movement of emotions.

Musical drama

Musical style

Musical form

4) as an aesthetic order in a musical composition, which manifests itself as formalization 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 content;

b) in close proximity - as a plan for deploying functionally different sections and parts of a piece of music, which are combined into an integral composition. Otherwise it is called form of composition or compositional plan.

The form of the composition has two sides:

*) external, connected with musical content, with genre and 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 sides, elements.

Composition functions:

1) semantic, due to the content of the work;

2) communicative, aimed at managing listening perception.

Analysis method and its form

The main problem of analysis is the relationship between form and content. Analysis tasks:

a) formulate what feelings, emotions the music expresses;

b) what means were used for this;

c) connect the content with the era that gave rise to this style, genre, work of the composer. The above points can be considered as separate aspects of the analysis and separated into independent forms.

Analysis forms(according to Yu. Kholopov) :

1) Analysis as a practical aesthetics. It consists in following the patterns of music and making judgments. The perception and aesthetic experience of the phenomena of music included in the analysis give a certain part of the analysis the character of a 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. V. Zuckerman's method. It consists in attracting a wide range of information related to the composition to the analysis. Content and form are considered in an indissoluble unity. Zuckerman: "Analysis is a synthesis of science and art, as it requires not only knowledge, but also sensitivity."

4) Quantitative measurement analysis. This is an analysis in the literal sense of the word, that is, the dismemberment of the whole into elements. This raises a problem because the main object of measurement is imprecise.

From a broader point of view, analysis as such cannot be separated from synthesis at all. These are two sides of a single process of thinking and cognition. The analysis should not only be holistic, but valuable,that is, it should detect the presence spiritual connections. Musical analysis does not leave music if it:

*) presents 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 an aesthetic experience. In the value analysis method, “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 - a part of a sentence, separated by a caesura;

3) motive - the minimum constructive element of the form associated with one strong beat.

Metric shape structures

For music as a temporary art, proportionality, proportionality of parts is important. In musical form, the following metric structures are distinguished, depending on the number of strong beats:

1) squareness - "4-stroke parts" (Sposobin). Squareness is typical for genres associated with movement (dances, marches);

2) non-squareness - 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 not more complex than a period. The difference from the period is the presence of a developmental section. Simple forms arose from song or dance music. Scope of use - songs, instrumental miniatures, genre and household music.

Simple 2-part form Is a form consisting of two sections or periods, where the first section is the presentation of musical thought, and the second is its development and completion. Simple 2-part forms are divided into contrasting ones A + B and developing A + A1.

1) contrasting (non-repetitive). The structure is singing-chorus, with genre characteristics (rn. Item "Dubinushka").

2) developing (reprisal): aa1 + ba1, where the second section consists of two constructions: in - updating and development of the topic, the so-called "middle"; a1 - repetition of the second sentence of the first section.

Simple three-part form.

A simple three-part form is a form in which the first part is the presentation of a 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 recapitulation. Depending on the thematic material of the middle part, there are 2 types of simple 3-part form:

1) developing (one-dark) АА1А. The middle section is characterized by tonal-harmonic instability, avoidance of tonic, deviations, fractional structures, sequences, polyphonization of the theme (Tchaikovsky, "Barcarole").

2) contrast (two-dark) ABA.The middle section is a period of non-expositional type, in which there is no completeness, at the end an unstable harmony accumulates (Tchaikovsky, the romance "Amid the Noisy Ball").

The reprise is of two types:

a) exact (literal, static, da capo);

b) modified - varied, expanded or reduced (rarely).

A kind of 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. Has a pronounced contrast of opposite shaped spheres.

Complex two-part form

Scope of application - chamber vocal, opera music, less often - in instrumental music (Mozart, Fantasia in D minor). It comes in two varieties:

1) non-repertory or reprisal AA1 (Bach, WTC II, Preludes No. 2,8,9,10,15,20; Scriabin, Preludes Op.11 No. 3,16,21);

2) contrast AB. (Bach, WTC I, Preludes No. 3.21). The inequality of the parts contributes to the integrity of the form:

a) 1 movement - introductory, 2 - main (Glinka, cavatina and Antonida's rondo from the opera "Ivan Susanin"). Or in the Choir of Hunters (Weber, opera The Magic Shooter): 2 part - chorus.

