What musical genres use textured space? Transition to bright style

Reading the next issue of a glossy magazine, there is a high probability that you will come across tips on how to properly plan your purchases when visiting stores. Among other valuable recommendations from professional stylists that you need to go with a pre-compiled list of necessary things, that you don’t need to be afraid of salespeople, that it is advisable to try on things in what you are going to wear them with, you can also find such valuable advice as selecting things that are compatible texture. Everyone has heard about this more than once, but not every one of us can clearly explain what the texture of fabric is and what it should be combined with.

So, the texture of a fabric is the structure of its surface, which affects the relief, pattern of the front surface, shine, i.e. on appearance fabrics and properties. According to the degree of expressiveness of the texture, fabrics can be divided into fabrics with a rich texture (textured) and fabrics with a poor texture (non-textured). The elements of texture that create the beauty of fabrics are: stripes (longitudinal, transverse, oblique); corrugation and cloque effects; grain; fleecy surface; weaving patterns, figured reliefs created by embossed threads; permanent embossing reliefs. Based on their texture, fabrics are distinguished: with open, closed and semi-closed weaving patterns. And to put it in very simple terms, the texture of the fabric is the appearance of the fabric. That is, how smooth or rough it seems to you, embossed, soft or hard, shiny or matte, transparent or opaque, etc.

Types of fabric texture

Soft fabrics drape well, fall in beautiful folds and folds, forming beautiful rounded lines. Such fabrics are good for all types of female figures, as they give softness to plump ones, and hide the angularity of thin ones. These include crepes, crepe de chine, chiffon, silk, satin, etc.

Rigid fabrics give the effect of angular lines and clear folds on the product. Suitable for clothes of strict shapes. They should be worn by petite and fragile women. This group of fabrics includes taffeta, moire, brocade, corduroy, denim, etc.

Transparent fabrics- chiffon, crepe georgette, marquisette, etc. - are often used for finishing products in the form of inserts and various details. These fabrics can most often be found in styles with small gathers, folds, draperies and full skirts. They are spectacular on young women and girls with a thin, graceful figure. They are able to make the ensemble lighter and airier, thereby significantly “lightening” the silhouette. Not suitable for the overweight, elderly and women with a pronounced athletic figure.

Matte fabrics are good for all body types. They absorb light and make you look slimmer. Take a closer look at the varieties of crepe. It perfectly emphasizes the slim figure.

Shiny fabrics - crepe-satin, satin, varieties of silk, etc. - are not recommended for the elderly and overweight women. Such fabrics reflect light, and therefore have the opposite effect of matte fabrics, revealing minor imperfections in the figure. A shiny and embossed surface is often called a fantasy texture. Such fabrics, focusing light on their surface, make the owner of this outfit the center of attention. Fabrics with a relief and shiny texture include fabrics containing lurex, trimmed with beads, bugles, sequins, etc., as well as brocade, taffeta, etc.

For asthenic body types and fairly thin facial features, finely woven fabrics such as silk, chiffon, lace, etc. are suitable. You should not choose products made from massive and heavy fabrics. It will be very decorated with thin decorative stitching along the edges, small buttons, and fine trimmings.

A wide bone structure and large facial features suggest a choice of clothing from “heavier” fabrics: thick silk and satin, knitwear, suede, leather. Finishing and details must correspond to the characteristics of the figure: than larger figure, the more massive the decorations and accessories should be.

The texture of the fabric is of great importance in the visual perception of the volume and heaviness of the product. For example, rough and embossed textures increase visual volume and heaviness, while a smooth texture, on the contrary, gives clothes lightness and visually reduces volume.

Combination of fabric textures in clothes

So what does the notorious “texture compatibility of fabrics” mean? Due to the fact that the texture of the material is affected by literally everything that happened to it during the production process, compatibility can be very different and varied. You can talk about what transparent fabrics are compatible with, or soft draping fabrics, or matte and heavy, or shiny and airy. And many, many more similar variations on a given theme. This suggests that there is no correct, someone-established compatibility of things in terms of texture. There are only general trends, developed over the years and generally accepted sketches, subject to only one law - the law of harmony, when the texture of each of the combined fabrics should reveal and emphasize the external qualities of the other. Let's take a closer look at some combinations of textures of various fabrics in the wardrobe.

