What is musical literature. Short Course in Musical Literature

Dear friend! You already know that the roots of musical culture go back to the distant past. Over the millennia of its existence, many musical instruments have appeared.

minds, genres of musical art. Remarkable composers wrote music in these genres.
By the 17th century, vast experience in music had already been accumulated. But this century has become a truly milestone, opening up new ways for music.
What is the most important thing in this century?
Explain what polyphony is, how is this word translated from Greek?
In what genres did this style of music predominate?
What is the name of the style in which only one voice has the leading meaning, and the rest accompany it? Translated this word into Russian!
In what genres did homophony predominate?

1. What is a healthy lifestyle? A. List of measures aimed at maintaining and strengthening health b.

Therapeutic and physical culture health-improving complex

V. Individual system of behavior aimed at maintaining and strengthening health

d. Regular exercise

2. What is the daily routine?

A. Order of daily activities

b. Established routine of human life, including work, food, rest and sleep

V. List of daily tasks, distributed by time of execution

d. Strict adherence to certain rules

3. What is rational nutrition?

A. Meals distributed by mealtime

b. Nutrition according to the needs of the body

V. Eating a certain set of foods

d. Nutrition with a certain ratio of nutrients

4. Name the nutrients that have energy value?

A. Proteins, fats, carbohydrates and mineral salts

b. Water, proteins, fats and carbohydrates

V. Proteins fats carbohydrates

d. Fats and carbohydrates

5. What are vitamins?

A. Organic chemical compounds necessary for the synthesis of enzyme proteins

b. Inorganic chemical compounds necessary for the body to function

V. Organic chemical compounds that are enzymes

d. Organic chemical compounds found in food

6. What is motor activity?

A. The number of movements required for the body to work

b. Physical education and sports

V. Performing any movements in daily activities

d. Any muscle activity that ensures optimal body function and well-being

Please help answer questions about music grade 6 on the musical "Notre Dame de Paris" 1) What is a musical? 2) In what year did the musical debut? 3) B

In which country did this musical first take place? 4) What does "Notre Dame de Paris" mean in translation? 5) Author of the novel? 6) Name the composer and librettist of the musical? 7) What is a librettist? 8) Who is a librettist? 9) Where does the action take place (city) 10) Who is Esmeralda's guardian? 11) What did Quasimoda do in the cathedral? 12) The king of tramps? 13) Why did the vagabonds want to hang the poet Gringoire? 14) why was the execution (the hanging of the poet) not put into action? 15) What is Quasimod's guardian and mentor? 16) Why was Quasimodo sentenced to the wheel? 17) Name the main characters (7 people) 18) Who was chosen as the king of jesters? 19) For what crime was Esmeralda hanged? 20) What does the inscription on the wall of the Anke Cathedral mean? 21) Who was Esmeralda in love with? 22) Who wounded Captain Phoebus with Esmeralda's dagger? 23) What is the name of Esmeralda's husband? 24) Who will Captain Phoebus stay with? 25) How will priest Frolo die?

What is musical literature?

What is literature? These are books written by writers. And not just writers. Literature includes, for example, folk tales recorded and processed by collectors of folk art.

Our literature is musical. What are music books? These are notes. But few experienced musicians can read music like books. And the music that is written in these notes is listened to and loved by almost everyone. So here it is:

How? Another one? And the specialty? What about solfeggio?

On solfeggio you study notes, intervals, keys. This is your musical background. Also, ear training. After all, all this must not only be learned, but also be able to hear. And in your specialty, you master musical performance: learn to touch your instrument correctly and deftly in order to play beautifully and expressively, to perform music.

What does beautiful and expressive mean? This is the question that music literature answers. Today we start looking for an answer. And for this we will begin to learn to listen to music.

