Musical means of expression in music. Presentation on the topic “means of musical expression” Means of musical expression 7 words

Musical means of expression in music

Faktura (from Latin “processing”)

Melody

Tempo (from Lat., It. “time”)

Meter

Rhythm

Musical size

Lad a system of pitch relationships united by tonic. The most common modes are major and minor .

Harmony

Stroke (from German “line”, “line”) legato, non legato, staccato, spiccato, detache, marcato).

Musical form

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Elements of musical form. Period

Construction

Signs of division of musical form into constructions:

Pause, stop on a relatively long sound, repetition of a melodic-rhythmic figure, often with bars of the same length, change of registers, shades (accompanied by caesuras).

Constructions in musical form: motive and submotive, phrase, sentence. Period.

Caesura

Motive -

Phrase -

Cadence -

Period (from Greek "bypass", "circulation") the smallest homophonic form expressing a relatively complete musical thought. Consists of sentences. (It can be simple, complex and of a special structure).

Construction diagrams:

Of two sentences: ab or aa 1 ;

from three sentences:

a - a 1 - a 2

a b c

a b - b 1

a b a (a b a 1 )

Period:

Chopin F. Prelude for piano op. 28: No. 4, 6, 7, 20

Tchaikovsky P. “Sleeping Beauty” Blue Bird Variation

Tchaikovsky P. “Sleeping Beauty” Variation of the Silver Fairy

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Music and dance genres. Musical styles and directions

Concepts of style and genre.
The main historical musical styles and movements, their representatives.
Types of dances (folk, ballroom, classical, modern), their main forms.
Program music.

Genre (from French “genus”, “type”) a multi-valued concept that characterizes the types and types of musical creativity in connection with their origin, conditions of performance and perception. Genres are divided into primary and other (secondary - original works not intended directly for dancing) (see - Bonfeld M. Introduction to musicology, p. 164)

Classification of genres according to living conditions:

folk music of oral tradition (song and instrumental);
light everyday and pop-entertainment music - solo, ensemble, vocal, instrumental, jazz, music for brass bands;
chamber music for small halls, for soloists and small ensembles;
symphonic music performed by large orchestras in concert halls;
choral music;
musical theatrical and dramatic works intended for performance on stage.

Genres can also be divided into vocal and instrumental.

Types of dances (folk, ballroom, classical, modern), their main forms:

Folk - dance (single, pair, group, mass), cross-dance (group, mass), quadrille, lancier, round dance (ornamental, game, dance, women's, mixed), pair-mass dances, suite, picture, ballet (one-act)

Classic - variation, monologue, solo, pas de deux, duet, pas de trios, trio, pas de catre , small ensemble (4-8 people), pas d` action , suite, symphonic picture, choreographic miniature, ballet.

Specialization in ballroom dance:
a) historical and everyday dances of the 15th-19th centuries:

Salon - Courante, minuet, bourre, rigaudon, volta, saltarella, gavotte, French quadrille, etc.

Ballroom - waltz, polonaise, polka, tango, foxtrot, etc., solos, duets, trios, pair-mass forms, suite, tableau, ballet (for example, based on the vocabulary of dances of the 18th century);
b) everyday dances of the 20th century:solo, duet, trio, pair-mass, mass, suite (for example, dances of the 50s),
painting, ballet (for example, "New York Export, Opus Jazz"
J. Robbins and others).

c) sports ballroom dancing of the XX-XXI centuries:
sports compositions for 10 famous dances for pairs of different classes, show numbers, sequay form, formation (for 8 pairs, European and Latin American versions).
d) specialization in variety dance: solo dances, duets, trios, small ensembles (4-8 people), mass compositions, suite, picture, ballet (show program).

Brief description of the dance:

(Waltz, Polka, Mazurka, Gallop, Tarantella, Czardas)

name (origin), national roots, character;
history of the origin of the genre, predecessors;
type of dance depending on the number of performers;
features of expressive means (form, tempo, rhythmic figures);
performance features (costumes, instruments, location);
musical examples.

Program music. Examples.

The term “program music” was introduced by F. Liszt for works that are based on literary or narrative ideas, plots, or in which an image, mood, or genre is indicated by means of a title. The program title helps to reveal what cannot be expressed in music. Examples include:

“Night on Bald Mountain” (Symphonic painting) by M. Mussorgsky, Overture-fantasy “Romeo and Juliet” by P. Tchaikovsky, Rimsky-Korsakov N. “Scheherazade”,

“The Seasons” by A. Vivaldi and others.

Simple music and dance forms

Simple musical forms: period, simple one-part, simple two-part, simple three-part.

Musical form- this is the embodiment of a certain ideological and emotional figurative content by expressive means of musical language (typical of a particular national culture in a certain historical era), carried out in live sound.

Classification musical forms in historical perspective, from the Middle Ages to the twentieth century:

text-musical (musical-text, lowercase) forms of the Middle Ages, Renaissance;
vocal forms of the 19th - 20th centuries;
instrumental and vocal forms of Baroque;
Baroque instrumental forms;
classical instrumental forms;
opera forms;
musical and choreographic forms of ballet;
musical forms XX century

Dance art uses both applied dance music and works not intended for dance.

Parts of musical form and their functions, types of presentation of musical material.

Functions of parts:

introductory
exhibition
binder
middle
recognizing
final

Of these, independent types of presentation have the following functions: expositional, middle and final. These functions can appear in a work as general (at a large-scale level) and local (at a small-scale level). The combination of multi-level functions leads to the multifunctionality of sections of musical forms.

R. Zakharov, V. Panferov and other choreographers highlightparts of a dance composition (usually there are from 3 to 5):

exposition
plot
action development
climax
completion, denouement

The unity of music and dance is manifested in the emotional and figurative unity of content, the correspondence of tempo and rhythm. Movements, poses, dance groups, dance patterns must correspond to the musical features of the musical work.

Musical theme- a musical thought complete in meaning, expressive and embossed, capable of development by means of musical language, of all kinds of modifications, variations, transformations, figurative reincarnations.

Principles of repetition, variation and contrast in dance forms.

The development of musical material can be carried out on the basis of:

principle of repetition (identity),that is, an exact repetition of the musical structure in an unaltered form;
modified principlerepeat (varied, variant repeat or sequence). In the first case, the repetition contains minor changes in the material, in the second - more significant, qualitative changes, but leaving the material recognizable. The sequence involves repeating the material at a different pitch while maintaining the melodic-rhythmic structure;
principle of contrast -combinations of different musical material, comparison (complementary, shading or conflicting)

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Simple two-part form

Simple two-part form -a form consisting of 2 periods with the obligatory contrasting beginning of the second. This contrast can be of two types:

juxtaposition (new intonation material) - ch.n. polka “Dance”;
development on the active transformation of material from the 1st period - Dance of the Princess (Rimsky-Korsakov “Scheherazade”).

If the 2nd sentence of the 2nd period has a repetition of material from the 1st period, then the form as a whole- reputed , and if there is no repetition - irrevocable.

A simple two-part form may have an introduction and a coda.