The beauty of the texture of dense matte crepes and veils is more pronounced when combined with shiny fabrics such as satin, crepe-satin, lacquer:

The deep color of velvet in combination with matte taffeta fabric, moire, rep, is enhanced and wins:

Bouclé goes well with black shiny varnish or smooth fur:

Suede goes well with knitwear, tweed and even fine wool!:

Let's consider transparent fabrics. You can combine thick and transparent (wool, jersey and chiffon). Another option: applying a transparent mesh to the main fabric.

Fabrics of other textures are also used to enhance the effect of structural lines: waist, armholes, neckline, hips. This is mainly achieved by using contrasting fabric or braid.

Introduction

Distinctive feature musical culture During the Renaissance, there was a rapid, rapid development of secular art, expressed in the widespread dissemination of numerous song forms in the 15th and 16th centuries - French chansons, Spanish villancicos. Italian frottolas, villanelles, English and German polyphonic songs, as well as madrigals. Their appearance met the vital needs of the time, those progressive trends in the field of ideology, philosophy, and culture that were associated with the intensively established advanced principles of humanism. Fine arts, architecture, and literature reached unprecedented prosperity. During the Renaissance, instrumental music developed widely. The Renaissance ends with the emergence of new musical genres - solo song, cantata, oratorio, opera, which contributed to the gradual establishment of a homophonic style.

musical instrumental texture song

The concept of "Musical texture"

Let's look at what texture is. Texture is a form of presentation of musical material, which also manifests itself in statics (for example, this or that arrangement of a chord). Texture, being the internal content side of a work, refers to musical form, which in a broad general aesthetic sense should be understood as an artistically organized embodiment of ideological and figurative content in specific musical means. But the concept of musical form also has a more special meaning as the very organization of musical material in the process of its development, in other words, the formation that led to one or another structure of the whole and its component parts. In this aspect of musical form, texture is also conditionally isolated as an area in which not the process of development of musical material (in the corresponding structures) is considered, but the expressive means themselves, in their interaction, interpenetration, totality and unity.

IN musical movement the texture can be generally preserved, maintained in the same or partially changed form. In other cases it receives a certain development. So, when repeating or conducting the same thing again thematic material the very change in texture updates the musical image, and therefore creates its rethinking and development in relation to the previous one (which is especially characteristic of the so-called textural variations). The texture can change significantly in continuous or intermittent musical movement, including new techniques of presentation, or be contrastedly replaced by a completely different texture. Whatever the textural development, it should not, however, be identified with the process of formation as such. At the same time, the areas differentiated in this way - texture and formation - are generally subordinate to the musical form in its broad general aesthetic meaning indicated above. It follows that the texture is always an important component artistic content of the work, as a means of embodying the musical image.

