Song genres and their varieties. Dictionary of genres, styles and directions of music

Continuing the series of articles on music theory, we would like to tell you about how genres in music were formed and developed. After this article, you will never confuse a musical genre with a musical style again.

So, first, let's look at how the concepts of “genre” and “style” differ. Genre- This is a type of work that has developed historically. It implies the form, content and purpose of music. Musical genres began their formation at an early stage in the development of music, in the structure of primitive communities. Then music accompanied every step of human activity: everyday life, work, speech, and so on. Thus, the main genre principles were formed, which we will examine further.

Style also implies the sum of materials (harmony, melody, rhythm, polyphony), the way they were used in a musical work. Typically, a style is based on a particular era or is classified by composer. In other words, style is a set of means of musical expression that determines the image and idea of ​​music. It may depend on the individuality of the composer, his worldview and tastes, and approach to music. Style also determines trends in music, such as jazz, pop, rock, folk styles, and so on.

Now let's get back to music genres. There are five main genre principles, which, as we said, originated in primitive communities:

• Motority
• Declamation
• Chanting
• Signaling
• Sound-imagery

They became the basis of all subsequent genres that appeared with the development of music.

Quite soon after the formation of the basic genre principles, genre and style began to be intertwined into a single system. Such genre-style systems were formed depending on the occasion for which the music was created. This is how genre-style systems appeared, which were used in certain ancient cults, for ancient rituals and in everyday life. The genre had a more applied nature, which shaped a certain image, style and compositional features of ancient music.

On the walls of Egyptian pyramids and in surviving ancient papyri, lines of ritual and religious hymns were found, which most often told about the ancient Egyptian gods.

It is believed that ancient music reached its highest point of development in Ancient Greece. It was in ancient Greek music that certain patterns were discovered on which its structure was based.

As society developed, so did music. New vocal and vocal-instrumental genres had already formed in medieval culture. During this era, genres such as:

• Organum is the earliest form of polyphonic music in Europe. This genre was used in churches, and flourished at the Notre Dame school in Paris.
• Opera is a musical and dramatic work.
• Chorale is liturgical Catholic or Protestant singing.
• The motet is a vocal genre that was used both in church and at secular events. His style depended on the text.
• Conduct is a medieval song, the text of which was most often spiritual and moralizing. They still cannot accurately decipher the medieval notes of the conductors, since they did not have a specific rhythm.
• Mass is a liturgical service in Catholic churches. Requiem also belongs to this genre.
• Madrigal is a short work on lyrical and love themes. This genre originated in Italy
• Chanson - this genre appeared in France, and initially choral peasant songs belonged to it.
• Pavana - a smooth dance that opened holidays in Italy
• Galliarda is a cheerful and rhythmic dance also originating from Italy.
• Allemande is a procession dance that originated in Germany.

IN XVII-XVIII Over the centuries, rural music – country – has developed quite actively in North America. The genre is heavily influenced by Irish and Scottish folk music. The lyrics of such songs often talked about love, rural life and cowboy life.

At the end of the 19th century and the beginning of the 20th century, folklore developed quite actively in Latin America and Africa. In the African American community, the blues originated, which was originally a “work song” that accompanied work in the fields. The blues is also based on ballads and religious chants. Blues formed the basis of a new genre - jazz, which is the result of a mixture of African and European cultures. Jazz has become quite widespread and universally recognized.

Based on jazz and blues, rhythm and blues (R'n'B), a song and dance genre, appeared in the late 40s. He was quite popular among young people. Subsequently, funk and soul appeared within this genre.

It is curious that along with these African-American genres, the genre of pop music appeared in the 20s of the twentieth century. The roots of this genre are in folk music, street romances and ballads. Pop music has always mixed with other genres to form some pretty interesting musical styles. In the 70s, within the framework of pop music, the “disco” style appeared, which became the most popular dance music at that time, pushing rock and roll into the background.

In the 50s, rock burst into the ranks of already existing genres, the origins of which were in blues, folk and country. It quickly gained wild popularity and grew into many different styles, mixing with other genres.

Ten years later, the reggae genre was formed in Jamaica, which became widespread in the 70s. Reggae is based on mento, a genre of Jamaican folk music.

In the 1970s, rap appeared, which was “exported” by Jamaican DJs to the Bronx. DJ Kool Herc is considered the founder of rap. Initially, rap was read for fun, to throw out one’s emotions. The basis of this genre is the beat, which sets the rhythm of the recitative.

In the second half of the 20th century, electronic music established itself as a genre. It is strange that it did not gain recognition at the beginning of the twentieth century, when the first electronic instruments appeared. This genre involves creating music using electronic musical instruments, technology and computer programs.

Genres that emerged in the 20th century have many styles. For example:

Jazz:

• New Orleans jazz
• Dixieland
• Swing
• Western swing
• Bop
• Hard bop
• Boogie-woogie
• Cool or cool jazz
• Modal or modal jazz
• Avant-garde jazz
• Soul jazz
• Free jazz
• Bossa Nova or Latin American Jazz
• Symphonic jazz
• Progressive
• Fusion or jazz rock
• Electric Jazz
• Acid jazz
• Crossover
• Smooth jazz

• Cabaret
• Minstrel show
• Music hall
• Musical
• Ragtime
• Lounge
• Classic crossover
• Psychedelic pop
• Italo disco
• Eurodisco
• High energy
• Nu-disco
• Space disco
• Ye-ye
• K-pop
• Europop
• Arabic pop music
• Russian pop music
• Rigsar
• Laika
• Latin pop music
• J-pop

• Rock and roll
• Big Bit
• Rockabilly
• psychobilly
• Neorocabilly
• Skiffle
• Doo-wop
• Twist
• Alternative rock (Indie rock/College rock)
• Math rock
• Madchester
• Grunge
• Shoegazing
• Britpop
• Noise rock
• Noise pop
• Post-grunge
• lo-fi
• Indie pop
• Twi-pop
• Art rock (Progressive rock)
• Jazz rock
• Krautrock
• Garage rock
• Freakbeat
• Glam rock
• Country rock
• Merseybeat
• Metal (Hard Rock)
• Avant-garde metal
• Alternative metal
• Black metal
• Melodic black metal
• Symphonic black metal
• True black metal
• Viking metal
• Gothic metal
• Doom metal
• Death metal
• Melodic death metal
• Metalcore
• New metal
• Power metal
• Progressive metal
• Speed ​​metal
• Stoner rock
• Thrash metal
• Folk metal
• Heavy metal
• New wave
• Russian rock
• Pub rock
• Punk rock
• Ska-punk
• Pop punk
• Crust punk
• Hardcore
• Crossover
• Riot folk
• Pop rock
• Postpunk
• Gothic rock
• No Wave
• Post-line
• Psychedelic rock
• Soft rock
• Folk rock
• Techno rock

As you can see, there are many styles. It would take a lot of time to list the full list, so we won’t do that. The main thing is that you now know how modern popular genres appeared and you will definitely no longer confuse genre and style.

