Means of musical expression fret. Means of Musical Expression: How to Analyze a Musical Work. The main types of polyphony

Musical Expression: How to Analyze a Piece of Music

Each art has its own techniques and mechanisms for transmitting emotions, so music has own language... Means of musical expression are represented by timbre, tempo, mode, rhythm, time signature, register, dynamics and melody. In addition, when analyzing a piece of music, accent and pause, intonation or harmony are taken into account.

Melody

The melody is the soul of the composition, it allows you to understand the mood of the piece and convey feelings of sadness or fun, the melody can be spasmodic, smooth or abrupt. Everything depends on how the author sees it.

Pace

The tempo determines the speed of execution, which is expressed in three speeds: slow, fast and moderate. For their designation, the terms are used that came to us from Italian... So, for the slow - adagio, for the fast - presto and allegro, and for the moderate - andante. In addition, the pace can be brisk, calm, etc.

Rhythm and size

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

Lad

The fret in music determines its direction. If it is a minor, then it is sad, sad or pensive-dreamy, maybe nostalgic. Major corresponds to cheerful, joyful, clear music. The fret can also be variable, when a minor is replaced by a major and vice versa.

Timbre

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

The register of music is divided into low, medium and high, but this is important directly to the musicians who perform the melody, or experts who analyze the work.

Means such as intonation, accent and pause allow you to clearly understand what the composer is trying to say.

On the subject: methodological developments, presentations and notes

Topic: "The nature of music and the means of musical expression" Objectives: To strengthen the ability of students to distinguish visually and aurally music of various nature, to determine the available means of music ...

presentation "Means of Musical Expression"

Music makes you think, helps you to relax, teaches ... Can we say more about it? Let's try....

Each art has its own techniques and mechanisms for transmitting emotions, so music has its own language. The means of musical expression include tempo, dynamics, register, timbre, rhythm, harmony, harmony, melody, intonation, etc.

The tempo determines the speed of execution, which is expressed in three speeds: slow, fast and moderate. For their designation, terms are used that came to us from the Italian language. So, for the slow - adagio, for the fast - presto and allegro, and for the moderate - andante. In addition, the pace can be brisk, calm, etc.

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

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

The musical image is created by a certain combination of means of musical expression. For example, a formidable character can be conveyed by rather loud dynamics, a low register combined with a restrained tempo. Gentle character - calm pace, soft dynamics and measured rhythm. Role of individual musical means in creating an image; is not the same. In each musical image certain means of expressiveness dominate.

The expressiveness of the language of music is in many ways similar to the expressiveness of speech. There is a hypothesis about the origin of music from speech intonations, always emotionally colored. There are many similarities between music and speech. Musical sounds, like speech, are perceived by the ear. With the help of voice, the emotional states of a person are transmitted: laughter, crying, anxiety, joy, tenderness, etc. The intonation coloring in speech is conveyed using timbre, pitch, voice strength, speech tempo, accents, pauses. Musical intonation has the same expressive capabilities.

On the music lessons v kindergarten we tell the guys: the music is "live", "the heart beats" in it. Music can speak, it has its own, special speech, which must be learned to understand. Like all living things, music is born from a small cell, a grain, then it sprouts, develops, takes on a certain form ... And since music is alive, you need to treat it like a friend: be able to hear it, feel it, experience it, otherwise it will not reveal anything to you. The ability to understand a work of art is not a privilege for the elite, especially gifted. It can be developed.

Music like living art is born and lives as a result of the unity of all types of activity. Communication between them takes place through musical images, tk. outside of images, music (as an art form) does not exist. In the mind of the composer, under the influence of musical impressions and creative imagination, a musical image arises, which is then embodied in a piece of music.

An image is a subjective phenomenon that arises as a result of objective-practical, sensory-perceptual, mental activity, which is a holistic reflection of reality, in which the main categories (space, movement, color, shape, texture, etc.) are simultaneously represented.

In terms of information, an image is an unusually capacious form of representation of the surrounding reality.

Active perception of a musical image presupposes the unity of two principles - objective and subjective, i.e. what is inherent in fiction, and those interpretations, ideas, associations that are born in the mind of the child in connection with him. Obviously, the wider the circle of such subjective ideas - the richer and fuller the circle of images created by the child with the help of plasticity and gesture, the more actively he will participate in performing creative tasks, improvise and come up with options for figurative movements in games and round dances.

10. Musical-rhythmic movements - a type of musical activity (meaning, tasks, types of rhythm, content of the program).

Musical-rhythmic movements are an active activity that reflects the nature of music in movement. Musical rhythmic movements include music games, dancing and exercise. Musical-rhythmic education is based on the development of children’s ability to perceive musical images and the ability to reflect them in motion.

The meaning and tasks of musical and rhythmic education

He was one of the first to develop the system of musical and rhythmic education at the end of the 19th century. Swiss teacher and musician Emile Jacques-Dalcroze. Many musicians, teachers, psychologists, methodologists worked on the creation of a modern system of musical and rhythmic education, music directors preschool institutions. Leading place among them belongs N.G. Alexandrova, as well as her students and followers - E.V. Konorova, N.P. Zbrueva, V.I. Griner, N.E. Kiesewalter, M.A. Rumer. Taking into account the child's need for movement, caused by the growth of the body, they strove to form his motor skills and, most importantly, to all-round development through the organic combination of movements with musical sound.

It is known that with the help of movement, the child learns the world. Performing various movements in games, dances, children deepen their knowledge of reality. Music evokes motor reactions and deepens them, not only accompanies the movements, but determines their essence. The task of the educator is to develop in children the ability to quickly perform the movements proposed to them and, if necessary, to be able to slow them down, that is, to develop active inhibition. Music is a stimulus that causes a reaction, both in the direction of excitation and in the direction of inhibition. In music education classes, one can observe how lethargic, passive children become active, and excited ones become disciplined.