Do you really need to learn to listen to music? You might be surprised. And you will be right in your own way. Once a famous Norwegian violinist of the 19th century Ole Bull as a result of a shipwreck, he ended up on an island inhabited by wild tribes. And the savages were fascinated by the violin of the great artist, although they had never heard European music before. And already in the XX century, the French traveler and scientist Alain Geerbran took records of Mozart's music on a trip to the Makiritare Indians, who live in the Amazon jungle and cut off from the rest of the world. The effect was amazing, Geerbran even made a film about it.

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As if these examples show that music can be felt even without special preparation. But let's imagine that we are listening to a beautiful poem in French or English that we don't know. We can probably feel the beauty of the verse, we can even guess its mood. But we do not understand what is at stake, because we do not know language.

And music also has its own, musical language. But this language is special. It has no words, only sounds. But these are magical sounds that can make you laugh and cry, and can even tell a whole story.

Something you already know. About major and minor, for example. You know that cheerful music is more often in major, and sad music is in minor. What is the difference between slow music and fast music? Surely, pace. Is there sad music in major, but cheerful music in minor? It turns out it happens. Because the nature of music depends not only on fret(and major and minor are modes), but also from many other things that are called means of musical expression. They form the basis of the musical language.

In the conditions of transformations in various spheres of public life in our country, there is an urgent need for the creative development of the younger generation, which is able to understand, evaluate and transform the world around us in its practical activities. Therefore, it is important to pay great attention to each individual child and the formation of his creative personality. Direct classes of children's art schools and children's art schools with musical and artistic activities very effectively contribute to solving the problems of not only the musical development itself, but also the formation of the general abilities of the child, the formation of his individuality. To help in resolving this issue is one of the tasks of a teacher of musical literature, because it is this discipline that occupies a special place in the course of teaching theoretical disciplines in a children's art school.

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"Musical literature" as a subject of the musical-theoretical cycle in institutions of additional education

The term "musical literature" was finally fixed in the 30s of the twentieth century. At the origins of musical literature as a subject were B.V. Asafiev and B.L. Yavorsky. Since then, the course of musical literature has undergone significant changes: its content has been enriched, the methodology has been improved, and special teaching aids have appeared.

The modern program of the subject "Musical Literature" was developed on the basis of and taking into account federal state requirements for additional pre-professional general educational programs in the field of musical art "Piano", "Folk instruments", "Wind and percussion instruments".

Musical literature is an academic subject that is included in the compulsory part of the subject area "Theory and History of Music"; the final examination in musical literature is part of the final certification.

At the lessons of "Musical Literature" the formation of the musical thinking of students, the skills of perception and analysis of musical works, the acquisition of knowledge about the laws of musical form, the specifics of the musical language, the expressive means of music takes place. The content of the subject also includes the study of world history, the history of music, familiarization with the history of fine arts and literature. The lessons of "Musical Literature" contribute to the formation and expansion of students' horizons in the field of musical art, educate musical taste, awaken a love for music.

The subject "Musical Literature" continues the educational and developmental process begun in the course of the subject "Listening to Music". The named discipline also closely interacts with the subject "Solfeggio", with the subjects of the subject area "Musical performance". Thanks to the acquired theoretical knowledge and auditory skills, students master the skills of conscious perception of the elements of the musical language and musical speech, the skills of analyzing an unfamiliar piece of music, knowledge of the main trends and styles in the art of music, which allows using the acquired knowledge in performing activities.

The purpose of the subject is the development of the student's musical and creative abilities based on the formation of a complex of knowledge, skills and abilities that allow them to independently perceive, master and evaluate various works of domestic and foreign composers, as well as identifying gifted children in the field of musical art, preparing them for admission to professional educational institutions.

Subject objectives"Musical Literature" are:

formation of interest and love for classical music and musical culture in general;
education of musical perception: musical works of various styles and genres created in different historical periods and in different countries;
mastering the skills of perceiving the elements of the musical language;
knowledge of the specifics of various musical, theatrical and instrumental genres;
knowledge about different eras and styles in history and art;
ability to work with musical text (clavier, score);
the ability to use the acquired theoretical knowledge in the performance of musical works on the instrument;
the formation of conscious motivation among the most gifted graduates to continue their professional education and prepare them for entrance exams to an educational institution that implements professional programs.

