The textbook is intended for students and teachers of pedagogical colleges to be used in the lessons "Playing musical instruments". The manual includes theoretical material that introduces students to the main genres of music. The application contains musical material that can be used for listening and performance by students in the classroom.
Download:
Preview:
Music genres
Translated from French, the word genre means type, genus, manner. This word refers to the type of works that have their own distinctive features, content, form and purpose. To better understand what a genre is, let's turn to painting. You well know that if a person is depicted in a picture, this picture is called a portrait. If nature is depicted on the canvas, it is a landscape. The image of fruit, game is called a still life. Portrait, landscape and still life - genres in painting. In literature, this is a story, a novel, a short story, an essay.
Music also has its own genres. Let's start with three musical genres: song, dance and march. A wonderful teacher and composer D.B. Kabalevsky compared them with three whales, on which all music rests.Song, dance and marchhave become part of our everyday life and have become so merged with it that sometimes we do not notice and do not perceive them as art. Which of us thought when listening to our mother's lullaby, walking in a sports formation, or dancing in a disco that a piece of music was being performed? Of course, no one. But they are always with us - song, dance and march.
In opera, in the symphony and in the choral cantata, in the piano sonata and in the string quartet, in ballet, in jazz, pop and folk music, in a word, in any field of musical art, the support of the "three whales" awaits us.
Song
Long before professional music appeared, folk songs faithfully and artistically reflected the typical features of the national character of a particular people.The birth of a song has long been associated with the life of people, their work, life. Song , like sobbing or laughter, reflects the state of the human soul, which is why they are so diverse and numerous. The peculiarity of the song is in the harmonious combination of words and music.
Very often, the definition of “folk” is added to the word “song”. Each folk song has a pronounced national flavor, because the peoples of all nations and all continents sing in their own way. hard to confuse Russian song from Georgian, Uzbek, Neapolitan or Negro.Like a precious stone, the song was passed from mouth to mouth from one generation to the next. Each performer brought something of his own, individual to it. Often, therefore, the same texts were sung in different villages with different tunes. There are various types of folk songs: labor, play, ritual, family and household, round dance, dance, lyrical, epic and many others.
Most often, the song is performed with the accompaniment of a musical instrument. Using folk themes, composers create new song genres, as well as monumental works: cantatas, oratorios, operas and operettas. The song organically entered symphonic music. And there are many such examples.
Dance - one of the oldest manifestations of folk art. V
Rhythmic or smooth movement, people sought to convey their feelings
moods and thoughts. So ritual dances appeared, which became
an indispensable attribute of every holiday. Many peoples have kept
And up to our time. People dance, sometimes turning their dance into art
- ballet. They dance, participating in solemn ceremonies or having fun in
free evenings and holidays. Each nation has its own
National dance traditions with characteristic, inherent music.
french dance chimes (courante - “running”, “current”)
Of court origin, but quite fast, different
complex, intricate figures and their corresponding music.
A completely different dance sarabande - slow, majestic. He was born
in Spain and arose from a solemn mourning ceremony. This was reflected in
Name (sacra banda in Spanish - "holy procession").
Gigue - an old dance of English sailors, fast, cheerful,
laid-back. These four dances have long been united by composers
to suites.
Many wonderful dances have long existed in Poland. Most
Polonaise, mazurka, krakowyak became famous among them.
The oldest of them is polonaise . In the old days he was called the great or
walking dance. Its current name comes from the French
polonaise ("Polish"). Polonaise - a parade procession opened
court balls. In addition to the court, there was also a peasant
Polonaise, more calm and smooth. Favorite dance was
mazurka , more precisely - Mazury (from the name of one of the regions of Poland -
Mazovia). Folk mazurka with a cheerful, perky, sharply accented
Melody is a pair dance in which there are no figures invented in advance.
Third Dance - Krakowiak differs from the first two in a clear size.
All these dances are presented in the works of Chopin, We hear them in
Glinka's opera Ivan Susanin.
Polka dance belongs to another Slavic people - the Czechs.
Its name comes from the word pulka - "half", as they danced
his small steps. This is a lively, laid-back dance that
They dance in pairs in a circle. The most beloved of Czech dances, it sounds in
Smetana's opera The Bartered Bride.
An interesting fate of the Austrian peasant dance Lendler. Doubles
The circular dance, named after the Austrian region of Landl, is in
At the beginning of the 19th century, he migrated from villages to cities in Austria and Germany. His
began to dance at balls, and gradually it turned into a well-known and
everyone's favorite waltz.
In Liszt's "Hungarian Rhapsodies" and Brahms's "Hungarian Dances"
characteristic melodic turns, sharp, rhythmic figures. They
immediately recognizable by ear, reminiscent of the Hungarian folk dance chardashe.
Its name comes from the word csarda - "tavern", "tavern".
Hungarian taverns have long served as a kind of clubs, where
local residents gathered. In them or on the platform in front of them and
danced. Czardas emerged by the beginning of the 19th century, and not in the peasant
Wednesday, but in the city. This dance consists of two parts: slow,
pathetic and mobile, fire dance.
The city of Toronto is located in southern Italy. He gave the name
national dance tarantelle.
Spanish dances are very colorful. jota - favorite Spanish dance
The provinces of Aragon, Catalonia, Valencia are characterized by a fast pace,
sharp rhythm, which is emphasized by the clicking of castanets. It's double
a dance performed to the guitar or mandolin. The peculiarity of jota
Glinka was captivated during his trip to Spain. His orchestral
"Aragonese Jota" is written on a genuine folk theme.
Another popular dance is bolero (in Spanish volar - "to fly")
more moderate, with a polonaise-like rhythm.
In Russia, purely instrumental dance music has not received such
widespread: Russians have long loved to sing, and all dances - and
quick merry dances, and smooth round dances - usually accompanied by
singing. The most popular perky dance in the 19th century"Lady" even
It got its name from the refrain of the song "Madame-lady". Among
dances of other peoples are known Ukrainian Cossack , fast, perky
Moldovian.
