “condensed”, “compact”, etc.), the nature of vocal connections (texture “linear”, including “scale-like” ", "melodic", "discrete") and the relationships of individual voices (texture "subvocal" or "heterophonic", "imitation", "contrast-polyphonic", "homophonic", "choral", "sonorant", "discrete" and etc.), instrumental composition ("orchestral", "choral", "quartet" texture, etc.) They also talk about the texture typical of certain genres ("marching texture", "waltz texture", etc.) etc." .
Eg:
chord-tape texture - a single-voice or polyphonic texture, the voices of which are duplicated by chords;
arpeggio-ostinato texture - repeating arpeggio;
“diagonal texture” is a texture, the leading technique of which is “crescendo-diminuendo as a way of designing the musical fabric, giving it order and integrity,” and its constituent elements are “total chromaticism with continuous filling of half-tone “fields,” dodecaphonic series, consonance clusters " ;
contrasting pair-imitation texture* - a texture in which voices imitating each other are thematically related in pairs;
contrasting voice texture (= contrasting polyphonic voice);
contrast-layer texture (= contrast-polyphonic layer);
linear-wavy monomer texture;
vibrating band - a texture, the content of which is formed in the process of a relatively slow and regular shift for a second up and down any harmonic element, including: interval, chord, sonor. Her options:
1 chord vibrating strip (= chord vibrato),
2 interval vibrating strip,
3 sonorous vibrating strip.
rehearsal-chord gliding texture - a texture in which each chord is quickly repeated with acceleration or deceleration;
static sonorous tape - a texture composed of a certain set of voice-lines that do not stand out from the general sound mass; the same as Sonoran-pedal polylinear texture;
trill texture - a texture whose leading structural unit is a trill;
texture-allusion - a texture that appears only as an allusion to some textures, i.e. are perceived as their blurred projection;
texture-fermentation - staccato, “markat”, “legat”, etc. repeated “sorting” of two or more relatively closely spaced tones, harmonic intervals, chords, reminiscent of the process of fermentation, boiling of a viscous liquid, on the surface of which regular and irregular, different-pitch and single-pitch “burst tones”, “burst-intervals” constantly or alternately appear and "chord bursts";

Monodic texture. It assumes only a horizontal dimension (vertical is excluded). Examples include Gregorian chant and znamenny chant, where the monophonic musical texture and texture are identical. Monodic composition and texture easily take on a form intermediate between monody and polyphony - heterophonic presentation, where unison singing during performance is complicated by various melodic and textural options.

Polyphonic texture. Its essence lies in the correlation of simultaneously sounding melodic lines, relatively independent development which makes up the logic musical form. Important qualities are density and sparseness, i.e. “viscosity” and “transparency”, which are regulated by the number of polyphonic voices (for example, the Mass of G. Palestrina, Fugue in C major from the 1st volume of “The Well-Tempered Clavier” by J. S. Bach, coda to the finale of the Symphony in C minor by S. I. Taneyev ).

Polyphonic texture is characterized by unity of pattern, absence of sharp sonority contrasts, and a constant number of voices. One of the properties is fluidity, which is achieved by erasing caesuras that separate constructions, the imperceptibility of transitions from one voice to another. The polyphonic texture is distinguished by constant update, the absence of literal repetitions while maintaining complete thematic unity. The rhythmic and thematic relationship of voices is of great importance for this texture.

Types of polyphonic texture:

1. Choral texture, which occurs at the same duration in all voices. In this case, the movement is determined by the deployment of the melodic line in each of the voices, and not by the functional relationships of the harmonic verticals. This texture is not identical to the chord-harmonic one.

2. Invoice based on absolute metro-rhythmic independence of voices , as in the mensural canons. Mensural notation allowed for fixation of both the height and relative duration of sounds, in contrast to non-neutral notation, which indicated only the direction of movement of the melody, and the choral notation that replaced it, where the height of sounds was indicated (in mensural notation, bipartite and tripartite fragmentation of the same durations was allowed).