The term for the implementation of the subject "Musical Literature" for children enrolled in an educational institution in the first grade at the age of six years, six months to nine years, is 5 years (from grades 4 to 8). The term for the implementation of the subject "Musical Literature" for children enrolled in an educational institution in the first grade at the age of ten to twelve years is 5 years (from grades 1 to 5). The term for the implementation of the subject "Musical Literature" for children who have not completed the educational program of basic general education or secondary (complete) general education and plan to enter educational institutions that implement basic professional educational programs in the field of musical art can be extended by one year.

The amount of study time provided for by the curriculum of an educational institution for the implementation of a subject

The maximum teaching load in the subject "Musical Literature" is 346.5 hours, which is 1 academic hour per week in grades 4-7 (1-4) and 1.5 hours per week in graduation 8 (5) grade, as well as 9 (6) class. (Appendix No. 1)

The form of conducting classes on the subject "Musical Literature" is small-group, from 4 to 10 people.

Teaching musical literature at the Children's Art School and Children's Music School is an acquaintance with the work of composers. Interesting, rich, but at the same time difficult to assimilate large volume material will have to be conveyed to students of different age groups (children 10-15 years old can study in one group). And on what methods and approaches the teacher will use in his lessons, the impression that children will have about musical culture largely depends and will remain with them possibly for life.

Musical literature(lat. musica litteris) - a subject studied in secondary and higher musical institutions. The basis of the subject is the study of creative activity, as well as biographies of composers who are classics in world music.

History of emergence as a subject

The subject of "musical literature" is the property of the exclusively domestic system of musical education. The system of music education in Russia has historically developed as a three-tier system: a music school - a college - a university. Each link performs a specific function: a music school provides general musical education, a college and a university provide vocational training.

The modern model of musical education was finally formed by the end of the 30s of the XX century, when there was a stratification into lower, middle and higher levels. In the pre-revolutionary practice of teaching music, a firm place was occupied by private lessons in playing, singing or composition. At the same time, students, as a rule, did not receive musical-theoretical and musical-historical information. Public lectures held in St. Petersburg since the 1830s only partly filled this gap. An important role in the spread of musical culture was also played by music classes at secondary and higher educational institutions, gymnasiums, colleges, and universities. Of particular note are women's closed institutes, the training system of which included not only playing the instrument, but also solfeggio, harmony, and pedagogical practice. A similar scheme was subsequently taken as the basis for the curriculum of conservatories, where one of the most important subjects of the curriculum was the history of music.

The content of the subject "musical literature" was developed by the outstanding music historian, professor of the Moscow Conservatory Valentin Eduardovich Ferman at the turn of the 30s - 40s of the XX century. The idea was to precede the study of the history of music course with a subject that would provide knowledge primarily of music. It was decided to concentrate the main base in the middle link of the music education system.

Subject of study

The overall goal of the course is to familiarize students with the treasury of the heritage of world musical culture. More specifically, it is the expansion of musical horizons, the instillation of interest and love for music, the development of artistic taste, the development of an active, conscious perception of a musical work.

Unlike music schools and music history courses in universities, children's music schools, etc., this subject is mainly aimed at aesthetic education: to teach to listen, perceive and understand music; educate a competent listener, music lover. An important place in the course of study is occupied by the subject “listening to music”, which is aimed at solving the main tasks of musical and historical education at school. Music school involves general musical training. Therefore, the most famous teachers are of the opinion that the chronological nature of the passage of the material is optional. For example, the peculiarity of the program of E. B. Lisyanskaya - we hear, then we speak - comes from auditory perception. The accumulation of facts and knowledge is the secondary material that supplements auditory impressions.