The human voice is a musical instrument that each of us has from birth. This quivering mechanism, which requires special care and constant tuning, is capable of tickling all the nerve endings in the body and pushing them to the limit.

Before you find out what musical genres of vocal music exist, you should understand what vocals are in general.

Main

Vocal music has no date of origin; it is the oldest form of art. Vocals arose with the appearance of a man and quietly dozed, waiting in the wings.

The voice does not need outside support; it is capable of creating compositions on its own. But, despite the fact that everyone has a vocal apparatus, not everyone can create an “instrument” out of it. The vocalist must have certain characteristics in order to be able to take control of his voice:

• ear for music;
• sense of rhythm.

Voice abilities should be added to the list, but everyone is born with different vocal capabilities, and practice confirms that the singer is not the one who naturally received everything, but the one who, from nothing, was able to develop an amazing gift that captivates people’s hearts.

And this is indeed true. People remember simple melodies, listen to those songs that they perform, first of all, with soul. Ordinary technical voice exercises will not touch the human insides, and they will not be sung centuries later.

Genres of vocal music

Over the entire existence of people, millions and millions of compositions have been performed. Whether it's a simple song or an aria from an opera. Vocal music shimmers with its versatility, and it can be divided into two directions:

• chamber;
• concert

Chamber genre

Chamber vocal genre (from Latin camera - “room”) is music performed by a small group of performers, intended for a small audience:

• song;
• romance;
• ballad;
• barcarolle;
• serenade;
• elegy and other miniature works.

Let's look at the genres of vocal music in more detail.

Song

Song is the simplest and most common form, the basis of all foundations. It is divided into folk and author's.

The first type is classified as folklore (oral folk art); everyone could make an individual contribution to its creation. The song flowed from mouth to mouth like a stream, and was composed in its own way. A sufficient number of folk masterpieces that are immortal hits have survived to our time. One of the most popular Russian folk songs is the well-known “Kalinka”.

The name “author's song” speaks for itself. A specific composer and poet puts effort into creating it. It emerged as a genre in the middle of the 20th century. Distinctive feature: the author of the text, music and performer are one person. Priority is given to the text rather than the musical guitar accompaniment.

It is worth noting that the song belongs not only to the chamber genre, but also to the concert genre. If earlier it meant simplicity and miniature, now it is one of the main numbers of large-scale scenes.

Romance

Romance is a genre of chamber vocal music. In the Middle Ages, the term meant a poem in the "Roman" language (Spanish), which was composed to be set to music. It was a simple composition. In a romance, in addition to the text, accompaniment plays a big role. Most often, vocals are accompanied by the shimmer of guitar strings or the support of a piano. Composers A. L. Gurilev, A. A. Alyabyev, A. E. Varalmov made an invaluable contribution to the development of Russian romance as a genre of vocal and instrumental art.

In the 19th century, during the era of romanticism, romance became the leading genre of vocal music, because it was he who was able to convey in all details the inner experiences of a person, which was so characteristic of that artistic movement.

Ballad

Ballad is a musical genre that implies a narrative, a story in a poetic form. Originally it was a one-voice song with dance elements. As a lyrical genre, it has become popular since the 18th century. Worthy samples:

• “The Forest King” or “The King of the Elves” by J. W. Goethe, accompanied by music written by F. Schubert (1815), or version by Karl Leve
• R. Schumann (romances and ballads, opus 49);
• F. Liszt;
• F. Brahms;
• F. Mendelssohn (for choir "The First Walpurgis Night").

Our compatriots did not stand aside either:

• M. P. Mussorgsky ("Forgotten");
• A. G. Rubinstein ("Ballad");
• P. I. Tchaikovsky ("Kings");
• A. P. Borodin ("Sea");
• A. N. Verstovsky;
• A. E. Varlamov is a titan of the vocal genre.

Barcarolle

Originally a “song on the water”, it was performed by gondoliers in Venice. It is distinguished by a melancholic character, a minor mood and a rhythmic pattern that looks like swaying waves.

You can listen to Schubert's ballad performed by Oleg Pogudin.

Since the 18th century, the ballad has grown into a professional genre. Later it even began to be used in Italian and French opera numbers. Some composers:

• F. P. Schubert ("The Fisherman's Luck of Love");
• M. I. Glinka (“The blue ones fell asleep”);
• F. Brahms (from opus 44 for female choir).

Serenade

Anyone asked what a serenade is will answer that it’s just a song under the window. Initially, a serenade was recognized as a song that men performed for their beloved, as a rule, under her window and in the evening or at night. The genre became widespread in the Middle Ages and the Renaissance. The origins of the serenade are considered to be the song of the troubadours. Later, it began to be understood as any musical composition performed in someone’s honor. Gradually, the serenade became part of the opera, for example, Mozart's Don Giovanni, and the chamber genre. The brightest work is “Evening Serenade” by Schubert.

Among the Russian composers, serenades were written by M. I. Glinka, A. S. Dargomyzhsky, P. I. Tchaikovsky.

Elegy

Elegy translated from Greek is “funeral singing.” Originally it was a poetic and musical genre in Ancient Greece. Gained wide popularity in the era of sentimentalism and romanticism. Philosophical thoughts about disappointment, dissatisfaction and suffering in life were reflected in this work.

G. Purcell is one of the early representatives of this genre. In Russian culture there are still the same masters: Varlamov, Glinka, Alyabyev, Yakovlev, Dargomyzhsky, etc. For Russian elegy, performance in the form of a monologue with accompaniment characteristic of romances (guitar or piano sounds) is specific.

One of the striking examples is “Do not tempt me with the misfortunes of need” by Glinka. The elegy was performed by Oleg Pogudin, a currently famous chamber singer.

What other genres belong to vocal music?

Concert genre

This genre includes music intended, as a rule, for one or more solo musical instruments with an orchestra. It originated in Italy in the 16th-17th centuries as a polyphonic vocal work for church choirs. This genre includes:

• vocalization;
• cantata;
• opera;
• oratorio;
• rhapsody;
• aria;
• hymn.

Vocalise

Vocalization is singing using one or more vowel sounds. Most often performed as a way to practice vocal technique.

R. M. Gliere managed to create a full-fledged work from a technical exercise, writing a concerto for voice and orchestra. In the video it is performed by opera singer Anna Netrebko.