In the process of practicing musical-rhythmic movements, the child's body is strengthened; develop ear for music, memory, attention; moral and volitional qualities, dexterity, accuracy, speed, purposefulness are brought up, such properties of movement as softness, springiness, energy, plasticity are developed; the posture of children improves. Musical rhythm promotes the ordering of movement and makes it easier to master it. With the right selection, musical rhythmic movements strengthen the heart muscles, improve blood circulation, respiratory processes, and develop muscles.

Musical-rhythmic education is based on the development of children's perception of musical images and the ability to reflect them in motion. Moving in accordance with the temporal course of a piece of music, the child also perceives the pitch movement, that is, the melody in connection with all expressive means. It reflects the character and tempo of a musical piece in movement, reacts to dynamic changes, starts, changes and ends the movement in accordance with the structure of musical phrases, reproduces a simple rhythmic pattern in movement. Consequently, the child, perceiving the expressiveness of the musical rhythm, integrally perceives the entire piece of music. It conveys an emotional character; a piece of music with all its components (development and change of musical images, change of tempo, dynamics, registers, etc.).

Thus, musical rhythmic movement is a means of developing emotional responsiveness to music and a sense of musical rhythm.

Seeing the beauty of movement in games, dances, round dances, striving to perform the movement as beautifully and gracefully as possible, to harmonize it with the music, the child develops aesthetically, learns to see and create beauty.

Musical and rhythmic constructions, national dances, performances, round dance games with singing, built on the best examples of folk, Russian classical and contemporary music, shape the moral character of the child, develop musicality and artistic taste, foster love for the Motherland. In addition, musical rhythmic movements contribute to the development of spatial and temporal orientations. The child finds himself in such game situations that require a quick reaction to a change in music, to the movements of his comrades, is faced with the need self-fulfillment assignments. This develops his attention, creative initiative.

Consequently, classes in musical-rhythmic movements are associated with all aspects of education. They contribute to the mental, moral, aesthetic and physical development of the child.

The meaning of musical rhythmic movements in a child's life lies in the fact that they:

♦ enrich emotional world children and develop musical abilities;

♦ develop cognitive abilities;

♦ foster activity, discipline, a sense of collectivism;

contribute to the physical improvement of the body.

The main direction in the work on musical-rhythmic movements is the systematic musical development child.

Music not only accompanies the movement, but determines its essence, that is, the movement should not only be movement to the accompaniment of music or against the background of music, it should correspond to:

♦ the nature of the music;

♦ means of musical expression;

♦ the form of a piece of music.

Let's take a closer look at this.

Music is known to convey the most varied shades of mood. For example, in the following three works for walking - "Festive March" by N. Levy, "Study" by T. Lomova and "March" by S. Prokofiev - music of a cheerful, calm and solemn character. Naturally, in these three cases, children will walk differently. To the first march they will walk briskly, to the music of T. Lomova - calm, unhurried, and to the “March” by S. Prokofiev, the children will go solemnly. Therefore, movement, in this case walking, corresponds to the character of the music.

Among the means of musical expression, tempo, metro-rhythm and dynamics are of particular importance for musical-rhythmic education. Tempo is the speed of movement of a piece of music, metro rhythm is the organization of strong and weak beats, the ratio of various durations, dynamics is the strength (loudness) of the sound.

Depending on the tempo of the piece of music, the child moves quickly or slowly, slows down or accelerates his movements. Metro rhythm determines the coordination of certain movements with music. For example, in “Polka” by I. Strauss, for a strong beat, children are asked to put their feet forward on their toes; children threaten accents with their right or left hand.

By the age of six, they not only feel metric accents, but can also partially reproduce the rhythmic pattern of a piece of music. So, in the round dance "On the mountain-to-kalina" (Russian folk melody) to the chorus "Well, who cares about the viburnum," the children do 4 claps and three tributaries. This is already a rhythmic pattern.

The movement, as already mentioned, is consistent with the form of the piece of music. Already children junior groups can distinguish between contrasting music of two-part form and change movements in connection with it. Consider the dance "Boots" (Russian folk melody), intended for children of younger preschool age. There are two parts to this dance. The children go to the first part of the work, they stomp on the second part. Consequently, the movements depend on the form of the piece of music. Older children are introduced to the three-part and more complex forms of musical works, they are taught to change movements in accordance with the change of parts of a less contrasting nature. The more precisely, in more detail they distinguish the character of music, the means of musical expression, the form of musical works, the freer and more expressive they perform the movements.

Preschool is a period of accumulation of musical impressions, intensive development of musical perception. Depending on age development the nature of the musical and rhythmic activity of children changes.

In the very early childhood the child happily runs, jumps, dances. But this is not yet a performance of a game, a dance, but only a partial inclusion in this process. The child moves inaccurately and inexpressively. During these years, children develop emotional responsiveness to music, the ability to listen to it, remember and perform music-related movements shown by the teacher and consistent with the words of the song.

In the fourth year of life, children are able to master and perform movements on their own. But these movements are still insufficiently coordinated, children are poorly oriented in space, with difficulty they are included in collective actions. Therefore, the musical and rhythmic activity of children of the fourth year of life is rather modest. They learn to move in accordance with the brightly contrasting nature of the music, at a slow and fast pace, they are able to react to the beginning and end of the sound of music and perform the simplest movements.

In the fifth year of life, children already have the experience of listening to music, they can recognize familiar melodies, distinguish the brightest means of musical expression, determine the character of music. Their auditory sensations are differentiated, they move more rhythmically, more in harmony with the character of music, begin and stop movements in accordance with the beginning and by the end of the sound of music, they perform more diverse movements (straight canter, movements in pairs, taps with one leg, putting the foot on the heel).

At the age of five or six, children can move expressively and rhythmically, showing their individuality in movements.

They should be able to feel the metric fraction and, first in claps, and then in movements, perform a simple rhythmic pattern, master a variety of movements (from rhythmic running with a high leg lift and jumps from foot to leg to a polka step, half-squat, alternating stride, etc.). etc.).

