What is the difference between noise sounds and musical sounds. What is the difference between music and noise

We willingly listen to music, birdsong, pleasant human voice. On the contrary, the rattling of a cart, the squeal of a saw, the powerful blows of a hammer are unpleasant for us and often irritate and tire.
Thus, according to the effect produced on us, all sounds are divided into two groups: musical sounds and noises. How do they differ from each other?
Pure musical sound always has a certain pitch. It's like an organized sound wave. On the contrary, the noise is a complete mess. Listen, for example, to the daytime noise of a city street. In it, you will hear short, quickly disappearing high sounds, and a long low rumble, and a sharp clang. Noise is a set of the most various, at the same time rushing sounds. The faster and sharper their height and strength change, the more unpleasant the noise affects us.
Each of you can easily detect the difference between the sound of a piano and the squeak of a boot. But it is not always possible to draw a sharp line between musical sound and noise. Musical sounds can often be heard in noise. In turn, noise is always added to musical sounds. Even the most skillful musical performance is not free from it. Try to listen carefully to playing the piano, and you will hear, in addition to the sounds of music, the sound of the keys, and the blows of your fingers on them, and the rustle of sheet music. In the same way, the noise of the singer's breathing is always mixed with singing. But usually we focus our attention on the sounds of the music itself and do not notice this noise. It is very difficult to get a clear sound with a strictly defined oscillation frequency, even in the absence of extraneous noise, and here's why. Any oscillating body emits more than one basic sound. It is constantly accompanied by sounds of other frequencies. These "companions" are always higher than the main sound and are therefore called overtones, that is, upper tones. However, do not be upset by the existence of these "satellites". It is they who allow us to distinguish the sound of one instrument from another and voice various people even if they are equal in height. Overtones give each sound a peculiar color or, as they say, timbre. And if the main sound is accompanied by overtones close to it in height, then the sound itself seems to us soft, “velvet”. When the overtones are much higher than the fundamental, we are talking about an unpleasant "metallic" voice or sound.
The reason for the appearance of overtones is complex. It lies in the physical nature of the oscillations of bodies, and we will not consider it here.
Noise adversely affects the health and performance of people. A person can work with noise, gets used to it, but prolonged exposure to noise causes fatigue, often leads to a decrease in hearing acuity, and in some cases to deafness. Therefore, the fight against noise is a very important task.
Developing technology, man tries to replace his muscular labor with the work of a machine. And the use of machines, as is sometimes imagined, entails an increase in noise. It is wrong, however, to think that the higher the technique and the more mechanical means a person uses, the more he exposes himself to noise. The history of the development of technology shows that with the improvement of the operation of individual mechanisms, the noise during their operation is reduced or completely eliminated. Along with the invention of new machines, new ways of dealing with noise are opening up. Really, Steam engine gives way to the noiseless turbine, the rumbling locomotive of the old design - to the less noisy modern steam locomotive and electric locomotive. Instead of sound signals, beeps, whistles, calls, where possible, light signals come. Motors, machines that make a lot of noise are covered with sound-absorbing shells, placed on special foundations, etc. To reduce the noise inside the premises, carpets are hung on the walls, doors and windows are draped. phone booths upholstered with felt or pressed cork boards.
But it is very difficult to protect yourself completely from external noise. After all, sound penetrates into buildings not only through the air. He makes his way through walls, through water and sewer pipes, through fans. When it is necessary to completely eliminate all noise, for example, when recording a gramophone or recording sound films, special buildings are built with special foundations. In these buildings private rooms as if they “float” on elastic gaskets or springs. Double walls isolated from one another, double or even triple windows and doors, the complete absence of gaps - these are the complex measures that have to be taken to completely protect against noise.

Having a common nature and being wave-like flows of energy, sound and noise are perceived by the organs of the human auditory apparatus. Usually the sound has a certain timbre, spectral coloring, thanks to which people can quite easily determine its source. Examples include playing musical instruments, dogs barking or crying. small child. Noises are random processes, most often oscillatory and non-periodic, which do not always have certain sources of occurrence. For example, the noise of the street, from construction work, from other industrial work, crowds, etc. In this regard, there is a strong impression that under the noise one should usually distinguish between a complex of uncontrolled sounds that adversely affect the human body, irritate it, interfere with work and rest .