Components of musical texture. The means of expressiveness in music are very diverse. These include melody, harmony, rhythm, tempo, timbre, dynamic shades, articulation, strokes, agogics, etc. In their combination and unity, they create one or another artistic imagery or give it different shades. The fundamental compositional role is played by melody, harmony and rhythm. In the process of development of musical form, they serve as shaping factors; in the structure of the sound fabric they are the main structural components musical texture. They are inextricably interconnected in the artistic content of a musical work and can be considered as independent specific areas in one or another scientific aspect. Melodics certainly includes rhythm, as the organizing principle of any movement. Outside of rhythm, it represents only an abstracted melodic line and as such can only be considered as a pattern of rectilinear or flexible (wavy) movement. Such consideration may also be necessary, but essentially the rhythmic melody serves as an expressive means. Melodic development contains any intervals, but main role the second connection of sounds plays, which, as we will see later, has significant significance in melodic figuration. The concept of harmony in the broad (modern) sense includes any simultaneous combinations (like a vertical sound fabric), even consisting of two different sounds, that is, the so-called harmonic intervals. In a narrower, special sense, harmony means such consonances that are organized vertically (consistency of sounds), and in this respect it is contrasted with the concept of disharmony. At more sounds, the concept of a chord is introduced, which refers to various kinds of consonances, both consonant and dissonant, but subject to special laws and which have acquired fundamental organizational and harmonic significance in musical art. The essence of any chord is that it is a representative of the mode-harmonic system musical thinking. As such, it serves as an organizing force of harmony, not only in its sound, but also in its modal orientation, that is, it performs one or another function with more or less certainty. Rhythm, as an organizing factor of any intermittent movement (the alternation of sounds, both musical with a certain pitch and non-musical), acts in music in many cases independently, sometimes acquiring dominant significance (for example, on percussion instruments). But in direct connection with melody and harmony, it usually serves as an accompanying component. The rhythmic organization of sounds is based on combining them into groups that form one or another system of reference in time. This system is a meter, which is a kind of outline, on the basis of which one or another rhythmic pattern of melodic and harmonic movement is formed. This pattern can be simple and coincide with the metric grid (canvas), but more often it is free, and sometimes very complex. Meter and rhythmic pattern can be considered separately in conditional aspects. The relationship between both is emphasized by the name metrhythm, but we will resort to the general concept of rhythm, which includes both sides of the organization of sounds. At a slow tempo, the sounds are combined in twos (strong - weak), at a faster tempo - in fours, with greater acceleration - in eights; This tendency towards rhythmic squareness in perception itself is important in music. Eight-sound unification is the limit. As it turned out, texture is a synthesis of the main components (sometimes very complex), and in order to understand their role and relationships, it is necessary to consider it from different points of view, in certain conditional aspects. In this case, we must proceed from a general idea of the main types of texture - musical warehouses, their mixing, interpenetration.

lat. factura - manufacturing, processing, structure, from facio - I do, carry out, form; German Faktur, Satz - warehouse, Satzweise, Schreibweise - style of writing; French texture, structure, conformation - device, addition; English texture, texture, structure, build-up; Italian strutture

In a broad sense, it is one of the aspects of musical form, included in the aesthetic and philosophical concept of musical form in unity with all means of expressiveness; in a narrower and more commonly used sense - the specific design of the musical fabric, musical presentation.

The term "texture" is revealed in connection with the concept of "musical warehouse". Monodic. the warehouse assumes only a “horizontal dimension” without any vertical relationships. In strictly unison monodic. samples (Gregorian chant, Znamenny chant) single-headed. music fabric and f. are identical. Rich monodic. F. distinguishes, for example, Eastern music. peoples who did not know polyphony: in Uzbek. and Taj. makome singing is duplicated by the instrument. ensemble with the participation of percussionists performing usul. Monodic. composition and f. easily transform into a phenomenon intermediate between monody and polyphony - into heterophonic presentation, where unison singing becomes more complex during the performance process. melodic and textural options.

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

J. S. Bach. Fugue in D major from Volume 1 of The Well-Tempered Clavier (bars 23-27).

For polyphonic F. is characterized by unity of pattern, absence of sharp contrasts in sonority, and a constant number of voices. One of the remarkable properties of polyphonic. P. - fluidity; polyphony. F. distinguishes constant update, the absence of literal repetitions while maintaining the full thematic. unity. Defining value for polyphonic. F. has a rhythmic and thematic vote ratio. With equal durations in all voices, a choral rhythm appears. This rhythm is not identical to the chord-harmonic one, since the movement here is determined by the development of melodic elements. lines in each of the voices, rather than functional harmonious relationships. verticals, for example:

F. d" Ana. Excerpt from the motet.

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

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

Most often the term "F." applied to harmonic music. warehouse In the immeasurable variety of types of harmonious. The first and simplest is its division into homophonic-harmonic and actually chordal (the latter is considered as a special case of homophonic-harmonic). Chord F. is monorhythmic: all voices are presented with sounds of the same duration (the beginning of the fantasy overture “Romeo and Juliet” by Tchaikovsky). In homophonic-harmonic F. drawings of the melody, bass and complementary voices are clearly separated (the beginning of Chopin's nocturne in C minor). The following basic types are distinguished: types of presentation harmonious. consonances (Tyulin, 1976, chapters 3rd, 4th): a) harmonious. figuration of the chord-figurative type, representing one or another form of alternate presentation of chord sounds (prelude in C major from the 1st volume of Bach's Well-Tempered Clavier); b) rhythmic. figuration - repetition of a sound or chord (poem D major op. 32 No. 2 by Scriabin); c) decomposition duplications, e.g. per octave at orc. presentation (minuet from Mozart’s g-moll symphony) or long doubling into third, sixth, etc., forming a “ribbon movement” (“Musical Moment” op. 16 No. 3 by Rachmaninov); d) various types of melodies. figurations, the essence of which is to introduce melodiousness. movement in harmonious voices - complication of chord figuration by passing and auxiliary. sounds (Etude in c-moll op. 10 No. 12 by Chopin), melodization (choral and orc. presentation of the main theme at the beginning of the 4th picture “Sadko” by Rimsky-Korsakov) and polyphonization of voices (introduction to “Lohengrin” by Wagner), melodic-rhythmic "revival" org. point (4th painting "Sadko", number 151). The given systematization of types of harmonics. F. is the most common. In music there are many specific textural techniques, the appearance of which and methods of use are determined stylistically. the norms of this musical-historical eras; therefore, the history of f. is inseparable from the history of harmony, orchestration (more broadly, instrumentalism), and performance.

Harmonic warehouse and f. originate in polyphony; for example, Palestrina, who perfectly sensed the beauty of sobriety, could use the figuration of emerging chords over many bars with the help of complex polyphonic (canons) and the choir itself. means (crossing, doubling), admiring the harmony, like a jeweler with a stone (Kyrie from the Mass of Pope Marcello, bars 9-11, 12-15 - quintuple counterpoint). For a long time in instr. prod. composers of the 17th century dependence on chorus The style of strict writing was obvious (for example, in the organizational work of J. Sweelink), and composers were content with relatively simple techniques and designs of mixed harmonics. and polyphonic F. (eg G. Frescobaldi). Expressive role F. intensifies in production. 2nd floor 17th century (in particular, spatial-textural comparisons of solo and tutti in the work by A. Corelli). The music of J. S. Bach is marked by the highest development of F. (chaconne in d-moll for solo violin, “Goldberg Variations”, “Brandenburg Concertos”), and in some virtuoso op. (“Chromatic Fantasy and Fugue”; Fantasy in G major for organ, BWV 572) Bach makes textural discoveries that were later widely used by the Romantics. The music of the Viennese classics is characterized by clarity of harmony and, accordingly, clarity of textured patterns. Composers used relatively simple textural means and were based on general forms movements (for example, figures such as a passage or arpeggio), which did not conflict with the attitude towards F. as a thematically significant element (see, for example, the middle in the 4th variation from the 1st movement of sonata No 11 A-dur Mozart, K.-V. 331); in the presentation and development of themes from the Allegri sonatas, motivic development occurs in parallel with textural development (for example, in the main and connecting parts of the 1st movement of Beethoven’s sonata No. 1). In the music of the 19th century, primarily among Romantic composers, there is an exception. variety of types of F. - sometimes lush and multi-layered, sometimes homely, sometimes fantastically whimsical; strong textural and stylistic differences arise even in the work of one master (cf. the diverse and powerful pianoforte of the H-moll sonata for piano and the impressionistically exquisite drawing of the pianoforte of Liszt’s play “Grey Clouds”). One of the most important trends in music of the 19th century. - individualization of textured patterns: the interest in the extraordinary and unique, characteristic of the art of romanticism, made it natural to reject standard figures in F. Special ways of multi-octave highlighting of a melody were found (Liszt); The musicians found opportunities for updating the fresco primarily in the melodization of broad harmonics. figurations (including in such unusual shape like in the FP finale. Chopin's B-moll sonata), which sometimes turned almost into a polyphonic one. presentation (the theme of the side part in the exposition of the 1st ballad for f. Chopin). Textural diversity maintained the listener's interest in the wok. and instr. cycles of miniatures, it to a certain extent stimulated the composition of music in genres directly dependent on F. - etudes, variations, rhapsodies. On the other hand, there was a polyphonization of F. in general (the finale of Frank’s violin sonata) and harmonics. figurations in particular (8-chapter canon in the introduction to Wagner's Das Rheingold). Rus. musicians discovered a source of new sonorities in Eastern textural techniques. music (see, in particular, “Islamey” by Balakirev). Some of the most important. achievements of the 19th century in the field of F. - strengthening its motivic richness, thematic. concentration (R. Wagner, J. Brahms): in some op. in fact, there is not a single bar that is not thematic. material (for example, symphony in C minor, Taneyev’s quintet, late operas by Rimsky-Korsakov). The extreme point in the development of individualized f. was the emergence of P.-harmony and F.-timbre. The essence of this phenomenon is that when defined. conditions, harmony, as it were, turns into f., expressiveness is determined not so much by the sound composition as by the picturesque arrangement: the correlation of the “floors” of the chord with each other, with the registers of the piano, with the orchestra takes precedence. in groups; What is more important is not the pitch, but the textural content of the chord, i.e. how it is played. Examples of F.-harmony are contained in Op. M. P. Mussorgsky (for example, “Clock with Chimes” from the 2nd act of the opera “Boris Godunov”). But in general, this phenomenon is more typical for music of the 20th century: F.-harmony is often found in production. A. N. Scriabin (beginning of the reprise of the 1st movement of the 4th fp. sonata; the culmination of the 7th fp. sonata; the last chord of the fn. poem “To the Flame”), C. Debussy, S. V. Rachmaninov. In other cases, the fusion of f. and harmony determines the timbre (fn. play "Scarbo" by Ravel), which is especially clearly manifested in the orc. the technique of “combining similar figures”, when sound arises from the combination of rhythmic. variations of one textured figure (a technique that has been known for a long time, but received brilliant development in the scores of I. F. Stravinsky; see the beginning of the ballet “Petrushka”).