3. Multi-themed polyphony, creating a picturesque textured plexus. It received its development in the music of the 19th-20th centuries. (conclusion of R. Wagner’s opera “Walkyrie”).

4. Texture of linear polyphony, based on the movement of harmonically and rhythmically uncorrelated voices. The melodic line is formed by the sequential movement of sounds of different heights (for example, D. Milhaud’s “Chamber Symphonies”).

5. Invoice related to complex dissonant duplication of polyphonic voices and turning into polyphony of layers (most often found in the works of O. Messiaen).



6. “Dematerialized” pointillistic texture, the specificity of which is that the musical idea is presented not in the form of themes or motives, but with the help of abrupt sounds (mainly with wide jumps, exposing single points in various registers), surrounded by pauses. A colorful scattering of bright dots (sounds) is typical for pointillism. This is one of the modern methods of composition - writing with dots. A. Webern is considered the founder of pointillism.

7. Texture that creates sensation polyphonic heaviness of orchestral counterpoint . This texture is found in the works of A. Berg and A. Schoenberg. It is fundamentally opposite to the “dematerialized” pointillistic texture.

8. Polyphonic texture of aleatory effects, which is built on the principle of chance as the main formative principle in the process of creativity and performance. The representative of this trend in modern music is V. Lutoslawski. An element of chance is introduced into the music various methods. For example, a musical composition can be built using “lots” - based on the moves of a chess game, number combinations, splashing ink on music paper, throwing dice (hence the name - aleatorics, which translated from Latin means “dice”, “ accident"), etc.

9. Polyphonic texture of sonoristic effects. Its distinctive feature is the highlighting of the colors of sound, as well as the moments of transition from one tone or consonance to another.



Harmonic texture. It is the harmonic structure that presupposes an extraordinary variety of types of texture under consideration. The first and most elementary is its division into homophonic-harmonic and actually chordal. The chord texture is multi-rhythmic: all voices in it are presented with sounds of the same duration (for example, the beginning of the fantasy overture “Romeo and Juliet” by P. I. Tchaikovsky). The homophonic-harmonic texture is distinguished by a clear separation of the patterns of melody, bass and complementary voices (for example, F. Chopin - the beginning of the Nocturne in C minor).

The following types of presentation of harmonic consonances are distinguished.

1. Harmonic figuration of chord-figurative type which is one or another form of alternating presentation of the sounds of a chord. A striking example is the Prelude in C major from the 1st volume of “The Well-Tempered Clavier” by J. S. Bach.

2. Rhythmic figuration– repetition of a sound or chord. For example, in the Poem of A. N. Scriabin in D major (op. 32, no. 2).

3. Various duplications, for example, into an octave in an orchestral presentation (minuet from the Symphony in G minor by W. A. ​​Mozart) or a long doubling into a third, sixth, etc., forming a “ribbon movement” (“Musical Moment” by S. V. Rachmaninov, op. . 16, no. 3).

4. Various types of melodic figurations, based on the introduction of melodic movement into harmonic voices - complication of chord figuration with passing and auxiliary sounds (Etude in C minor by F. Chopin, Op. 10, No. 12), melodization (chorus and orchestral presentation of the main theme at the beginning of the 4th scene of the opera “Sadko” "N. A. Rimsky-Korsakov), polyphonization of voices (introduction to "Lohengrin" by R. Wagner), melodic and rhythmic "revival" of the organ section (4th scene "Sadko", number 151).

Presented type systematization harmonic texture is the most common. There are many specific textural techniques in music, the structure of which and methods of use are determined by the stylistic norms of a given musical and historical era. Therefore, the history of the development of texture is inseparable from the history of harmony, orchestration, and performance.