Simple two-part form:

Ravel M. “Bolero” - Theme

Fibich Z. Poem

Schubert F. Ecosaise op.18

Chopin F. Prelude op. 28: No. 13, 21

Bakh I.S. Minuets G-dur, d-moll

Beethoven L. Ecosez G-dur

Simple three-part form

Simple three-part form -a form consisting of 3 parts, where the extreme ones are in the form of a full period, and the middle one is a period or construction of a through character.

Middle m.b. 4 types:

transition (based on the dominant tone, represents an expanded link between sections 1 and 3).
varied, or option 1 part;
development-development;
on a new topic.

The tonality is typical for the middle D groups. It often ends with a dominant prefix. If the T ends, then a connective is introduced between the middle and the reprise.

Reprise m.b. precise or varied, dynamic (with active transformation of the theme, with changes in scale, harmony, shape).

Less common is the simple 3-part non-reprise (ABC) form, where the lack of reprise is compensated by the weak contrast of the parts, the unity of texture and rhythm.

A simple three-part form can have a fairly developed introduction and coda.

Construction diagrams:

a - a 1 - a 2

a b c

a b - b 1

a b a (a b a 1 )

Simple three-part form:

Weber K. Waltz from the opera "The Magic Shooter"

Grieg E. "Peer Gynt" Dance of Anitra

Chopin F. Mazurkas: op. 24, No. 5; Op. 30, no. 1, no. 3; Op. 55, no. 2, op. 67, no. 2; Op. 68, no. 4

Chopin F. Preludes No. 12, 1

Grieg E. Nocturne in C major

Tchaikovsky P. “Sleeping Beauty”: Fairy Chirping Canary, Variation of the Fairy of Silver

Complex music and dance forms

Complex two-part form

Complex two-part form - a form consisting of two sharply contrasting sections, each of which (or one of two) is set out in a form more complex than the period.

The sections are in the same, or less often parallel, keys:

Section 1 - at a slow pace,

Section 2 - at a fast pace.

Occurs a complex two-part form in characteristic dances and vocal works with irreversible development of the plot.

Double two-part form - a two-part form sounding 2 times with any changes:

AB - A 1 B 1, or AB - A B 1.

Complex two-part form:

Minkus L. “La Bayadère” Dance with the Snake, Act 3

Tchaikovsky P. “Sleeping Beauty”, Pas de Quatre, Act 3, Variation of the Fairy of Gold

Tchaikovsky P. “Swan Lake”, Act 3, Hungarian dance, Russian dance, Neapolitan dance- notes

Chopin F. Nocturnes: Op. 15, no. 3; Op. 72

2-part: K. Khachaturian Variation of Countess Vishen (“Cipollino”);

Complex three-part form

Complex tripartite form - a form consisting of three sections, where each, or at least one of the three, is presented in a form more complex than the period: in a simple 2-part or

3-movement, in the form of rondo or variations, sonata, etc.

Another characteristic feature of this form is the sharp figurative and thematic contrast of the middle section.

The tonality of the middle section is subdominant or eponymous, less often - distant.

Types of mids:

Trio (clear, distinct form)
Episode (does not have a clear, clear form, is based on cross-cutting development, may have internal cadences)
Contrasting-composite (several themes, 2 or more, loosely related to each other, having a sort of suite sequence).

The middle can be completed with a cadence, but more often with a dominant precursor to a reprise.

Sometimes between the middle and the reprise a false reprise appears that is not in the main key. It is quickly interrupted, a modulating transition to the main key is introduced, and the true reprise begins.

A reprise can be:

exact (identical) - not written out in notes (put a sign Da capo al fine)
c painted (not less than period)
varied.

A three-part complex form may have a developed introduction and coda.

Most marches, waltzes, scherzos, minuets, and other genres, primarily dance music, as well as choruses and opera arias are written in it.

Triple three-part form - a 3-part form with a double repetition of the middle and reprise, each time with new changes: ABA-B 1 A 1 -B 2 A 2.

An intermediate 2-three-part form is a form in which the 2nd reprise sentence of the 2nd part, internally expanding, approaches the 1st part in scale, balances it, and by ear the form can be perceived rather as a three-part one.

A B sequence

| ____ | | ____ | | _-_-_ | | ____ _| _____ |

A to C (A)

Three-part, intermediate between simple and complex:

A-ESV-A

The extreme parts are in the form of a period, as in a simple 3-part form, and the middle - according to the principle of a trio - in a simple 2-part or 3-part form (as in a complex one).

Complex three-part form:

Glinka M. Waltz and Polonaise from the opera “Ivan Susanin”

Ravel M. Forlana, Rigaudon, Minuet from the piano suite “Tomb of Couperin”

Tchaikovsky P. “The Seasons”: Barcarolle, At the Fireplace

Chopin F. Nocturnes: op. 2, no. 1; Op. 15, No. 2; Op. 32, no. 2

Mozart V. Symphony in C major (“Jupiter”), Minuet; Symphony in G minor, Minuet.

Shostakovich D. Fantastic dances

Tchaikovsky P. “Swan Lake”, 1 act, Pa-d` axion.

Tchaikovsky P. “The Nutcracker”, Trepak

Minkus L. “La Bayadère” (Pas de Quatre, Act 3) Tempo di valse brillante

Cherepnin N. The Great Waltz from the ballet “Pavilion of Armida”

Rondo

Rondo - (from the French “circle”) a form based on no less than three repetitions of the main theme-refrain, alternating with new constructions, or episodes. The origin of the rondo is from song-dances performed in a circle.

Varieties of rondo - classic, ancient and romantic rondo.

Antique Rondo was common in the music of 18th century harpsichordist composers. The refrain here is always in period form. Doesn't change when repeated. The episodes are developmental, based on refrain material. For example: A - A 1 - A - A 2 - A - etc., where A is a refrain (chorus, repeating part). The tonality of the episodes is no further than the 1st degree of relationship (differ by 1 character).

Classic The rondo finally took shape at the end of the 18th century among the Viennese classics.

Traditional scheme: AWASA. Refrain - not only m.b. period, but also in a 2-3-part form, may vary when repeated. The last conduct may have a code function. The episodes are always contrasting, based on new thematic material. Their form can also be more complex than the period, and the tonality can be up to the 3rd degree of relationship:

A-B-A 1-C-A 2 (with modified refrain).

Rondo of the Romantics -

the semantic center moves from the refrain to the episodes. They surpass the refrain in significance, scale, independence, they can be presented in any key, the contrast can reach the genre level. The refrain here plays a background connecting role.

Rondo can be combined with other forms - with three-part (simple or complex):

A-B-C-B-A-B;

with variations:

A- A 1- A- A 2 - A- A 3, etc.

with sonata form

Rondo:

Beethoven L. “Fur Elise” notes
Bakh I.S. Gavotte from Partita No. 3 for solo violin
Prokofiev S. “Romeo and Juliet”, Juliet the girl,Montagues and Capulets
Tchaikovsky P. “Swan Lake” Waltz of the Brides, Act 3
Matos Rodriguez Tango "Cumparsita"
Chopin Waltz No. 7 cis-moll

Glinka M. Waltz-fantasy

Cha-cha-cha

Saint-Saëns K. “Rondo Capriccioso” for violin and orchestra

Schumann R. Vienna Carnival, op. 26, 1 hour

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Variations

Basso ostinato, double.