Consequently, in the process of musical-rhythmic movements, they are carried out as general tasks musical education and the following special tasks

Development of musical perception, musical-rhythmic feeling and, in connection with this, the rhythm of movements;

Teaching children to coordinate movements with the nature of a piece of music, the most vivid means of musical expression, the development of spatial and temporal orientations;

Teaching children musical and rhythmic skills and abilities through games, dances and exercises;

Development of artistic and creative abilities.

The motor basis of musical-rhythmic movements, which are carried out with children in the form of games, dances and exercises, are:

♦ basic movements - walking, running, jumping, jumping;

♦ gymnastic movements with objects (balls, ribbons, hoops, flags);

♦ dance moves;

♦ imitation movements, which are combinations of basic movements with imitation of various actions and movements of birds, people, animals, vehicles, etc.

All these movements are transmitted by children in different ways and are useful material for the development of imagination and creative activity.

Lesson topic: "Means of Musical Expression".

Purpose: to consolidate the knowledge of students about the means of musical expression.

Tasks:

Teach students to identify the means of musical expression used to create a certain image in the work;

Develop a sense of rhythm musical memory pupils, vocal and choral skills;

To foster a listening culture of students;

Lesson type: lesson in generalization of knowledge.

Methods and techniques: verbal, visual, practical.

Musical material: Tchaikovsky "Children's Album" (fragments), Prokofiev "Peter and the Wolf" (fragments), "Blizzard" A. Ermolov

During the classes:

Musical greeting.

U: - Hello guys! D: - Hello!

Conversation

U: - Today, in the middle of winter, an unusual flower has blossomed in our class! This magical flower will take us to the world of music, where the means of musical expression rule everything. Today we will remember that each petal has not only its own color, but also a specific name.

Look again at the seven-flowered flower. What is at its core?

D: - Melody!

W: - Right! All the petals grew out of this main thing in music - melody (this is the main motive of the piece). Melody is the “soul of music”, as PI Tchaikovsky said, it is the basis of any song, any piece of music, and it is also one of the most important means of musical expression. The melody never stands still! It can move smoothly up or down, it can spin on two or three sounds nearby or develop in rapid leaps. Let's try to follow the melody with your hands - how the melody will move, you perform such movements with your hands.

Musical and plastic work as a physical. minutes - "Lullaby of the bear" sounds.

W: - How did the melody move in the song?

D: - Smoothly, without big jumps ...

W: - Right. Two more means of musical expressiveness, without which there can be no music, are harmony and dynamics. We have already talked about the harmony before. Tell me, what frets do you know?

D: - Major and minor!

W: - Good! Which one gives the music a dark color, and which one - light?

D: - Minor - dark, major - light.

W: - Right. On your table there are squares with the image of the sun and clouds with rain. We will now play with you - when the major music sounds, you raise the sun, and when the minor one - a cloud.

Music from Tchaikovsky's “Children's Album” is played. After the game, the guys name the composer and the names of the sounded works.

W: - Have you noticed how different the pieces sounded? But they differ not only in harmony, but also in dynamics. Dynamics is the power of sound. And we already know how the dynamics in the notes are indicated.

Now let's listen to Tchaikovsky's play "The Neapolitan Song" and remember what is so unusual in this song?Tchaikovsky's "Neapolitan Song" is played.

D: - At first it sounds very calm, then it accelerates.

W: - Absolutely! That is, the tempo changes in the work! This is another means of musical expression. The tempo determines the speed of performance of a piece of music - fast, moderate, slow.

W: - Each piece is performed at its own pace - in the one indicated by the composer. Sometimes, as we have already seen, the tempo changes in the piece.

There is also rhythm in music. This is an alternation of long and short sounds. And today we will get acquainted with two types of rhythm - smooth and dotted.

The teacher gives examples of different rhythms. The class is divided into groups, repeating rhythmic examples after the teacher. Playing as a physical. minutes.

W: - Now let's listen to how in different works a different rhythm is used.

Pieces from Tchaikovsky's “Children's Album” are played. The guys determine in which piece it is even, and in which - the dotted rhythm.

Intonation is not only a musical concept. First of all, this is one of the properties of human speech. So, for example, even if we do not know the language spoken by a person, we can almost always guess that a person is angry, happy, sad, or asks about something, etc. The melodic beginning is very closely related to the sound of living human speech, and intonation is precisely the connecting link colloquial speech and musical.

Guys, please tell me which musical genre is the most related to human speech?

D: - With a song.

W: - Of course with the song! Now we will perform the song "Blizzard" with you.

Listening, character definition and song performance.

We still have 2 petals left: timbre and register. What is a register? This is the pitch of a voice or instrument. Look: there is a high, low and medium case. Let's try to guess who these different registers correspond to in the picture?D: - High - for a bird, medium - for a person, low - for a bear.

W: - Right! Also, each instrument has different capabilities, for example, the piano has all registers, and the violin only has high! And we can always tell the difference between the sound of a violin and a piano. In this we are helped by the last means of musical expression - timbre. Timbre is the coloration of the sound. Each instrument has its own timbre. Just like every person has his own, unlike anyone else's, voice. And it is precisely because of the difference in timbres that we easily distinguish one instrument from another. Let's try!

Fragments of symphony sounds. Prokofiev's fairy tales "Peter and the Wolf". The guys name the character, the tool and what register is used to create this image.

U: - Well done! We have examined all the petals of our magical seven-color flower! Let's now sing a song about a magic flower.

Chichkov's song "Magic Flower" is performed by students.
Reflection.

W: - So, let's remember with you once again what means of musical expression do we know?

D: transfer all funds.

U: - Well done! And now I ask you to show me in what mood you are leaving the music lesson today - major or minor!

The guys are picking up pictures.

W: - Great! You did a very good job today! Our lesson is over! Goodbye!

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Means of Musical Expression

Music originated in ancient times. This is evidenced by the many objects found with images of musical instruments, performers, although the musical works of distant eras themselves have not reached us.

Music has long been recognized as an important and irreplaceable means of forming personal qualities of a person, his the spiritual world... V Ancient Greece there was even a teaching in which the influence of music on human emotions was substantiated. It has been proven that some melodies strengthen courage and resilience, while others, on the contrary, pamper.