In addition to him, the vocalise in concert performance was written:

• S. V. Rachmaninov;
• J. M. Ravel (in habanera form);
• N.K. Medtner - “Sonata-Vocalise” and “Suite-Vocalise”.

Cantata

A cantata is a large-scale work, performed by not only a soloist, but also a choir and orchestra. Initially (in the first half of the 17th century) it was placed in opposition to the sonata, an instrumental genre. It is divided into two types: spiritual (church) cantatas and secular ones.

The first Russian cantatas appeared in the 18th century thanks to P. A. Skokov. Later his work was continued by Tchaikovsky, Rimsky-Korsakov, Taneyev and others. One of the most famous cantatas is “Alexander Nevsky” by S. S. Prokofiev.

Opera

Opera is the foundation of vocal music. It is synthesized with choral, instrumental, dance and theatrical numbers and combines all aspects together.

It is believed that the distant predecessor of opera is the tragedy of Ancient Greece. It alternated between dialogues and singing (solo and choral).

In 1597, the first opera "Daphne" was written by the Italian composer Jacopo Peri.

In the 17th century, despite the fact that Italy wanted to make this genre exclusively its own, opera became popular in Russia. M. I. Glinka is considered the “father of Russian opera.” The essay “Ruslan and Lyudmila” was a breakthrough.

In the 19th century, A. Dargomyzhsky (“The Mermaid”, “The Stone Guest”), M. Mussorgsky (“Khovanshchina”, “Boris Godunov”), P. I. Tchaikovsky (“The Queen of Spades” and “Eugene Onegin”) became famous for their compositions. , N. Rimsky-Korsakov (“Sadko”, “Snow Maiden”).

The traditions of Russian opera in the 20th century were developed by many composers, including S. Rachmaninov, I. Stravinsky, D. Shostakovich, S. Prokofiev.

Oratorio

An oratorio is a fairly large composition intended for a vocalist, choir and symphony orchestra. It occupies an intermediate place between the two genres described above.

In Russia, oratorio was not used so often. One of the few works is “Minin and Pozharsky” by S. Dyagterev.

Rhapsody

Rhapsody is an unusual genre of vocal music because it is written in a free style. May consist of different parts. The genre was revived in the 19th century under the influence of romanticism, which was characterized by an interest in folklore. It was originally written for piano and resembled a fantasy on the theme of folk music. For example, the famous nineteen Rhapsodies of the Hungarian composer F. Liszt). Later she approached poems (J. Brahms), solo works for piano and orchestra (S. Rachmaninov, S. Lyapunov, D. Gershavin) and cantatas.

Aria

Aria is a vocal song that is part of major genres (opera, cantata, oratorio). The most famous can be considered Carmen's aria (Habanera). Almost everyone recognizes it from the first sounds.

Aria should be divided into 2 subspecies:

• arietta - smaller in volume and simplest in structure;
• arioso - a composition located between an aria and a recitative, more reminiscent of a conversational tune.

Hymn

The anthem is a solemn composition designed for mass perception. It plays a great role in public and state life. The melody is simple and catchy by ear. The history of hymns dates back to ancient Mesopotamia and Egypt.

The anthem of the Russian Empire was “God Save the Tsar.”

Genres of instrumental music

Chamber instrumental genres:

• variations;
• sonatas;
• suites;
• foreplay;
• musical moment;
• nocturne.

Large form:

• symphony;
• concert;
• overture;

Song is the most common type of vocal music. There are folk and author's (professional) songs. These two types of songs constantly interact: elements of folk songs are used by composers in their work, and the most popular original songs are folklorized. Songs also differ in genres, style, forms of performance, spheres of existence, etc. (everyday, lyrical and hymn, single-voice and polyphonic, solo and choral, with and without accompaniment, songs for professional singers and for mass performance, etc. .p.). In some countries the term "song" (German) Lied, French chanson, English song) also applies to .

Song lyrics usually represent a specific genre of poetry. It is distinguished by the clarity of the composition, the coincidence of syntactic and structural facets (the equality of the stanza and the complete thought, line and phrase). In Russian song poetry, the most common are tetrameter trochee and trilobed meters. Poems constructed in this way most often became popular songs, folk or original (A. S. Pushkin - “Winter Road”, A. A. Delvig - “Nightingale, My Nightingale”, Ya. P. Polonsky - “Song of the Gypsy”, N A. Nekrasov - “Oh, the box is full, the box is full...” and others).

M. Yakovlev. “Winter Evening” (poems by A. S. Pushkin)

Songs are characterized by a special type of connection between music and words. The melody of the song is a generalized, final expression of the figurative content of the text as a whole; unlike romance, it is not associated with individual poetic images or speech intonations of the text. At the same time, the melody and lyrics are similar in structure; they consist of equal (in music - and identical) constructions: stanzas or couplets (often with a refrain - chorus). The internal division of a musical stanza (verse) also corresponds to the division of a poetic stanza.

Rimbaud de Vaqueira. Estampida

The origins of the song genre go back to ancient times. In ancient art, poetry and music were not separated and existed in the form of a single art of song. The monophonic songs of troubadours, trouvères, minnesingers and meistersingers of the Middle Ages reveal the inextricable unity of word and melody. As a rule, the connection between the structure of poetic and musical stanzas, the unity of rhyme and melodic cadence are clearly perceptible in them.

Single-voice song genres also include Italian laudas, Spanish cantigas, etc. During the ars nova era in Italy and France, single-voice song forms are replaced by songs accompanied by one or more instruments. In France in the 16th century. the term “song” (chanson) began to be applied to polyphonic vocal works, sometimes of a programmatic-visual nature (“Battle” by Janequin)

During the same period, simpler forms of polyphonic song, gravitating towards a homophonic warehouse, also developed: Italian frottolas, villanelles and similar songs intended for home music playing. This tradition was continued in the Italian canzonettas of the late 16th-17th centuries, which had a great influence on the work of German, French and English composers. To the song genres of the XV-XVI centuries. include various religious and military songs: Hussite songs, Huguenot hymns, Protestant chorales, etc.

In the 2nd half of the 18th century. within the song genres, a chamber song-romance with the accompaniment of a string keyboard instrument crystallizes. Song forms occupy a prominent place in 18th-century opera. and in other musical and theatrical genres. During the period of the Great French Revolution, the genre of mass revolutionary song took shape. The songs “Marseillaise” and “Ca ira” that emerged at this time retained their significance as artistic symbols of the people’s liberation struggle.