Complex three-part form

It is a reprisal 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... Scope of use: middle parts of sonata-symphonic cycles, individual instrumental works, romances, arias, choirs. Varieties:

1) ACA 2) AA1A (arias da capo) 3) ABCA (romantics)

The peculiarity of the first part: lack of contrast - single-dark 2x or 3x particular form.

Historically, there were two types of middle section:

1) middle part with trio where the presentation of new material prevails over development. This construction is stable, complete in form and tonal-harmonic structure, clearly separated by the caesura from the extreme parts (Rachmaninoff, prelude in G minor)

2) middle part - episode where development prevails over presentation. This construction is tonal, harmonious and structurally unstable, with a smooth transition to a reprise (Tchaikovsky, "February").

For romantics, the distinction between trio and 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).

Code - a developed post-crisis addition. Performs the final synthesizing function. The main signs are: tonic organ point, plagal turns.

Variation form

A variation is a form based on the presentation of a topic and its repetition in a modified form: АА1А2 ... The number of parts is not limited. Meaning is the disclosure of various figurative states inherent in the topic.

Origin - associated with folk performing tradition. Scope of use - independent works, parts of sonata-symphonic cycles.

It is necessary to distinguish between variation (this is the way the theme develops) and variation, that is, the variation form.

Historical types of variations:

1) Ancient variations(XVI - XVII centuries). Variations of Basso ostinato. 2 types:

a) passacaglia - large form, Maestoso. The constant theme in the bass varies.

b) chaconne - chamber, lyrical. Usually part of a large form. The unchanging harmonic formula varies.

By the end of the 17th century, the distinction between Passacaglia and Chacona faded away (Bach, Chaconne in D minor; Handel, Passacaglia from Suite in G minor, no. 7).

2) Strict variations. Variations of VKSh. 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) the form is a simple two-part, less often - a 3-part, even less often - a period.

Variation principle:reproduction of the theme as a whole, enriching it with details.

The theme changes: melodic pattern, rhythm, texture, tempo, etc.

Remain unchanged:harmonic plan, shape , tonality (can be replaced once by the same or parallel).

Methods for developing a melody: a)ornamentation, b)chant, in)variant transformation. (Mozart, Sonata in A major, No. 11, 1st movement).

3) Free variations. They established themselves in the work of romantic composers at the beginning of the 19th century. Genre-characteristic variations. Each variation is like an independent piece based on the theme. The theme is just an excuse to create contrasting images. The principle of variation: the element of the theme is an object of independent development (Rachmaninov, "Rhapsody on a Theme of Paganini").

Double variations.

These are variations on two themes. Themes can vary as each separately or 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

The sonata form is a form in which the 1st section (exposure) is based on the tonal contrast of two main themes. Section 2 (development) develops them intensively. The third section (reprise) brings the themes into tonal unity.

The sonata form is the highest among instrumental homophonic forms, which has absorbed the features of all other forms. Due to the complicated structure, the sonata form is capable of reflecting bright figurative contrasts, embodying complex content in development, and showing a qualitative change in images.

The sonata form was finally formed in the work of the composers of the Art School. Used in the extreme parts of sonata-symphonic cycles, as a form of one-part programmed orchestral works (overture, fantasy, painting, poem), as a form of opera overture. It rarely occurs in vocal music (Ruslan's aria from the opera Ruslan and Lyudmila by Glinka).

The sonata form contains three obligatory sections: exposure, development and coding. In addition to them, there may be additional ones - an introduction and a code.

Exposition

This is a show of musical images, a plot of drama. Based on the tonal (thematic) contrast of the main and side parts. It is necessary to distinguish between the concepts of a party and a theme: a party is a section of an exposition or a reprise. A theme is a musical material that characterizes an image.

Main party - more often of an active, strong-willed nature (movement along chord sounds, impulsive rhythm). It often contains an inner contrast of various elements.

