Program visual music
In a person's life, music can be both a friend, a comforter, and a dream. But some people (often unknowingly) assign her the role of a simple servant, not even suspecting that she is a goddess capable of exalting human soul to touch the good, noble strings in it.
Our great compatriot writer Mikhail Afanasyevich Bulgakov expressed an important thought about music: “Music is impossible not to love. Where there is music, there is no evil.”
Even while listening to unfamiliar music, you suddenly realize that it is precisely your feelings and moods that are expressed in it: either sadness, or stormy joy, or such a shade of mood that cannot be defined in words ...
It turns out that another person, the composer, also experienced all these emotions, and then managed to express in the sounds of music a huge variety of feelings and moods that excited him. And it doesn't matter what century the composer lived in - in the 18th or 20th century, there are no boundaries for music: it passes from heart to heart. It is in this property of music - expressiveness - that lies its main force. Even a short song or a small instrumental piece can compete with a complex sonata or symphony in terms of power of expression. The reason for such an unusual phenomenon is that music, "speaking" in a simple musical language, is understandable and accessible to everyone, and musical language"sonata" or "symphony" requires the listener to prepare, musical culture. This training - knowledge about music, its language, its expressive and visual possibilities - are designed to give our classes in music.
You have already become acquainted with a large number of musical works. Many of them have names. “A well-chosen name enhances the impact of music and the most prosaic person will make you imagine something, focus on something”(R. Schumann).
If, for example, you open the "Children's Album" and read the title of the first play: " morning prayer”, then immediately tune in to a certain tone, strict, light and focused. The title helps the performer to reveal the nature of the music as closely as possible to the author's intention, and the listener to better perceive this intention.
All works that have titles, headings of individual parts, epigraphs or a detailed literary program are called program works.
In vocal works - songs, romances, vocal cycles, as well as in musical and theatrical genres - there is always a text and a clear program.
And if the music is instrumental, there is no text in it, then how best to understand it and perform it? This was taken care of by composers who gave names to their instrumental compositions, especially those in which the music depicts something or someone. So, now we are going to talk about programmatic visual music.
What an ocean of sounds surrounds us! The singing of birds and the rustling of trees, the sound of the wind and the rustle of rain, the peals of thunder, the roar of the waves ... Music can depict all these sound phenomena of nature, and we, the listeners, can imagine. How does music "depict" the sounds of nature?
One of the brightest and most majestic musical pictures has been created. In the fourth part of his Sixth (“Pastoral”) Symphony, the composer “painted” a picture of a summer thunderstorm with sounds (this part is called “Thunderstorm”). Listening to the mighty crescendo of the intensifying downpour, the frequent peals of thunder, the howling of the wind, depicted in music, we imagine a summer thunderstorm.
The symphonic painting "Three Miracles" depicts a sea storm (the second "miracle" is about thirty-three heroes). Pay attention to the author's definition - "picture". It is borrowed from visual arts- painting. In the music one can hear the menacing roar of the waves, howling and whistling of the wind.
One of the most favorite visual techniques in music is the imitation of the voices of birds. You will hear a witty "trio" of a nightingale, a cuckoo and a quail in the "Scene by the Stream" - the second movement of Beethoven's "Pastoral Symphony".
Birds' voices are heard in the pieces for harpsichord "Call of the Birds" and "The Hen" by Jean-Philippe Rameau, "The Cuckoo" by Louis-Claude Daquin, in the piano piece "Song of the Lark" from the cycle "The Seasons" by Tchaikovsky, in the prologue of the opera "The Snow Maiden" by Rimsky -Korsakov and in many other works. So, imitation of the sounds and voices of nature is the most common method of visualization in music.
Another technique exists for depicting not the sounds of nature, but the movements of people, animals, birds. Let us turn again to the fairy tale "Peter and the Wolf". Drawing Bird, Cat, Duck and other characters in music, the composer depicted them characteristic movements, habits, so skillfully that you can personally imagine each of them in motion: a flying Bird, a crouching Cat, a jumping Wolf, etc.
The bird chirps cheerfully: "Everything around is calm." It sounds like a light, fluttering melody on high sounds, witty depicting bird chirping, fluttering Birds. It is performed by a woodwind instrument - a flute.