Caucasian dance gained immense popularity lezginka. Music
Lezginki - with a clear rhythm and energetic movements - attracted
to the attention of many composers. Stormy, full of elemental power and
passions lezginka sounds in the opera "Ruslan and Lyudmila" by Glinka, in the ballet
"Gayane" Khachaturian.
March. The French word marche means "walking". In music, this is the name given to pieces written in a clear, energetic rhythm, to which it is convenient to march. Although the marches differ from each other, they have one thing in common: the march is always written in an even size - two or four quarters, so that those walking do not go astray. But there are exceptions to every rule. Listen to A. Alexandrov's song to the verses of V. Lebedev - Kumach "Holy War". It was written in three-part meter, and yet it is a real march, under which the soldiers went to the front. The march is an important organizing, unifying beginning. It is no coincidence that many revolutionary songs are written in the rhythm of a march. These are the famous Marseillaise, Internationale, Varshavyanka. The king of the march was called the Soviet composer I.O. Dunayevsky. He wrote many famous marches: "March of Enthusiasts", "March of Athletes", "Sports March". There are several types of marches: drill, counter, concert, funeral.
Tchaikovsky. March of the wooden soldiers;
Doll Funeral ("Children's Album");
"Wedding March" by Mendelssohn;
Marches from operas: M. Glinka "Ruslan and Lyudmila";
G. Verdi "Aida"; Ch. Gounod "Faust";
F. Chopin. Sonata in B flat major;
L. Beethoven. Finale of the Fifth Symphony;
V. Agapkin. "Farewell Slav";
V. Alexandrov. "Holy war";
I. Dunayevsky. Motion picture march" Funny boys ".
Definition of a genre in works of classical music.
Musical genres also differ in the way they are performed. Vsymphonic musicit is a symphony, a concerto, a suite.
Symphony - a piece of music for the orchestra, written in sonata cyclic form, the highest form of instrumental music.
Concert - a work for one or (rarely) several solo instruments and an orchestra, as well as a public performance of musical works.
Seasons Venetian composer Antonio Vivaldi - the first four violin concertos from his eighth opus, which is a cycle of 12 concerts, one of his most famous works, also one of the most famous musical works in the Baroque style. Written in 1723, first published two years later. Each concert is dedicated to one season and consists of three parts corresponding to each month. The composer prefaced each of the concerts with a sonnet - a kind of literary program. It is assumed that the author of the poems is Vivaldi himself. It should be added that the paradigm of artistic thinking is not limited to a single meaning or plot, and involves secondary meanings, hints, symbols. The first illusion that arises is the four ages of a person, from birth to death (the final part contains an unambiguous allusion to the last circle of Dante's hell). The allusion to the four regions of Italy is just as open, according to the four cardinal points and the path of the sun across the sky. These are sunrise (east, Adriatic, Venice), noon (sleepy, hot south), magnificent sunset (Rome, Latium) and midnight (cold foothills of the Alps, with their frozen lakes). But in general, the content of the cycle is much richer, which was clear to any enlightened listener of that time. At the same time, Vivaldi reaches here the heights of genre and direct depiction, not shying away from humor: the music contains barking dogs, the buzzing of flies, the roar of a wounded beast, etc. All this, coupled with an impeccably beautiful form, led to the recognition of the cycle as an indisputable masterpiece .
Suite - a work for one or two instruments from several heterogeneous pieces connected by a common idea.
In chamber musicgenres: trio, quartet, sonata, prelude.
Trio (from Latin tria - "three") - a musical ensemble of three musicians-performers, vocalists or instrumentalists.
Quartet - musical ensembleof four performing musicians, vocalists or instrumentalists.
Sonata - a musical work of three or four parts of different tempo and character.
Prelude (from Latin - before and game) - a short piece of music that does not have a strict form.
In vocal music- romance, oratorio, cantata.
Romance - a vocal composition written on a short poem of lyrical content, mostly love; chamber music and poetry for voice with instrumental accompaniment.
Oratorio - major piece of music for choir, soloists and the orchestra. In the past, oratorios were written only on subjects from the Holy Scriptures. It differs from the opera by the absence of stage action, and from the cantata by the larger size and branching of the plot.
Cantata (Italian cantata, from Latin сantare - to sing ) is a vocal and instrumental work for soloists, choir and orchestra.
To musical and theatrical genresinclude opera, operetta and ballet.
Opera - a work for the theater, which is performed by artists - singers and an orchestra. In this musical genre, poetry and dramatic art, vocal and instrumental music, facial expressions, dances, painting, scenery and costumes are merged into a single whole.
The literary basis of the opera is the libretto. Often the basis of the libretto is some kind of literary or dramatic work. For example, the opera The Stone Guest by Dargomyzhsky was written to the full text of Pushkin's Little Tragedy. But usually the libretto is reworked, as the text should be concise and concise.
Almost every opera begins with an overture - a symphonic introduction, which in general terms acquaints the listener with the content of the entire action.
The music in the opera reveals the innermost feelings of the characters, their character,
talks about their thoughts. In dramatic performances, this is conveyed in
actors' monologues. In the opera, the role of a monologue is played by an aria (translated from
Italian - "song"). Arias are characterized by a wide chant. To more
Fully show the hero, several of his arias are introduced into the opera. In the opera P.I.
Tchaikovsky "Eugene Onegin" Lensky performs the aria "Where, where have you gone", which shows his emotional experiences, excitement,
uncertainty about the future. Arioso Lensky "I love you, Olga" -
A small aria of free construction of a lyrical character.
Another important component of opera is ensembles. During the simultaneous
Singing several soloists, we not only hear the voice of each
The performer, but we also feel the beauty of such a joint sound.
The largest ensemble, without which not a single opera can do, is the choir.
The orchestra plays an important role in the opera. He not only accompanies the entire opera,
but also is a kind of protagonist, since the music performed by
Orchestra, reveals the idea of the work, reveals thoughts, feelings,
the relationship of the characters, determines the dramatic development of the plot.
An important component of the opera are dance scenes. In the opera M.I.
Glinka "Ivan Susanin" the second act is almost entirely built on
dancing. This is a peculiar characteristic of an arrogant, self-confident
the victory of the Polish gentry. That's why they dance polonaise at this ball,
Krakowiak, mazurka, presented by the composer not folk, but
Knightly dances.