Side batch - more often of a lyrical nature. Usually it is a melodious genre-dance theme. Sometimes the side part consists of several themes (Beethoven, "Heroic" symphony, 1 movement). Often a side batch contains a turning point (shift) - the introduction of elements of the main batch, a connecting batch. This introduces tension, anticipates the drama of the development.

Typical tonal ratios:

Ch.p. (in major) - wp. (in the key of D)

Ch.p. (in minor key) - wp. (in parallel major)

In addition to the main and secondary parties, the exposition contains tie batch , which tonal and thematically connects the main part with the side part, discharges the energy accumulated in the main part. The main sign of the connecting party is tonal instability. The connecting part can be different in scale: from developed constructions to a short string (Schubert, "Unfinished" symphony, 1 movement).

Final batch - sums up the exposition, consolidates the tonality of the side part. It is built more often on the material of the themes of the exposition, less often on a new topic.

Development

This is the development and culmination of musical action. The contrast of the themes in the exposure 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 techniques for developing the topic:

1) splitting the theme into elements and their tonal, harmonic, textured, register, timbre development.

2) polyphonization of the theme.

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 precursor. The emergence in the development of a new theme, which did not sound in the exhibition, is called episode (Shostakovich, "Leningrad" symphony, 1 movement).

Reprise

This is the denouement of the musical action, in which the themes converge on the basis of tonal unity. A reprise of the sonata form is:

1) accurate (Beethoven, symphony No. 3, 1 movement)

2) dynamic - figurative rethinking of the themes of the exposition; the beginning of the reprise coincides with the culmination of the development (Shostakovich, symphony No. 7, 1 movement)

3) mirror (Chopin, ballad No. 1, G minor)

4) incomplete, with the missing main part, which appears in the code (Chopin, Sonata No. 2, B flat minor).

Code

Its function is to sum up the results of development, bring the contrast into unity, and affirm the main idea. The stronger the contrast in the exposure, the more dynamic the development in development, the greater the value of the code. The sonata form code can be similar to the second design. Usually, the coda is built on the thematic material of the exposition, less often on a new topic.

Rondo Sonata

It is an intermediate form between the rondo and the sonata form. Scheme : AVA S AV1A, Where ABA - exposition, FROM - episode , AB1A - a reprise. The middle (central) episode can be replaced by the development of the preceding themes. According to V Zuckerman's definition, “Rondo Sonata is a type of rondo with three (occasionally four) episodes, in which the extreme episodes thematically and tonally are in the same ratio as the side parts of the exposition and reprise of the sonata form. Varieties:

1) if the central episode FROM - the development of the themes of the exposition, then this view approaches the sonata form,

2) if the central section FROM - episode, then - to rondo.

Signs of the sonata form:

*) tonal contrast of themes A and IN at the beginning and their tonal unity at the end

*) episode IN - not an intermediate construction, but the opposition of Ch. as an independent party

Difference from sonata form:

*) repetition of Ch. etc. at the end of the exposition and reprise

Rondo signs:

*) carrying out the refrain at least three times

*) genre-dance theme

Difference from rondo:

*) repetition of a new episode in a new key.

Scope: finals of sonata-symphonic cycles, sometimes - as independent pieces. The introduction is not typical for the rondo sonata, the coda is possible. Beethoven, sonata no. 8, finale, middle section - episode. Mozart, sonata no. 17, finale, middle section - development).

Cyclic forms

A cyclical form is a form consisting of several complete contrasting parts united by a common concept.

There are two types of cyclic forms:

1) suite, in which the contrast of the parts prevails,

2) sonata-symphonic (vocal-symphonic, vocal, instrumental) cycle, in which the main thing is the unity of the cycle.

Suite.

This is a cyclical work consisting of a number of plays of different characters. Historical types of suites:

1) Antique suite (partita). XVI-XVIII centuries. Consists of four dances:

a) allemand (German dance) - slow tempo, 4/4, polyphonic;

b) chime(French dance) - moderate tempo, 3/4, polyphonic;

c) sarabanda(Spanish dance) - slow tempo, 3/4, chord texture;

d) gig(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 was opened with a prelude or toccata. (Bach, English, German, French suites).

2) Suite VKSH ... Main genres: cassations, divertissements, serenades (Mozart, "Little Night Serenade"). There is a rejection of compulsory dance and rapprochement with the sonata-symphonic cycle.