In the 19th century In connection with the general flourishing of lyrical art forms, as well as with the growing interest in collecting and studying folklore, song genres are intensively developing, dividing into romance and the song itself (often in the folk spirit). The boundary between them is sometimes difficult to establish. The verse structure is an important, but not a decisive feature, since a romance can be verse (for example, “Do not tempt” by Glinka), but a song can be non-verse. A more accurate criterion can be the generality of the song’s melody, which can sometimes even be performed with a different text (provided the strophic structure and size are preserved). Other genre features are also important. Romance is associated mainly with the lyrical sphere of feelings; the concept of “song” includes in the 19th-20th centuries. a wide range of genre varieties (satirical, dramatic song and others). Intermediate forms of song-romance, with a predominance of song features, occupy a prominent place in the work of Russian composers of the 1st half of the 19th century. - A. A. Alyabyev, A. E. Varlamov, A. L. Gurilev and others. Classics of the 19th century - from M.I. Glinka to S.V. Rachmaninov - they left relatively few songs in the exact meaning of the word, however, songfulness as a type of melodic thinking, closely related to folklore, is very characteristic of their work. This also applies to the musical heritage of many foreign composers of the 19th century: F. Schubert, J. Brahms, J. Bizet, G. Rossini, G. Verdi.

In parallel with the work of professional composers, a song tradition developed, represented by poets who themselves created (or selected from popular songs) melodies for their songs and performed them themselves. Their works were often distinguished by their vivid journalistic quality. The songs of French chansonnier poets, from P. J. Beranger to E. Pottier, were popular far beyond the borders of France.

At the beginning of the 20th century. In a number of countries, labor is experiencing a rise, the best examples of which have acquired international significance (“International”). It served as one of the sources of Soviet mass song, which also absorbed the features of folk song, peasant and urban, Russian and Ukrainian. became one of the leading genres in Soviet musical creativity, especially during the Civil War of 1918-20, in the 30s. and during the Great Patriotic War 1941-45. She had a great influence on other genres: opera, romance, cantata, film music. Many Soviet songs became widespread abroad.

Since the 1930s the rise of the song genre is also observed in other countries; it is associated with the desire of composers to democratize creativity (G. Eisler, French composers who were part of the People's Music Federation). Great development in the 20th century. reached the pop song performed by soloists or vocal-instrumental ensembles. In the 60-70s. in a number of countries, including the USSR, the tradition of chansonniers is being revived. The social, organizing role of modern song (primarily Soviet) is clearly revealed in the international movement for peace and social progress.

A brief history of the song. LITERATURE. BIBLIOGRAPHY

Rozanov I. N. (Introductory article), in the publication: Songs of Russian Poets, M., 1936;

Livanova T.N., Essays and materials on the history of Russian musical culture, issue 1 - Fourth essay. Court, theatrical and everyday music, M., 1938;

hers, Russian poets and vocal lyrics, in the book: Ivanov G.K., Russian poetry in domestic music, M., 1966;

Asafiev B., On Russian songwriting, in the book: Selected Works, vol. 4, M., 1955;

his, Soviet music and musical culture, ibid., vol. 5, M., 1957;

Vasina-Grossman V. A., Vocal forms, M., 1960;

Kulakovsky L., Song, its language, structure, fate, M., 1962;

Keldysh Yu. V., Russian music of the 18th century, M., 1965, chapter 4 - From cant to the “Russian song”;

Nestyev I. V., On the music of oral tradition, in the book: Russian artistic culture of the late XIX - early XX centuries, book 1, M., 1968;

Sohor A. N., The Path of the Soviet Song, M., 1968;

Popova T.V., About the songs of our days, M., 1969;

Levasheva O. E., Song and romance, in the book: History of Russian music, vol. 1, M., 1972;

Erisman G., French song, M., 1974;

Artemenko E., Russian folk lyrical song, its melody, poetic structure, syntactic phenomena, Voronezh, 1976;

Tiersot J., Histoire de la chanson populaire en France, P., 1889;

Aubry P., Trouvèreset troubadours, P., 1909;

Vetter W., Wort und Weise im deutschen Kunstlied des 17. Jahrhunderts, “ZfMw”, 1928, Jahrg. 10, No. 11 – 12;

Müller-Blattau J., Das Verhältnis von Wort und Ton in der Geschichte der Musik, , 1952;

Beaufils M., Musique du son, musique du verbe, P., 1954;

Muller G., Geschichte des deutschen Liedes vom Zeitalter des Barock bis zur Gegenwart, , 1959;

Sydоw A., Das Lied. Ursprung, Wesen und Wandel, Gott., ;

Ruwet N., Language, musique, poetry, P., 1972.

Music is an integral part of most people's lives. Musical works are listened to in all corners of our planet, even in the most remote ones. Despite the enormous popularity and importance of this art direction, many people do not think about what types of art exist. styles and genres of music. This article examines the TOP 10 musical trends that have not lost their popularity to this day.

Due to the variety of different genres, many of you are wondering: What types of music are there? We tried to answer your question and organize the main styles of music into a separate list, which, according to experts, will always be popular despite many years.

1 Pop music

2 Rock

3 Hip-hop

4 RAP

5 R&B

6

7 Instrumental music

8 Folk music

9 Electro

10 Trance music

ACID HOUSE- the second generation of "house", generated by the atmosphere of Chicago. This differs from other trends in the abundance of trippy synth sounds as well as a deeper psychedelic sound. A very important factor is the almost complete absence of vocals

ACID JAZZ- a style of dance music that has become particularly popular since the early 90s. Its origins can be called “funk”, “soul” and dance traditions of the 70s, and its direct ancestor in terms of psychedelicity is ACID ROCK. From the point of view of purely musical characteristics, “acid jazz” is a vague concept. The defining factors are clear riff thinking, a combination of rational dance parts with improvisations, a rich and at the same time soft sound. Clear square structures at a tempo of anywhere from 88 to 116 bpm, a large number of live instruments combined with electronic sound effects - this is what distinguishes acid jazz from jazz, funk and dance music itself.

AMBIENT- a musical style that appeared in the 70s. The term, like the concept, was introduced by Brian Eno. The style is characterized by vagueness of any components: vague melodies, vague movement, often a complete absence of rhythm. In fact, this is not music at all in its classical sense, but a set of noises multiplied by delays and emphasized by reverberation.

AVANTGARDE - Avant-garde rock, this concept that arose in the mid-60s, absorbed everything that developed under the influence of jazz, rock, and folk. The brightest representatives of this movement are "Velvet Underground" and "Mothers Of Invention". Later, the term "avant-garde" began to designate various non-traditional forms of music.