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

Emergence in new music of the 20th century. non-traditional composition, not related to either harmonic or polyphonic, determines the corresponding varieties of F.: the following fragment of the production. shows the fragmentation and incoherence of the f. characteristic of this music - register stratification (independence), dynamic. and articulation. differentiation:

P. Boulez. Piano Sonata No. 1, beginning of the 1st movement.

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

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

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

Literature: Sposobin I., Evseev S., Dubovsky I., Practical course of harmony, part 2, M., 1935; Skrebkov S.S., Textbook of polyphony, parts 1-2, M.-L., 1951, 1965; his, Analysis of musical works, M., 1958; Milshtein Ya., F. List, part 2, M., 1956, 1971; Grigoriev S.S., About the melodics of Rimsky-Korsakov, M., 1961; Grigoriev S., Muller T., Textbook of polyphony, M., 1961, 1977; Mazel L. A., Tsukkerman V. A., Analysis of musical works, M., 1967; Shchurov V., Features of the polyphonic texture of songs in Southern Russia, in: From the history of Russian and Soviet music, M., 1971; Tsukkerman V. A., Analysis of musical works. Variational form, M., 1974; Zavgorodnyaya G., Some features of texture in the works of A. Honegger, "SM", 1975, No. 6; Shaltuper Yu., About Lutosławski’s style in the 60s, in: Problems music science, vol. 3, M., 1975; Tyulin Yu., The doctrine of musical texture and melodic figuration. Musical texture, M., 1976; Pankratov S., On the melodic basis of the texture of Scriabin’s piano works, in the collection: Questions of polyphony and analysis of musical works (Proceedings of the Gnessin State Musical-Pedagogical Institute, issue 20), M., 1976; his, Principles of textured dramaturgy of Scriabin’s piano works, ibid.; Bershadskaya T., Lectures on harmony, Leningrad, 1978; Kholopova V., Faktura, M., 1979.

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

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

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

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

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

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

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

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

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

Polyphony and its types. Complex counterpoint.

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

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

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

Polyphony is divided into types:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Counter-exposure is possible - a second exposure.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

chord classification:

by ear impression

by position in the music system

by position in key

according to the position of the fundamental tone.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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