Variation form appeared in X VI century. There are two types of variation forms:

variations of strict type, in which the form, scale, and basis of the harmonic plan of the theme remain unchanged, but the texture, rhythm, and registers can change.

There are variations on the unchanging melody (ornamental, “Glinkinsky”) and on the unchanging bass, on basso ostinato (can be of melodic or harmonic type, used in the ancient dances of passacaglia and chaconne). Variations are built according to the principle “from simple to complex” (with a small number). A large number of variations are divided into groups, the ratio of which gives the form of the supporting plan (rondo, sonata, cyclic, etc.)

free type variations, most often instrumental, in which scale, structure, harmony, and often tonality and genre (genre variations) can change. The commonality of the intonation structure is preserved, the variations are increased in scale, the contrast between them increases, and they resemble a suite.

In free variations it is possible to use polyphonic, developmental development.

Free variations are found in vocal music. Usually there are several couplets that differ in scale, internal structure, and harmonic plan. The peculiarity is the actual similarity of the verses, due to which the image does not change, and each verse is a variant.

Double Variationsvariations on two different themes. In the process of development, they influence each other, become enriched, and usually come closer (acquiring the features of symphony and sonata). There are three types:

with alternate variations:

A B A 1 B 1 A 2 B 2 A 3 B 3 etc.

2. with group variation:

A A 1 A 2 A 3 A 4 A 5 B B 1 B 2 B 3 B 4 B 5 B 6 A 6 A 7 A 8 A 9 A 10 B 7 B 8 B 9 B 10

3. with a mixed structure (alternate and group);

Variations:

Handel G. Passacaglia from Suite in G minor for clavier

Glinka M. “Kamarinskaya”

Glier R. “Red Poppy”, Dance of Russian sailors “Apple”, 1 act

Mendelssohn F. March from A Midsummer Night's Dream Overture

Ravel M. Bolero

Sirtaki

Stefaniv R. Moldavian choir

Barabushki

Cap

Sonata form

Sonata form may have a developed introduction and coda.

On display two themes (main and secondary) are contrasted, their tonal

spheres. Each batch can consist of 1 or several topics that are not combined into 2-3-part forms (with rare exceptions), but are called serial numbers.

The connecting part provides tonal preparation of the PP. Sometimes there is a contrast not only between the main and secondary topics, but also other themes of the exhibition, and there may also be a conflict between sections of the form.

The final part is always in the key of PP, is a chain of cadences or an independent theme (several themes).

The tone of the PP is that of the Viennese classics - D , and if the GP is in minor, then parallel; among romantics and Russian composers there may be a third and second ratio. In the twentieth century, maybe and more distant, sharp tonal relationships.

In developing there is an active tonal-harmonic development of themes (or themes).

Its structure may be homogeneous (single end-to-end development), or divided into phases and stages.

All themes or one may be developed; sometimes a new episodic theme is introduced. Here the main key is avoided, the key often prevails S , development is often completed D a precursor to the reprise. A false reprise may occur.

In reprise the contrast of themes and tonal spheres is weakened, and the main tonality of the work is established. Topics may change qualitatively: expand in scale, shrink, not all topics may exist due to tonal similarity, the sequence of topics may change (“mirror reprise” - where the PP is carried out first, and then the GP). The combination of PP and GP in simultaneous sound is called “contrapuntal reprise.”

Special types of sonata forms:

Sonata form without development
Sonata form with episode instead of development
Sonatina (simplified sonata form)
Old sonata form
Sonata form in the instrumental concert genre
Rondo sonata

Examples:

Mozart W. Symphony No. 40 1 hour..mp3

Beethoven L. Moonlight Sonata.mp3 - without development, with an episode.

Tchaikovsky P. Nutcracker Overture. 01 Track 1.mp3 - without development.

Sonata form:

Mozart V. First movements of sonatas for piano; Overtures to the operas “The Marriage of Figaro” and “Don Giovanni”; finals of sonatas Nos. 3, 4, 17, Symphony No. 40, 1 part.

Rimsky-Korsakov N. “Scheherazade”, 1 part.

Beethoven L. First parts of symphonies No. 1, 3, 4, 8

Shostakovich D. First movements of symphonies No. 5 and 7

Tchaikovsky P. “The Nutcracker”, Overture

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Cyclic shapes with a small number of parts.

Cycle (from Greek “circle”)

In cycles with a small number of partsgenres are implemented in a generalized way, contrasts are deepened to the point of conflicts, there are established forms of parts, a tonal plan. There may be “end-to-end” dramaturgy, the merging of a cycle into a one-part form. Sonatas, symphonies, and concertos are written in this cyclic form.

Sonata-symphonic cycle.

The form of the symphony developed gradually; its predecessors were operatic overtures and concert suites. From the suite the symphony adopted the multi-part and contrasting parts, from the overture the principle of construction of the 1st movement. The number of parts varied (2-5 parts or more). The four-part cycle became established in the works of the Viennese classics J. Haydn and W. Mozart in the 2nd half of the 18th century.

Part 1 was usually written in sonata form Allegro.

Part 2 is usually slow, there is no contrast, no conflict of images, this is rest, reflection, contemplation (lyrical part, Adagio).

Part 3 Scherzo, playful, danceable, lively (3-part form).

Part 4 Finale mobile, based on folk dance melodies, in the form of a rondo, rondo sonata, using polyphonic development techniques. Contains general code.

A symphony can reflect all the diversity of life, its seething movement, struggle and, at the same time, the deep connection of various phenomena of life.

In the symphonies of composers of the 19th and 20th centuries, the order and character of the movements do not always correspond to the classical ones: the scherzo may be the 2nd movement, and the slow movement the 3rd.

L. Beethoven laid down the tradition of bringing the symphony genre closer to the cantata and oratorio. (For example, 9th symphony).

Merging a cycle into a single part.

From the middle of the 19th century century, in the genres of symphonic poem and instrumental concert, a fusion of the cycle into a one-part form is observed. The work is performed without interruption; its fragments or sections cannot be performed separately. A three-part structure is often used, where the 1st section is similar to the 1st part of a sonata or concerto, the middle section is similar to the 2nd part (slow tempo), the final one has the genre characteristics of a finale.

There is also a 4-part structure, where 1 part = 1 part of a dramatic symphony, 2nd section = Adagio (Andante) ), 3rd = scherzo (sometimes parts 2 and 3 are swapped), 4th section = finale of the symphonic cycle.

Examples:

Mozart W. Symphony No. 40.

Beethoven L. Piano Sonata No. 14, Symphony No. 5.

Beethoven Symphony No. 5

Vivaldi A. “The Seasons”

Gershwin D. “Rhapsody in Blue”

Suite (from French " row", "sequence")

Ancient Suite known since the 15th century as an instrumental work (for lute or clavier) and dance (the so-called “French suite” of the 15th-17th centuries began with a slow part, and the “Italian” with a fast one). It is built on the principle of contrasting tempos: allemande - chime sarabande gigue.