3) New suite (2nd quarter of the 19th century). Its features: the great importance of programmaticity, the unification of parts by a certain plot, the strengthening of the contrast of the parts (Schumann, "Carnival"). The suite can be composed of the main musical numbers of a performance, ballet, opera (Grieg, "Peer Gynt").

Sonata-symphonic cycle

The sonata-symphonic cycle includes the genres of symphony, sonata, concert, quartet. The classical sonata-symphonic cycle consists of 4 movements, including Allegro in sonata form, a slow movement, a minuet (later a scherzo) and a finale. There is no minuet in the genres of concerto and sonata. 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.

The 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 own typical genres and forms:

1 part(sonata Allegro) - sonata form.

Part 2(Andante, Adagio) - 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 of the same name, the 2nd part - in the key of S, of the same name or parallel. The third part is in the main key.

Free and mixed forms

These are non-cyclical musical forms that do not fit into the typical forms of classical and romantic music, or combine features of various forms. Free forms differ from mixed forms in that in mixed forms the sonata form is combined 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 guiding principle. Each new musical image has a complete form. Free forms are typical for compositions with a program.

Free forms of the Baroque era - organ and clavier fantasies and related genres. 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 exposition of contrasting themes, an increase in the intensity of development, the transformation and convergence of images, the dynamization of the reprise-code part.

In the 19th and 20th centuries, free forms are based on an idea that influences the form (program). Individual “composition of the form” became the principle of composition in the second half of the 20th century.

Polyphonic forms

1) imitative, based on the development of one theme.

2) non-imitative (contrasting), based on the simultaneous combination (contrasting) of various themes.

Polyphony originated in the 14th century as a kind of church music for the a capella choir. Main polyphonic genres: fugue, fughetta, richercar, invention, etc.

Fugue

Fugue is the highest form of imitation polyphony. The main compositional elements of the fugue: theme, answer, opposition, interlude (the construction between conducting topics based on the development of topics elements) and stretta (imitation introduction of the topic in one voice before ending it in another).

A fugue usually consists of three sections:

Section 1 - exposure. This is a consistent entry of votes with a topic in a T-D ratio. Between the 2nd and 3rd events of the theme, as well as after the entire exposition, interludes sound.

Section 2 - development, based on carrying out the theme in subordinate keys. Theme and Sideshow transformations are used.

Section 3 - a reprise. Starts with the return of the theme (in the main key), which is carried out in all voices.

Stretta is widely used in the reprise.

A fugue on one theme is called simple, on two themes - double, on three - triple. Double and triple fugues can be with separate or joint exposure. A fugue can have a two-part structure: 1 section - exposition, 2 section - free.

Fughetta -a small fugue, of a less serious character. Based on simple types of simulation.

Features of shaping 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 the instrumental forms. Thus, the initial periods of vocal forms often end with a half cadence. Often there is a non-square structure of the initial periods that is free with respect to the internal structure.

Another feature of vocal forms - their low suitability for thematic development - is associated with two reasons:

2) with a uniform metric 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, textured variation. The so-called "variant middle" appears.

More often than in instrumental music, there are also variant reprises in vocal music.

Vocal forms are very characterized by the interpenetration of various principles of shaping, leading to synthetic forms.

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 shape

3) end-to-end vocal form.

Music is a complex and difficult art form to understand, since music, unlike other art forms, is directed exclusively to auditory perception. There are different points of view on what constitutes the content of music:

1) "Music is something entirely innate, internal, not requiring any experience derived from life" (I. Goethe).

2) G. Laroche: "Music reflects the general spirit of the era."

3) E. Ganslik: “There is no content in music” (ie, there is 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, there should be a unity of emotion and thought in music, that is, emotion must be comprehended, and thought must be felt.

We recognize musical content with the help of intonation hearing, which is a kind of "communication organ". Intonational ear distinguishes 4 emotional states of its interlocutor-music:

a) Call - abruptly, progressively, without hesitation (upward movement);

b) Petition - plaintively, uncertain (downward movement);

c) Play - lively and light, masterly (motor movement);

d) Meditation - calmly, measuredly (returning to the same turns).