Operetta (from Italian operetta, literally a small opera) -
Theatrical performance in which individual musical numbers
Alternate with dialogue without music. Operettas are written in
comic plot , musical numbers in them are shorter opera houses, in general
the music of the operetta is light, popular, but inherits
directly the traditions of academic music.
Ballet (from Italian ballo - dancing) - a kind of stage performance arts;
performance, the content of which is embodied in musical
choreographic patterns. Most often, ballet is based on
a certain plot, dramatic design, libretto, but there are also
plotless ballets. The main types of dance in ballet
are classical and characteristic dance. An important role here
Pantomime plays, with the help of which the actors convey the feelings of the characters, their
"conversation" among themselves, the essence of what is happening. In contemporary ballet
Elements of gymnastics and acrobatics are also widely used. Ballet
requires endurance and endurance from any person involved in it.
movement of emotions.
Musical dramaturgy
musical style
musical form
4) as an aesthetic order in a musical composition, which manifests itself as formality or formlessness.
5) as one of the sections of musical-theoretical science.
Thus, two categories of musical form are considered:
a) in the broad sense of the word - as a way of embodying the content;
b) in close - as a plan for deploying functionally different sections and parts of a musical work, which are combined into a coherent composition. Otherwise it is called form of composition or compositional plan.
The form of the composition has two sides:
*) external, connected with the musical content, with the genre and with the theme, as well as with the forms of existence of music, which is especially important for primary genres.
*) internal, associated with the disclosure of the internal organization, its aspects, elements.
Composition functions:
1) semantic, determined by the content of the work;
2) communicative, aimed at managing the listener's perception.
Method of analysis and its forms
The main problem of analysis is the relationship between form and content. Analysis tasks:
a) to formulate what feelings, emotions the music expresses;
b) what means are used for this;
c) connect the content with the era that gave rise to a given style, genre, composer's work. The above points can be considered as separate aspects of the analysis and separated into independent forms.
Forms of analysis(according to Yu. Kholopov) :
1) Analysis as practical aesthetics. It consists in tracing the patterns of music and making assessments. The perception and aesthetic experience of the phenomena of music included in the analysis give a certain part of the analysis the character of concrete aesthetic research, practical aesthetics.
2) Analysis-description. This species is of scientific value only when a new phenomenon is described. Description is a retelling of the musical text in well-known terms.
3) Holistic or complex analysis. W. Zuckerman's method. It consists in attracting to the analysis a wide range of information related to the composition. Content and form are considered inseparable unity. Zuckerman: "Analysis is a synthesis of science and art, as it requires not only knowledge, but also susceptibility."
4) Quantitative-measuring analysis. This is analysis in the literal sense of the word, that is, the division of the whole into elements. There is a problem here, because the main object of measurement is inaccurate.
From a broader standpoint, analysis as such cannot be separated from synthesis at all. These are two sides of a single process of thinking, cognition. The analysis should not only be holistic, but valuable, that is, it must detect the presence spiritual connections. Musical analysis does not leave music if it:
*) presents the technical means of music as aesthetic
*) preserves the sound form of music, that is, operates with musical examples.
Value analysis reveals the figurative and emotional side of music through aesthetic experience. With the value method of analysis, “means” are interpreted primarily within the framework of the musical form. Hence the dominant meaning of the concept of form as an object of analysis.
The structure of musical speech
The musical form is characterized by a hierarchy of structure (mutual subordination). The musical form consists of a number of sections, each of which is divided into subsections. The period contains the following subsections:
1) sentence - the largest part of the period, completed by the cadence;
2) a phrase is a part of a sentence separated by a caesura;
3) motive - the minimum constructive element of the form, associated with one strong share.
Metric shape structures
For music as a temporary art, proportionality, proportionality of parts is important. In the musical form, the following metric structures are distinguished, depending on the number of strong beats:
1) squareness - “4-cycle parts” (Sposobin). Squareness is typical for genres associated with movement (dances, marches);
2) non-square - violation of the principle of squareness (3 + 3; 6 + 6 vols.). Typical for Russian folk songs.
Simple two-part form
Simple forms are forms consisting of 2 or 3 parts, each of which is no more complicated than a period. The difference from the period is the presence of a developing section. Simple forms originated from song or dance music. Sphere of use - songs, instrumental miniatures, genre and everyday music.
Simple 2-part form is a form consisting of two sections or periods, where the first section is a presentation of musical thought, and the second is its development and completion. Simple 2-part forms are divided into contrasting A+B and developing A+A1.
1) contrast (non-reprise). The structure is chants and choruses, with genre features (r.n. "Dubinushka").
2) developing (reprise): aa1 + ba1, where the second section consists of two constructions: v - updating and developing the theme, the so-called "middle"; a1 - repetition of the second sentence of the first section.
A simple three-part form.
A simple three-part form is a form in which the first part is a presentation of musical thought, the second part is either its development or the presentation of a new musical thought, the third part is completion with the help of a reprise. Depending on the thematic material of the middle part, there are 2 varieties of a simple 3-part form:
1) developing (single-dark) AA1A. The middle section is characterized by tonal-harmonic instability, avoidance of tonics, deviations, fractional structures, sequences, polyphonization of the theme (Tchaikovsky, "Barcarole").
2) contrast (two-dark) ABA. The middle section is a period of a non-expositional type, in which there is no completeness, at the end an unstable harmony accumulates (Tchaikovsky, romance "Among the noisy ball").
Reprise is of two types:
a) exact (literal, static, da capo);
b) modified - varied, expanded or abbreviated (rarely).
A variation of a simple three-part form - three-five-part form ABABA (Liszt, "Dreams of Love").
complex shapes
They consist of 2 or 3 parts, each of which (at least one) is a simple form. It has a pronounced contrast of opposite figurative spheres.