Speaking about the evolution of texture, it would be unfair not to mention those composers who played a huge role in updating and diversifying its types. For example, D. Palestrina could use the figuration of emerging chords over many bars using complex polyphonic and choral means, admiring the harmony. At the beginning of the 17th century. composers in their works used simple techniques and designs of mixed harmonic and polyphonic texture. Only in the second half of the 17th century. her expressive role intensified. An invaluable contribution, marked by the highest development of texture, was made by J. S. Bach. His textural discoveries gave a great impetus to the development of the work of romantic composers. In the music of the Viennese classics, clarity of harmony and clarity of textured patterns are observed. The composers used simple textural means and were based on general forms of movement (passages, arpeggios). For music of the XIX V. characterized by an exceptional variety of texture types. Bright stylistic features textured presentation appear in the works of F. Liszt. The renewal of texture is noticeable in the melodization of the harmonic structure, which sometimes turns into polyphonic presentation, as, for example, in F. Chopin. Some of the most significant achievements of the 19th century. in the field of texture - strengthening its motivic richness and thematic concentration. During this period, texture-harmony and texture-timbre arise. Their essence lies in the fact that, under certain conditions, harmony turns into texture, and expressiveness is determined not so much by the sound composition as by the picturesque arrangement. What is more important is not the pitch, but the textural content of the chord. Examples of texture-harmony are often found in the works of M. P. Mussorgsky. But in general this phenomenon is more typical of 20th century music. (works by A. N. Scriabin, S. V. Rachmaninov, C. Debussy). In other cases, the fusion of texture and harmony determines the timbre. This is especially clearly manifested in the orchestral technique of “combining similar figures,” when the sound arises from the combination of rhythmic variations of one textured figure. This technique was brilliantly developed in the scores of I. F. Stravinsky (the beginning of the ballet “Petrushka”). Different methods of updating texture coexist in the art of the 20th century: strengthening the role of texture as a whole, further individualization of textural techniques, the discovery of dissonant duplications, combining the original textural features of national music with the latest harmonic and orchestral techniques of professional art, continuous thematization leading to the identity of thematicism and texture .

In the music of the 20th century. non-traditional structures appear that are neither harmonic nor polyphonic, and thereby determine the corresponding types of texture. Composers in their works use techniques of fragmentation and unconnectedness of texture - register stratification, dynamic and articulatory differentiation. In the art of the musical avant-garde, the importance of texture is taken to its logical limit. Sometimes she becomes the only one or sole purpose actual composer's work.

The formative role of texture is significant. The connection between texture and form is expressed in the fact that maintaining a given texture pattern promotes unity of construction, and changing it promotes dismemberment. Texture serves as the most important transformative tool; it is capable of decisively changing the appearance and essence of a musical image. Changing the texture becomes one of the main means of dividing form in the works of the 20th century.

Often, types of texture are associated with certain genres, which is the basis for combining different genre characteristics in works. Texture is the main source of musical imagery, especially convincing in cases where any movement is depicted.

1. Full name Aleksashkina Oksana Viktorovna

2. Place of work MBOU Secondary School 47

3. Job title Teacher

4. Item music

5. Class 6a

6. Lesson topic: MUSICAL TEXTURE AND ITS TYPES (23)

7. Basic tutorial T. I Naumenko, V. V. Aleev

8. Purpose of the lesson: acquaintance with the concept of “musical texture” and its types.

9. Tasks:

9.1.Give an idea of ​​texture as a means musical expressiveness.

9.3. Learn to compare and analyze musical works.

9.4. Test students' knowledge on the topic "polyphony".

9.5. Develop students' musical abilities.

9.6. Cultivate interest and love for music.

10. Lesson type: OZN.

11. Forms of work Individual, group, collective.

12. TO: Musical and demonstration material: portraits of N. Paganini and F. Schubert, samples of various textile fabrics, musical examples, handouts, music center.

STRUCTURE AND PROGRESS OF THE LESSON

MUSICAL TEXTURE AND ITS TYPES

Organizational moment.

Hello guys! Sit down.

The epigraph of our lesson will be the words of the great Russian composer Sergei Vasilyevich Rachmaninov, who said:

“The main goal of my creativity has always been the search for an original musical language. I hate imitation and hackneyed techniques.”