What is the originality of music as art? Let's compare it with painting, sculpture, literature.

Music cannot, with the same degree of concreteness, as these types of art, depict or describe life phenomena (although it has some possibilities of depiction).

Can sounds convey specific content? What do we call music content?

Prominent psychologist B.M. Teplov wrote: "In the most direct and immediate sense, the content of music is feelings, emotions, moods." (Psychology of musical abilities - M .; L., 1947. - S. 7.)

A feature of music is that it can convey the emotional state of a person with great spontaneity and power, all the richness of feelings and shades that exist in real life.

Due to the fact that music is a temporary form of art (as opposed to painting, sculpture), it has the ability to convey changes in moods, experiences, the dynamics of emotional and psychological states. Thus, each piece of music has a kind of "sensory program" (the term of the psychologist VG Razhnikov), which unfolds in time.

Music can and depict any specific phenomena of reality - the sound of waves, the howling of the wind, the splash of a brook, the singing of birds through onomatopoeia.

There is so-called program music, in which the composer either indicates the title of the work, that is, implies the presence of some generalized program, or writes music for a specific literary text. In program music, various kinds of pictorial moments are more common, but it is important to note that even bright figurative works always have an emotional coloring: the chirping of a bird can be friendly, cheerful, or it can be alarmed; the sound of the waves - pacified or menacing.

Therefore, expressiveness is always inherent in music, and depiction has an auxiliary meaning. Figurativeness is not present in every work, but even brightly visual music always expresses moods, emotional and psychological states.

Music, including music that is not related to the word, expresses certain thoughts and evokes generalizations. But they arise through the emotional perception of sounds, melodies, when the listener traces the development, the clash of characters, themes, compares various images in parts of the work.

Another feature of music in comparison with painting, sculpture is the need for an intermediary for its reproduction.

A prominent scientist and musicologist, composer B.V. Asafiev noted that music exists in the trinity of processes of its creation by the composer, reproduction by the performer and perception by the listener.

The performer, being the mediator of the composer, must revive, sound a piece of music, creatively comprehend it and express the thoughts and feelings that the author sought to convey.

In general, the expressive possibilities of music have sufficient constancy. So, for example, mourning music is perceived by all people as mourning, and gentle - as gentle. Listening to music is a creative process, since the same piece gives birth to different people various musical and extra-musical performances depending on life experience, experience of music perception.

What is the expressiveness of the language of music based on? What are the means of musical expression?

These include tempo, dynamics, register, timbre, rhythm, harmony, mode, melody, intonation, etc.

The musical image is created by a certain combination! means of musical expression. For example, a formidable character can be conveyed by rather loud dynamics, a low register combined with a restrained tempo. Gentle character - calm pace, soft dynamics and measured rhythm. The role of individual musical means in creating an image; is not the same. Each musical image is dominated by certain means of expression.

There are many similarities between music and speech. Musical sounds ^, like speech, are perceived by the ear. With the help of voice, the emotional states of a person are transmitted: laughter, crying, anxiety, joy, tenderness, etc. The intonation coloring in speech is conveyed using timbre, pitch, voice strength, speech tempo, accents, pauses. Musical intonation has the same expressive capabilities.

B.V. Asafiev scientifically substantiated the view on musical art as an intonation art, the specificity of which lies in the fact that it embodies the emotional and semantic content of music, just as the inner state of a person is embodied in the intonations of speech. Speech intonation primarily expresses feelings, moods, thoughts of the speaker, just like musical intonation. So, an agitated speech of a person is characterized by a fast pace, i continuity or the presence of small pauses, an increase in height, the presence of accents. Music that conveys confusion usually has the same characteristics. A person's mournful speech, like mournful music (quiet, slow), is interrupted by pauses, exclamations. I

BV Asafiev used the term intonation in two meanings. The first is the smallest expressive-semantic particle, "grain-intonation", "cell" of the image. For example, the intonation of two descending sounds with an emphasis on the first (an interval of a small second) usually expresses pain, sigh, crying, and an upward jump in a melody by four sounds (per fourth) with an emphasis on the second sound is an active beginning.

The second meaning of the term is applied in a broad sense: as intonation equal to the length of a piece of music. In this sense, music does not exist outside the intonation process. Musical form there is a process of changing intonations.

A musical form in a broad sense is the totality of all musical means that express content. In a narrower one, the structure of a musical work, the relationship between its individual parts and sections within a part, that is, the structure of the work.

The temporal nature of music makes it possible to convey the processes of development, all kinds of changes. To understand the meaning of a work, to feel it, it is necessary to follow the development of musical images.

Three principles are important in creating a form: repetition, contrast, development (variation).

The repetition can be different. A musical phrase repeated twice in a row replaces a stop, this helps to listen deeper, to remember the melody. In another case, a contrasting theme sounds between repetitions. The role of such repetitions is very great: they form the basis of musical drama, since they allow to affirm the primacy of the image.

If there is a contrasting episode between the repeating sections, a simple three-part form is formed. It can be shown schematically as follows: ABA.

The expressive significance of the repetition of a theme increases if it itself changes after the appearance of a new image (B). Conventionally, her “second appearance is designated as A1. In this case, the three-part form can be represented by the ABA1 diagram.

Repetition is associated with another principle - contrast, which allows you to set off repetition. Contrast helps to express mood changes in music, it can sound like an opposition. So, for example, if the first part was full of carelessness, fun, the middle part introduces a contrasting image (anxiety, evil, etc.). In the third part, depending on whether the repetition is exact or changed, one can follow the development of the image, the musical drama.

Contrast is associated with another principle of shaping - development. If the theme itself consists of two (or more) contrasting elements or a section of the form consists of several themes, this gives rise to conflict, the possibility of their collision, development. This principle has a variety - variational development, which originates from folk improvisations.

These three principles of shaping are often found in combination. More complex musical forms are formed using the same principles.