Musical drama

This is a system of expressive means and techniques for the embodiment of dramatic action in works of the musical stage genre (opera, ballet, operetta). At the heart of musical drama are the general laws of drama as one of the types of art: the presence of a pronounced central conflict that is revealed in the struggle between the forces of action and reaction; a certain sequence of stages in the development of a dramatic concept (exposure, initiation, development, culmination, denouement). These general patterns find a specific refraction in each of the types of musical and dramatic art, according to 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 literary drama.

In the course of historical development, certain forms have taken shape that serve to embody stage action: in opera - recitative, aria, arioso, ensembles, choirs. In ballet - classical and character dances, ensembles. These forms do not remain unchanged. Thus, operatic drama is enriched by certain methods of symphonic development (leitmotifs, etc.). In the works of musical and stage genres, there are signs of variability, roundness, sonata.

The concept of drama is also applied to works of instrumental music. Thus, drama is one of the specific forms of symphonism (since the method of symphonism is nothing more than a method of dramatic formation of thematicism).

Musical genres and principles of their classification

The role of genre is important in revealing the content of a musical work. As a rule, genre by genre mean the social role of music, the conditions of being, the conditions of the means of performance. Genres are historically formed types, types, varieties of musical works, which are combined and delimited by a number of characteristics.

V. Tsukkerman and A. Sokhor dealt with the problem of the genre in Russian musicology. Zuckerman distinguishes genres according to the nature of their content - lyrical, narrative-epic, motor, painting-pictorial. Sokhor distinguishes genres on the basis of the conditions of performance, existence - everyday (everyday), mass household, concert, theatrical. This is the most general classification of genres, within them there can be subdivisions (Bobrovsky defines them as "secondary genres").

Genres can also be categorized into simple and complex. Simple - song, dance, march. They are also subdivided into smaller ones (songs - labor, lyric, etc. Marches - funeral, military, etc.). Simple genres are otherwise called everyday (everyday), which emphasizes their utilitarian purpose. Complex genres can be categorized by performing medium:

1) instrumental genres - symphonic, chamber, solo music

2) vocal genres - choral, ensemble music, solo with accompaniment

3) mixed instrumental-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 presentation) is the concept of aesthetics and art history, which fixes the systematic 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, previously mainly cult. In the 17th century, style was meant to characterize 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 takes on a narrow meaning - the composer's individual manner of writing. In the 20th century, due to sometimes sharp differences between different stages of the work of one composer, the style determines a period of the author's work, or a separate work.

The concept of a musical style has an evaluative value, indicating the unity, organic relationship of the expressive means of the work, the ratio of the 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 and philosophical category, that is, the musical embodiment of the content or an integral organization of the means of musical expression (melody, harmony, rhythm, timbre, etc.) aimed at the embodiment of the content. This is a 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 one sonata scheme, and there are as many forms of its manifestation as there are sonata forms themselves”.

Today's post focuses on the topic - the main musical genres. First, let's define what we will consider a musical genre. After that, the genres themselves 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 from this language it is usually translated as "species" or genus. Hence, musical genre Is a kind, or, if you like, a kind of musical works. No more and no less.

How do musical genres differ from each other?

How does one genre differ from another? Of course, not only by name. Remember the four main parameters that help identify a particular genre and not confuse it with any other, similar type of composition. It:

1. type of artistic and musical content;
2. stylistic features of this genre;
3. the vital purpose of works of this genre and the role they play in society;
4. conditions in which performance and listening (viewing) of a musical work of a particular genre is possible.

What does all of this mean? Well, for example, let's take a genre like "waltz" as an example. A waltz is a dance, and that already says a lot. Since this is a dance, it means that waltz music is played not every time, but precisely when it is necessary to dance (this is to the questions of the conditions of performance). Why are they dancing the waltz? Sometimes for entertainment, sometimes just to enjoy the beauty of plastic arts, sometimes because dancing the waltz is a tradition of the holiday (this is to the thesis about life's purpose). The waltz as a dance is characterized by whirling, lightness, and therefore in its music there is the same melodic whirling and graceful rhythmic three-beat, in which the first beat is strong as a push, and two are weak, flighty (this has to do with stylistic and meaningful moments ).