What do you think musical language is?

Children: These are means of musical expression (melody, rhythm, tempo, harmony, dynamics, harmony).

Teacher. Well done. Would you like to expand your knowledge in this area?

Teacher: I will continue the lesson with poetry:

Let's get started new day in the morning,

It's time for us to wake up.

We're at a music lesson

We are on time,

After all, the magical world of art

Awakens our senses!

It's more fun for us to live with a song,

WITH good morning, new day!

Smiled at each other, wished good luck,

We smiled at the guests.

I wish you good luck too!

We will start the lesson with a knowledge test on the topic “Polyphony”.

2. Testing. (Appendix 1) Work in pairs.

1. Literally translated, “polyphony” means:

2. Polyphony took its origins:

A) from folk music

b) church music

c) secular music

3. How many centuries has polyphony reigned?

A) 5 centuries

c) 10 centuries

Check the answers with the board, check in pairs.

What word can be used to combine the techniques used in the test?

Children: Polyphony.

Name the polyphonic genres. Choose the correct answers on the board (Appendix 2).

concert, canon, toccata, etude, invention, waltz, mass.

And the highest form of polyphonic music is...

Children: fugue.

How many of you can list ways to change the theme in a fugue?

Children list.

Do you think this knowledge will be useful to us in class today?

Work in groups of 4 people. Fabric samples on the table (Appendix 3)

Questions. What is this?

What is the fabric made of?

Children. From threads.

Teacher. Why is the fabric different?

Children. Because its creation involves threads of varying thickness, quality, and origin. Various spinning and weaving methods were used to create the fabric.

Teacher ( draws attention to samples of textures laid out on students’ desks) (Appendix 5)

Now look at the way music is presented, what does it remind you of?

Children. “Musical fabric”, “patterns”, “ornament”.

Teacher. What is this all made of?

Children. All this is created with the help of lines, musical notation, rhythmic and melodic pattern.

Teacher. But in essence, what is presented, laid out in front of you?

Children. Before us are presented musical works presented in different ways(children are presented with 3 types of musical texture: single-voice, melody with accompaniment and polyphony).

Guys, now we will listen to three piece of music, and then you will say what type of texture sounded in each of them?

Record the answers on the board.

you see that we got different answers. Let's stop and think

1) what task did we perform?

2) where did the difficulty arise?

3) why couldn’t we answer these questions?

Children. We don't know what the differences are between these three musical textures.

Teacher: What is the purpose of our lesson?

4. Goal: (children should name) learn to find differences in different types of musical textures, gain an understanding of texture as a means of musical expression. The teacher summarizes the goal. What will the topic of our lesson be?
Topic: MUSICAL TEXTURE AND ITS TYPES

Children choose a way out of the difficulty - clarification. Making a plan

achieving the goal. To do this, the teacher asks questions:

What will we do first?

1. Let's listen to 3 pieces of music

2. Let's analyze each musical fragment

3. Let’s find out what the main differences between the textures of each fragment are.

4. What material will we need in class to answer the questions that arise?

Children. Samples of musical works (sheet music, handouts, music for listening), samples of textile fabric.

5. Texture is a way of presenting musical material. It may be different. Look at the samples. And today we will get acquainted with some of its types.

1. Caprice No. 24 by N. Paganini sounds.

Teacher: What did you hear? Tell us about your impressions.

Children. The work amazes with its beauty of sound, the flight of sound, and is distinguished by the originality of timbre.

Teacher: What instrument was used in the performance?

Children. A violin solo sounded.

Teacher. It is used to convey personal feelings, as well as to express the beauty and originality of the instrument's timbre. However, an exclusively one-voice work is quite rare. Usually in musical works there is a comparison and interaction of various figurative principles.

The work of F. Schubert “Margarita at the Spinning Wheel” is played

Teacher. What new did you hear in this work?

Children. Here you can hear the reverent melody of Margarita, which reveals to us her innermost thoughts.

Teacher. What genre of music does this piece belong to?