Since the 18th century, the number of parts in the suite has been increasing, the content has been updated, and new dances have been included. Music is losing its applied character. In the 19th century, program suites and music for performances, opera and ballet, were created, and in the 20th century, for films.

In cycles with a large number of partsThey use the principle of contrasting comparison of parts, connection with dance, song, and programming.

Each cycle is a single artistic organism, which is based on a general artistic concept, a leading idea, and sometimes a plot.

Parts of the cycle represent separate stages in the development of the idea of developing a plan and plot. Therefore, the full artistic content of each part can only be understood in the context of the whole. The unity of the cycle is also ensured by compositional technical means:

thematic connections carrying out certain topics in different parts of the cycle;
intonation similarity (in different parts);
tonal connections (unity of tonalities, symmetry and functional subordination of the main tonic parts);
tempo connections tempo symmetry, gradual acceleration or deceleration of tempo, or polarization, aggravation of tempo relationships;
structural connection (unity of structure, symmetry of parts, generalizing properties of the final (similar to the 3-part form)).

Loops with many parts:

Tchaikovsky P. “Seasons”

Schumann R. “Carnival”

Bakh I.S. English and French suites

Bizet J. - Shchedrin R. “Carmen Suite”

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Free forms

Free forms originated in ancient organ music and reached

perfection in the work of J. S. Bach (primarily in the genre of fantasy).

These forms reached their greatest flourishing and distribution in the works of composers of the second half of the 19th century, especially F. Chopin, F. Liszt, P. I. Tchaikovsky.

Symphonic poems, one-parts are written in free forms

sonatas, concertos, overtures, fantasies, rhapsodies, ballads and other plays, sometimes individual parts of cyclic works (especially in the works of composers of the 19th and 20th centuries).

In general, in musical literature there are a lot of different mixed

forms, often called free. Each individual form must be considered

correct if it satisfies approximately the following conditions: 1). number of topics

limited, and they are repeated in whole or in part in one order or another; 2). available

the main tonality, sufficiently expressed in the conclusion and 3). on the face

proportionality of parts.

It is necessary to distinguish between two main types of free forms - systemic and non-systemic.

Systemic free forms are those forms that are characterized by

a certain order in the arrangement of parts, but different from others.

Fantasy - and instrumental composition of very free construction; V 16th century the fantasia was composed, as a rule, for lute, clavier or instrumental ensemble in a polyphonic style reminiscent of the ricercar or canzona style. In the 17th-18th centuries. the genre is increasingly enriched with elements of an improvisational nature. In the 19th century the name "fantasy" refers to instrumental, mainly piano, pieces, to a certain extent free from established forms (for example, Sonata quasi una fantasia Moonlight Sonata Beethoven). Fantasy could also be called improvisation on a chosen theme.

Rhapsody (Greek: rhapsodia; from rhaptein, “to stitch,” “to compose,” “to compose,” and ode, “song”). A rhapsody can be called an instrumental (occasionally vocal for example, in Brahms) composition written in a free, improvisational, epic style, sometimes including genuine folk motifs (Hungarian Rhapsodies Liszt, Rhapsody in Blues Gershwin).

Symphonic poem -program orchestral composition is a genre that became widespread in the era of romanticism and includes the features of a program symphony and concert overture (R. Strauss, Liszt, Smetana, Rimsky-Korsakov, etc.).

Medley (from French - “mixed dish”) XIX century.

Free forms:

Tchaikovsky P. “Romeo and Juliet” (symphonic overture)

Lyadov A. “Kikimora”, “Magic Lake”, “Baba Yaga”

Stravinsky I. “Petrushka”

Chopin F. Ballade No. 1

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Polyphonic forms

Polyphony a special type of polyphony based on the melodic independence of all component voices. The most common forms are canon, fugue, and complex fugue.

Canon (from Greek

Invention

Fugue (from Latin, Italian Fugues can be composed for any number of voices (starting from two).

The fugue opens with the presentation of a theme in one voice, then the other voices introduce the same theme in succession. The second presentation of the topic, often with a variation of it, is called a response; While the answer sounds, the first voice continues to develop its melodic line (counterposition, that is, a melodically independent construction that is inferior to the theme in brightness and originality).

The introductions of all voices form the exposition of the fugue. The exposition can be followed either by a counter-exposition (second exposition) or by a polyphonic development of the entire theme or its elements (episodes). In complex fugues, a variety of polyphonic techniques are used: increase (increasing the rhythmic value of all sounds of the theme), decrease, inversion (reversal: the intervals of the theme are taken in the opposite direction for example, instead of a fourth up, a fourth down), stretta (accelerated entry of voices “climbing” each other). on a friend), and sometimes a combination of similar techniques. In the middle part of the fugue there may be connecting constructions of an improvisational nature, called interludes . A fugue can end with a coda. The fugue genre is of great importance in both instrumental and vocal forms. Fugues can be independent pieces, combined with a prelude, toccata, etc., and finally, be part of a large work or cycle. Techniques characteristic of fugue are often used in developing sections of sonata form.

Double fugue as already mentioned, it is based on two themes, which can enter and develop together or separately, but in the final section they are necessarily united in counterpoint.

Complex fugue It can be double, triple, quadruple (on 4 topics). The exhibition usually shows all themes that are contrasting in their means of expression. There is usually no developmental section; the last exposition of the topic is followed by a combined reprise. Exhibits can be joint or separate. The number of themes is not limited in simple and complex fugue.

Polyphonic forms:

Bakh I.S. Well-tempered clavier, inventions

Tchaikovsky P. Symphony No. 6, 1 part (development)

Prokofiev S. Montagues and Capulets

Musical forms in ballet

The musical form and the choreographic form in ballet are not identical.

Introduction to the ballet (Introduction) usually contains themes (late themes) related to the content of the plot and the characteristics of the main characters. The form can be varied (two-part, three-part, sonata)

Classical and characteristic suites.Varieties of the suite depending on the number of participants: pas de deux, pas de trois, pas de quatre, pas de cinque, pas de sis, grand pas.

Structure of a classical suite:

entry (entree)

adagio

variations

Code

The classical suite stops the development of the plot.

Pas a "action (pa daksion “effective dance”) ambiguity of the term: a type of classical suite (a number suite accompanied by mimic action on stage), a separate number with an active development of events.

Pas de deux - a type of choreographic duet, a classic love dance, the “lyrical center” of a scene or act.

Entre (output) may be a small, unstable entry or none at all.

Adagio duet dance, usually at a slow tempo. The character is cantilena, the musical form is usually 3-part with a dynamic reprise. There is no tripartite structure in the choreography.

Variation solo performance of each dancer in the form of a short virtuoso dance on small technically complex movements or large jumps. In character, tempo, and means of expression, the male and female variations are contrasting. The musical form is usually a simple three-part one (reprise is not observed in the choreographic form). The tempo of the music ranges from calm and moving to very fast.