Let's characterize some types of music - musical genres. music expressiveness form

Broadly speaking, music can be divided into vocal and instrumental. Vocal music is associated with a word, a poetic text. Its varieties are solo, ensemble and choral music. In instrumental music, content is expressed more generally. Its varieties include solo, ensemble and orchestral music.

But the division of music only into vocal and instrumental music is very arbitrary. There is a wide variety of genres of folk and classical music.

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Musical expressive means in music

Texture - (from Lat. - "processing") -

Melody -

Tempo - (from Lat., It. - "time") -

Meter -

Rhythm -

Musical size -

Lad - system of pitch ratios united by tonic. The most common frets are major and minor. .

Harmony -

Stroke - (from German - "line", "line") - legato, non legato, staccato, spiccato, detache, marcato).

Musical form

______________________________________________________________

Elements of the musical form. Period

Construction -

Signs of dividing a musical form into build:

Pause, stopping at a relatively long sound, repetition of a melodic-rhythmic figure, often with off-bars of the same length, change of registers, shades (there may be no caesura accompanied by it).

Musical constructions: motive and submotive, phrase, sentence. Period.

Caesura

Motive -

Phrase -

Cadence -

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

Structural schemes:

Of the two sentences: ab or aa 1;

of three sentences:

a - a 1 - a 2

a - b - c

a - b - b 1

a - b - a (a - b - a 1)

Period:

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

Tchaikovsky P. "Sleeping Beauty" Variation of the Blue Bird

P. Tchaikovsky "The Sleeping Beauty" Variation of the Silver Fairy

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Musical and dance genres. Musical styles and directions

Style and genre concepts.
The main historical musical styles and trends, their representatives.
Types of dances (folk, ballroom, classical, modern), their main forms.
Program music.

Genre - (from French - "kind", "kind") - a polysemantic concept that characterizes the genera and types of musical creativity in connection with their origin, conditions of performance and perception. Genres are subdivided into primary and the rest (secondary - author's works not intended directly for dancing) (see - M. Bonfeld Introduction to Musicology, p. 164)

Classification of genres according to the conditions of existence:

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

Also, genres can be divided into vocal and instrumental.

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

Folk - dance (single, double, group, mass) dance (group, mass), square dance, lancier, round dance (ornamental, play, dance, female, mixed), pair-mass dances, suite, painting, ballet (one act)

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

Ballroom dance specialization:
a) historical and everyday dances of the 15th-19th centuries:

Salon - chime, minuet, burré, rigodon, volta, saltarella, gavotte, French square dance, etc.

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

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

a brief description of dance:

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

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

Program music. Examples.

The term "program music" was introduced by F. Liszt for works based on literary or narrative ideas, plots, or in which some image, mood, genre is indicated with the help of a title. The program title helps to reveal what the music cannot express. Examples include:

"Night on Bald Mountain" (Symphonic Picture) by M. Mussorgsky, Fantasy Overture "Romeo and Juliet" by P. Tchaikovsky, Rimsky-Korsakov N. "Scheherazade",

"The Seasons" by A. Vivaldi and others.

Simple music and dance forms

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

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

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

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

Dance art uses both applied dance music and non-dance pieces.

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

Parts functions:

introductory
expositional
binder
middle
reprisal
the final

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

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

exposition
tie
action development
climax
completion, denouement

The unity of music and dance is manifested in the emotional-figurative unity of the content, in accordance with the tempo, rhythm. Movements, postures, dance groups, dance patterns must match musical characteristics a piece of music.

Music theme - a musical idea, complete in meaning, expressive and embossed, capable of developing by means of a musical language, for all sorts of modifications, variations, transformations, figurative reincarnations.

The principles of repetition, variation and contrast in dance forms.

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

the principle of repetition (identity),that is, an exact repetition of the musical structure unchanged;
principle of modifiedrepeat (varied, variant repeat, or sequence). In the first case, the repetition contains minor changes in the material, in the second - more significant, qualitative changes but leaving the material recognizable. The sequence involves the repetition of the material at a different pitch with the preservation of the melodic-rhythmic structure;
the contrast principle -combinations of different musical material, juxtaposition (complementary, shading or conflicting)

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Simple two-part form

The simple two-part form isform, consisting of 2 periods with the obligatory contrasting beginning of the second. This contrast can be of two types:

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

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

A simple two-part form can have an introduction and a code.

Simple two-part form:

Ravel M. "Bolero" - Theme

Fibich Z. Poem

Schubert F. Ecossaises Op. 18

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

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

Beethoven L. Ecossaise G - dur

Simple three-part form

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

The middle of the m. 4 types:

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

The key is typical for the middle D groups. It usually ends with a dominant precursor. If T ends, then a ligament is inserted between the middle and the reprise.

Reprise m. precise or varied, dynamized (with an active transformation of the theme, with a change in scale, harmony, form).

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

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

Structural schemes:

a - a 1 - a 2

a - b - c

a - b - b 1

a - b - a (a - b - a 1)

Simple three-part form:

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

Grieg E. "Peer Gynt" Dance of Anitra

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

Chopin F. Preludes No. 12, 1

Grieg E. Nocturne in C major

P. Tchaikovsky "The Sleeping Beauty": The Twitching Canary Fairy, Variation of the Silver Fairy

Complex musical and dance forms

Complex two-part form

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

Sections are in the same-named, less often parallel keys:

1 section - at a slow pace,

Section 2 - at a fast pace.

Meets a complex two-part form in characteristic dances and vocal works with an irreversible plot development.

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

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

Complex two-part form:

Minkus L. "La Bayadere" Dance with a Snake, Act 3

P. Tchaikovsky "The Sleeping Beauty", Pas-de-Quatre, Act 3, Variation of the Fairy of Gold

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

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

2-part: K. Khachaturian Variation of the Countess Cherry ("Cipollino");

Complex three-part form

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

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

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

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

Mid types:

Trio (clear, crisp form)
Episode (does not have a clear, clear form, is based on end-to-end development, may have internal cadances)
Contrast-composite (several themes, 2 or more, weakly connected with each other, having, as it were, a suite sequence).