Noise types

The human ear has the ability to perceive only such noise, which is transmitted through air environment, i.e. air noise. But noises are usually classified according to the source of origin. The types of noise that annoy and disturb people are the following three main groups:

• air
• structural
• shock

airborne noise - this is different kinds noise from airborne sources. These include loud conversations, music, working television or radio receivers, etc.

Structural (structural) noise - these are various types of noise from sound sources that affect the structure of the building, wall, floor, ceiling. Its sources can be the vibration of machines and mechanisms, a working drill or puncher, with which a hole is made in the wall, floor or ceiling, a hammer blow, furniture moving or falling, footsteps on the floor, children jumping on the floor, etc.

impact noise - is a kind of structural noise, which is produced directly above the premises on the floor (rearranged furniture, the sound of a heel when walking, the fall of various heavy objects, etc.). The impact of structural and impact noise should be taken into account, since the structure of the premises through which such sound vibrations propagate become a secondary source of airborne noise for each adjacent room.

Soundproofing and soundproofing

The meaning of the concepts of " soundproofing"(The same as " soundproofing") lies in the attenuation of sound that passes through any obstacles, due to the reflection of various sound waves from them, or by absorption inside this barrier and converting sound into heat energy. Building structures (walls and ceilings) can be an obstacle for any type of premises, but today this does not always provide effective protection against the penetration or retention of noise. Therefore, issues with additional protection of such structures, namely the sound insulation of walls, partitions, floors and ceilings, are solved by eliminating cracks and holes, as well as by increasing mass, thickness and the right combination of insulating and absorbing materials.

Soundproofing ( soundproofing) - the process of reducing sound ( noise) that penetrates into the premises or beyond them. To determine it, special sound insulation indices are used: Rw (airborne noise) and Lnw (impact noise), which are counted in decibels (dB).

The process of sound absorption ( sound absorption) is the reduction of sound ( noise), which is reflected from any internal surfaces of the premises. Usually world practice most often determines it using the average sound absorption coefficient (noise reduction) - NRC (Noise Reduction Coefficient). The coefficient value ranges from 0 (minimum sound absorption) to 1 (maximum sound absorption).

Noise regulation

Technological advances and the ever-increasing background noise have led to much research and development of regulations to address a number of issues regarding human exposure to noise. Noise levels are usually measured in a relatively dimensionless quantity - decibels (dB), equivalent and maximum levels sound are measured in dBA, where A is a scale that is close to the sensitivity of hearing and corresponds to the measurement of a sound level meter (a device for measuring sound pressure) passed through special filters.

The sound insulation parameters of the internal enclosing structure of a residential building are normalized by the airborne sound insulation index (Rw) of these enclosing structures and the indices of the reduced impact noise levels (Lnw for the ceiling), which are also measured in dB. Noise standards in residential and public building usually divided into day and night (the difference is 10 dBA). According to the regulations (SanPiN, SNiP, SN), the equivalent sound level can be allowed within 25÷95 dBA, depending on the purpose of the room.

Material type

Sound energy is reflected soundproof materials due to its higher surface density and large mass. In addition, such materials can be flexible, resilient or multi-layered. When used in systems with sound-absorbing materials, its main task is to "block" the design of systems and not transmit sound energy to the outside.

Sound absorbing materials dampen the sound energy that passes through their structures. In combination with soundproofing materials, the resonance process is weakened and the “drum effect” is removed. The materials must contain big number interlaced fibers, the composition of which is usually glass, basalt or polyester. When choosing sound-absorbing materials, special attention should be paid to their composition and properties:

• convenience for installation work;
• optimal density with the necessary indicators of internal friction;
• fire safety and environmental friendliness.

Vibration damping materials reduce the transmission of vibrations, making it possible to reduce the risks of resonant vibrations of systems and their elements, making it difficult for sound waves to pass from the places of excitation to the places of radiation, while increasing the soundproofing capabilities of the structure as a whole. They must be durable, springy and resilient to retain their cushioning properties.