Code an independent dance and an independent musical form, a fast, most often virtuosic final number of a classical suite. Musical forms of the coda: three-part, double three-part complex three-part, double three-part. Dance numbers may end with a traditional coda (the final part of the form)

Grand Pas (Big Dance)a classical suite, structured like a classical suite, but intended for the participation of the main characters, soloists, and sometimes the corps de ballet.

The peculiarity of multi-movement classical suites is the contrast of tempos and meters, the lack of tonal unity.

Characteristic Suitea suite of characteristic dances, that is, endowed with genre-everyday, folk, national features, elements of imitation of various characters. Usually it is of a divertissement (entertainment) nature and does not develop the plot.

Symphonic picturea number that complements the performance with some kind of figurative, effective element, or characterizing the location of the action, the time of events, national origins, etc. It can have a three-part or more complex form.

Intermission (French entracte, from entre, “between” and acte, “action”), instrumental music heard between acts of a dramatic play, opera, ballet, etc.

Ballet forms

Delibes L. “Coppelia”, Mazurka, Czardas, Waltz

Tchaikovsky P. “Sleeping Beauty” Prologue. Pas de sis. Pas de Trois, Act 3.

Tchaikovsky “Swan Lake” “The Tempest” (Act 4)

Adan A. “Giselle”, Introduction, Pas de deux (acts 1, 2), Giselle Variation (acts 1, 2)

Prokofiev S. “Romeo and Juliet”: Juliet the girl, Father Lorenzo, Mercutio, Montagues and Capulets.

Mussorgsky M. “Night on Bald Mountain”

Glazunov A. “Raymonda”, 1 act, 3 scene (Grand pas)

Videos:

Borodin A. “Prince Igor” Polovtsian dances, act 2

Tchaikovsky P. “Swan Lake”, act 2

Glazunov A. “Raymonda”, finale of act 2 (scene 4), pas d` action

Oldenburgsky P. “La Bayadère” Pas de sklyav

Aubert J. Grand pas

Glossary

Variations (from Latin “change”) a musical form based on the exposition of a theme and its repetition many times with new changes each time. Variations can be strict and free, ornamental, basso ostinato, double.

Introduction - a section that precedes the main part of a musical work, establishing tonality, tempo, metro-rhythm, texture. May consist of one or more measures, or even one chord, sometimes using the musical theme of the main part.

Harmony combining sounds into consonances, a sequence of consonances.

Dynamics (from Greek “strength”) sound intensity, volume. Different volume options are called nuances, dynamic shades.

Zatakt one or more sounds that begin a phrase on a weak beat and run towards the heavy beat of the measure.

Invention (from Latin “invention”, “invention”) a small polyphonic play. Such pieces are usually based on an imitative technique, although they often contain more complex techniques characteristic of a fugue. In the repertoire of music school students, 2- and 3-voice inventions by J. S. Bach are common (in the original, 3-voice inventions were called “sinphonies”). According to the composer, these pieces can be considered not only as a means to achieve a melodious manner of playing, but also as a kind of exercise for developing the polyphonic ingenuity of a musician.

Canon (from Greek “norm”, “rule”) polyphonic form, based on the imitation of a theme by all voices, and the entry of voices occurs before the end of the presentation of the theme, that is, the theme is superimposed on itself by its various sections. (The time interval for the entry of the second voice is calculated in the number of measures or beats). The canon ends with a general cadence or a gradual “turning off” of voices.

Cadence - (from Italian - “falling”, “ending”) - the end of a musical structure, the final harmonic or melodic turn. Cadenzas are complete, perfect and imperfect, plagal and authentic, half and interrupted, middle, final and additional.

Another meaning of this term is a virtuosic solo part of a vocal or instrumental work of an improvisational nature (often written down by the author in notes).

Code (from Latin "tail", "train") the final construction of a musical work or part of a cycle, following the main final section. The code usually states the main tonality of the work and contains elements of its main themes.

Lad a system of pitch relationships united by tonic. The most common modes are major and minor.

Leitmotif (from German - “leading motive”) - a relatively short musical structure, repeated several times throughout the work; serves as a designation and characteristic of a certain character, image, emotion, etc. Often used in stage music and romantic symphonic works.

Melody (from the Greek “chant”, “singing”) - a monophonic sequence of sounds of the same or different heights, organized with the help of modal gravity.

Meter alternation of light and heavy beats in music (“pulse” of music).

Motive - the smallest indivisible intonation-semantic cell of a musical form, consisting of one or more sounds and containing one metric accent. A motif may contain one or more submotives.

Music theme -part of a musical work, characterized by structural completeness and the greatest brightness of the musical thought contained in it. The theme has an emotional structure, genre characteristics, and national stylistic features. It can change, develop, transform.

Musical form structure of a musical work. It is determined by the content of each individual work, is created in unity with the content, and is characterized by the interaction of all expressive means.

Period (from Greek "bypass", "circulation") the smallest homophonic form expressing a relatively complete musical thought. Consists of sentences. (It can be simple, complex and special structure)

Medley (from French - “mixed dish”) an instrumental piece consisting of popular fragments, motives of other works, mosaically replacing each other. The form is used with XIX century.

Construction a term denoting any of the divisions of a musical form.

Offer is a large part of the period, ending with a cadence, consisting of one or several phrases.

Predikt (predikt)(from Latin ictus - “blow”) - a section of musical form based on an unstable, often dominant function (dominant organ point) and requiring resolution in a stable part of the form. It is used in middle parts, developments, ligaments and other connecting structures.

Program music -works based ona literary or narrative idea, plot, or in which an image, genre, or mood is indicated by means of a title.

Musical sizea fraction, where the numerator is the number of beats in a measure, and the denominator is the counting unit, its duration.

Rhapsody (from Greek - “to stitch”, “to compose”, “to compose” and ode - “song”). A rhapsody can be called an instrumental, sometimes vocal, composition written in a free, improvisational, epic style, sometimes including genuine folk motifs.

Register (from Latin "list", "list") part of the range of an instrument or singing voice characterized by a single timbre.

Rhythm (from Greek “harmoniousness”, “proportionality”) a sequence of sounds of the same or different durations, organized using a meter.

Rondo (from French “circle”) a form based on no less than three repetitions of the theme-refrain, alternating with new constructions, or episodes. (There are classic, ancient and romantic rondos).

Symphonic poem.Program orchestral work is a genre that became widespread in the era of romanticism and includes features of a program symphony and concert overture

Sonata forma complex, dialectical in content, universal in expressive capabilities, musical form, consisting of three sections (exposition, development and reprise), set out in accordance with a special tonal plan.

Style (from Latin " writing stick") a concept of aesthetics and art history that captures the systematicity of expressive means characteristic of an era, movement, nationality or composer.

Suite (from French. « row", "sequence") a cyclic form consisting of several thematically different, independent parts that either have a common genre (dance suite) or are subordinated to a programmatic concept.

Measurethe period of time in music between two equivalent metrical accents is separated when written by a bar line.

Music themea part of a work characterized by structural completeness and the greatest brightness of the musical thought contained in it. The theme has an emotional structure, genre characteristics, national and stylistic features. The topic is not only presented, but also changes and develops.