The course of musical literature is one of the most important in the system of musical training of students. This is a subject, classes in which, along with a specialty (piano, guitar, button accordion, vocals, etc.) and solfeggio, are held throughout the entire period of study. Synthesizing by its nature, it combines elements of musical-historical, musical-theoretical, aesthetic and general humanitarian knowledge. The skills acquired in the process of training are necessary for the formation of both an amateur musician and a professional musician. They are associated primarily with the education of the unity of auditory, emotional perception and logical thinking. A feature of the subject are versatile connections with other disciplines. At the lessons of musical literature, there is a deepening and improvement of knowledge gained in the study of solfeggio and special subjects. So, for example, in the classroom, the following skills are simultaneously consolidated: auditory analysis; analysis by notes; the ability to put into practice performing skills and solfeggio.

Literature

Bokshanina E. Methods of teaching musical literature in the school. - M. : Muzgiz, 1961. - 72 p.
Geilig M. Essays on the methodology of teaching musical literature in the school. - M.: Music, 1966. - 58 p.
Golubeva L. On the new concept of the course of musical literature at the Children's Music School // Musical education. - 2007. - No. 1. - S. 39−43.
Lagutin A. Musical literature as a subject of school teaching// Questions of methods of primary musical education. - M.: Music, 1981.
Nikiforova V. On the continuity in the teaching of musical and historical disciplines in the training of a musicologist// Issues of teaching music-historical disciplines: Sat. tr. - M.: State. Muses. Ped. Institute im. Gnesinykh, 1985. - S. 34-51.
Orlova E. Methodical notes on musical-historical education in conservatories. - M.: Music, 1983. - 43 p.

Municipal Autonomous Institution
additional education
"Children's School of Arts"
Zadonsky municipal district of the Lipetsk region

Toolkit
For the music departments of the Children's Art School

"A Short Course in Musical Literature"

Age from 8 to 16 years

Compiled by: teacher
musical-theoretical disciplines
Komova Alla Vasilievna

Zadonsk
2015

The "Short Course in Musical Literature" is intended to summarize the entire course of this subject in the Children's Music School. All the basic information about the composers, their most famous works are very briefly presented here, the main eras in the world musical culture are briefly considered, the basic concepts of musical genres, forms and elements of musical speech are given.

1. Polyphony is polyphony. In a polyphonic work, there can be from two to five voices, each of which develops independently, but they are all woven into one musical fabric. Polyphony was widespread during the Renaissance (XVI - XVII centuries) by outstanding polyphonic musicians in the 1st half of the XVII century. were: German composers Georg Friedrich Handel, Georg Philipp Telemann, English - Henry Purcell, French composer Jean Baptiste Lully.
In Italy, Antonio Vivaldi stood out. His violin concertos and the suite "The Seasons" are widely known. In France, the most famous composers - harpsichordists: Jean Philippe Rameau, Francois Couperin, Louis Claude Daken. Sonatas for harpsichord by the Italian composer Domenico Scarlatti are very popular now.
But the great German composer Johann Sebastian Bach (1685 - 1750) is rightfully considered the "father" of polyphony. His work is great and multifaceted.
Bach was born in the German town of Eisenach. There he spent his childhood, where he learned to play the organ, violin and harpsichord. From the age of 15, he lived independently: first in the city of Lüneburg, then, in search of work, he moved to the city of Weimar, where he served as an organist in the church and wrote here his best organ works: “Toccata and Fugue in D Minor”, organ choral preludes and fugues. Then he moves to the city of Köthen.
In Köthen, he serves as a court musician to the Prince of Köthen, and here he wrote the best clavier works: the 1st volume of the HTC (well-tempered clavier), 6 English and 6 French suites, inventions, Chromatic Fantasy and Fugue.
Bach spent his last years in Leipzig. Here he worked as the head of the school of singers (cantor) at the Church of St. Thomas and wrote many choral works: "Mass in B minor", "Passion according to John", "Passion according to Matthew" and other best examples of cantatas and oratorios. Here he wrote the 2nd volume of the CTC.