The melody of the Duck reflects her sluggishness, her gait waddling from side to side, and even her quacking seems to be heard. The melody becomes especially expressive in the performance of a soft-sounding, slightly "nasal" oboe.
The staccato sounds of the melody in a low register convey the soft, insinuating tread of the cunning Cat. The melody is performed by a woodwind instrument - a clarinet.
Here rhythm and tempo became the main visual means. After all, the movements of any living being occur in a certain rhythm and tempo, and they can be very accurately conveyed by music.
The nature of movements can be different: smooth, flying, sliding, or, conversely, sharp, clumsy ... Music sensitively responds to this. Smooth movements are reflected in a flexible melodic pattern, a legato stroke, and sharp movements are reflected in a “prickly”, angular melody pattern, a sharp staccato stroke.
The musical theme of Grandfather expressed his mood and character, speech features and even gait. Grandfather speaks in a bass voice, leisurely and as if a little grumpy - this is how his melody sounds performed by the lowest wooden wind instrument- bassoon.
Depicting the movements, gait of his characters, the composer reveals their character. Thus, the musical portraits of the boy Petya and Grandfather are “painted” by Prokofiev with bright, contrasting colors: both heroes of the fairy tale are depicted in motion, therefore their music is associated with the march genre. But how dissimilar are these two marches.
Petya walks briskly and fervently to the music of the march, as if singing a light, mischievous melody. The bright, cheerful theme embodies the resilient nature of the boy. Petya S. Prokofiev depicted with the help of all stringed instruments - violins, violas, cellos and double basses.
Petya's theme, light, elastic in rhythm and mobile, looks like a perky song, and in Grandfather's theme, the features of the march appear more sharply: it is “hard”, sharp in rhythm, dynamics, and more restrained in tempo.
Vivid examples of this kind of figurativeness can be found in Mussorgsky's plays "The Dwarf", "The Ballet of the Unhatched Chicks", "The Hut on Chicken Legs" from the piano cycle "Pictures at an Exhibition".
"Draw" musical portraits were the first to learn French composers XVIII century. François Couperin gave titles to many of his harpsichord pieces. The author wrote: "The plays with the title are a kind of portraits, which, in my performance, were found to be quite similar." Listening to the play "Sister Monique", it is not difficult to imagine her cheerful disposition.
In the play "Florentine" a swift Italian tarantella dance sounds, which becomes the main feature of her musical portrait. "Hints" for the listener were program headings "Gossip", "Mysterious" and others.
The tradition of painting musical portraits was continued in the 19th century by Schumann, Mussorgsky, Rimsky-Korsakov, Tchaikovsky, Lyadov...
Vividly and aphoristically "written" female portraits-characters in the piano cycle of Robert Schumann "Carnival". Let's compare two of them: Chiarina and Estrella. What do they have in common? First of all, the romantic genre of the waltz is the dance of the century. Its "flight", grace is the most accurate fit to female images, but the nature of the two waltzes is sharply different. Under the carnival mask of "Kiarina" appears a portrait of Clara Wieck, the wife of the composer, an outstanding pianist. The restrained-passionate theme of the waltz expresses the sublime spirituality, the poetry of the musical image. And here is another waltz - "Estrella", and before us is a "participant" of the carnival, completely unlike "Kiarina", - a temperamental, ardent girl. The music is full of external brilliance, bright emotionality.
Can music represent space? Is it possible, listening to her, to mentally see the endless plains, expanses of fields, boundless seas? It turns out you can. For example, the first movements of P. Tchaikovsky's First Symphony Dreams on a Winter Road. It begins barely audibly - as if dry snow rustled from the wind, frosty air rang. A moment... and a sad melody appeared. It gives the impression of a wide expanse, desert, loneliness.
The same impression of spaciousness, voluminous sound helps to create wide intervals that sound “transparent”, “empty”. These are fifths, octaves. Let's name the first movement of Shostakovich's Eleventh Symphony. The composer depicted the vast expanse of Palace Square, enclosed by the bulk of palaces. To do this, he chose simple and precise visual techniques: a sparse orchestral texture with an empty middle register and a transparent sonority of "empty" fifths in the extreme registers, a special timbre coloring of muted strings and a harp.