Tempo(from Lat., Italic. "time") the speed of movement in music, determined by the number of metric beats per unit of time.

Keyfret height position.

Trio -(from Italian “three”) - part (section) of the musical form of an instrumental piece - dance, march, scherzo, etc., contrasting with the more mobile extreme parts of the work, was usually performed by three instruments (for example, in a concert, symphony). A trio can be an independent work.

Invoice(from lat. "treatment") method of presentation (warehouse) of a musical work (can be monophonic, polyphonic, homophonic, mixed)

Fantasy- instrumental composition of a very free construction; in the 16th century the fantasia was composed, as a rule, for lute, clavier or instrumental ensemble in a polyphonic style reminiscent of the ricercar or canzona style. In the 17th-18th centuries. the genre is increasingly enriched with elements of an improvisational nature. In the 19th century the name “fantasy” refers to instrumental, mainly piano, pieces, to a certain extent free from established forms (for example, Sonata quasi una fantasiaMoonlight SonataBeethoven). Fantasy could also be called improvisation on a chosen topic.

Phrase -an incomplete, dependent, relatively closed part of a musical form, consisting of one or several motives.

Fugue(from lat., ital. "running", "escape", "fast current") a form of polyphonic work based on repeated imitation of a theme in different voices.

Caesura(in Latin - “dissection”) - the moment of dividing a musical form into constructions.

Cycle(from Greek "circle") a musical form consisting of several parts connected by a unity of concept, independent in structure. There are cycles with a small number of parts (sonata-symphonic cycle, concerto, cycles of preludes and fugues, ancient suite) and a large number of parts (a cycle of instrumental or vocal miniatures, often of a programmatic nature). The principles of combining parts are a contrasting comparison or interaction of parts of the cycle in relation to figurative-thematic, genre, intonation-thematic content, and tonal plan.

Hatch (from German. « line", "dash") a method of producing sound on a musical instrument that has an expressive meaning (legato, nonlegato, staccato, spiccato, detache, marcato).

Literature

Mandatory:

1. Bonfeld M. Analysis of musical works. Structures of tonal music. Part 1,2.

M.: Vlados, 2003.

2. Kozlov P., Stepanov A. Analysis of musical works. M.: Education, 1968.

3. Panferov V. Fundamentals of dance composition. Chelyabinsk, 2001.

4. Sposobin I. Musical form. M., 1962.

5. Kholopova, V.N. Forms of musical works. ¶St. Petersburg, Lan, 2001.

Additional:

1. Ballroom dancing. ¶M., Soviet Russia, 1984

2. Great Russian Encyclopedia, 30 volumes. M., Great Russian Encyclopedia,

2004.

3. Boffi G. Great Encyclopedia of Music: trans. from Italian M.: AST: Astrel, Vladimir:

VKT, 2010.

4. Vasilyeva-3. Rozhdestvenskaya, M. Historical and everyday dance. ¶M.: Art, 1987.

5. Voronina I. Historical and everyday dance. Educational and methodological manual. M.: 2004.

6. Zakharov R. Composition of dance. Pages of teaching experience. M.: Art, 1989.

7. Mazel L. The structure of musical works. M.: Muzyka, 1986.

8. Mazel L., Tsukkerman V. Analysis of musical works. Elements of music and

technique for analyzing small forms. M.: Muzyka, 1967.

9. Maxine A. Study of ballroom dancing: a methodological manual. St. Petersburg: Lan: Planet

music, 2009.

10. Musical encyclopedic dictionary / ed. G. Keldysh. M.: Sovetskaya

encyclopedia, 1990.

11. Pankevich G. Sounding images (about musical expressiveness). M.: Knowledge, 1977.

12. Popova T. Musical genres and forms. M.: State. music publishing house, 1954.

13. Skrebkov S. Textbook of polyphony. M.: Music, 1965.

14. Smirnov I. The art of a choreographer. M.: Education, 1986.

15. Tyulin V. The structure of musical speech. L.: State. music publishing house, 1962.

16. Uralskaya V. The nature of dance. (Library “To help artistic

amateur performances", No. 17). M.: Soviet Russia, 1981.

17. Ustinova T. Selected Russian folk dances. M.: Art, 1996.

18. Khudekov S. Illustrated history of dances. M.: Eksmo, 2009.

19. Tsukkerman V. Analysis of musical works. General principles of development and

shaping in music. Simple forms. M.: Muzyka, 1980.

20. Zuckerman V. Analysis of musical works. Complex shapes. M.: Music,

1983.

21. Tchaikovsky P. Swan Lake (clavier). M.: Music, 1985.

22. Chernov, A.A. How to listen to music. M.-L.: Music, 1964.

23. Yarmolovich, L. Elements of classical dance and their connection with music. L., 1952.

Each art has its own special language, its own techniques for conveying emotions, its own means of expression. Paints and drawing, for example, are the expressive means of painting. Using them skillfully, the artist creates paintings. Using poetic rhymes, the poet, writing poetry, speaks to us in the language of words. The basis of dance art is dance, dramatic art is acting.

Music has its own special language, it is the language of sounds. Expressive means of music: melody, rhythm, tempo, mode, timbre, size, register. In addition, when analyzing a piece of music, accent and pause, intonation or harmony are taken into account.

Melody. This is the basis of any musical work, this is the soul of the composition, its thought. The melody allows you to understand the mood of the music: sad or happy. It can be smooth or jerky, spasmodic or soothing.

Rhythm. Everything in nature is subject to rhythm. There is a heart rhythm, a brain rhythm. The day is divided into the rhythm of morning, afternoon, evening and night. The change of seasons is also the rhythm of the planet.

Translated from Greek, the word “rhythm” means “measurement”. This is an even repetition of short and long sounds. Music without rhythm is just a collection of sounds. A smooth rhythm adds lyricism to music, while a spasmodic, jerky rhythm causes anxiety and excitement.

Pace. This is the speed of performance of the piece. It can be slow, fast and moderate. Italian terms are used to indicate tempo. For example, fast tempo - allegro, presto; slow - adagio; moderate tempo - andante. The whole world uses these Italian words to denote tempo. In addition, the pace can be calm, lively, fast...

Some musical genres have their own constant time signatures. That's why it's so easy to recognize a waltz or march by ear.

Lad. There are two contrasting modes in music: major, which expresses joy, cheerfulness, and fun in music, and minor, the patron saint of sadness and sadness.

Timbre. This is the color of the sound. Each musical instrument has its own timbre, just like the human voice.

Size. It is needed in order to write down the rhythm on paper. Musical sizes come in different sizes and are written as fractions: two quarters, three quarters...

Register. Divided into low, medium and high. It is needed directly by the musicians performing the melody, or by experts analyzing a particular melody.

In different types of art we can find related means of expression. These are, for example, image, intonation, rhythm, mood, contrast, various shades.