I.S. Bach became the creator of polyphonic music. Nobody wrote polyphony better than him. His three sons also became famous composers, but the name of Johann Sebastian Bach entered the history of musical art for all time! His music is eternal and understandable to people - it is alive.

2. Vienna classical school.

This is a creative direction in the music of the late 18th - early 19th centuries, which developed in Vienna (the capital of the Austrian Empire). Three composers belong to it: Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. In their work, a sonata-symphony cycle was formed. Their works are perfect in form and content (i.e. classical). That is why they were called the great Viennese classics.
The music of the composers of the Viennese classical school still remains an unsurpassed example of composition (classical - one of the meanings of the word - exemplary). School - here the concept of succession, i.e. continuation and improvement by one composer of the traditions and ideas of his predecessor.
The Viennese classics used a new musical warehouse (a way of expressing musical thought) - homophonic-harmonic, where there is a main melodic voice, and the rest of the voices accompany the melody (it is accompanied). In their work, an 8-bar (square) period is formed. This is due to the use of Austrian and German folk themes. The harmony is dominated by the triads of the main steps T, S, D.

Joseph Haydn (1732-1809) was the oldest of the Viennese classics. The genres of sonata, symphony, concerto and quartet were finally formed in his work. He is called the "father" of the symphony (he has more than 100 of them). His music is based on the themes of folk dances and songs, which he develops with great skill. In his work, the composition of the symphony orchestra was also formed, consisting of three groups of instruments - strings, wind and percussion. Almost all his life he served as a court musician to Prince Esterhazy, creating 104 symphonies, 52 sonatas, concertos and 83 quartets. But the pinnacle was his 12 London Symphonies, the oratorios The Seasons and The Creation, written in London at the end of his life.

The German composer W. A. Mozart (1756-1791) became a follower of Haydn's work. His bright music is still modern - a vivid example of classicism. From an early age he began to compose sonatas, symphonies and operas. Using Haydn's sonata-symphony cycle, Mozart developed and enriched it. If in Haydn the contrast between the main and side parts is not pronounced, then in Mozart the main part is very different in character from the side part and the development (middle section) is therefore more saturated. Mozart's music with amazing power conveys both mournful tragic moods ("Requiem"), and humorous images, and beautiful nature. Mozart's music is distinguished by its beauty and grace. Mozart is the author of many operas, the most famous of which are: The Marriage of Figaro, The Magic Flute, Don Giovanni. He has about 50 symphonies (the most famous are G minor No. 40 and Jupiter No. 41), many sonatas, concertos for clavier, violin, oboe, flute, divertissements.

Ludwig
van
Beethoven (1770-1827) - the third Viennese classic.
The great German composer was born in Bonn. A contemporary of the French Revolution, he embodied in his music the rebellious pathos, the dream of freedom and happiness of mankind. He created 9 symphonies (the most famous: in C minor No. 5, No. 9), a number of overtures (“Coriolanus”, “Egmont”, “Leonore”); 32 sonatas (“Moonlight” No. 14, “Pathetic” No. 8, “Appassionata” No. 23, etc.) opera “Fidelio”, 5 piano concertos, violin concerto and sonatas for violin, 16 string quartets. Beethoven's work is filled with great energy, the contrast between themes is very bright, his music is dramatic and at the same time life-affirming and accessible to the understanding of all people.

3. The era of romanticism in music.

Romanticism is a trend in art that arose at the beginning of the 19th century, at the time of reaction after the French bourgeois revolution. People of art could not at that time truthfully reflect reality and they had to either go into the world of fantasy or reflect the inner world of a person, his feelings and emotions.