Complex two-part form
Scope of application - chamber vocal, opera music, less often - in instrumental music (Mozart, Fantasia in D minor). It exists in two varieties:
1) non-reprise or reprise AA1(Bach, HTK II, preludes No. 2,8,9,10,15,20; Scriabin, preludes op.11 No. 3,16,21);
2) contrast AB. ( Bach, HTC I, Preludes No. 3.21). The inequality of parts contributes to the integrity of the form:
a) 1 part - introductory, 2 - main (Glinka, Cavatina and Antonida's Rondo from the opera "Ivan Susanin"). Or in the Chorus of Hunters (Weber, opera "Magic Shooter"): part 2 - chorus.
Complex three-part form
This is a reprise form, consisting of 3 parts, each of which is a simple form. This form includes two contrasting images with the subsequent consolidation of the first. History of origin: instrumental and vocal music of the 17th century - dance cycles, aria da capo. Sphere of use: middle parts of sonata-symphony cycles, individual instrumental works, romances, arias, choirs. Varieties:
1) ASA 2) AA1A(arias da capo) 3) ABSA(among the romantics)
Feature of the first part: lack of contrast - one-dark 2x or 3x private form.
Historically, two types of middle section have developed:
1) middle part with trio where presentation of new material prevails over development. This construction is stable, complete in form and tonal-harmonic structure, clearly separated by a caesura from the extreme parts (Rakhmaninov, Prelude in G minor)
2) the middle part - episode where development prevails over presentation. This construction is tonally, harmonically and structurally unstable, with a smooth transition to the reprise (Tchaikovsky, "February").
With the Romantics, the distinction between a trio and an episode is blurred.
Reprise types:
1) exact (Mozart, symphony in G minor, 3rd movement)
2) varied (Chopin, nocturne in D-flat major)
3) dynamic, containing a figurative rethinking of the thematic material of the first movement and a new figurative contrast (Chopin, nocturne in C minor).
coda- developed post-reprise addition. Performs the final, synthesizing function. Main features: tonic organ point, plagal phrases.
Variation form
Variation is a form based on the presentation of the theme and its repetition in a modified form: AA1A2… The number of parts is not limited. The meaning is the disclosure of various figurative states inherent in the theme.
Origin - connected with the folk performing tradition. Sphere of use - independent works, parts of sonata-symphony cycles.
It is necessary to distinguish between variation (this is a way of developing a theme) and variations, that is, a variational form.
Historical types of variations:
1) Vintage variations(XVI - XVII centuries). Basso ostinato variations. 2 types:
a) passacaglia- a large form, Maestoso. An unchanged theme in the bass varies.
b) chaconne- chamber, lyrical. Usually included in a large form. The invariable harmonic formula varies.
By the end of the 17th century, the differences between the passacaglia and the chaconne were blurred (Bach, Chaconne in D minor; Handel, Passacaglia from the suite in G minor, No. 7).
2) Strict variations. VKSh variations. Figurative, ornamental variations.
Theme Features:
1) middle register, 2) moderate tempo, 3) chord texture,
4) clear functionality of the theme, 5) song and dance character of the theme,
6) form - simple two-part, less often - 3-part, even more rarely - period.
The principle of variation: reproduction of the theme as a whole, enrichment with its details.
The theme changes: melodic pattern, rhythm, texture, tempo, etc.
Remain unchanged: harmonic plan, form , tonality (can be replaced once with the same name or parallel).
Melody development techniques: a) ornamentation, b) chant, v) variant transformation. (Mozart, sonata in A major, No. 11, 1st part).
3) Free variations. Established in the work of romantic composers at the beginning of the XIX century. Genre-specific variations. Each variation is like an independent play based on the material of the theme. The theme is just an excuse to create contrasting images. The principle of variation: the theme element is an object of independent development (Rakhmaninov, "Rhapsody on a Theme of Paganini").
Double variations.
These are variations on two themes. Topics can vary both individually and in turn (Glinka, "Kamarinskaya").
Glinka variations(soprano ostinato).
The theme remains unchanged, the accompaniment changes (Glinka, Persian choir from the opera Ruslan and Lyudmila).
sonata form
Sonata form is a form in which the 1st section (exposition) is based on the tonal contrast of two main themes. Section 2 (development) intensively develops them. Section 3 (reprise) brings the themes into tonal unity.
The sonata form is the highest among instrumental homophonic forms, having absorbed the features of all other forms. Due to the complicated structure, the sonata form is able to reflect vivid figurative contrasts, embody complex content in development, and show a qualitative change in images.
The sonata form was finally formed in the work of the VKSh composers. It is used in the extreme parts of sonata-symphonic cycles, as a form of one-movement program orchestral works (overture, fantasy, painting, poem), as a form of opera overture. Rarely found in vocal music (Ruslan's aria from the opera "Ruslan and Lyudmila" by Glinka).
Sonata form contains three mandatory sections: exposition, development, and coda. In addition to them, there may be additional ones - an introduction and a code.
exposition
This is a display of musical images, the beginning of a drama. Based on the tonal (thematic) contrast of the main and side parts. It is necessary to distinguish between the concepts of a part and a theme: a part is a section of an exposition or a reprise. The theme is the musical material that characterizes the image.
Main party- more often of an active, strong-willed nature (movement along chord sounds, impulsive rhythm). Often contains an internal contrast of various elements.
Side party- mostly lyrical. Usually it is a melodious genre-dance theme. Sometimes a side part consists of several themes (Beethoven, "Heroic" symphony, 1 movement). Often a side batch contains a break (shift) - the introduction of elements of the main batch, the linking batch. This brings tension, anticipates the drama of development.
Typical tonal ratios:
Ch.p. (in major) - b.p. (in the key of D)
Ch.p. (in minor) - b.p. (in parallel major)
In addition to the main and side parts, the exposition contains linking party , which tonally and thematically connects the main part with the side part, discharges the energy accumulated in the main part. The main feature of the connecting part is tonal instability. The connecting party can be different in scale: from developed constructions to a short bunch (Schubert, "Unfinished" symphony, 1 part).
Final game- sums up the exposition, fixes the tone of the side part. It is built more often on the material of the themes of the exposition, less often on a new theme.
Development
This is the development and culmination of musical action. The contrast of the themes of the exposition is either deepened or smoothed out. More often, the development is based on the theme of the main party, as more active and internally conflicting. The main methods of theme development:
1) fragmentation of the theme into elements and their tonal, harmonic, texture, register, timbre development.