Universal, or multifunctional materials simultaneously perform a number of functions:

• sound absorption;
• soundproofing;
• vibration damping;

Typically, such materials contain combinations of layers that have different properties.

A decrease in sound pressure by 10 dBA is perceived by the human ear as noise attenuated by 2 times!

It is natural for a person to need silence. Therefore, today, with innovative technologies and modern materials, it is possible to create acoustic comfort and silence in any room, including an apartment. It is necessary to start the process of arranging the soundproofing of an apartment by determining the functional features of the entire room, assessing the impact of noise and the location of its sources. For example, for a bedroom and a children's room, it is worth blocking the possibility of the penetration of extraneous noise, and in a room for a home theater, a music studio and a living room, it is necessary to contain the negative propagation of sound into the room adjacent to it.

The solution to the issues of reducing sound pressure must be carried out in a comprehensive manner, previously determining the types of noise and their frequency response. It is quite easy to deal with airborne noise, having modern technologies and materials. They can be isolated locally (with an increase in the thickness of walls, ceilings). With the isolation of structural and impact noise, the issues are much more complicated. The soundproofing device in the apartment in only one place on the ceiling, floor, or wall will clearly be insufficient. To reach desired result, it is worth applying the method of circular soundproofing, entrusting its design and installation to professional workers.

In matters of designing and soundproofing an apartment, it is necessary to calculate the soundproofing capabilities of existing structures, which can be strengthened with additional materials and systems that have the ability to soundproof and / or sound absorption. As an example, the following can be cited: reinforced concrete structures are always much more powerful in terms of insulating characteristics than structures made of wood or foam blocks.

For existing structures, integrity and tightness are of particular importance. Therefore, it is immediately necessary to eliminate all possible slots and holes that are not used. The process of sound transmission through non-battened joints, non-insulated air ducts, pipelines, electrical outlets and other indirect ways of its propagation reduces the entire sound insulation of the apartment. The joint must be sealed with a non-solid mastic or special sealant.

Theoretically, according to the rules of soundproofing, it is necessary to take every opportunity to create a massive structure, for example, doubling or tripling the thickness and weight of a wall (or ceiling). But in practice, the prices for repairing the area of ​​\u200b\u200bthe room dictate the preservation of as much usable space as possible, which will not allow an infinitely long increase in the thickness of the walls, and an increase in the weight of materials with a homogeneous structure (brick, concrete) can lead to an overload of the ceiling or foundation. That is why, for the process of soundproofing an apartment, it is necessary to use multilayer and relatively light cladding systems (“pies”), which consist of special materials, each characteristic and property of which, with the smallest thickness, can replace a number of bulky structures.

Structurally, additional sound insulation usually consists of several layers. Protection against airborne noise requires the use of soundproof skins that combine elastic (dense) materials that provide sound reflection (sound insulation) and porous (fiber) materials that absorb and dampen sound waves (sound absorption). Structural noise protection is applied by multi-layer systems of the "floating floor" type, which include shock-absorbing (vibration damping) layers that allow you to decouple building structures and prevent the propagation of noise through the building structure. Required correct selection materials, according to their acoustic characteristics and their use in combination with technological methods and modern design solutions.

Except right choice soundproofing and sound-absorbing materials, as well as determining the appropriate structures, it is necessary to evaluate the quality of the material used. It must be intended for indoor use in a residential area. This means that it should not contain elements of lead, mercury, bitumen, formaldehyde, volatile resins, EPDM compounds, etc.

To ensure an effective result when soundproofing an apartment, it is necessary to remember the installation operations that can be provided by experienced employees with real experience in the field of soundproofing and repair and finishing works. In addition, you should not forget that the soundproofing of the apartment should be carried out, taking into account design solutions. This should not spoil the interiors of the premises, interfere with the arrangement and laying of engineering networks for the apartment, office and residential building.