Harmony and timbres of instruments play an important visual role in music. We have just mentioned the peculiarity of the sound of the orchestra in Shostakovich's symphony.
Let's name some other works. Among them - an episode of the magical transformation of swans into girls in the second scene of Rimsky-Korsakov's opera "Sadko", the play "Morning" from the suite "Peer Gynt".
There are a lot of software works in music. We will meet with them more than once in our lessons.
Questions and tasks:
- What is program music?
- Why do composers give names to instrumental works?
- In what form can a generalized program be expressed?
- List all the programs you are familiar with.
Presentation
Included:
1. Presentation - 34 slides, ppsx;
2. Sounds of music:
Beethoven. Symphony No. 6 "Pastoral". II part. "Scene by the stream" (fragment), mp3;
Beethoven. Symphony No. 6 "Pastoral". IV part. "Thunderstorm" (fragment), mp3;
Daken. "Cuckoo" (2 versions: piano and ensemble), mp3;
Couperin. "Sister Monique" (harpsichord), mp3;
Couperin. "Florentine" (harpsichord), mp3;
Mussorgsky. "Ballet of Unhatched Chicks" from the series "Pictures at an Exhibition" (2 versions: Symphony Orchestra and piano), mp3;
Prokofiev. Fragments symphonic tale"Petya and the Wolf":
Grandfather's theme, mp3;
Theme Cats, mp3;
Petya's theme, mp3;
Theme Birds, mp3;
Duck theme, mp3;
Rimsky-Korsakov. "33 Bogatyrs" from the opera "The Tale of Tsar Saltan", mp3;
Rimsky-Korsakov. "The transformation of swans into girls" from the opera "Sadko", mp3;
Chaikovsky. "Morning Prayer" from " children's album» (2 versions: symphony orchestra and piano), mp3;
Chaikovsky. Symphony No. 1. I movement. (fragment), mp3;
Shostakovich. Symphony No. 11. I movement. (fragment), mp3;
Schumann. "Kiarina" from the Carnival cycle (piano), mp3;
Schumann. "Estrella" from the cycle "Carnival" (piano), mp3;
3. Accompanying article, docx.
N. A. Rimsky-Korsakov's "Scheherazade", before us there are images of the cruel Sultan Shakhriyar, the skillful storyteller Sheherazade, the majestic picture of the sea and the ship of Sinbad the Sailor sailing into the distance. Arabian tales "A Thousand and One Nights" became the program of this wonderful work. Rimsky-Korsakov summarized it in a literary preface. But already the name of the suite directs the listeners' attention to the perception of a certain content.
G. Berlioz.
Program (from the Greek “program” - “announcement”, “order”) includes musical works that have a specific title or literary preface created or chosen by the composer himself. Due to the specific content, program music is more accessible and understandable to listeners. Her expressive means are especially embossed and bright. In program works, composers make extensive use of orchestral sound recording, figurativeness, they emphasize the contrast between images-themes, sections of form, etc.
The range of images and themes of program music is rich and varied. This is also a picture of nature - the gentle colors of "Dawn on the Moscow River" in the overture to MP Mussorgsky's opera "Khovanshchina"; the gloomy Darial Gorge, the Terek and the castle of Queen Tamara in the symphonic poem Tamara by M.A. Balakirev; poetic landscapes in the works of C. Debussy "Sea", " Moonlight". Juicy, colorful pictures of folk holidays are recreated in the symphonic works of M. I. Glinka "Kamarinskaya" and "Aragonese Jota".
Many compositions of this type of music are associated with remarkable works of world literature. Turning to them, composers in music seek to reveal those moral issues over which poets and writers pondered. P. I. Tchaikovsky (fantasy "Francesca da Rimini"), F. Liszt ("Symphony to Dante's Divine Comedy") turned to Dante's "Divine Comedy". W. Shakespeare's tragedy "Romeo and Juliet" was inspired by G. Berlioz and Tchaikovsky's fantasy overture, the tragedy "Hamlet" - Liszt's symphony. One of the best overtures by R. Schumann was written for the dramatic poem "Manfred" by J. G. Byron. The pathos of struggle and victory, the immortality of the feat of the hero who gave his life for the freedom of his homeland, expressed by L. Beethoven in the overture to the drama by J. W. Goethe "Egmont".