2) theme polyphonization.
Development can consist of several sections, each with its own culmination (the so-called waves). The last section, based on the accumulation of energy of an unstable function, is called predicate. The appearance in the development of a new theme that was not heard in the exposition is called episode(Shostakovich, "Leningrad" symphony, 1 part).
reprise
This is the denouement of the musical action, in which the themes converge on the basis of tonal unity. The reprise of sonata form is:
1) exact (Beethoven, symphony No. 3, 1st movement)
2) dynamic - figurative rethinking of the themes of the exposition; the beginning of the reprise coincides with the climax of the development (Shostakovich, Symphony No. 7, 1st movement)
3) mirror (Chopin, ballad No. 1, G minor)
4) incomplete, with the missing main part, which appears in the coda (Chopin, Sonata No. 2, in B flat minor).
coda
Its function is to sum up the results of development, to bring the contrast into unity, to affirm the main idea. The stronger the contrast in the exposure, the more dynamic the development in development, the greater the value of the coda. The sonata form coda may be similar to the second development. Usually the coda is built on the thematic material of the exposition, less often on a new theme.
Rondo sonata
It is an intermediate form between rondo and sonata form. Scheme : ABA C AB1A, where AVA- exposure, WITH- episode , AB1A- reprise. The middle (central) episode can be replaced by the development of previous themes. According to W. Zuckerman, “Rondo-sonata is such a type of rondo with three (occasionally four) episodes, in which the extreme episodes are thematically and tonally in the same ratio as the side parts of the exposition and reprises of the sonata form. Varieties:
1) if the central episode WITH– development of exposition themes, then this view approaches the sonata form,
2) if the central section WITH- episode, then - to the rondo.
Signs of sonata form:
*) tonal contrast of themes A and V at the beginning and their tonal unity at the end
*) episode V- not an intermediate construction, but the opposition of Ch. n. as an independent party
Difference from sonata form:
*) repetition of ch. n. at the end of exposition and reprise
Signs of rondo:
*) refrain at least three times
*) genre and dance themes
Difference from rondo:
*) repetition of a new episode in a new key.
Scope: finals of sonata-symphony cycles, sometimes as independent pieces. The introduction for the rondo sonata is not typical, the coda is possible. Beethoven, sonata No. 8, finale, middle section - episode. Mozart, sonata No. 17, finale, middle section - development).
Cyclic forms
A cyclic form is a form consisting of several completed contrasting parts, united by a common idea.
There are two types of cyclic forms:
1) suite, in which the contrast of parts predominates,
2) sonata-symphonic (vocal-symphonic, vocal, instrumental) cycle, in which the main thing is the unity of the cycle.
Suite.
This is a cyclic work, consisting of a number of diverse pieces. Historical types of suites:
1) Ancient suite (partita). XVI-XVIII centuries. Consists of four dances:
a) allemande(German dance) - slow tempo, 4/4, polyphonic warehouse;
b) chimes(French dance) - moderate tempo, 3/4, polyphonic warehouse;
c) sarabande(Spanish dance) - slow tempo, 3/4, chord texture;
d) giga(English dance) - fast tempo, triplet rhythm. In addition to the main dances, additional dances were sometimes introduced into the suite - gavotte, minuet, bure, etc. The suite opened with a prelude or toccata. (Bach, English, German, French suites).
2) VKSh suite . Main genres: cassations, divertissements, serenades (Mozart, "Little Night Serenade"). There is a rejection of obligatory dancing and a rapprochement with the sonata-symphony cycle.
3) New Suite (2nd quarter of the 19th century). Its features are: the great importance of programming, the unification of the parts by a certain plot, the increased contrast of the parts (Schumann, "Carnival"). A suite can be composed of the main musical numbers of a performance, ballet, opera (Grig, Peer Gynt).
Sonata-symphony cycle
The sonata-symphonic cycle includes the genres of symphony, sonata, concerto, quartet. The classical sonata-symphony cycle consists of 4 parts, including Allegro in sonata form, a slow movement, a minuet (later a scherzo) and a finale. There is no minuet in the concerto and sonata genres. The compositional unity of the parts of the cycle is manifested in the tempo organization of the whole, in tonal-harmonic, thematic and figurative connections.
Parts of the sonata-symphonic cycle are, as it were, phases of the disclosure of the concept of the composition as a whole. Each part of the cycle has its typical genres and forms:
1 part(sonata Allegro) - sonata form.
part 2(Andante, Adagio) - a complex 3-part form, sonata form without development, variation form, sometimes - rondo.
part 3(Minuet) is a complex 3-part form.
part 4(Finale) - sonata form or rondo (rondo-sonata).
Tonal connections: the extreme parts are written in the same key or the same key, the 2nd part - in the key S, the same key or parallel. 3rd part - in the main key.
Free and mixed forms
These are non-cyclic musical forms that do not fit into the typical patterns of classical and romantic music forms, or combine the features of various forms. Free forms differ from mixed forms in that mixed forms combine sonata form with other forms. In free forms, suite forms are combined with other forms. Free forms are associated with genres of entertaining instrumental music (Strauss waltzes, potpourri). Rondality often becomes the leading principle. Each new musical image has a finished form. Free forms are characteristic of compositions that have a program.
Free forms of the Baroque era - organ and clavier fantasies and genres related to them. A characteristic feature of free forms of the 2nd half of the 18th century is a mixture of homophonic and polyphonic features.
The increased importance of free and mixed forms in the 19th century (ballads, poems, rhapsodies) is determined by the aesthetics of romanticism. They are characterized by a detailed exposure of contrasting themes, an increase in the intensity of development, the transformation and convergence of images, and the dynamization of the reprise-code part.
In the 19th-20th centuries, free forms were based on an idea that influenced the form (program). The individual "composition of form" becomes the principle of composition in the 2nd half of the 20th century.
Polyphonic forms
1) simulation, based on the development of one topic.
2) non-imitation (contrasting), based on the simultaneous combination (contrasting) of various topics.