It is said that Pythagoras was the first to discover the interesting fact that the simultaneous sounding of two identical strings various lengths it is more pleasing to the ear if the lengths of these strings are related to each other as small integers. If the string lengths are in the ratio 1:2, then this is a musical octave; if they are related as 2:3, then this corresponds to the interval between the notes do and sol and is called a fifth. These intervals are considered "pleasant" sounding chords. Pythagoras was so impressed by this discovery that on its basis he created a school of "Pythagoreans", as they were called, who mystically believed in the great power of numbers. They believed that something similar would be revealed in relation to the planets, or "spheres." Sometimes you can hear such an expression: "the music of the spheres." Its meaning is that in nature the existence of a numerical relationship between the orbits of the planets or between other things was assumed. This is considered something of a superstition by the ancient Greeks. But how far has our current scientific interest to quantitative ratios? The discovery of Pythagoras, in addition to geometry, was the first example of the establishment of numerical relationships in nature. Truly, it must have been amazing to suddenly suddenly discover that there are such facts in nature that are described by simple numerical ratios. The usual measurement of lengths allows us to predict what, it would seem, has nothing to do with geometry - the creation of "pleasant" sounds. This discovery led to the idea that arithmetic and mathematical analysis, apparently, can serve as a good tool in the understanding of nature. The results of modern science fully confirm this point of view.

Pythagoras was able to make his discovery only with the help of experimental observations. However, the full significance of this discovery, apparently, was not clear to him. And if this had happened, the development of physics would have begun much earlier. (However, it is always easy to talk about what someone once did and what should have been done in his place!)

There is another, third aspect to this interesting discovery: It refers to two notes that sound pleasing to the ear. But how far have we gone from Pythagoras in understanding why only some sounds are pleasing to the ear? The general theory of aesthetics does not appear to have advanced much since the time of Pythagoras. So, this one discovery of the Greeks has three aspects: experiment, mathematical relations and aesthetics. Physicists have so far only succeeded in the first two. In this chapter, we will talk about modern understanding discoveries of Pythagoras.

Among the sounds we hear, there is a variety called noise. It corresponds to some kind of irregular vibrations of the eardrum, caused by irregular vibrations of nearby objects. If we draw a diagram of the dependence of air pressure on the tympanic membrane (and, consequently, its movement) as a function of time, then the graph corresponding to the noise will look like that shown in Fig. 50.1, a. (Such noise can, for example, cause the stamping of a foot.) But musical sound has a different character. Music is characterized by the presence of more or less sustained tones, or musical "notes". (By the way, musical instruments They can also make noise!

Fig. 50.1. Pressure as a function of time.

a - for noise; b - for musical sound.

A tone can last for a relatively short time, as when we strike a piano key, or indefinitely when, say, a flutist strikes a long note.

What is the feature musical note in terms of air pressure? Musical sound differs from noise in that its schedule is periodic. The form of fluctuations in air pressure over time, even if some is wrong, but it must be repeated again and again. An example of pressure versus time for musical sound is shown in FIG. 50.1b.

Usually musicians, speaking about musical tone, define its three characteristics - loudness, pitch and "quality". "Loudness", as you know, is determined by the magnitude of the change in pressure. "Pitch" corresponds to the time period of repetition of the main form of pressure ("low" notes have a longer period than "high"). And by the "quality" of a tone, we mean the difference that we are able to catch between two notes of the same loudness and pitch. We perfectly distinguish the sound of an oboe, violin or soprano, even if the pitch of the sounds they make seems to be the same. Here we are talking about the structure of a periodically repeating form.

Let's take a quick look at the sound produced by a vibrating string.

If we pull back on the string and then release it, then the subsequent movement will be determined by the waves that we have excited. These waves, as you know, will travel in both directions along the string and then bounce off the ends of the string. So they will run back and forth for quite some time. And no matter how complex these waves are, they will repeat periodically over and over again.

The period of these repetitions is simply the time it takes the wave to run twice the entire length of the string. After all, this is just the time that is necessary for any wave, reflected from each end, to return to its original position and continue moving in its original direction. The time it takes for the wave to reach the end of the string in either direction is the same. Each point of the string after a whole period returns to its original position, then again deviates from it and again, after a period, returns, etc.