ART ROCK- this term refers to a form of rock that combines electronic sound, rhythm and blues, eastern and medieval European folklore, classical and jazz. Art-rock groups perform multifaceted compositions and entire suites. Church oratorios, medieval madrigals, Gothic chorales and symphonic inserts became peculiar clichés in this style. Characteristic features are deep conceptualism, a large proportion of instrumental improvised music, long plays that go far beyond the scope of a pop single. Scenography plays an important role; mini-performances can be staged during concerts. Representatives of this style include such bands as “King Crimson”, “Yes”, “Emerson, Lake & Palmer” and “Genesis”. In modern pop music there are also the terms “classic rock”, “symphonic rock”, “intellectual rock”, they all mean almost the same thing, and it is simply impossible to clearly distinguish between them.

BALLAD(ballad) - a vocal composition, mainly of a narrative nature, from the folk culture of England in the 16th-17th centuries. Ballads are characterized by monophony, verse-song form, and laconic rhythms. From time to time, interest in this genre has noticeably increased, as a result of which the musical world is familiar with Scottish ballads, instrumental ballads by Chopin, jazz ballads, rock ballads, and so on.

BARD- (bard is a word of Celtic origin) poet and musician, performer of his own songs.

BEAT- this style appeared in the early 60s, when the wave of passion for rock and roll began to wane in America. In England, and more precisely in Liverpool, hundreds of bands began to emerge that played in schools, clubs and dances. They played the same rock and roll, but with the restraint characteristic of the British. The brightest representative of this style are the early “The Beatles”.

BIG BEAT- the main distinguishing feature of “big beat” is a specific sound created using special studio equipment, as well as a strong weighting (compared to trip or hip-hop) of the main groove and general texture. "Big Beat" combines the funky grooves of hip-hop, the power of rock and the swinging techniques of house. It's better to dance to the big beat than to listen to it. Often in music publications, “big beat” is also called “chemical beats”. Among the founding fathers of "big beat" they call "CHEMICAL BROTHERS". If you hear a "fat" bass line, different from "techno" and "jangle" with a bass drum on the first beat, if you feel a broken pulsating rhythm, do not doubt - this is a "big beat". The most notable and famous representatives of this style can be called "EBOMAN", "PROPELLERHEADS", "RHYTHM ACE".

BLUES- this style was originally a solo performance by African Americans of lyrical compositions, mostly of a sad nature. The deliberate monotony and repetition of bars characteristic of the blues became the basis for rock and roll.

BREAK DANCE- a dance that appeared at the very beginning of the 80s in the Bronx section of New York. Its roots go back to Africa, and the musical accompaniment is “rap” and progressive electronic music. Basic movements: sliding steps, jumping, spinning on the floor, as well as all kinds of acrobatic performances. By the mid-80s, the fashion for breaking had almost completely disappeared, but in the 90s it was remembered again.

BREAKBEAT- ("broken" bit) style, or to be more precise, a whole direction, was formed in the early 90s, stylistically finally formed in 1994. The place of his birth is considered to be Great Britain, and the main cities where this style initially became most widespread are London and Bristol. The name of the style fully reflects its essence: no directness or tenderness. Often the term “breakbeat” refers to very specific aggressive music at a tempo of about 130-140 bpm, with a dense guitar sound, with clear drum accents on the 2nd and 4th beats and fussing around the 3rd. The main criterion for defining a “breakbeat” is clean, practically unprocessed drums and percussion (except perhaps compression) and a standard 4/4 rhythm. The purposefulness of the sound is emphasized by tangible bass lines, using analogue devices such as the Roland TB-303. Sometimes, for final pathos, brass instruments or a symphony orchestra are used.

BRISTOL SOUND- "trip-hop" from Bristol deserves special attention in this case. The most famous and prominent representatives of this direction are: "MASSIVE ATTACK", "PORTISHEAD" and Tricky. This style is characterized by a slow rhythm based on "hip-hop" combined with elements of "reggae-dub" and interesting electronic sounds.

CLUB MUSIC- (club music) refers to a number of new trends that have become fashionable recently. Among them are “acid jazz”, “drum-and-bass”, “jungle” and others. A common feature is danceability, monotony, the use of sequencer and loop technology, and the increased role of the DJ in music creation.

COUNTRY- purely American music, which personifies the traditions of the white population of the United States. Its roots are in folklore. Since the days of the Wild West, these simple songs about love, loyalty, friendship and home have been performed on banjos, guitars and small fiddles. Such famous groups as "EAGLES" and "CREEDENCE" drew many of their ideas from country music.

DANCE MUSIC(dance music) is primarily electronic and related music. Although, of course, a rare work is now created without the help of a computer or synthesizer. If you want to navigate the styles, then the best way to find out the style of a particular dance composition is to ask its authors or look at the inscription on the record or CD. The fact is that many concepts are so vague that they cannot be clearly structurized.

DISCO- a musical style intended primarily for dancing. It appeared in the early 70s. The melody and rhythmic pattern are built around the same and frequent drum beat (120 - 140 beats per minute). The most prominent representatives of that time were “Boney” M”, Donna Summer, “Bee Gees”, etc. Subsequently, the “disco” style became the starting point for modern dance culture and gave rise to many fashionable styles and trends based on the use of modern the latest music technologies.

DOWNBEATS- a musical style close to hip-hop, relaxing, rather slow rhythmic pattern with soft, warm bass. This term appeared in connection with the publication of reviews of instrumental “hip-hop” in the press. In January 1998, the French team "AIR" released their debut album "Moon Safari", which is an excellent example of this category.

DREAM-POP- originated in the early 80s on the basis of the British electronic psychedelia "PINK FLOYD", the ambient music of Brian Eno, the "soundscapes" of Robert Fripp, and the research of German "krautrock". “Dream pop” created an atmosphere of a certain mystery, an alluring and pleasant secret, as if coming “from the depths of time.” Representatives of this trend paid great attention to arrangements, widely using acoustic, symphonic, “choral”, as well as absolutely fantasy synthesizer timbres, and used elements of the artistic language of “classics” and folk. In addition, they did not shy away from dabbling in pop music. Airy, flowing, “atmospheric” guitar-electronic material, a voluminous sound with an abundance of percussion scattered across the stereo panorama, almost operatic female vocals with a characteristic vibrato were the hallmark of the “dream-pop” leaders. In the second half of the 80s, on the basis of “dream pop”, a movement such as “Shoegazing” grew up, characterized by a more saturated guitar-synthesizer sound and a gloomy spirit. On the other hand, the research of “dream pop” turned out to be close to the relaxation music of “new age”, as well as some areas of “house” (“dream house”, “trip hop”, etc.).