Music and painting. Painting is the creation on a plane of real pictures of our world, or imaginary pictures created by the mind of the artist. Means of expressiveness of painting: color and drawing, expressiveness of strokes, light-air environment, chiaroscuro, contrast. Painting, just like music, creates a mood with the help of an image, a mood! Intonation is the lines, melody is the drawing, tempo of the music is the composition of the picture, mode is the mood, timbre is the color scheme. Examples of the relationship between sound and color are numerous. Some painters directly associate a certain color with a particular musical timbre. We are talking about the so-called “color hearing”. The outstanding Russian composers Rimsky-Korsakov and Scriabin had this. Each tonality seemed to him painted in a certain color and, therefore, had a unique flavor. Many musical works were created under the impression of various paintings and sculptures.

Music and literature. In their original form, music and poetry existed as a single whole. Playing musical instruments was reduced mainly to accompaniment. Only in the 17th century did music become an independent form of creativity. Then all types of literary works began to have an analogy in contemporary music. These are all kinds of variations and suites. The emergence of such a genre of literature as the novel is closely related to the emergence of the sonata form. Literature and music developed interconnectedly. For example, such literary characters as Orpheus, Faust, Don Juan, Ophelia, Romeo and Juliet occupy a significant place in music. For several centuries, their lives excited and excited the minds and imagination of musicians. And as a result, European music was enriched with brightly colored operas, ballets, and symphonies.

Music and architecture. Goethe called architecture “frozen music.” Nowadays, it is customary to treat music as a dialectical art that combines exceptional emotionality with extreme structure. That is why those works of musical art that are based on precise calculations are considered closest to architecture. Such works as Debussy's "The Sunken Cathedral", Bizet's "Rome" symphony, Milhaud's "Castle of Fire" suite and many others were inspired by images of architectural structures.

Means of musical expression reveal the secret of how a set of notes, sounds, and instruments turns into music. Like any art, music has a special language. So, for example, an artist may use paint using such means. With the help of paints, the artist creates a masterpiece. Music also has some similar instruments. We'll talk about them further.

musical expressiveness

Let's start with the music, which determines the speed at which the piece is performed. As a rule, there are three types of tempo in music - slow, moderate and fast. For each tempo there is an Italian equivalent that musicians use. A slow tempo corresponds to adagio, a moderate tempo corresponds to andante, and a fast tempo corresponds to presto or allegro.

Some people, however, have heard expressions like “waltz tempo” or “march tempo.” Indeed, such rates also exist. Although they can rather be attributed to size. Since the tempo of a waltz is usually three-quarter time, and the tempo of a march is two-quarter time. But some musicians attribute these characteristics to tempo features, because the waltz and march are very easy to distinguish from other works.

Size

Since we're talking about size, let's continue. It is needed in order not to confuse the same waltz with a march. The size, as a rule, is written after the key in the form of a simple fraction (two quarters - 2/4, three quarters - 3/4, two thirds - 2/3, as well as 6/8, 3/8 and others). Sometimes the size is written as the letter C, this means “whole size” - 4/4. Meter helps determine the rhythm of a piece and its tempo.

Rhythm

Our heart has its own rhythm. Even our planet has its own rhythm, which we observe when it can be defined as the alternation of short and long sounds. For example, the meter of a waltz is associated with the concept of the rhythm of the waltz that is well known to us. Any dance - tango, foxtrot, waltz - has its own rhythm. It is he who turns a set of sounds into one or another melody. The same set of sounds played with different rhythms will be perceived differently.

There are only two modes in music - major (or simply major) and minor (minor). Even people without musical education can characterize this or that music as clear, cheerful in musician's terms) or as sad, mournful, dreamy (minor).

Timbre

Timbre can be defined as the color of sounds. Using this means of musical expression, we can determine by ear what exactly we are hearing - a human voice, a violin, a guitar, a piano, or perhaps a flute. Each musical instrument has its own timbre, its own sound coloring.

Melody

The melody is the music itself. The melody combines all the means of musical expression - rhythm, tempo, tonality, size, mode, timbre. All of them together, combining with each other in a special way, turn into a melody. If you change at least one parameter in the set, the melody will turn out completely different. For example, if you change the tempo and play the same rhythm, in the same scale, on the same instrument, you will get a different melody with a different character.

You can briefly imagine all the means of musical expression. The table will help with this:

Enjoy the music!

Music, according to the ancient Greek philosopher Plato, gives life and joy to everything that exists in the world, and is the embodiment of that beautiful and sublime that exists on earth.

Like any other art form, music has its specific features and means of expression. For example, music is not capable of depicting various phenomena, like painting, but it can very accurately and subtly convey a person’s experiences, his emotional state. Its content lies in artistic and intonation images formed in the mind of a musician, be it a composer, performer or listener.

Each type of art has a language that is unique to it. In music, such a language is the language of sounds.

So, what are the main means of musical expression that reveal the secret of how music is born?

The basis of any musical work, its leading principle is melody. A melody is a developed and complete musical thought, expressed monophonically. It can be very different - both smooth and jerky, calm and cheerful, etc.
In music, melody is always inseparable from another means of expression - rhythm, without which it cannot exist. Translated from Greek, rhythm is “measurement,” that is, a uniform, coordinated alternation of short and long sounds. It is rhythm that has the ability to influence the character of music. For example, lyricism is imparted to a piece of music using a smooth rhythm, while some excitement is added to a piece of music using an intermittent rhythm.
No less important okay as a means of expression. There are two types: major and minor. The difference between them is that major music evokes clear, joyful feelings in listeners, while minor music evokes a little sad and dreamy feelings.
Pace– expresses the speed at which a particular piece of music is performed. It can be fast (allegro), slow (adagio) or moderate (andante).
A special means of musical expression is timbre. It represents the color of sound characteristic of any voice and instrument. It is thanks to timbre that one can distinguish the human or “voice” of a musical instrument.

Additional means of musical expression include invoice– a method of processing a certain material, strokes or methods of extracting sounds, dynamics- sound strength.

Thanks to the harmonious combination of all of the above expressive means or part of them, music appears that accompanies us in life almost everywhere.

The melody is the soul of the composition, it allows you to understand the mood of the work and convey feelings of sadness or joy; the melody can be jumpy, smooth or abrupt. Everything depends on how the author sees it. Pace

Tempo determines the speed of execution, which is expressed in three speeds: slow, fast and moderate. To designate them, terms are used that came to us from the Italian language. So, for slow - adagio, for fast - presto and allegro, and for moderate - andante. In addition, the pace can be lively, calm, etc.

Rhythm and meter as means of musical expression determine the mood and movement of music. The rhythm can be different, calm, uniform, abrupt, syncopated, clear, etc. Just like the rhythms that surround us in life. Meter is needed for musicians who determine how to play music. They are written as fractions in the form of quarters.

The mode in music determines its direction. If it is a minor key, then it is sad, sad or thoughtful and dreamy, maybe nostalgic. Major corresponds to cheerful, joyful, clear music. The mode can also be variable, when the minor changes

Timbre colors music, so music can be characterized as ringing, dark, light, etc. Each musical instrument has its own timbre, just like the voice of a particular person

The register of music is divided into low, medium and high, but this is important directly to the musicians who perform the melody, or to experts who analyze the work. Means such as intonation, accent and pause make it possible to clearly understand what the composer wants to say.