The resulting sound must also repeat the same vibrations; that's why when we touch a string, we get a musical sound.

Report of students 11kl. Matveeva Alexander and Perev Artem on the topic:

What is the difference between music and noise?

Target: Distinguish between music and noise.

Questions we asked:

· What is musical sound?

· What is noise?

· What is the difference between musical sounds and noises?

1. Introduction……………………………………………………………….1p

2. What is essential in the excitation of a musical sound or tone?

3. Study of the effect of changing the speed of rotation of the disk on the emitted sound ………………………………………………………..3str

4. Investigation of the propagation velocities of sounds of various frequencies4pp

5. The difference between sounds from each other………………………………………….5str

6. Noise spectra…………………………………………………………………………………………………………….

7. Conclusion………..…………………………………………………………6p

8. Literature…………………………………………………………..…7str

Introduction

The world of sounds has always surrounded man. To distant prehistoric times they rescued him in the same way as other living beings: they helped to communicate, navigate in space, hunt and simply express their emotions. The source of sounds can be various natural phenomena (for example, thunder, wind noise), vocal cords of animals, various musical instruments created by man, etc. Man is a rational being, he is endowed with means of communication: vocal cords for exciting sound waves and ears for their acceptance. The sensation of sound is caused by sound waves reaching the organ of hearing-ear. The most important part of this organ is the tympanic membrane. The incoming sound wave causes forced oscillations of the membrane with the frequency of oscillations in the wave. They are perceived by the brain as sound.

It is difficult to distinguish between music and noise, as what may seem like music to one may be just noise to another. Some consider opera to be completely unmusical, while others love it. The neighing of a horse or the creak of a wagon loaded with timber may be noise to most people, but music to a lumberjack. For loving parents, the cry of a newborn baby may seem like music. But for most of us, these sounds are just noise. However, most people would agree With the fact that sounds excited by vibrating strings, reeds , tuning forks, columns of air and vibrating vocal cords of the singer, are musical.

Let's spend experience1.

Let us rapidly rotate the disk at a constant speed and blow a jet of air through the tube into the outer row of holes in the disk.

Conclusion 1: We will see that the outer row, having holes spaced equally apart, produces a pleasing musical sound.

We can explain it this way:

When the air flow passes through the hole, a thickening is obtained on the opposite side of the disc. Air cannot pass through the gaps between the holes, and at these moments rarefaction occurs. Such air shocks are produced at regular intervals by rows of evenly spaced holes.

Thus, our experience shows that for the excitation of a musical sound it is essential that the vibrations occur at regular intervals. Vibrations of strings, tuning forks, etc. have this character.

Now let's examine whether the sound changes when air is blown in order into each row of holes, starting from the inner row.

Fig2.

Experience2.

Rotating the disk at a constant speed, we will blow air in order into each row of holes, starting from the inner row.

Let's repeat the experiment with a piece of cardboard.

Conclusion2:

Each row will excite a musical tone, and each next row will give a tone higher than the previous one.

Now let's check if changing the disk rotation speed affects the sound produced?

Experience3. We will change the speed of rotation of the disk when air is blown into the same row.

Let's repeat the experiment with a piece of cardboard.

During this experiment, a change in sound was discovered.

We can explain it this way: By increasing the speed of the disk, or by using near more holes, we increase the number of shocks or waves per second sent through the air. Thus, it turns out that the pitch of a sound depends on the number of shocks (impulses) or waves per second coming from the sounding body to the ear. Since pitch as such is difficult to measure, expressing it in terms of frequency is easy to measure.

Conclusion3. We have found that increasing the speed of rotation of the disc raises the tone, decreasing it lowers the tone.

I wonder if sounds of different frequencies travel at the same speed?

Our reasoning is: If high sounds travel faster or slower than low sounds, then an orchestra consisting of bass and flute would not sound simultaneously to an observer at some distance. From this reasoning follows:

Conclusion4: Do sounds of different frequencies travel at the same speed?

But what will we hear if the holes on the disc are uneven?

