Musical texture and its types (23). Topic: Texture

A musical idea can be expressed in various ways. Music, like a fabric, is made up of various components, such as a melody, accompanying voices, sustained sounds, etc. This entire complex of means is called texture.
Texture is a way of presenting musical fabric.
In artistic practice, texture varies in density. It depends on the number of voices composing it (from one to several dozen).
Often the word invoice is replaced with the word warehouse, which is similar in meaning. Currently, two main types of texture are known: homophony and polyphony. Mixed
the type appears when the first two interact.

Monody (unison) (from the Greek “mono” - one) is the oldest single-voice texture, which is a single-voice melody, or the carrying out of a melody by several voices in unison, or in octave doubling.

Heterophony- also an ancient type of texture (it originated in the 9th century).

Homophony- (from the Greek “homo” - person, “von” - sound, voice). Homophony or homophonic-harmonic texture is the same thing.

Homophonic-harmonic texture consists of melody and accompaniment. It established itself in the music of the Viennese classics (second half of the 18th century)
centuries) and is the most common texture to this day.

Chord texture- represents a chord presentation without a pronounced melody. Examples include church chants - chorales
(quite often this texture is called choral), it includes instrumental and choral works of a chord type.

Polyphony(from the Greek “poly” - many and “background” - sound, voice) - more ancient than homophonic, it flourished in the Baroque era (XVII century -
first half of the 18th century). This is a type of polyphony in which two or more voices have independent melodic meaning (“equality” of all voices).
V).

Polyphonic texture There are three varieties: contrasting, imitation, subvocal.

Contrasting (multi-dark) polyphony o formed if the themes (melodies) in the polyphony are different and contrasting.

Imitation (from Latin - imitation)- is formed in that case. When polyphonic melodies are the same or similar, they interact with a time shift. Imitation polyphony reached its peak in the works of J. S. Bach.

Heterophony- also an ancient type of texture (it arose in the 9th century), and is the most primitive type of polyphony. In it, the voices move parallel to each other (ribbon movement - fourths, fifths, thirds, sixths).

Mixed texture- arose as a result of the interaction of textures of different types; it can be polyphonic-harmonic, heterophonic-harmonic

Texture in music

(from Latin facere - to do) - the manner of technical and artistic work in musical presentation by composers, for example. F., or work, contrapuntal - in a composition distinguished by the independence and relief of each voice; F. harmonic - in which the chord sound combination predominates.

Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron. - S.-Pb.: Brockhaus-Efron. 1890-1907 .

See what “Texture in music” is in other dictionaries:

The Latin word “facturo” means processing, making, and figuratively device. Perhaps this last word best defines what texture is in music. This is the warehouse itself, the structure of the musical fabric, the totality of its elements... Musical dictionary

- (lat. factura doing, creation). 1) a detailed list of the goods sold with prices indicated; invoice or invoice. 2) plan, processing of parts of a musical work. 3) among the French: register in organs. Dictionary of foreign words included in... ... Dictionary of foreign words of the Russian language

- (from Latin factura processing) ..1) in music, the specific sound appearance of a work. Components of texture: timbre, register position, voice guidance, etc.2)] In the visual arts, the nature of the surface of a work... Big Encyclopedic Dictionary

FACTURA, textures, women. (lat. factura work). 1. units only The originality of artistic technique in poetry, music, painting or sculpture (art.). It is very difficult to imitate the texture of Pushkin’s verse. 2. Conveying inventory of the person sent... ... Ushakov's Explanatory Dictionary

- (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 device, addition; English texture, texture,… ... Music Encyclopedia

texture- y, w. 1) only units. The originality of artistic technique in works of art. The texture of the picture. The texture of the symphony. [Lomonosov] was the first to establish the texture of verse, to introduce into Russian poetry meters characteristic of the spirit of the language (Belinsky). 2) only food... Popular dictionary of the Russian language

- (from Latin factūra processing, structure) the nature of the surface of a work of art, its processing in the fine arts, the originality of artistic technique in poetry, music, painting or sculpture. Also under the texture... ... Wikipedia

Y; and. [from lat. factura processing, structure] 1. Nature of processing, structure of which l. material that determines its appearance. Smooth, fleecy f. fabrics. Interesting f. tree. F. glass, granite. Reproduce the texture of marble. Process... ... encyclopedic Dictionary

- (from Latin factura - processing, structure) in the fine arts, the nature of the surface of a work of art, its processing. In painting, f. - the nature of the paint layer: for example, “open” f. (broad stroke, uneven layer of paint) ... Great Soviet Encyclopedia

This term has other meanings, see Warehouse (meanings). Warehouse (German: Tonsatz, French: écriture, English: texture) in music, the principle of adding voices and/or harmonies, referred to according to their musically logical and technical compositional function.... ... Wikipedia

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

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

Without texture, none of them can exist. There may be no harmony, no melody, but never texture.