Major music genres

Everything with a large degree of convention can be divided into four categories: theatrical, concert, mass-domestic and cult-ritual genres. Let's consider each of these categories separately and list the main musical genres that are included in it.

1. Theatrical genres (the main ones here are opera and ballet, in addition, operettas, musicals, musical dramas, vaudeville and musical comedies, melodramas, etc. are performed on the stage)
2. Concert genres (these are symphonies, sonatas, oratorios, cantatas, trios, quartets and quintets, suites, concerts, etc.)
3. Mass genres (here we mainly talk about songs, dances and marches in all their variety)
4. Cult-ritual genres (those genres that are associated with religious or festive rites - for example: Shrovetide songs, wedding and funeral laments, spells, bell ringing, etc.)

We have named almost all the main musical genres (opera, ballet, oratorio, cantata, symphony, concert, sonata - these are the largest). They are indeed the main ones, and therefore it is not surprising that each of the named genres has several varieties.

And one more thing ... Do not forget that the division of genres between these four classes is very arbitrary. It so 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 kind of concert genre - for example, in the finale of Tchaikovsky's 4th symphony, a very famous folk song is quoted ... See for yourself! If you find out what this song is - write its name in the comments!

P.I. Tchaikovsky Symphony No. 4 - final

Each of us loves music in his 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 tape recorder, TV, telephone - all this and much more helps to play music.

Musical notes are with us both in reality and during sleep. Even the wind and waves of the sea create their own sound that you want to listen to. There is a type of people who live only by music, do not 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 least they are divided into:

• Russians.
• Foreign.
• Slow.
• Dance.
• Merry.
• Sad.

These groups can be combined with each other. The types of Russian songs are different: it can be a funny 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, even tears.

Classification

Those who like to listen to new things follow the release of albums of their favorite artists. Indeed, in our time, almost everyone can record their own song, from this the types of songs are different, one half of the audience likes it, the other does not approve and in general does not see talent in the performer. To better understand what types of songs and music are, you should turn your attention to this list:

1. Classical music.
2. Pop music.
3. Hip-hop.
4. Electonic music.
5. Jazz.
6. Blues.

Fans of one genre or another are sometimes so into music that they form groups and go out to showdowns. Hip-hop fans prefer to compete with each other using battles. In them, they show their dedication to this style of music. Rockers are often pictured sitting on bikes and drinking alcoholic beverages. Pop musicians are ordinary people who perform most often 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 has not been forgotten. There are not so many real connoisseurs of this style who, at an 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 with a synthesizer, electric guitar. There are simply no sad motives in these melodies. Electronic reproduction and hilarious lyrics keep the younger generation moving rhythmically in the disco. In the modern world, the first place is occupied by this style, 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 them. Jazz is performed by a group of musicians playing different instruments, with the main elements 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 performed with a strong voice that can pull and muffle the heaviest notes.

Pop, rock and hip-hop

Both children and adults listen to pop songs. 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 loud scandals constantly wind around the stars.

The tabloid press persecutes the performers and sometimes publishes articles, the information in which does not coincide with reality. Pop lyrics are usually meaningful. The cheerful and danceable notes lift the mood.

The kinds of songs in hip-hop music are combined with RnB and rap styles. The first texts were written by African Americans, they told the story of a difficult life and abandoned places in America, where chaos and complete devastation are taking place.

Rap, as the performers themselves say, do not sing, they read it. Wide jeans, long T-shirts, baseball caps - this is how the rappers look, both black and white. Rap singers hang wide chains with various pendants around their necks.

As for rock, the style itself has its own subdivisions - the usual and the blues-based style. In the 60s, the first songs were released. At the present time, rockers have their own traditions, which are manifested in the form of fights on stage, broken guitars, bottles, pouring water over the musicians from head to toe. This was not the case in the last century. Rockers of the past sang about love.

Choose what you like best. If you want - listen all at once. The choice is behind everyone. In any case - nowhere without music. She plays everywhere and everywhere.