DRUM"N"BASS- one of the embodiments of the "breakbeat" concept. It was formed by the early 90s as a style that combines a bass line at a tempo of 80 bpm and an abundance of various drums at a tempo of 160 bpm. Nothing more. Due to the temperament of the drums, this style can be perceived as dance music, due to the slower (often with a reggae character) bass line it can be perceived as relaxing music. Gradually, beautiful, sometimes melancholic melodies began to be added to this style. In short, by the mid-90s, “Drum”n”bass” slowly but surely transformed into intelligent jungle.

DUB - this musical style is most often used for chill-out music. Its main distinguishing feature is the juicy, bright, loud bass, leading a clear, albeit accompanying line. Another feature is a slow broken rhythm and a large amount of reverb.

ELECTRONIC MUSIC- a music school focused primarily on the study and application of sound synthesis capabilities, the creation of completely new, previously unheard, artificial timbres. Historically, the ground for the emergence of electronic music was prepared by the development of sonorous interpretation of sound in the works of composers of the first half of the twentieth century. Electronic music originated in Germany and first declared itself in 1951, when at the Summer Courses of Contemporary Music in Darmstadt, W. Mayer-Eppler demonstrated a sample of “electric sounds” editing. The largest representatives of the electronic school are the Germans Herbert Eimert, Karlheinz Stockhausen, Hans Werner Henze, the French Henri Pousseur, Pierre Boulez, the Italians Bruno Maderna, Luciano Berio, the Japanese Toshiro Mayudzumi, etc. Representatives of the electronic school operate with sound at the level of its primordial basis - that is, overtone row. The achievements of the electronic school have greatly influenced pop, rock and modern dance music.

FUNK- a direction that originated among black performers as a continuation of soul music, but on a different, more rigid rhythmic basis. In the late 60s it became a noticeable factor in the struggle of American blacks for their rights. It formed the basis of fusion, Motown, hip-hop music, as well as some forms of modern club music.

GABBER- the fastest and toughest type of “hardcore” was invented in Holland in 1989. The number of beats per minute for this variety sometimes reaches 400, but generally this figure is within 200 BPM. Often sped-up funny samples from children's radio programs and other funny sound sketches are used, which are considered to give the music a certain goofiness.

GLAM-ROCK- the same as "glitter rock". This musical movement originated in the early 70s in Great Britain. It is characterized by pomp, brilliance and emphasis on the appearance of the artist or musician. There is a lot of aesthetics and fantasy in the texts. The main representatives of this style are considered to be "KISS", DAVID BOWIE, ALICE COOPER, "ROXY MUSIC", etc.

HAPPY HARDCORE- a pop and danceable variation on the theme of “hardcore”. Children's voices, sweet melodies, the same fast beat, which, however, is softened by various commercially viable sounds and fashionable synthesizers. A typical representative of this direction is the group "SCOOTER".

HARD ROCK- hard rock. In the mid-60s, taking the “blues” as a basis, many groups, making this musical style heavier, came close to the ideas of “hard rock”. As an independent musical style, “hard rock” was fully formed by the end of 1966. At this time, a huge number of high-class ensembles simultaneously appeared in England and the USA, including “LED ZEPPELIN”, “DEEP PURPLE”, “BLACK SABBATH”, “URIAH HEEP” and others. Each of them brought their own specific sound to this music. For several years, “hard rock” developed and expanded its capabilities, but by the mid-70s, interest in this music began to disappear. However, many modern performers quite often turn to the cultural heritage of this style.

A logical continuation of "hard rock". The old authorities were replaced by ambitious young people who had more than enough energy - they splashed it out on the listeners in the late 70s. Musicians of this style played even harder and faster. Over time, “metal” developed its own movements, the most significant being “THRASH” and “SPEED METAL”. In this style it is difficult to find original ways to develop and therefore many groups were similar to each other. But there were also real stars, for example, "METALLICA", "BON JOVI", "DEF LEPPARD", "SCORPIONS", "AC/DC", "AEROSMITH", "IRON MAIDEN", ​​etc.

HIP-HOP- a type of urban black subculture that came to the surface beyond the ghetto in the early 80s. Having become fashionable, it went beyond the United States and for a short period captured part of the white youth capable of perceiving “funk” music. The main components are rap, breakdancing (electric boogie, breaking, freezing), graffiti and street sports. The 90s saw a second wave of interest in hip-hop, especially rap in its new forms.

HOUSE MUSIC- this is the so-called “house music”, because it could be made at home and in discos. She appeared in the mid-80s in Chicago and New York. DJs, using several players, a sequencer and a synthesizer, used mixing and overdubbing tracks to play their own music, sometimes combining completely different performers. The structure of classic "house" is very simple: standard 4/4 time signature and not very fast tempo (about 120 BPM). The second and fourth quarters usually feature a “solo” or clap, and a hat sounds on every sixteenth beat (in the interval between the bass drum). "House" tracks are usually filled with bright and beautiful passages, major chords and simple but catchy melodies. The roots of the style come from music such as disco and soul.

IDM (INTELLIGENT DANCE MUSIC)- the founder of this alternative direction of electronic music is considered to be the English techno musician Richard James, known as “Aphex Twin”. It is generally accepted that the style originated in 1989, and the term was coined in the depths of computer networks in 1993 in order to designate music that did not fit into the framework of any of the already existing styles, or did not resemble anything at all similar. With the light hand of the English computer scientists who introduced this term, all incomprehensible experimental techno music (i.e. music using technology) began to be called the three letters IDM. At one time, groups from “Cosmic Baby” to “Cabaret Voltaire”, from “Banco De Gaia” to “Goldie”, from “Portishead” to “Underworld” fell under the definition of this style. Since then, this style has acquired very specific boundaries.

INTELLIGENT- music with this characteristic is intended more for listening and relaxing pastime than for use at parties, especially as a decoration for the dance floor. There are intelligent versions of “jungle” and “techno”. Compared to pure styles, their reasonable versions are more melodic, atmospheric, and you can trace a theme, often a very nice one.

JAZZ-ROCK- a conceptual movement that emerged in the late 60s based on the synthesis of several musical cultures - jazz, funky soul, rock music, classical and ethnic music. A fusion of the activity of white and black musicians, ancient Eastern traditions and modern Western technologies.

JUNGLE- the style was born in England in 1988. This is a musical direction that combines the energy of broken African rhythms and the capabilities of modern technology. "Jungle" is distinguished by its aggressive sound, accepted tempo: 180-190 bpm, rhythmic polyphony, jagged bass line, free shifting of rhythmic patterns, slight timbral variety. Since 1992, there has been a breakthrough of the style onto the big stage with the SL2 group's single "On A Ragga Tip". From now on, "jungle" is very popular, especially among the British and advanced jazzmen. Evidence of this is the “jungle jazz” substyle.