Let's repeat the experiment with another disk, on which the holes are located unevenly. (An experience5 )

Conclusion5: The sound from a series of unevenly spaced holes represents noise.

So:

The sound that we hear when its source makes periodic oscillations of a certain frequency is called a musical tone or, in short, a tone. Complex musical sounds are combinations of individual tones. The tone corresponding to the lowest frequency of a complex musical sound is called the fundamental tone, and the remaining tones are called overtones.

In any musical tone we can distinguish two qualities by ear: loudness and pitch. The simplest observations convince us that the tone of any given pitch is determined by the amplitude of the vibrations. The sound of the tuning fork after hitting it gradually subsides. This occurs together with the damping of the oscillations, i.e., the coincidence of their amplitudes. By hitting the tuning fork harder, that is, by giving the vibrations a larger amplitude, we will hear a louder sound than with a weak blow. The same can be observed with a string and in general with any source of sound.

If we take several tuning forks of different sizes, then it will not be difficult to arrange them by ear in order of increasing pitch. Thus, they will also be located in size: the largest tuning fork gives the lowest sound, the smallest - the most alt. Thus, the pitch is determined by the frequency of oscillation. The higher the frequency, and therefore the shorter the period of oscillation, the higher the pitch we hear.

Sounds are different. We can easily distinguish the whistle and the beat of the drum, male voice(bass) from female (soprano).

How are sounds different from each other?

Some sounds are said to be low tones, others we call sounds high tone. The ear can easily distinguish them. The sound produced by the bass drum is a low pitched sound, the whistle is a high pitched sound. Simple measurements (oscillation sweep) show that low-pitched sounds are low-frequency oscillations in a sound wave. A high-pitched sound corresponds to a higher vibration frequency. The frequency of vibrations in a sound wave determines the tone of the sound.

Tab. 1. The oscillation frequency of the wings of insects and birds in flight.

There are special sources of sound that emit a single frequency, the so-called pure tone. it tuning forks various sizes - simple devices, which are curved metal rods on legs (Fig. 172). How more sizes tuning forks, the lower the sound it emits when struck.

Noises are characterized by a strong non-periodicity of the oscillation form: either it is a long oscillation, but very complex in shape (hissing, creaking), or individual emissions (clicks, knocks). From this point of view, sounds expressed by consonants (hissing, labial, etc.) should also be attributed to noises.

In all cases, noise oscillations consist of a huge number of harmonic vibrations with different frequencies.

For a periodic oscillation, the spectrum consists of a set of frequencies - the fundamental and multiples of it. The more different frequencies in the spectrum, the closer we come to the noise. Typical noises have spectra in which there are extremely many frequencies.

Conclusion:

In our work, we have described sound as physical phenomenon, the main characteristics of sound, its application and production. The importance of sound waves, and consequently their study, which acoustics is engaged in, is extremely great. Continuous strong noises (of the order of 90 dB or more) have a harmful effect on nervous system a person, the sound of the surf or the forest - soothing.

Since ancient times, sound has served as a means of communication and signaling. The study of all its characteristics makes it possible to develop more advanced information transmission systems, increase the range of signaling systems, and create more advanced musical instruments. Sound waves are practically the only type of signal propagating in aquatic environment, where they serve for the purposes of underwater communication, navigation, location. Low-frequency sound is a tool for studying the earth's crust. Practical use ultrasound created an entire industry modern technology- ultrasonic technique of ultrasound Ultrasound is used both for control and measuring purposes (in particular, in flaw detection), and for active influence on a substance (ultrasonic cleaning, machining, welding, etc.). High-frequency sound waves and especially hypersound are the most important means of research in physics. solid body. As we see in this area, we still do not know much and have to explore in the future.