A piece of music in the broadest sense can be called a piece that is the result of the composer's activity. It is characterized by internal completeness, individuality of content and form, fixation of musical notation for further performance. And the concept of "musical genres" is used to characterize various works.

List of major music genres and their brief description

1. Author's song is a genre in which the performer is simultaneously the author of music and words.
2. Thieves' song - praises the customs and life of the criminal environment.
3. Blues is a genre that originated among African slaves on the US cotton plantations.
4. Jazz is a musical genre synthesized from African and European cultures.
5. European music is a general concept for the music of European countries.
6. Indian music - belongs to the ancient genres, the music of the peoples of India.
7. Country music, the so-called country music, is a kind of North American music.
8. Latin American music is a name that summarizes the genres of Latin America.
9. Pop music, divided into disco, pop and light music. Disco is danceable, pop is popular music of the masses, light music contains mostly simple catchy melodies.
10. Rock music is a common name for several types of this rhythmic music. These include such genres of musical art as country rock, suttern rock, heartland rock, garage rock, surf rock, instrumental rock, folk rock, blues rock, rock and roll, psychedelic rock, mersibit, progressive rock, experimental rock, glam rock, hardcore, pub rock. There are also hard rock, punk rock, skiffle, bard rock, Japanese rock, metal, post-punk, stoner rock, alternative rock, post-rock, and also new wave and no wave.
11. A romance is a small poem sung to music with lyrical content.
12. Ska is a style with a rhythm of 2 by 4, the even drum beats are emphasized by the guitar, and the odd ones are emphasized by the double bass or bass guitar.
13. Hip Hop is a working class style from New York City 1974.
14. Chanson is based on French roots with cabaret performance.
15. Electronic music - created using electronic musical instruments.

By the way of performance, musical genres are divided into vocal, solo and vocal-instrumental.

Music genres

Music also has its own genres. Like music genres, they have a rather long list.

1. Arioso is a little aria.
2. Aria is an episode performed by a singer in an opera or other similar work with orchestral accompaniment.
3. Ballad - instrumental compositions; solo vocal compositions with texts of poems.
4. Ballet is a stage art in which the story is told through dance.
5. Blues is a jazz song with a sad content.
6. Bylina is a song story in Russian folk style.
7. Vaudeville is a theatrical play with a funny and humorous content.
8. A hymn is a song performed in a festive atmosphere.
9. Jazz is dance music with improvised moments.
10. Disco is a rhythmic, simplistic style of music.
11. Invention is a piece of music with an original find of melodic development.
12. The interlude is a small piece of music.
13. Intermezzo is a free-form piece or an independent episode in an operetta and other pieces of music.
14. Kant is a kind of polyphonic song.
15. A cantata is a solemnly performed vocal and instrumental work.
16. March is a piece of music with rhythmic moments.
17. A musical is a piece of music with elements of operetta, opera, ballet and pop music.
18. Oda is a musical dedication.
19. Opera is a musical production.
20. Operetta is a comedy musical production.
21. Oratorio - intended for choral performance.
22. A song is a musical form of a poem.
23. A play is a short piece of music with a beginning and an end.
24. Requiem is a choral work of a mourning nature.
25. A romance is a work of lyrical performance.
26. Serenade is a song in honor of the beloved.
27. Symphony is an orchestral piece of music.
28. Touche is a small musical greeting.
29. Fugue is a work with multiple repetitions of the theme.
30. Elegy is a sad piece of music.
31. An etude is a piece with virtuoso passages.

Music genres are constantly being updated and developed. They are influenced by changing living conditions.

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 genres, style, forms of performance, spheres of life, etc. (and household, lyric and hymn, monophonic and polyphonic, solo and choral, with or without accompaniment, songs for professional singers and for mass performance, etc.) . P.). In some countries, the term "song" (German. Lied, French chanson, eng. song) applies to.

Lyrics usually represent a particular genre of poetry. It is distinguished by the clarity of composition, the coincidence of syntactic and structural boundaries (equality of stanza and complete thought, line and phrase). In Russian song poetry, the most widespread are the four-legged trochee and three-legged sizes. The poems constructed in this way most often became popular songs, folk or author's (A. Pushkin - "Winter Road", A. A. Delvig - "Nightingale, my nightingale", Ya. P. Polonsky - "Song of a gypsy", N A. Nekrasov - "Oh, full, full of the box ..." and others).