Children. Vocal - instrumental genre.

Teacher. What is the meaning of accompaniment?

Children. The accompaniment conveys the measured buzz of a spindle. This creates a simultaneous bright visual impression and a figurative contrast with its dull monotony.

Teacher. Conclude what type of texture this type belongs to? Children: This type of texture is called a melody with accompaniment.

Recording on the board and in notebooks: a melody with accompaniment in the work of F. Schubert “Margarita at the Spinning Wheel”.

3. Children listen to a fragment of an organ prelude in C minor by J. Bach

and determine the polyphonic features of the work (polyphony, independence of each voice)

Can you now name the main features of different textures?

6... Children organize the assimilation of a new way of action by speaking in external speech.

Teacher: What are the features of the musical texture in each of the works listened to?


  • In a one-voice work, the role of melody is decisive. She is the main source of information.

  • In a two-voice work, the melody is clearly audible and the accompaniment has a visual function.

  • A polyphonic texture presupposes the independence of each voice and the interconnection of all voices.
7. The teacher invites the children to do independent work with self-test against the standard:

Determine the type of texture in S. Rachmaninov’s romance “Lilac”.

Children. Children determine the texture of a musical work using three cards, which graphically depict three types of texture (Appendix 5). Carry out self-tests, step by step comparing your work with the standard.

Guys, look carefully at the accompaniment. What does it remind you of? (Hint: On the board, next to the score, there is an illustration of a lilac twig).

Children. The accompaniment is similar to lilac branches.

Teacher. Absolutely right. And returning to the epigraph of our lesson, did S. Rachmaninov manage to find an original way of presenting the musical language in this work?

Children. Yes, of course, we managed to find an original accompaniment.

8. Teacher. What types of tasks can use the new knowledge gained in the lesson?

Children: In all types of tasks that involve analysis of a piece of music.

Teacher: Did we manage to achieve the goal of our lesson today?

Children: Yes, we did.

9. Teacher: What means of musical expression did we meet today?

Children. Today we got acquainted with such a means of musical expressiveness as texture.

Teacher. What is invoice?

Texture is a way of presenting musical material.

Teacher.

What types of textures do you know?

Teacher.

And what musical works helped us figure this out??

Work by N. Paganini Caprice No. 24; F. Schubert “Margarita at the Spinning Wheel”; I. Bach Fugue in C minor, S. Rachmaninov “Lilac”

Guys, now try to evaluate your work in class using multi-colored notes. Yellow - I didn’t understand, orange - everything is clear, red - it was difficult, but I managed. (They place their notes on the staff on the board). Look what an interesting, original texture we came up with in our lesson based on your knowledge.

Homework.

1. Draw those characters or illustrations that you remember from the lesson.

Shader space

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

Musical material:

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

Description of activities:

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

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

It has many varieties. The main ones:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Questions and tasks:

  1. What feelings are expressed in the romance “Spring Waters” by S. Rachmaninov? How are these feelings expressed in the textural presentation of the work?
  2. What creates the impression of musical space in the musical intermission “Morning in the Mountains” by J. Bizet?
  3. Remember in what musical genres it is used textured space significant range. What is this connected with?

Presentation

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

In this article we will get acquainted with the definition of musical texture and consider its basic types.

Any musical thought is abstract until it is captured in some way.
It doesn’t matter what is used for this: a sheet of music, a recorder or a sequencer. In any case, even the simplest musical idea cannot exist without texture.
There are five main layers that make up music:

  • Melody
  • Texture

Without texture, none of them can exist. It may be absent, but the texture is never there.

For music, texture is the body, and idea is the soul.

Texture this is the structure of the musical fabric, taking into account the character and relationship of its constituent voices. Synonyms for the word texture are: warehouse, presentation, musical fabric, writing.

We can say that mastery is the ability to express one's abstract ideas in the type of texture that best matches the image. All ideas concerning form, melody and must be expressed in a certain way.

We can also say that texture determines 90% of the style of music.