In music, the first romantic composer was Franz Schubert (1797-1828) - the great Austrian songwriter (he has more than 600 of them).
In his youth, he had to experience many losses. Once in Vienna alone, he lived with friends and acquaintances and was full of hope for a wonderful future. His songs during this period are light in content (the cycle "The Beautiful Miller"). But gradually he begins to understand that life is not so cloudless as it seemed to him, that the fate of a musician is poverty and need. In the song "The Organ Grinder" he painted his own portrait - a singer thrown out by society. Gloomy moods are reflected in the cycle "Winter Way", "Swan Song". Such masterpieces as the ballad "Forest King", "Margarita at the spinning wheel" were written to the words of Goethe. Schubert's "Serenade" has firmly entered the repertoire of famous singers. In addition to songs, Schubert also wrote 8 symphonies (the most famous is "Unfinished" in B minor No. 8 in two parts). He also has many small piano works: musical moments, impromptu, ecossaises, waltzes.
Schubert died very early - at the age of 31, but with his works he managed to prepare the appearance of followers of his work.

One of them was the Polish piano composer Fryderyk Chopin (1810-1849).
His music is brilliant. Despite the fact that he wrote exclusively for the piano, he nevertheless opened up a whole world - from the secret depths of human feelings to simple scenes of village life.
Turning to the Polish national genres - mazurkas, polonaises, waltzes, he showed them from different angles. For example, his mazurkas can be ballroom, or they can resemble a simple village dance. Polonaise - sometimes brilliant, sometimes tragic.
Waltzes are also very diverse in character, and his etudes go beyond the scope of a purely technical work - these are already concert pieces - paintings. Chopin's preludes are small in size, but very different in shades of feelings touched upon in them. Chopin's nocturnes are examples of melody and harmony. Chopin is the creator of a new genre of piano music - the ballad genre. He also has sonatas. Chopin's funeral march is familiar to everyone - this is the 3rd movement of the B minor sonata.
Fryderyk Chopin is the favorite composer of many pianists. Since 1927, Warsaw has regularly hosted the World Chopin Piano Competition.

The third romantic of foreign music is Robert Schumann (1810 - 1856).
This is a great German composer - a dreamer and an inventor. He had an amazing ability to portray people in music, often with humor. The piano cycle "Carnival" is his most famous work. He wrote many small pieces for pianoforte, "Album for youth", "Butterflies", 3 sonatas, "Symphonic etudes" and other works.

4. Russian musical culture.

Mikhail Ivanovich Glinka (1804-1857)
The great Russian composer is the founder of national classical music.
After graduating from the university noble boarding school, he traveled a lot around Europe, studying the music of foreign countries (Italy, Germany, Austria). Returning to his homeland, Glinka set out to create a Russian national music school and he managed to do it.
Glinka collected and processed Russian folk songs and wrote his works using their intonations, dressing them in strict classical forms.
Glinka is the author of about 80 romances and songs, including such masterpieces as "Doubt", "I remember a wonderful moment", "Lark" and others.
His first opera based on a historical plot, A Life for the Tsar (Ivan Susanin).
From this opera came a branch of Russian historical opera (it became a model of this genre). Glinka's second opera was written on the plot of A. S. Pushkin's fairy tale "Ruslan and Lyudmila". She laid the foundation for the Russian fairy tale opera.
In addition, "All Russian symphonic music is contained in Glinka's Kamarinskaya, like an oak tree in an acorn." - wrote P.I. Tchaikovsky. It really is. In addition to "Kamarinskaya" Glinka wrote two overtures on Spanish themes "Jota of Aragon" and "Night in Madrid", and his "Waltz-Fantasy" is an example of beautiful lyrics in instrumental music.
Summing up everything that was created before him by Russian composers, Glinka raised Russian music to a qualitatively new level and achieved recognition of Russian music at the world level.