Polyphony arose in the 14th century as a kind of church music for a capella choir. The main polyphonic genres are fugue, fughetta, ricercar, invention, etc.
Fugue
Fugue is the highest form of imitation polyphony. The main compositional elements of the fugue: theme, answer, counterposition, interlude (building between topics, based on the development of the elements of the topics) and stretta (imitative introduction of the topic in one voice before ending it in another).
A fugue usually consists of three sections:
1 section- exposure. This is a sequential introduction of voices with a theme in the T-D ratio. Between the 2nd and 3rd presentations of the theme, as well as after the entire exposition, interludes sound.
2 section- development, based on the implementation of the theme in subordinate keys. Theme and interlude transformations are used.
3 section- reprise. It begins with the return of the theme (in the main key), which is carried out in all voices.
Stretta is widely used in reprise.
A fugue on one theme is called a simple fugue, on two themes is called a double, on three is called a triple. Double and triple fugues come with separate or joint exposure. A fugue can have a two-part structure: section 1 - exposition, section 2 - free.
Fughetta - a small fugue, of a less serious character. Based on simple types of imitation.
Features of formation in vocal and choral music
The synthesis of text and music leads to the fact that individual parts of the vocal form are less complete than in instrumental forms. Thus, the initial periods of vocal forms often end with a half cadence. The non-square structure of the initial periods, which is free in relation to the internal structure, is often encountered.
Another feature of vocal forms - their low suitability for thematic development - is associated with two reasons:
2) with a uniform metrical and structural structure of the poetic text.
This is one of the reasons for the rare use of the sonata form in vocal music.
The uniform structure of a poetic text can lead to the fact that in the middle the structure of expositional constructions is preserved, but with tonal-harmonic, melodic, textural variation. There is a so-called "variant middle".
More often than in instrumental, in vocal music there are also variant reprises.
For vocal forms, the interpenetration of various principles of shaping, leading to synthetic forms, is very characteristic.
Among the special forms of vocal music, there are 3 main types that have turned out to be historically very stable:
1) couplet form
2) varied form
3) through vocal form.
Music is a complex and difficult art form to understand because music, unlike other art forms, is directed exclusively to auditory perception. There are different points of view on the question of what constitutes the content of music:
1) “Music is something entirely innate, internal, not needing any experience drawn from life” (I. Goethe).
2) G. Laroche: "Music reflects the general spirit of the era."
3) E. Hanslick: “There is no content in music” (i.e., no information). "Musical content is the movement of sound forms."
4) B. Asafiev: "Fugue is the queen of logic."
5) First of all, music reflects the emotional world of a person. Emotion itself does not matter, the emotional world is always in motion. Thus, the basis of music is movement of emotions. According to L. Mazel, in music there should be a unity of emotion and thought, that is, Emotion must be comprehended, and thought must be felt.
We recognize the musical content with the help of intonational hearing, which is a kind of “organ of communication”. Intonation hearing distinguishes 4 emotional states of its interlocutor-music:
a) Call - sharply, progressively, without hesitation (upward movement);
b) Petition - plaintively, uncertainly (downward movement);
c) Game - lively and easy, virtuoso (motor movement);
d) Meditation - calmly, measuredly (return to the same speed).
Musical dramaturgy
This is a system of expressive means and techniques for embodying dramatic action in works of the musical stage genre (opera, ballet, operetta). Musical dramaturgy is based on the general laws of drama as one of the art forms: the presence of a pronounced central conflict, which reveals itself in the struggle between the forces of action and reaction; a certain sequence of stages in the development of a dramatic idea (exposition, plot, development, climax, denouement). These general patterns find a specific refraction in each of the types of musical dramatic art, in accordance with the nature of their expressive means, and the role of music determines a number of features of their composition, which is different from the construction of a literary drama.
In the course of historical development, certain forms have developed that serve to embody the stage action: in the opera - recitative, aria, arioso, ensembles, choirs. In ballet - classical and characteristic dances, ensembles. These forms do not remain unchanged. Thus, operatic dramaturgy is enriched by certain methods of symphonic development (leitmotifs, etc.). In the works of musical stage genres, there are signs of variation, rondo-likeness, sonata.
The concept of dramaturgy is also applied to works of instrumental music. Thus, dramaturgy is one of the specific forms of symphonism (since the method of symphonism is nothing but the method of the dramatic development of thematism).
Musical genres and principles of their classification
In revealing the content of a musical work, the role of the genre is important. As a rule, genre refers to the social role of music, the conditions of existence, the conditions of the means of performance. Genres are historically established types, types, varieties of musical works, which are combined and delimited according to a number of features.
V. Zukkerman and A. Sohor dealt with the problem of the genre in Russian musicology. Zuckerman distinguishes between genres according to the nature of the content - lyrical, narrative-epic, motor, pictorial-pictorial. Sohor distinguishes between genres based on the conditions of performance, existence - everyday (everyday), mass-everyday, concert, theatrical. This is the most general classification of genres; within them there may be subdivisions (Bobrovsky defines them as "secondary genres").
Genres can also be divided into simple and complex. Simple - song, dance, march. They are also subdivided into smaller ones (songs - labor, lyrical, etc. Marches - funeral, military, etc.). Simple genres are otherwise called household (everyday), which emphasizes their utilitarian purpose. Complex genres can be systematized by performing means:
1) instrumental genres - symphonic, chamber, solo music
2) vocal genres - choral, ensemble music, solo with accompaniment
3) mixed instrumental and vocal genres - cantatas, oratorios
4) theatrical genres - operas, ballets, operetta, etc.
musical style
Musical style (from the Latin "stylus" - a stick for writing, that is, a way of presenting) is a concept of aesthetics and art history, fixing the systemic nature of expressive means. In aesthetics, the category of style appeared at the end of the 16th century in connection with the differentiation of professional music, which was previously predominantly cult. In the 17th century, style meant a characteristic of the genre and national schools. Since the 17th century, a broader meaning has been added - the style of the historical period (polyphonic style and a new style - homophonic-harmonic). In the 19th century, the concept of style acquires a narrow meaning - the individual style of the composer's writing. In the 20th century, due to sometimes sharp differences between different stages of the work of one composer, style determines any period of the author's work, or a separate work.