Used Books:

one. . Physics. Mechanics. Textbook for 9kl. –M. Education. 1997

2. "Physics - 9"

3., "Course of general physics"

four. " Laboratory studies in physics"

5. Elementary textbook of physics, edited by volume III. Vibrations and waves. Optics. Atomic and Nuclear Physics - Reprint 10th ed., revised, 1995

Physics textbook for grade 9 of high school, 1992 Children's encyclopedia. M. Ed. "Education". 1966 M. Koltun. The world of physics. Ed. "Children's literature". 1984 encyclopedic Dictionary young physicist. . 1991 and others. Optional course in physics. Grade 10 - M. Enlightenment. 1979

The boundary between noise and music is subjective: people who love classical music call pop music noise, and vice versa - those who love light music perceive academic works as incomprehensible noise.

If we imagine both types of sounds on a plane, then the musical sound, the tone, will look like a strictly periodic oscillation, and the noise will look like chaotic. In nature, however, noise and sound are side by side; only man classifies them.

Closer to the 19th century, in the era of romanticism, noise sounds began to take root in the European classical music how musical colors. By the beginning of the 20th century, when the existing musical language reached a dead end, innovative artists saw in noise an opportunity to communicate with the outside world for modern man. In the environment of Russian futurism, ideas arose to introduce, on the one hand, music into production (in such a way that it had a stimulating effect on workers), and on the other hand, machines into music (creating, for example, symphonies based on the sounds of factories). From the mid-1920s, even among schoolchildren and pioneers, noise orchestras became very popular, where the whole surrounding life sounded.

In the early 1930s, with the advent of sound films, experiments with noise appeared in cinema. At the same time, experimental music appears in the West, primarily associated with the names of John Cage, Pierre Schaeffer, Edgard Varèse, reflecting a lot on the theme of noise. Continuing after the war in the Mecca of modern avant-garde artists - German Darmstadt, these experiments even led to a kind of taboo on traditional (in the everyday sense) musical sounds: they began to extract any sounds from instruments, except for the actual musical ones. So, the movement of the bow across the string is replaced by the movement of the bow along the string, or the bow itself is replaced by a piece of foam; various parts of the instrument are used to extract various kinds of noise, and so on.

The distinction between tools and non-tools began to blur, and the whole world became a kind of tool. Any sound (including noise) for the musician has become simply a means of expression.

Abstract

We come across many stereotypes about classical music.

Myth #1: Classics are the pinnacle of music. According to this myth, European classical music is the pinnacle of evolution. musical art. In fact, in addition to the European one, there are several other great classical musical traditions in parallel: Iranian, Arabic, Chinese classics, which have not changed for a long time.

Myth #2: Classics are recorded once and for all. The existence of musical notation, as it were, implies that the music is finally fixed and can be easily reproduced at any time. In fact musical notation gives only conditional indications, and only by understanding well the many other circumstances of creating music, the musician can reproduce it adequately. Therefore, listeners of classical music go to listen not to the work itself, but to its interpretation. Otherwise, there would be no difference between a school student and a famous maestro.

Myth #3: Classics should be listened to in a concert hall. This tradition is only about two hundred years old, but it is already dying. When she was really alive, most of the music was played by people for themselves. Later, music lovers began to form societies, hire orchestras and build concert halls. This is how the philharmonic appeared Philharmonic- (from the Greek phileo - "I love" and harmonia - "harmony, music")..

Myth #4: Classics are hard to understand. The division of music into “serious” and “light” by the middle of the 20th century led to the idea that academic music cannot be frivolous, and the listener should be tuned in to listening to something sublime. In fact, there are also frivolous things in academic music.

Myth #5: Listening to classical music requires special skills. It is understood that performers do not allow any false note, and the listeners must have some absolute pitch. In fact, absolute pitch is just a kind of memory, the ability to remember the pitches of sounds. Another variety musical ear — relative pitch when a person remembers the intervals between notes; it's just a skill that develops through practice.

Myth #6: All classics are masterpieces of great composers. In reality, it happens that a masterpiece does not belong to a great composer at all, and the work of a great composer, on the contrary, is rather weak. It is customary to attribute all the most outstanding and innovative to composers who have become great. For example, Bach is credited with inventing and introducing the so-called equal temperament and modern fingering keyboard instruments. In fact, this is not the case, and in his time Bach was considered an old-fashioned composer. If we confine ourselves in music only to masterpieces, then it will be impossible to understand how a masterpiece differs from a non-masterpiece and why it is a masterpiece. A simple modern listener is unlikely to distinguish Mozart from Salieri.