Alexander Sergeevich Dargomyzhsky (1813 - 1869)
A follower and younger contemporary of Glinka, he entered the history of Russian musical culture as the creator of socially accusatory works. Among them is an opera based on the plot of the tragedy of the same name by Pushkin "Mermaid", where the composer conveyed the tragedy of a simple peasant girl Natasha, abandoned by the prince, the grief of her father. Another opera is based on the text of Pushkin's little tragedy The Stone Guest. This is also a socio-psychological drama. In his operas, Dargomyzhsky introduced a new principle of end-to-end musical development. It consisted in the fact that musical numbers: arias, arioso, duets, choirs - smoothly and without stopping turn into recitative and vice versa, and the orchestral part often finishes what is not expressed in words.
Dargomyzhsky author of about 100 romances and songs. Among them are very popular: "I'm sad", "Old corporal", "Titular adviser", "Worm" and others.
In his music, Dargomyzhsky relied on the folk song, but at the same time on the intonation of living human speech. “I want the sound to directly express the word. I want the truth! - this is the creative credo of Dargomyzhsky.

In the second half of the 19th century, the rise of national art began in Russia - literature, painting, music. At this time, a circle of like-minded musicians arose, called by the famous music critic Stasov "The Mighty Handful". It is also called the Great Russian Five or the New Russian School.
The circle included 5 composers.
Its leader was Mily Alekseevich Balakirev (1837-1910) - a bright figure, musical talent. His merit is that he collected and processed Russian folk songs. Balakirev created not very many works. The most interesting of them is the fantasy "Islamey", 8
Russian folk songs arranged for piano, about 50 romances.

Alexander Porfiryevich Borodin (1833-1887)

- an outstanding scientist, chemist, teacher, composer. The author of the opera "Prince Igor" based on the historical plot of the ancient Russian chronicle "The Tale of Igor's Campaign", the symphonic picture "In Central Asia", wonderful 2 quartets, 3 symphonies (the most famous 2nd one is called "Bogatyrskaya") and 18 romances. The composer embodied in his work the epic epic of the Russian people, and also illuminated the world of East Asia, with its beautiful melodies.

Modest Petrovich Mussorgsky (1839-1881) is a composer-tribune who reflected the life and history of the blond people. His operas "Boris Godunov", "Khovanshchina" monumental folk musical dramas are the pinnacle of his work; the musical comedy based on Gogol "Sorochinsky Fair" reveals vivid vivid images of ordinary people; the cycle "Pictures at an Exhibition", the cycles of songs "Children's", "Songs and Dances of Death", romances are included in the repertoire of world theaters.

Caesar Antonovich Cui (1835-1918) - composer and music critic, author of opera fairy tales "Little Red Riding Hood", "Puss in Boots", "Ivanushka the Fool", romances, songs, small piano pieces. His works are not as significant as the works of other composers of the Mighty Handful, but he also contributed to the treasury of Russian music.

What united all the composers of the "Mighty Handful" was that they were reverent about Russian folk songs, sought to enrich Russian classical music, to elevate it on a global scale. All of them are followers of the great Russian classical composers M.I. Glinka and A.S. Dargomyzhsky.

References:
Bazhenova L., Nekrasova L., Kurchan N., Rubinshtein I., "World artistic culture of the twentieth century: Cinema, theater, music" ed. Peter 2008
Gorbacheva E. "Popular History of Music" ed. "Veche" 2002
Mikheeva L. "Musical Dictionary in Stories" ed. Moscow, "Soviet Composer" 1984
Privalov S. “Foreign musical literature. The era of romanticism»
publisher "Composer" 2003
5. Prokhorova, I., Skudina, G. "Musical literature of the Soviet period"
publisher "Music" 2003
6. Prokhorova, I. "Musical Literature of Foreign Countries"
publisher "Music" 2003

7. Smirnova E. "Russian musical literature" publ. "Music" 2001
8. Encyclopedia for children. Volume 7. Art. Part 3. Music. Theater. Cinema Publishing House. CJSC "House of Books, Avanta +" 2000

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