MINIMAL TECHNO- it's just an extremely simple rhythm and a few specific, often synthesized, sounds with a small amount of different noises. From a musical point of view, this style is very interesting and original precisely because of the maximum simplicity of execution.

NEW AGE- a type of music, mostly instrumental, that developed in connection with the activity of a new class - “young urban professionals” - “yuppies”. Soothing, noble, mostly quiet music, based on new classics and ancient meditativeness. Not aggressive, and inherently not improvisational. Uses the most advanced electronic technologies along with purely acoustic sounds.

POP-MUSIC- a concept that covers a variety of styles, trends and genres of modern music. The term "pop music" first appeared in the late 1950s. and was originally used to refer to commercial rock music. Nowadays, pop music includes all phenomena of the commercial music and entertainment industry. The most important means of distributing pop music are radio, television and record labels. The modern pop music market is jointly owned by several European and American recording concerns with close ties to radio, the press, stores and television. Their activities ensure the constant commercialization and standardization of creative discoveries, as well as the promotion of popularity of “star” artists who legitimize or skillfully copy a complex of fashionable stylistic features.

POST-PUNK- one of the varieties of the “new wave”, which replaced the “punk rock” of the second half of the 70s. Unlike the “new wave,” “post-punk” is more a stylistic concept than a sociocultural one, although here we are also dealing not with a single style, but with a whole conglomerate of them. “Post-punk” appeared in 1977-78, when the British punk “hysteria” began to slowly calm down and become commercialized. The musicians who replaced the punk generation liked the independent spirit and raw sound of punk, however, they sought to express their attitude to the world around them with the help of new means of expression, new technologies, and timbres. In addition, the public is already tired of the aggressiveness, nihilism, cynicism, and “dirt” that “punk” poured out on it. Therefore, to some extent, post-punk became not only a continuation, but also a reaction to the work of its predecessors. He returned a note of romance, sometimes even sadness and depression, to music, and focused on internal, personal problems. In addition to “punk”, the formation of “post-punk” was also significantly influenced by the dance genre “disco”, electronic “ambient”, as well as many other sources - from “art rock” to American academic minimalism. Representatives of "post-punk" in Britain ("THE CURE", "ECHO & THE BUNNYMEN", "BAUHAUS", "JOY DIVISION", "JAPAN", etc.) played gloomy, cold, nervous music. The mood of the music of American post-punkers at the turn of the 70s and 80s was more positive, energetic, and ironic. The musical style was eclectic: it combined individual features of “rock and roll”, “big beat”, garage rock of the 60s, “rockabilly”, “country”, “disco”, and all this was based on a dance beat ( "THE B-52"s", "BLONDIE", "THE CARS", "PRETENDERS", etc.).

PROGRESSIVE- a word coined among music journalists, originally denoting the direction of techno music, which emphasized skillful sampling and synthesizer “loops”. Preference was given to exact copying of live instruments and the search for successful short melodies. However, a separate style was never formed, so the term “progressive” only makes sense as a characteristic (for example, “progressive house”, etc.)

PUNK- originated in 1974 in New York, and it reached its apogee in 1976 in England. It is believed that this was a protest against official rock music, which embodied the despair of the younger generation. The philosophy of punks is elementary: general nihilism and denial of social values. The main musical ideologist of the punk movement was the group "SEX PISTOLS".

RAGTIME is a genre of piano and later orchestral music of the late 19th - early 20th centuries. It became widespread both on the stage and in everyday life. Despite its apparent ease, the ragtime piano style requires a high level of technique.

RAVE- “rave”, in contrast to an ordinary dance party, is something like a collective meditation, when, under the influence of a hard rhythm and electronic melodies, the dancers enter a semi-hypnotic state. The heart of a rave is the DJ. There are many so-called styles in this music; they often differ only in the drum pattern, but are divided into two impressive groups - “trance” and “house”. "Trance" is performed using analog synthesizers (and sometimes sampled "live" instruments, for example, ethnic ones) and has a strong emotional impact on the listener, as reflected in the name. "Trance" appeared in Europe, while "house" was born in New York. Techno music originated in Germany in 1987, invented by a DJ named Westbam. DJs usually specialize in one or more styles, but there are also generalists. R&B - (Rhythm and blues), blues vocal and instrumental style of black music of the 1930s, which arose under the influence of swing. Subsequently commercialized. Considered one of the earliest forms of black rock music. Its commercial modifications, created by white musicians, include “rock and roll” and “twist”.

ROCK(short for rock "n" roll) is a direction in American and European popular music (since the 1950s), born in the wake of social "nonconformist" youth movements. Originating in the USA in the form of rock and roll, rock music has been gaining widespread popularity since the 60s, thanks mainly to UK rock groups - "THE BEATLES", "ROLLING STONES", etc. (until the 80s . both countries occupied leading positions in world rock music). The assimilation by rock musicians of the compositional and modal-harmonic features of the blues played a decisive role in the formation of the style of rock music. Its essential features are a special rhythmic pulsation in the bass, the use of predominantly electromusical instruments, which determines the increased dynamic tone of the music, the prevalence of rhythmic and harmonic principles over the melodic. Subsequently, developing in interaction with pop music and in connection with the expansion of show business, rock music underwent a significant stylistic evolution. Nowadays it is a branched culture consisting of many musical movements with their own characteristics in different countries.

ROCKABILLY is one of the most controversial styles of popular music in terms of its etymology. Few people in Europe know that for a long time in the USA “rockabilly” has been considered as one of the “country” substyles. Rockabilly combines elements of hillbilly and rhythm and blues. This style appeared in the southern United States among white teenagers who mixed elements of country, the energy of rock and roll and the rhythms of black music.

ROCK-N-ROLL- this term appeared in the early 50s. This is how they began to call the slightly modified black “rhythm and blues”. The white population of the United States needed its own dance music, which would be based on a clear bass rhythm and expressive melodies. In April 1954, the single "ROCK AROUND THE CLOCK" performed by Bill Haley appeared - it was this that served as the impetus for a sharp increase in interest in this style. In the 50s there were many first-class performers and composers: Chuck Berry, Buddy Holly, Little Richard, Jerry Lee Lewis, Elvis Presley - they all stood at the origins of “rock and roll”. Over time, this style has changed, incorporating various musical trends, the lyrics of songs have changed from entertaining to philosophical and acutely social. Now this concept includes all modern guitar music, with the exception of mass dance culture.