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

Sometimes, between the middle and the recapitulation, a false recapitulation appears out of the main key. It is quickly interrupted, a modulating transition into the fundamental key is introduced, and a true reprise begins.

The reprise can be:

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

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

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

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

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

A B sequence

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

A in C (A)

Three-part, intermediate between simple and complex:

А-ВСВ-А

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

Complex three-part form:

Glinka M. Waltz and Polonaise from the opera "Ivan Susanin"

Ravel M. Forlana, Rigaudon, Minuet from the suite for piano "Tomb of Couperin"

P. Tchaikovsky "The Seasons": Barcarolle, At the Fireplace

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

Mozart W. Symphony in C major (Jupiter), Minuet; Symphony in G Minor, Minuet.

Shostakovich D. Fantastic dances

P. Tchaikovsky "Swan Lake", act 1, Pas-d`axion.

P. Tchaikovsky "The Nutcracker", Trepak

Minkus L. "La Bayadere" (Pas de Quatre, Act 3) Tempo di valse brillante

Cherepnin N. Big waltz from the ballet "Pavilion of the Armida"

Rondo

Rondo - (from the French "circle") a form based on at least three times the main theme-refrain, alternating with new constructions, or episodes. The origin of rondo is from song-dances performed in a circle.

Varieties of rondo - classic, antique and romantic rondo.

Antique rondo was common in the music of 18th century harpsichord composers. The refrain here is always in the form of a period. Does not change when repeated. The episodes are developmental, based on the refrain. For example: A - A 1 - A - A 2 - A - etc., where A is a refrain (chorus, repeated part). The tonality of episodes not further than the 1st degree of relationship (differ by 1 character).

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

Traditional scheme: AVASA. Refrain - not only m. B. period, but also a 2-3-part form, with repetition it can vary. The last posting can have a code function. The episodes are always contrasting, with new thematic material. Their form can also be more complex than the period, and the tonality - up to the 3rd degree of kinship:

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

Rondo of romantics -

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

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

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

with variations:

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

with sonata form

Rondo:

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

Glinka M. Waltz-fantasy

Cha-cha-cha

Saint-Saens C. "Rondo Capriccioso" for violin and orchestra

Schumann R. Carnival of Vienna, Op. 26, 1 h.

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Variations

Basso ostinato, double.

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

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

There are variations on an invariable melody (ornamental, "Glinka") and on an invariable bass, on basso ostinato (can be of the melodic or harmonic type, used in the ancient dances of the Passacaglia and Chaconne). Variations are built according to the principle "from simple to complex" (with small amount). A large number of variations are divided into groups, the ratio of which gives the form of the second plan (rondo, sonata, cyclic, etc.)

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

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

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

Double variationsvariations on two different themes. In the process of development, they influence each other, enrich themselves, and usually converge (acquiring the features of symphonic and sonata). There are three types:

with alternate variation:

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

2.with group variation:

А А 1 А 2 А 3 А 4 А 5 В В 1 В 2 В 3 В 4 В 5 В 6 А 6 А 7 А 8 А 9 А 10 В 7 В 8 В 9 В 10

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

Variations:

Handel G. Passacaglia from suite in G minor for clavier

Glinka M. "Kamarinskaya"

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

Mendelssohn F. Marsh from "A Midsummer Night's Dream"

Ravel M. Bolero

Sirtaki

Stefaniv R. Moldavian Choir

Reels

Kryzhachok

Sonata form

Sonata form -

The sonata form can have a developed introduction and coda.

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

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

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

The final part is always in the key of PP, is a chain of cadence turns or an independent topic (several topics).

The tonality of the PP - the Viennese classics - D , and if the GP is in minor, then parallel; romantics and Russian composers may have a third and second ratio. In the twentieth century m. B. and more distant, harsh tone ratios.

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

Its structure m. B. homogeneous (single end-to-end development), or divided into phases, stages.

All themes can be developed or one, sometimes there is the introduction of a new episodic theme. Main key is avoided here, key often prevails S , often the development ends D precursor to the reprise. There may be a false reprise.

In the reprise the contrast of themes and tonal spheres is weakened, the main tonality of the work is affirmed. Themes can change qualitatively: expand in scale, shrink, there may not be all themes due to tonal proximity, the sequence of themes may change ("mirror recapitulation" - where the PP is carried out first, and then the GP). The combination of PP and GP in simultaneous sound is called a "counterpoint recapitulation".

Special types of sonata forms:

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

Examples:

Mozart V. Symphony No. 40 1h..mp3

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

P. Tchaikovsky The Nutcracker Overture. 01 Track 1.mp3 - no development.

Sonata form:

Mozart V. First movements of sonatas for piano; Overtures to the operas The Marriage of Figaro and Don Juan; finals of sonatas nos. 3, 4, 17, Symphony no. 40, 1 h.

Rimsky-Korsakov N. "Scheherazade", 1 hour

Beethoven L. The first movements of symphonies Nos. 1, 3, 4, 8

Shostakovich D. The first movements of symphonies No. 5 and 7

P. Tchaikovsky "The Nutcracker", Overture

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Cyclic forms with few parts.

Cycle - (from Greek - "circle") -

In cycles with few partsgenres are implemented in a generalized way, contrasts are deepened to conflicts, there are established forms of parts, a tonal plan. There can be “through” drama, the merging of the cycle into a one-part form. Sonatas, symphonies, and concerts are written in this cyclical form.

Sonata-symphonic cycle.

The form of the symphony took shape gradually, the predecessors were opera overtures, concert suites. From the suite, the symphony took on the multipart and contrast of the parts, from the overture - the principle of construction of the 1st movement. The number of parts was different (2-5 parts or more). The four-part cycle took root in the works of the Viennese classics J. Haydn and W. Mozart in the second half of the 18th century.

Part 1 was usually written in the form of a sonata Allegro.

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

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

Part 4 - Final - mobile, based on folk dance melodies, in the form of rondo, rondo sonata, with the use of polyphonic methods of development. Contains common code.