CHARACTERISTICS OF MUSICAL EXPRESSIVENESS,

THEIR ROLE IN THE CREATION OF AN ARTISTIC IMAGE OF A MUSICAL WORK.

Music is a specific form of artistic reflection of reality in a musical image. There is a hypothesis that music originated from expressive human speech. A musical image is created using means of musical expressiveness:

TEMP – speed of music performance.

TIMBRE – color of sound. When determining timbre, words of associative meaning predominate (transparent, glassy, juicy, velvety music).

INTONATION – carries the main semantic core in music, therefore it is the most important. Intonation in a broad sense is the development of the entire musical work from beginning to end, the intonation of a musical work. The intonation of the second determines the direction of the piece of music.

RHYTHM is a sequence of sounds of varying lengths.

LAD – emotional coloring of sounds, combination of sounds in pitch (major, minor)

REGISTERS – high, medium, low.

GENRE is a type of artistic creativity associated with the historical reality that gave rise to it, the life and way of life of people (song, dance, march - “3 pillars” - Kobalevsky).

Music is close to the emotional nature of a child. Under the influence of music, his artistic perception develops, and his experiences become richer.

Music is the greatest source of aesthetic and spiritual pleasure. It accompanies a person throughout his life, causing an emotional response, excitement, and a desire for action. It can inspire, ignite a person, instill in him a spirit of vigor and energy, but it can also lead to a state of melancholy, sorrow or quiet sadness.

Considering the enormous impact of music on emotions and the child’s desire to understand and feel its content, it is especially important to use musical works that artistically specifically reflect the reality that is close and accessible to him. It is known that one of the sources of the emergence of musical images are the real sounds of nature and human speech - everything that the human ear perceives in the surrounding world.

Developing in the process of sound communication, music was initially inseparable from speech and dance. She adapted to the rhythm of labor movements, facilitated them, and united people with a single desire. Just as a painter imitates the forms and colors of nature, so a musician imitates the sound - intonation, timbre, voice modulations. However, the essence of music is not in onomatopoeia and pictorial moments. A musical image is devoid of direct, concrete visibility, but it is dynamic in nature and expresses in a generalized way, through sound means, the essential processes of life. “Emotional experience and an idea colored by feeling, expressed through sounds of a special kind, which are based on the intonation of human speech - this is the nature of the musical image.” (Boreev Yu.B.)

By influencing people's feelings and thoughts, music promotes emotional understanding of the surrounding reality and helps transform and change it. With the help of its emotional language, music influences feelings, thinking, influences a person’s worldview, guides and changes him.

One of the main means of creating a musical image is a melody, organized rhythmically, enriched with dynamics, timbre, etc., supported by accompanying voices.

Musical images are created using a set of means of musical expression and are an emotional reflection of images of the real world.

The peculiarity of music, its emotional power lies in the ability to show the rich world of human feelings that arose under the influence of the surrounding life. “Music, through the revelation of human experiences, reflects the life that gave birth to them.” (Vanslov V.V.)

The nature of the impact of a musical composition depends on how specific its content is. From this point of view, a distinction is made between music with verbal text, program and non-program purely instrumental music (program music is equipped with a verbal program that reveals its content).

Non-program music expresses only emotional content. But this content must be there. It determines the special cognitive capabilities of musical art.

Music does not provide new specific factual knowledge, but it can deepen existing knowledge by emotionally saturating it.

3. Concept

Couplet (French couplet) is a part of a song that includes one stanza of text and one melody (chant).

The verse is repeated throughout the song with new verses of poetic text, while the melody may remain the same or vary slightly. As a result, the so-called verse form is formed, which underlies the structure of most musical works of the song genre.

1) Start of singing; singing.

2) The beginning of the choral song or each of its verses, performed by the soloist.

3) The beginning of the epic, usually not related to its main content, necessary to attract the attention of listeners; beginning

part of a verse song, performed at the end of the verse, in a choral song - by the choir after the solo chorus. Unlike the chorus, the text of which is updated in each verse, P. is usually sung to the same text. P. is characterized by simplicity of melody and rhythmic clarity. Often P.'s text represents an expression of a general idea, a slogan, an appeal (especially in revolutionary and mass songs). In many cases, P. is performed twice each time, which gives it special weight. The “chorus - chorus” relationship is also transferred to instrumental music - a two-part form arises, the second part of which is often also repeated, Rondo or rondo-shaped form (see Musical form).

No. 4. The concept of unwritten and written musical culture. Features of folk musical art as a phenomenon, its features as a specific layer of musical culture: orality, variation and variability, the presence of standard tunes, syncretism, etc.

The essence and specificity of folklore as a phenomenon, features of musical language The problem of the formation of national self-awareness as the basis for preserving the national identity of culture in modern conditions of world globalization undoubtedly deserves close attention already at the initial stage of human comprehension of culture - during preschool childhood. Both folklore (folk wisdom) and original works of art are indispensable means of influencing the feelings and consciousness of a preschooler, therefore any area of education, including musical and aesthetic education, involves the use of samples of national culture and, first of all, musical folklore. Musical folklore is the totality of song, dance, and instrumental creativity of the people. Folklore is a more ancient layer of musical culture than composer's music. This is a non-literate musical culture, which differs significantly from the written one. Folklore has a number of features, taking into account which makes it possible to effectively use it in the musical development of preschool children. 1. Folklore tradition is characterized by oral tradition, transmission from person to person, from generation to generation. Due to the oral nature, works of folklore use frequent repetitions of melodic turns and texts (based on the limited capabilities of human memory), and a laconic musical form. These features make musical folklore accessible to preschool children. 2. As a result of orality, such features as variability and variation have developed in folklore. Variation implies the existence of many similar variants of one sample in space (different regions) and in time. Variability - changing a sample during its performance (depending on the capabilities of the performer). These features of folklore make it possible to use its works as invaluable material for the development of musical and creative abilities of preschool children. A folklore pattern taught with preschoolers is a model on the basis of which a child can improvise, create his own variations, without conflicting with the very nature of folklore. 3. As a result of oral tradition, typical melodies, rhythms, and texts were recorded in folklore, which are transferred from one sample of folklore to another, often being signs of the genre (the third mode in lullabies, the sung fifth syllable in phrases of carol songs, the textual refrains “Shchodra vechar, good Vechar”, “Kalyada”, “Aha, it’s spring! " and etc.). Preschoolers, becoming familiar with a number of traditional tunes, learn the “vocabulary” and “grammar” of the national musical (as well as verbal) language. In this process, the child’s musical intonation vocabulary is enriched, and folklore becomes recognizable to him (as a result of frequent repetition) and a familiar phenomenon. 4. Folklore (especially the early layer) is characterized by syncretism - the unity of all its elements (singing, movement, use of instruments, play). The child’s worldview is also syncretic; the types of musical activities of a preschooler are closely related to each other. Thus, the folklore repertoire corresponds to the age capabilities and needs of a preschool child

4. Concept

Instrumental music is music performed on instruments without the participation of the human voice. There are solo, ensemble and orchestral instrumental music. Widely used in classical music, jazz, electronic music, new age, post-rock, etc.