The concept of musical style has an evaluative value, pointing to the unity, the organic relationship of the expressive means of the work, the ratio of traditional and innovative in the individual composer's language.
musical form
The concept of "form" in music is used in several meanings:
1) as an aesthetic-philosophical category, that is, a musical embodiment of the content or a holistic organization of the means of musical expression (melody, harmony, rhythm, timbre, etc.) aimed at embodying the content. It is form in the broadest sense of the word.
2) as a musical concept, that is, a type of composition, a form-scheme according to Asafiev, a form of composition (for example, sonata form, fugue, etc.).
3) as an individual, unique image of a musical work. Asafiev: “There is only one sonata scheme, and there are as many forms of its manifestation as there are sonata forms themselves.”
Each of us loves music in our own way. A large number of works of various genres are released monthly. Everyone downloads and listens to their favorite songs in different ways. Player, radio, TV, phone - all this and much more helps to play music.
Musical notes are with us both in reality and during sleep. Even the wind and the waves of the sea create their own sound that you want to listen to. There is a type of people who live only for music, they don't go anywhere without it. The other type, on the contrary, creates musical masterpieces.
Types and genres of music
Song types cannot be limited to a couple of categories. At a minimum, they are divided into:
- Russians.
- Foreign.
- Slow.
- Dance.
- Merry.
- Sad.
These groups can merge with each other. The types of Russian songs are different: it can be a cheerful dance composition or a slow and sad motive. Music is used to cheer up and dance, although not everyone uses it just for fun. Often a melody can cause a storm of emotions, up to tears.
Classification
Fans of listening to the new watch the release of albums of their favorite artists. Indeed, in our time, almost everyone can record their song, and the types of songs are different, one half of the audience likes it, the other does not approve and generally does not see talent in the performer. To better understand what types of songs and music are, you should pay attention to this list:
- Classical music.
- Pop music.
- Hip-hop.
- Electonic music.
- Jazz.
- Blues.
Fans of a particular genre sometimes get so sick of music that they form groups and go out to showdown. Hip-hop fans prefer to compete with each other using battles. In them they show their devotion to this style of music. Rockers are often seen sitting on bikes and drinking alcohol. Pop musicians are ordinary people who most often perform romantic types of songs that speak of love.
Classical, electra and jazz
Classical music was very popular a couple of decades ago, but even now it is not forgotten. There are not many real connoisseurs of this style who, at the opportunity, come to any corner of their country to attend a concert with live sound and hear the works of Tchaikovsky, Mozart, Bach and other great composers.
Electra music is played using a synthesizer, electric guitar. There are simply no sad motives in these melodies. Electronic playback and fun lyrics keep the younger generation moving rhythmically in the disco. In the modern world, this style occupies the first place, which uses old-style songs performed in a youthful way.
Jazz and blues are very similar to each other, sometimes it is impossible to distinguish between them. Jazz is performed by a group of musicians playing different instruments, with the main ones being wind elements. In the blues, only one instrument plays, while others create a certain color, playing along with the main performer. The songs are sung with a strong voice that can draw out and muffle the heaviest notes.
Pop, rock and hip hop
Pop songs are listened to by both children and adults. This music is considered the most popular, it is performed by famous singers and singers. This style can be sad, romantic, it will "melt" any heart. Pop music most often demonstrates feelings, love, indifference. The voices of the performers are mostly gentle and pleasant to the ear, gossip and high-profile scandals constantly curl around the stars.
The yellow press persecutes performers and sometimes publishes articles in which information does not coincide with reality. Pop lyrics are usually meaningful. Cheerful and danceable notes cheer up.
Types of songs in hip hop music are combined together with the style of RnB and rap. The first texts were written by African Americans, they told a story about a difficult life and abandoned places in America, where chaos and complete devastation are happening.
Rap, as the performers themselves say, is not sung, it is read. Wide jeans, long T-shirts, baseball caps - this is how rappers look, both black and white. Rap performers hang wide chains with various pendants around their necks.
As for rock, there are divisions within the style itself - regular and blues-based style. The first songs came out in the 60s. At the present time, rockers have their own traditions, which manifest themselves in the form of fights on stage, broken guitars, bottles, dousing musicians from head to toe with water. This was not the case in the last century. Rockers of the past sang about love.
Choose what you like the most. If you want, listen to everything at once. The choice is for everyone. In any case, without music, nowhere. She plays everywhere and everywhere.
Song is the most common type of vocal music. Distinguish between folk and author's (professional) song. These two types of songs constantly interact: elements of folk songs are used by composers in their work, and the most popular author's songs are folklorized. Songs also differ in genre, structure, forms of performance, spheres of existence, etc. (both everyday, lyrical and hymn, monophonic 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) applies to .
Lyrics are usually a special genre of poetry. It is distinguished by the clarity of composition, the coincidence of syntactic and structural facets (the equality of a stanza and a complete thought, a line and a phrase). In Russian song poetry, the most common are the four-foot trochee and three-part sizes. Poems constructed in this way most often became popular songs, folk or author's (A. S. Pushkin - “Winter Road”, A. A. Delvig - “Nightingale, my nightingale”, Ya. P. Polonsky - “Gypsy Song”, N A. Nekrasov - “Oh, the box is full, full ...” and others).
M. Yakovlev. "Winter Evening" (verses by A. S. Pushkin)
Songs are characterized by a special type of connection between music and words. The melody of a song is a generalized, final expression of the figurative content of the text as a whole; unlike the romance, it is not associated with individual poetic images or speech intonations of the text. At the same time, the melody and text are similar in structure; they consist of equal (in music - and the same) constructions: stanzas or couplets (often with a refrain - chorus). The internal division of the musical stanza (couplet) also corresponds to the division of the 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 as a single art of song. The monophonic songs of the troubadours, trouvers, minnesingers and mastersingers of the Middle Ages reveal the inextricable unity of word and melody. As a rule, the connection between the structure of the poetic and musical stanza, the unity of rhyme and melodic cadence is clearly felt in them.