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

In symphonies by composers of the 19th and 20th centuries, the order and nature of the parts does not always correspond to the classical ones: the scherzo can be the 2nd movement, and the slow movement - the 3rd.

L. Beethoven laid the tradition of convergence of the genre of symphony with cantata and oratorio. (For example, 9th symphony).

Merging the cycle into one-part.

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

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

Examples:

Mozart W. Symphony No. 40.

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

Beethoven Symphony No. 5

Vivaldi A. "The Seasons"

Gershwin D. "Rhapsody in the Blues"

Suite - (from fr. - " row "," sequence ")

Antique suite known since the 15th century as an instrumental piece (for lute or clavier) and dance (the so-called "French suite" of the 15-17th centuries began with a slow part, and the "Italian" - with a fast one). It is built on the principle of the contrast of tempo: allemand - chime - sarabanda - gigue.

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

In cycles with many partsuse the principle of contrasting juxtaposition of parts, connection with dance, song, programmatic.

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

The parts of the cycle represent separate stages of the formation of the idea of the development of the concept, plot. Therefore completely artistic content each part can only be understood in the context of the whole. The unity of the cycle is also ensured by the compositional technical means:

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

Loops with many parts:

P. Tchaikovsky "The Seasons"

Schumann R. "Carnival"

Bach I.S. English and French suites

Bizet J. - Shchedrin R. "Carmen Suite"

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Free forms

Free forms originated in ancient organ music and reached

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

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

Symphonic poems are written in free forms, one-part

sonatas, concerts, overtures, fantasies, rhapsodies, ballads and other pieces, sometimes - individual parts of cyclical works (especially in the works of composers of the 19th and 20th centuries).

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

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

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

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

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

proportionality of parts.

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

Systemic free forms are those forms that are characterized by

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

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

Rhapsody (Greek rhapsodia; from rhaptein, "to stitch", "to compose", "to compose" and ode, "song"). Rhapsody can be called an instrumental (occasionally vocal - for example, by Brahms) an essay written in a free, improvisational, epic style, sometimes including genuine folk motives (Hungarian Rhapsodies Leaf, Blues Rhapsody Gershwin).

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

Potpourri (from French - "mixed dish")- XIX century.

Free forms:

Tchaikovsky P. "Romeo and Juliet" (symphonic overture)

Lyadov A. "Kikimora", "Magic Lake", "Baba Yaga"

Stravinsky I. "Petrushka"

Chopin F. Ballad No. 1

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Polyphonic forms

Polyphony - a special warehouse of polyphony, based on the melodic independence of all constituent voices. The most commonly used forms are canon, fugue, complex fugue.

Canon (from the Greek -

Invention

Fugue - (from Latin, Italian - - Fugues are composed for any number of voices (starting with two).

The fugue opens with the presentation of the topic in one voice, then other voices come in successively with the same topic. The second lead of the topic, often with variations of it, is called the answer; while the answer sounds, the first voice continues the development of its melodic line (counterposition, that is, a melodically independent structure that is inferior to the theme in brightness and originality).

Introductions of all voices form a fugue display. The exposure can be followed by either a counter-exposure (second exposure), or a polyphonic development of the whole theme or its elements (episodes). In complex fugues, a variety of polyphonic techniques are used: increase (increase in the rhythmic value of all sounds of the theme), decrease, inversion (inversion: the intervals of the theme are taken in the opposite direction - for example, instead of a fourth up, a fourth down), stretch (accelerated introduction of voices that "fit" each on a friend), and sometimes a combination of similar techniques. In the middle part of the fugue, there may be connecting structures of an improvisational nature, called interludes ... The fugue can end with a coda. The fugue genre is of great importance in both instrumental and vocal forms. Fugues can be independent pieces, combined with a prelude, toccata, etc., and finally, be part of a large work or cycle. Techniques characteristic of a fugue are often used in the developmental sections of the sonata form.

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

Complex fugue can be double, triple, quadruple (on 4 themes). The exhibition usually shows all themes that are contrasting in terms of expressiveness. There is usually no developing section, the last exposition of the theme is followed by a combined reprise. Expositions can be joint or separate. The number of topics is not limited in a simple and complex fugue.

Polyphonic forms:

Bach I.S. The Well-Tempered Clavier, Inventions

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

Prokofiev S. Montague and the Capulet

Musical forms in ballet

Musical form and choreographic form in ballet are not identical.

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

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

Classical suite structure:

introduction (entree)

adagio

variations

Code

The classical suite stops the development of the plot.

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

Pas de deux - a kind of choreographic duet, classical love dance, "lyrical center" of a scene or act.

Entre (exit) may be a little erratic introduction, or none at all.

Adagio - duet dance, usually at a slow pace. The character is canted, the musical form is usually 3-part with a dynamized reprise. There is no threefoldness in the choreography.

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

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

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

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

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

Symphonic picture -a performance that supplements the performance with some kind of pictorial, effective principle, or that characterizes the place of action, the time of the events taking place, national origins, etc. It can have a three-part or a more complex form.

Intermission (French entracte, from entre, "between" and acte, "action"), instrumental music that sounds between acts dramatic play, opera, ballet, etc.

Ballet forms

Delib L. Coppelia, Mazurka, Czardas, Waltz

P. Tchaikovsky "The Sleeping Beauty" Prologue. Pas de sis. Pas-de-trois, act 3.

Tchaikovsky "Swan Lake" "The Tempest" (4th act)

Adam A. "Giselle", Introduction, Pas de deux (Acts 1, 2), Giselle Variation (Acts 1, 2)

Prokofiev S. "Romeo and Juliet": Juliet the Girl, Pater Lorenzo, Mercutio, Montagues and Capulet.

Mussorgsky M. "Night on Bald Mountain"

Glazunov A. "Raymonda", Act 1, Scene 3 (Grand Pas)

Videos:

Borodin A. "Prince Igor" Polovtsian Dances, Act 2

P. Tchaikovsky "Swan Lake", Act 2

Glazunov A. "Raymonda", the finale of the 2nd act (4th scene), pas d `action

Oldenburgsky P. "La Bayadere" Pas de sklyav

Aubert J. Grand Pas

Glossary

Variations (from Lat. - "change") - a musical form based on the exposition of the theme and its repeated repetition with new changes each time. Variations are strict and free, ornamental, on basso ostinato, double.