SPEED-GARAGE- the style of club dance music appeared in 1996, and 1997 became the time of its active growth in the music world. First the United States, then England, and soon the whole world began to move to the rhythms of "speed-garage". This was the beginning of a specific experimental “house”, which quickly grew from experimental into a powerful dance movement, rightly called the fashionable word “speed-garage”. The characteristic feature is the bass line, which literally occupies the foreground of the musical picture and sets an energetic pumping up of rhythm and atmosphere on the dance floor, and it is thanks to this feature that “speed-garage” is rapidly popularized throughout the world. By the way, this is probably why some people call “speed-garage” a dance mixture of “house” and “jungle”. Another feature of "speed-garage" music is the numerous and long sections where there is no beat and which sometimes serve as a prelude to the second part of the composition, forcing the dancers to cheer up with a growing wave of interruptions and an intense atmosphere on the dance floor. It's time to move on to direct examples - there are a lot of them, but I will give the most vivid ones: Goldie feat. KRS one "Da Digital" (Armand's Speed ​​Garage Mix), Double 69 "Ripgroove", Ultra Nate "Free" (R.I.P. Up North Mix), Mousse T, Armand van Helden, Todd Terry, Double 99, Ultra Nate, 187 Lockdown, Serious Danger. "Speed ​​Garage" is a great club dance hybrid of old and new in modern dance culture.

SPEED-METAL- one of the early varieties of “metal”, which appeared in the first half - mid-80s. It was determined by a faster tempo than in “classical” heavy metal, greater aggressiveness, belligerence, energetic sound, a tendency towards virtuoso guitar soloing and high-speed “chess” in the accompaniment (hence the name: from the English speed - speed), more a frequent rhythmic pattern (two kicks), a more expressive vocal style (very high tenor or “growling” vocals). “Speed ​​metal” did not develop into a powerful, mass movement, but rather became a transitional stage to thrash metal: the latter took as a basis such qualities as high speed of execution, technicality, assertiveness, interpreting them in their own way in the direction of even greater aggression in trash. Nevertheless, the influence of “AIDS” continues to be traced to this day, even at the level of individual works. Among the actual “speed” works are the following: the debut of the American group “METALLICA”, the early albums of the Canadian group “EXCITER”, the German “HELLOWEEN”, “RAGE”, “BLIND GUARDIAN”. Sometimes the work of such masters of guitar art as Yngwie Malmsteen and Joe Satriani is also classified as “speed metal,” which is not true, even taking into account the extreme technicality, virtuosity and inspiration inherent in these performers.

SURF- a purely American musical style that emerged in the early 60s. Its brightest representative was the group "BEACH BOYS", which performed sweet songs with a simple motive.

SWING- a style of orchestral jazz that developed at the turn of the 1920s and 30s. as a result of the synthesis of Negro and European stylistic forms of jazz music. A characteristic type of pulsation based on constant rhythm deviations (advanced or retarded) from the supporting beats. Thanks to this, the impression of great internal energy is created, which is in a state of unstable equilibrium.

SYNTY-POP- a style that became one of the notable phenomena in line with the early “new wave” (along with post-punk, with which synth-pop has many intersections). At the turn of the 70s and 80s, the short-lived but very bright period of “punk” ended. But some British musicians found the ideas of “punk” so sweet that they were not going to part with them. Innovators like Gary Numan and the HUMAN LEAGUE switched to synthesizers and drum machines, crossing the frenetic energy of punk rock with the disco rhythms and electronic capabilities already tested by computer geniuses like KRAFTWERK, "CAN" and Brian Eno. "DEPECHE MODE" found an impeccable balance between dark, gloomy-melancholic energy and danceability. We turned to synth-pop "JOY DIVISION" and "NEW ORDER". Synthetic pop is often referred to as "BRONSKI BEAT", "PET SHOP BOYS", Howard Jones and some other artists who appeared on the scene closer to the mid-80s. At first, very non-commercial, focused on a hard, cold synthesizer sound and minimalist “hooks,” the “synthesis-pop” movement quickly modulated into a more entertaining, romantic plane, acquired a more smooth sound (with formulaic melodies and types of accompaniment), and a major mood. Based on “post-punk” and “synthesis-pop”, the “new romanticism” movement started in 1981-82, later - electro-pop and “gothic”.

TECHNO- this term appeared in the late 70s - early 80s, when musical compositions acquired a futuristic sound, minimalist melodies and mechanical vocals became the norm, someone decided to call it all techno-pop. It is clear that the defining attributes of “techno” are all sorts of technologies, from the drum machine to the sampler. In addition to, so to speak, a general meaning, “techno” has one more thing: it is a dance style with a direct beat and clear melodies of three or four chords. After the stormy wave of “Detroit techno” of the late 80s - early 90s, this term was firmly and reliably assigned to hard minimalist music in the tempo range of 130-150 bpm.

TECHNO HARDCORE- a heavier, less abstract and more aggressive version of "techno". A very fast and direct beat, an abundance of industrial sounds, screams, screams, grinding and howling synthesizer themes. In “hardcore” tracks they really like to use “crash”, as well as effects like “distortion”. A distinctive feature of this style is a fast tempo (from 170 to 400BPM) and a hard bass drum, passed through distortion. It is worth saying that it was in “hardcore” that in the old days they first began to use broken rhythms, characteristic of “jungle” tracks. Along with the straight beat, you can also hear quite syncopated fills.

THRASH-METAL- one of the varieties of “metal” that emerged in the first half of the 80s. The primary credit for the formation ("trash" belongs to American musicians (most of them are natives of California), who liked British "heavy metal." Enthusiastic reviews of the "new wave of British heavy metal" filtered into America through the press, and music reached the New World on records. Among the groups of the first “thrash echelon”, in addition to “METALLICA”, one should name “MEGADETH”, “EXODUS”, “ANTHRAX”, “SLAYER”, “OVERKILL”, “TESTAMENT”, “ANNIHILATOR”. ", "SEPULTURA", "KREATOR", etc. "Thrash" is characterized by hard, lapidary riffs of bass and guitar, "infernal" tritone turns (coming from "BLACK SABBATH"). The tempo in "thrash", as in "speed" -metal", ranges from moderately fast to very fast. A typical sign of "thrash" is an intense bass-guitar tremolo and rhythmic unison with bursts of two drums (hence, in fact, the name of the style: from English to thrash - to thrash, drum). Vocal lines are often dissonant with the instrumental texture, although in general the vocal style, even if quite forced, cannot be called anti-musical. The role of "thrash metal" for the further development of international "orthodox" and "alternative" heavy music can hardly be overestimated. Varieties of "trash" are "techno-trash" and "trashcore".

TRIP-HOP- England is considered the birthplace of this style, where most of the musicians of this style come from. The name "trip-hop" was given in 1994, although similar music was played much earlier. The style is based on a slow (no more than 110 bpm) broken rap movement. Most often, this is instrumental music, often containing elements of jazz. Live instruments are successfully combined with electronic ones.