The monophonic song genres also include Italian laudas, Spanish cantigas, etc. In the ars nova era in Italy and France, monophonic song forms are replaced by songs accompanied by one or more instruments. France in the 16th century the term “song” (chanson) began to be applied to polyphonic vocal works, sometimes of a program-pictorial nature (“Battle” by Janequin)
In the same period, simpler forms of polyphonic songs, gravitating toward a homophonic warehouse, also developed: Italian frottolas, villanelles, and similar songs intended for home music-making. This tradition was continued in the Italian canzonettes 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 chants, etc.
In the 2nd half of the XVIII century. inside the song genres, a chamber song-romance crystallizes with the accompaniment of a stringed keyboard instrument. Song forms occupy a prominent place in 18th-century opera. and in other musical and theatrical genres. During the period of the French Revolution, the genre of mass revolutionary song was formed. The songs "La Marseillaise" and "Ca ira" ("Ça ira"), which arose at that time, retained their significance as artistic symbols of the liberation struggle of the people.
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 a romance and a song proper (often in a folk spirit). The boundary between them is sometimes difficult to establish. The couplet structure is an important, but not decisive feature, since a romance can be couplet (for example, Glinka's "Do not tempt"), but a song can be non-couplet. A more precise criterion can be the generalization of the melody of the song, which can sometimes even be performed with a different text (provided that the strophic structure and meter 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 XIX-XX 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 first half of the 19th century. - A. A. Alyabyeva, A. E. Varlamov, A. L. Gurilev and others. 19th century classics - from M. I. Glinka to S. V. Rachmaninov - they left relatively few songs in the exact meaning of the word, but songwriting as a type of melodic thinking, closely connected with folklore, is very characteristic of their work. This also applies to the musical heritage of many foreign composers of the 19th century: F. Schubert, I. 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 bright publicism. 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 XX century. in a number of countries, the worker is experiencing an upsurge, the best examples of which have acquired international significance (the "International"). It served as one of the origins of the Soviet mass song, which also absorbed the features of folk songs, 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 of 1941-45. She had a great influence on other genres: opera, romance, cantata, film music. Many Soviet songs have spread 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 members of the People's Musical Federation). Great development in the XX 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 chansonnier is being revived. The social, organizing role of modern song (above all, Soviet) is clearly revealed in the international movement for peace and social progress.
Brief history of the song. LITERATURE. BIBLIOGRAPHY
Rozanov I. N. (Introductory article), in the edition: Songs of Russian poets, M., 1936;
Livanova T. N., Essays and materials on the history of Russian musical culture, issue 1 - Essay on the fourth. Music court, theatrical and household, M., 1938;
her own, Russian poets and vocal lyrics, in the book: Ivanov G.K., Russian poetry in Russian music, M., 1966;
Asafiev B., On Russian songwriting, in the book: Selected Works, vol. 4, M., 1955;
his own, 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 XVIII century, M., 1965, chapter 4 - From Kant to the "Russian song";
Nestiev I. V., On the music of the oral tradition, in the book: Russian artistic culture of the late XIX - early XX century, 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., Music du son, musique du verbe, P., 1954;
Muller G., Geschichte des deutschen Liedes vom Zeitalter des Barock bis zur Gegenwart, 1959;
Sydow A., Das Lied. Ursprung, Wesen und Wandel, Gott., ;
Ruwet N., Language, musique, poésie, P., 1972.
Today's post is dedicated to the topic - the main musical genres. To begin with, let's define what we will consider a musical genre. After that, the actual genres will be named, and at the end you will learn not to confuse "genre" with other phenomena in music.
So the word "genre" is of French origin and is usually translated from that language as a "species" or genus. Hence, musical genre- this is a type or, if you like, a type of musical works. No more and no less.
How do musical genres differ from each other?
How is one genre different from another? Of course, not only the name. Remember the four main parameters that help to identify a particular genre and not confuse it with some other, similar type of composition. This:
- type of artistic and musical content;
- style features of this genre;
- the vital purpose of works of this genre and the role they play in society;
- conditions under which it is possible to perform and listen (view) a musical work of a particular genre.
What does all this mean? Well, for example, let's take as an example such a genre as "waltz". Waltz is a dance, and that already says a lot. Since this is a dance, it means that waltz music is not played every time, but precisely when it is necessary to dance (this is a matter of performance conditions). Why do they dance the waltz? Sometimes for fun, sometimes just to enjoy the beauty of plasticity, sometimes because waltz dancing is a holiday tradition (this is the thesis about life's purpose). Waltz as a dance is characterized by whirling, lightness, and therefore in its music there is the same melodic whirling and graceful rhythmic three-part structure, in which the first beat is strong as a push, and the two are weak, flying (this is related to stylistic and substantive moments ).
Main musical genres
Everything with a high degree of conditionality can be divided into four categories: theatrical, concert, mass-domestic and cult-ritual genres. Consider each of these categories separately and list the main musical genres that are included there.
- Theatrical genres (the main ones here are opera and ballet, in addition, operettas, musicals, musical dramas, vaudeville and musical comedies, melodramas, etc.)
- Concert genres (these are symphonies, sonatas, oratorios, cantatas, trios, quartets and quintets, suites, concertos, etc.)
- Mass genres (here we are mainly talking about songs, dances and marches in all their diversity)
- Cult and ritual genres (those genres that are associated with religious or festive rites - for example: carnival songs, wedding and funeral laments, spells, bells, etc.)
We have named almost all the main musical genres (opera, ballet, oratorio, cantata, symphony, concerto, sonata - these are the largest). They are indeed the main ones and therefore there is nothing surprising in the fact that each of these genres has several varieties.
And one more thing... We should not forget that the division of genres between these four classes is very conditional. It happens that genres wander from one category to another. For example, this happens when the real one is recreated by the composer on the opera stage (as in Rimsky-Korsakov's opera The Snow Maiden), or in some concert genre - for example, in the finale of Tchaikovsky's 4th symphony, a very famous folk song is quoted . See for yourself! If you know what this song is, write its name in the comments!
P.I. Tchaikovsky Symphony No. 4 - final