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

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

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

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

For example, blues and rock and roll have the same harmonic basis, but the type of texture (as well as the choice of instruments) is different.

Among musicians they usually talk about the density and sparseness of texture, but this relates more to the field of instrumentation, while texture has the following types and subtypes:

1. Monody- the oldest type of single-voice.

The music of Ancient Greece, Ancient Rome, 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 laudas, Spanish and Portuguese cantigas, monophonic conductions, all regional forms of eastern maqamat (Azerbaijani mugham, Persian dastgah, Arabic maqam, etc.).

Monody should not be confused with a monophonic modern melody, since these are two completely different textures. As a rule, non-monody melodies imply harmonization and may contain elements of hidden polyphony. Monody appeared long before the birth of polyphony.

Example of monody

2. Organum
The earliest form of polyphony. Polyphony begins with the development of the organum. This genre gave rise to the rules of voice guidance, rhythmic notation, and much more.

Organum types:

• parallel (the main, given voice is duplicated into one perfect consonance: octave, fifth, fourth);
• free (the organ voice, according to its textural function, is independent of the main voice, it is added to it homorhythmically, using the “note-against-note” technique);
• melismatic (for one sound of the main voice there are several sounds of the second voice); the lower (by tessitura) sustained tone of such an organum is called bordunus (bourdon);
• metered (the main voice, sustained for long durations, is harmonized by two or three others, composed in the technique of rhythmic modes).

The presentation is typical for folk music. A special type of polyphony in which, in addition to the main (leading) voice, there is one or more subordinate (sub-voices).
Subvocal:

Heterophonic texture has become widespread in modern music in the form of a technique for superimposing voices without aligning them with each other, which makes it possible to create dissonant sound not according to the principles of harmony, but according to the principles of heterophony. To do this, the echo can, for example, while maintaining the rhythm, play a completely opposite melody, or duplicate it into a seventh, etc.
An example of modern heterophony:

4. - a combination of individual voices, equal or subordinate. In polyphony, the main importance is horizontal movement, not vertical, as well as individualization and independence of voices.

Divided into two important types:

• Imitation

Imitation is the carrying out of a theme in different voices. Can be accurate or inaccurate (in magnification, handling, etc.). The highest form of development of imitative polyphony is the fugue.

• Non-imitation (contrast).

To create contrasting polyphony, different melodies are used, dissimilar, often opposite (example: International and Chizhik-Pyzhik can be superimposed on each other).

5. Homophonic-harmonic structure

It implies the presence of a melody and subordinate voices (harmony) expressed in the form. The texture consists of three layers:

• melody
• harmony

6. Homophonic-polyphonic warehouse

A combination of homophonic-harmonic structure and polyphony, which is regulated by the rules of harmony. Homophonic-polyphonic presentation is characterized by polymelody. This is one of the most common types of texture in modern music, since it combines several basic ones and allows you to realize large-scale and complex ideas.
Example.

The simulation is marked with a parenthesis.

7. Polyphony of layers

A type of polyphony in which it is not individual voices that counterpoint, but complexes of textures (for example, one orchestra plays different material together with another). Initially, this type of texture appeared in opera, but later spread to instrumental music and developed into another type of texture.

A polyphonic texture that includes more voices than our perception, which tries to follow the line of each voice, can comprehend. The number of voices is from 10 to 80. When 20-80 voices sound, any polyphony loses its individuality, and the sound turns into one big sound spot.
Example: Ligeti Atmospheres

9. Pointillism
It is a texture scattered into sound points; as a rule, one instrument plays one (or several but not more than a motive) note. Characterized by the absence of figurations, duplications, backgrounds, and decorative elements. Wide leaps are often used; in vocal music, division into syllables is used.

In modern literature, along with the concept of “texture”, the related concepts of “musical fabric”, “presentation”, and “warehouse” are used. At the same time, warehouse is usually understood as a composer’s way of thinking, which is reflected in the peculiarities of the presentation of musical material and the choice of one or another type of texture. Texture is usually associated with the coordination correlation of the components of the musical fabric, their functional interaction, and the internal functional structure of musical presentation.