Introduction - a section that precedes the main part of a piece of music, setting the tonality, tempo, metro rhythm, texture. It can consist of one or several measures, or even one chord, sometimes it uses the musical theme of the main part.

Harmony - combining sounds into consonances, a sequence of consonances.

Dynamics (from the Greek - "strength") - sound intensity, volume. Various loudness options are called nuances, dynamic shades.

Genre (from French - "kind", "kind") - a polysemantic concept that characterizes the genera and types of musical creativity in connection with their origin, conditions of performance and perception. Genres are divided into primary, applied, and the rest (secondary).

Zatakt - one or more sounds that begin a phrase from a weak beat time and tend to a heavy beat.

Invention (from Lat. - "invention", "invention") - a small piece of polyphonic nature. Such pieces are usually based on imitation techniques, although more complex fugue techniques are often found in them. In the repertoire of students of music schools, 2- and 3-voice inventions of JS Bach are widespread (the 3-voice ones were originally called “synphonies”). According to the composer, these pieces can be viewed not only as a means to achieve a melodious manner of playing, but also as a kind of exercise for the development of the musician's polyphonic inventiveness.

Canon (from the Greek - "Norm", "rule") - a polyphonic form based on imitating the theme with all voices, and the introduction of the voices occurs before the end of the presentation of the theme, that is, the theme is imposed on itself by its various sections. (The interval of the introduction of the second voice in time is calculated in the number of measures or beats). The canon ends with a general cadence turnover or gradual "switching off" of the voices.

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

Another meaning of this term is a virtuoso solo part of a vocal or instrumental work of an improvisational warehouse (often written by the author in sheet music).

Code (from lat. - "Tail", "train") the final construction of a piece of music or a part of a cycle, following the main final section. In the code, the main tonality of the work is usually established, elements of its main themes sound.

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

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

Melody - (from Greek - "melody", "singing") - monophonic succession of sounds of the same or different heights, organized with the help of modal gravitations.

Meter - alternation of light and heavy beats in music ("pulse" of music).

Motive - the smallest indivisible intonational-semantic cell of a musical form, consisting of one or several sounds and containing one metric accent. A motive can contain one or more submotives.

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

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

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

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

Construction - a term denoting any of the sections of a musical form.

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

Predict (prediction)(from Latin ictus - "blow") - a section of a musical form based on an unstable, more often dominant function (dominant organ point) and requiring resolution in the stable part of the form. It is used in middle parts, developments, links and other connecting constructions.

Program music -works based ona literary or narrative idea, plot, or in which an image, genre or mood is indicated with the help of a heading.

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

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

Rhythm - (from Greek - "harmony", "proportionality") - the succession of sounds of the same or different duration, organized with the help of a meter.

Rondo (from French - "circle") - a form based on at least three times the refrain theme alternating with new constructions or episodes. (Distinguish between classic, antique and romantic rondo).

Symphonic poem.Orchestral program composition - a genre that became widespread in the era of romanticism and includes features of a program symphony and concert overture

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

Style - (from Lat. - " writing stick ") the concept of aesthetics and art history, which fixes the consistency of expressive means characteristic of an era, direction, nationality or composer.

Suite - (from fr. « row "," sequence ") a cyclical form, consisting of several thematically different, independent parts that have either a genre commonality (dance suite), or subordinate to the programmatic intent.

Tact -the period of time in music between two equivalent metric accents is separated when writing by a bar.

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

Tempo -(from lat., it. "time") the speed of movement in music, determined by the number of metric fractions per unit of time.

Tonality -altitude position of the fret.

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

Texture -(from lat. "treatment") way of presentation (storage) of a musical work (can be monophonic, polyphonic, homophonic, mixed)

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

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

Fugue -(from lat., ital. "Run", "flight", "fast flow") a form of a polyphonic piece based on repeated imitation of the theme in different voices.

Caesura(about lat. - "dissection") - the moment of dividing a musical form into constructions.

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

Hatch (from him. « line "," line ") reception of sound production on musical instrument with expressive meaning (legato, nonlegato, staccato, spiccato, detache, marcato).

Literature

Mandatory:

1. Bonfeld M. Analysis of musical works. The structures of tonal music. Part 1.2.

- M .: Vlados, 2003.

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

3. Panferov V. Basics of dance composition. - Chelyabinsk, 2001.

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

5. Kholopova, V.N. Forms of musical works. -SPb., Lan, 2001.

Additional:

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

2. Big Russian Encyclopedia, in 30 volumes - M., Big Russian Encyclopedia,

2004.

3. Boffey G. Great encyclopedia music: per. with ital. - M .: AST: Astrel, Vladimir:

VKT, 2010.

4. Vasilyeva-3. Rozhdestvenskaya, M. Historical and household dance. -Moscow: Art, 1987.

5. Voronina I. Historical and household dance. Educational Toolkit... - M .: 2004.

6. Zakharov R. Composition of the dance. Pages of pedagogical experience. - M .: Art, 1989.

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

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

small forms analysis technique. - M .: Music, 1967.

9. Maxine A. Study ballroom dancing: Toolkit. - SPb .: Lan: Planet

music, 2009.

10. Musical encyclopedic Dictionary/ ed. G. Keldysh. Moscow: Soviet

encyclopedia, 1990.

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

12. Popova T. Music genres and shapes. - M .: State. muses. publishing house, 1954.

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

14. Smirnov I. Art of the choreographer. - M .: Education, 1986.

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

16. Ural V. The nature of dance. (Library "To help art

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

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

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

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

shaping in music. Simple shapes. - M .: Music, 1980.

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

1983.

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

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

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

Means of musical expression fret. Means of Musical Expression: How to Analyze a Musical Work. The main types of polyphony

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