Abstract

Thought to reconstruct forgotten music and forgotten culture in general is a modernist idea. AT XVI-XVII centuries there was no such thing as early music. So, the opera went on, as a rule, for several performances, after which a new one was written. True, if you dig into the documents of the past, you can find indications that some musicians thought that it was possible to play music written before on instruments that were contemporary to these works. But in general, the history of the discovery early music began in 1901 with the founding of the first concert Society of Ancient Musical Instruments.

In the 20th century, there was even a fashion for fakes to the music of the Baroque era. This music itself was revealed gradually. So, Vivaldi became famous only
in the 20s of the XX century.

In the 1960s, the trend of authentic performance began to develop: its leaders - Gustav Leonhardt, Nikolaus Arnoncourt, the Keuyken brothers - put forward the thesis that music should be performed on the instruments for which it was written, and in accordance with the rules of that era, when the music was composed. They began to study theoretical works, treatises, author's manuscripts with characteristic features records. And so you take the text, take the instrument that, say, Mozart played, and the composer's language begins to come to life: the instrument itself dictates how to pronounce the Mozart text.

Gradually, the authentic movement spreads to almost all music, not so much ancient, but already classical: Beethoven, Tchaikovsky, Mahler. In order not to disturb the internal balance of the music, they began to perform it with such compositions and on those instruments for which it was created, thus gradually taking away the repertoire from the traditional symphony orchestra.

Abstract

It seems that an orchestra must have a conductor, just as a car must have a driver. However, the conductor in the orchestra appeared only in the 19th century. It can be considered that the era of conducting as a separate profession began only with Beethoven's symphonic music.

Naturally, in any ensemble there was always one leader or several (usually the first violin or harpsichordist), and for the time being there was no need for a separate person armed with an inaudible instrument in the form of a stick. But gradually the orchestras began to grow - the number of participants in the concert began to number in the hundreds. At the same time, in the era of romanticism, the cult of the hero appeared, who rises above the crowd. So the figure, which was originally assigned a technical role, received the exclusive right to interpretation. In general, all symphonic music of romanticism is arranged in such a way that this form of music-making turns out to be convenient and logical.

However Symphony Orchestra without a conductor is still possible. This was the first symphony ensemble, or Persimfans. It was formed in Moscow in 1922 and existed for more than ten years. The author of the idea was Lev Moiseevich Tseitlin, an outstanding violinist - under his authority, musicians from various orchestras and theaters gathered and gave their first concert.

Persimfans developed a system for how a team without a leader can play a score together: first, special way landing of the musicians on the stage - in a circle, partly with their backs to the viewer. Secondly, the conventions that were marked in the scores key places. Sixteen rehearsals were spent on the very first concert, and then, with the improvement of the method of work, they became less and less, and gradually there were about six of them for each program.

Persimfans took symphonic music beyond the philharmonic venues and performed it, for example, in the workshops of factories - this was an innovative idea in the spirit of that time. He worked on the principle of a chamber ensemble: all participants in the process were equal, although there was an asset responsible for choosing a work, preliminary studying the score and developing a performance concept.

Persimfans published his journal with details of music played, handed out questionnaires in which he asked the opinion of the audience - it was a whole musical organization with its own philosophy and style. In 1927, it was Persimfans who brought to Soviet Union Prokofiev. Lunacharsky awarded the ensemble with the title of the honored collective of the republic, and the government allocated a cash prize - the first and last support from the state.

In 1929, when Lunacharsky was dismissed, the party patrons of the ensemble began to lose their posts one by one: it turned out that the party members who sympathized with Persimfans turned out to be Stalin's opponents on the issue of land. In 1930, all these people were removed from leadership, then the famous trials began and it became clear that the end of Persimfans was not far off.

In addition, the working conditions of the musicians at their main places gradually became such that they simply did not have time to rehearse and eventually decided to disperse.

In 2008, the activities of Persimfans were resumed in Moscow.