M. Yakovlev. "Winter Evening" (verses by A. Pushkin)

Songs have 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 romance, it is not associated with individual poetic images or speech intonations of the text. At the same time, the melody and the text are similar in structure; they consist of equal (in music - and identical) constructions: stanzas or couplets (often with a refrain - a chorus). Internally, the dismemberment of the musical stanza (verse) also corresponds to the dismemberment of the poetic stanza.

Rimbaud de Vaqueira. Estampida

The origins of the song genre go back to antiquity. In ancient art, poetry and music were not separated and existed as a single art of song. Monophonic songs of troubadours, trouvers, minnesingers and meistersingers of the Middle Ages reveal the inseparable unity of word and melody. As a rule, the connection between the structure of poetic and musical stanza, the unity of rhyme and melodic cadence is clearly felt in them.

Monophonic song genres also include Italian laudas, Spanish cantigas, etc. In the ars nova era in Italy and France, monophonic forms of song were replaced by songs accompanied by one or several instruments. In France in the XVI century. the term "song" (chanson) began to be applied to polyphonic vocal works, sometimes of a program-visual character ("Battle" of Janequin)

In the same period, simpler forms of polyphonic song, gravitating towards a homophonic structure, developed: Italian frottols, villanelles and similar songs intended for home music making. This tradition was continued in the Italian canzonets of the late 16th-17th centuries, which greatly influenced the work of German, French and English composers. Song genres of the 15th-16th centuries include various religious and military songs: Hussite songs, Huguenot hymns, Protestant chants, etc.

In the 2nd half of the 18th century. within song genres, a chamber song-romance is crystallized with the accompaniment of a stringed keyboard instrument. Song forms figure prominently in 18th century opera. and in other musical and theatrical genres. During the period of the Great French Revolution, a genre of mass revolutionary songs was formed. The songs “Marseillaise” and “Ca ira” (“Ça ira”) that arose at that time retained their significance as artistic symbols of the people's liberation struggle.

In the XIX century. in connection with the general flourishing of lyrical art forms, as well as with the growing interest in collecting and studying folklore, song genres are intensively developing, dividing into romance and song itself (often in the folk spirit). The border between them is sometimes difficult to establish. The coupletness of the structure is an important, but not decisive sign, since a romance can also be a couplet (for example, "Do not tempt" Glinka), and a song can be non-couplet. A more accurate criterion can be the generalization of the melody of the song, which sometimes can even be performed with another text (provided that the stanza structure and size are preserved). Other genre features are also important. The romance is mainly associated 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. Gurilyov and others. Classics of the XIX century. - from M.I. Glinka to S.V. Rachmaninov - they left relatively few songs in the exact meaning of the word, however, songwriting as a type of melodic thinking closely associated 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 was 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 bright journalism. The songs of French chansonnier poets, from P. J. Beranger to E. Potier, were popular far beyond the borders of France.

At the beginning of the XX century. in a number of countries the workers are on the rise, the best examples of which have acquired international significance (the Internationale). It served as one of the origins of the Soviet mass song, which also absorbed the features of a folk song, peasant and urban, Russian and Ukrainian. became one of the leading genres in Soviet musical creativity, especially during the Civil War of 1918-20, in the 30s. and during the Great Patriotic War 1941-45. She has had a great influence on other genres: opera, romance, cantata, film music. Many Soviet songs were distributed 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 Music Federation). Great development in the XX century. reached pop song, performed by soloists or vocal and instrumental ensembles. In the 60s and 70s. in a number of countries, including the USSR, the chansonnier tradition is reviving. The social, organizing role of contemporary song (primarily Soviet) is clearly revealed in the international movement for peace and social progress.

A brief history of the song. LITERATURE. BIBLIOGRAPHY

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

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

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

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

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

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

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

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

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

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

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

Levasheva OE, Song and Romance, in the book: History of Russian Music, vol. 1, M., 1972;

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

Artemenko E., Russian folk lyric 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, # 11 - 12;

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

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

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

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

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