The most complete definition, in which texture appears as a category of musical and sound space, was given by V. Nazaikinsky: “ Texture – this is a three-dimensional musical-spatial configuration of the sound fabric, differentiating and combining vertically, horizontally and depthly the entire set of components"[italics mine. – M.Ch . ].

The vertical parameter of the texture is determined by the pitch relationships and the distribution of sounds in space. For example, the opening chord in L. Beethoven’s “Pathétique Sonata” gives a close arrangement of the chord, which is associated with something oppressive and heavy.

Accompanied by Nocturne op. 27 No. 2 Des-dur by F. Chopin, the effect is exactly the opposite: the removal of chord sounds in a figurative movement and in a wide arrangement introduces a feeling of air, spatial volume.

The horizontal coordinate determines the life of the texture formula in time, its variation, which can be either the same type or contrasting, continuous or discrete, and also determines the episodic life of individual texture complexes.

The depth coordinate is associated with the relationship between figure and background, it determines the division in depth, creates perspective in sound, sound plans. An interesting example of the figurative use of a deep parameter is given by the beginning of S. Prokofiev’s cantata “Alexander Nevsky”:

Example 10:

The sparse, empty sound of orchestral instruments is associated with the picture of endless frozen space. Such an expressive effect is created to a large extent by means of presentation. In the example there are only three voices that differ in pitch. Their dispersed tessitura-register distribution is noteworthy: the outer voices are located at a distance of four octaves, and the doubling interval of the melody is an octave, the sounds of which are maximally fused and, as a result, sound empty, creating a feeling of empty space.

Texture has many varieties, which are associated with differences in mindsets. Musical science distinguishes the following varieties:

1. Monodic texture. It existed until the 9th century in Europe and until the 17th century in Russia. In eastern music, the monodic structure remains leading today, which is what caused the development of the monodic texture.

· Organum type texture.

· Polyphonic texture:

a) heterophony - ancient types of folk polyphony and the refraction of heterophony in the twentieth century, starting with the strata of Stravinsky;

c) contrapuntal;

d) imitative-contrapuntal;

e) complementary sonorous polyphony, superpolyphony;

e) rhythmic polyphony.

· Chord-harmonic texture.

· Homophonic texture with various types of figurative content.

· Homophony involving duplications.

· Polyphony of layers.

· Pointillistic texture and aleatorics.

· Texture complexes of electronic music that are not recorded by recording.

In practice, one often encounters a mixed type of texture, in which the voices of the musical fabric perform both polyphonic and homophonic functions. So, along with the melody, an echo, counterpoint, imitating a voice, as well as bass, harmonic voices, which is typical for the plays of P. Tchaikovsky and S. Rachmaninov, can be placed here.

The development of texture in a musical work is determined by its intonation content. A small form, expressing a single state, is often based on one texture type. If there is contrast, then the form contains several texture types. The formative properties of musical texture are manifested in its shifts and changes in the details of presentation. Changes in the details of the presentation dissect the fabric of the musical work and highlight the most important moments of development (cadences, climaxes).

The texture lives in time, it develops internally. If the texture formula is repeated exactly or varied, then this is an initiative formula, which is usually called textured cell. The presence of a textured cell gives rise to textured stereotypes of waltz, tango, folklore samples, etc. From a texture cell, texture grows in different ways. Built on the principle of texture cell germination monothematism.

If during the development of the form there is a change in the type of texture, then this is usually due to texture modulation. It can occur as a comparison or transition. The transition technique is always individual. In the case of transition, the old stereotype is destroyed and the prerequisites for a new one are born. For example, in the opening bars of L. Beethoven's piano sonata No. 18 there is a transition from choral-harmonic presentation to homophonic-harmonic.

Example 11:

In the music of the twentieth century, the concept of a textured cell became more acute, and the concepts textured contrast, texture transition, textured reprise, microvariance, long time duration.

Elements of textured technique acquire independence and come to the fore where sonority, electronic effects, and pointillistic, aleatory, and serial methods of intonation design dominate.

Tasks:

1. Determine the type of texture in the following works: G. Purcell. "New Ground"; I.S. Bach. Inventions C-dur, a-moll; A. Lyadov Prelude h-moll; G. Sviridov. Album of plays for children. "Stubborn." "Guy with an accordion"; P. Tchaikovsky. Children's album. “The Organ Grinder Sings”; S. Rachmaninov. Prelude cis-minor.

2. Find two examples each with polyphonic, homophonic and mixed texture.

3. Name three texture coordinates that are commonly used in analysis and illustrate them with examples.

Shader space

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

Musical material:

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

Description of activities:

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

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

It has many varieties. The main ones:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Questions and tasks:

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

Presentation

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