Program works include works that are commonly called musical portraits. These are Debussy's piano prelude The Girl with Flaxen Hair, the piece for harpsichord The Egyptian by JF Rameau, Schumann's piano miniatures Paganini and Chopin.
Sometimes the program musical composition sometimes inspired by works of fine art. The piano suite “Pictures at an Exhibition” by Mussorgsky reflected the composer's impressions of the exhibition of paintings by the artist V. A. Hartmann.
large-scale, monumental works program music are associated with the most important historical events. Such, for example, are D. D. Shostakovich’s symphonies “1905”, “1917”, dedicated to the 1st Russian Revolution of 1905-1907. and the October Revolution.
Program music has long attracted many composers. Elegant pieces in the Rococo style were written for harpsichord by French composers of the 2nd half of XVII - early XVIII V. L. K. Daken (“The Cuckoo”), F. Couperin (“The Grape Pickers”), Rameau (“The Princess”). The Italian composer A. Vivaldi united four violin concertos under the general title "The Seasons". They created subtle musical sketches of nature, pastoral scenes. The composer outlined the content of each concerto in a detailed literary program. J.S. Bach jokingly called one of the pieces for the clavier “Capriccio for the Departure of a Beloved Brother”. The creative heritage of J. Haydn includes more than 100 symphonies. Among them there are also program ones: "Morning", "Noon", "Evening and Storm".
An important place was occupied by program music in the work of romantic composers. Portraits, genre scenes, moods, the subtlest shades of human feelings are subtly and inspiredly revealed in Schumann's music (piano cycles "Carnival", "Children's Scenes", "Kreisleriana", "Arabesque"). Liszt's large piano cycle "Years of Wanderings" became a kind of musical diary. Impressed by his trip to Switzerland, he wrote the plays "William Tell's Chapel", "The Bells of Geneva", "On the Wallendstadt Lake". In Italy, the composer was captivated by the art of the great masters of the Renaissance. Petrarch's poetry, Raphael's painting "The Betrothal", Michelangelo's sculpture "The Thinker" became a kind of program in Liszt's music.
The French symphonist G. Berlioz embodies the principle of programming not in a generalized way, but consistently reveals the plot in music. "Fantastic Symphony" has a detailed literary preface, written by the composer himself. The hero of the symphony finds himself at a ball, then in a field, then he goes to an execution, then he finds himself at a fantastic coven of witches. With the help of colorful orchestral writing, Berlioz achieves almost visual pictures of theatrical action.
Russian composers often turned to program music. Fantastic, fabulous stories formed the basis of symphonic paintings: "Night on Bald Mountain" by Mussorgsky, "Sadko" by Rimsky-Korsakov, "Baba Yaga", "Kikimora", "Magic Lake" by A. K. Lyadov. The creative power of the human will and mind was sung by A. N. Scriabin in the symphonic poem "Prometheus" ("The Poem of Fire").
Program music occupies a large place in the work of Soviet composers. Among the symphonies of N. Ya. Myaskovsky there are "Kolkhoznaya", "Aviation". S. S. Prokofiev wrote symphonic work"Scythian Suite", piano pieces "Fleeting", "Sarcasms"; R. K. Shchedrin - concerts for the orchestra "Naughty ditties", "Rings"; M. K. Koishibaev - a poem for orchestra of Kazakh folk instruments"Soviet Kazakhstan"; Z. M. Shakhidi - symphonic poem "Buzruk".
German Programmusik, French musique a program, ital. musica a programma program music
Musical works that have a certain verbal, often poetic. program and revealing the content imprinted in it. The phenomenon of music programming is associated with specific. features of music that distinguish it from other arts. In the field of displaying feelings, moods, and spiritual life of a person, music has important advantages over other arts. Indirectly, through feelings and moods, music is able to reflect many. phenomena of reality. However, it is not able to accurately designate what exactly causes this or that feeling in a person, it is not able to achieve the objective, conceptual concreteness of the display. The possibilities of such concretization are possessed by speech language and literature. Striving for substantive, conceptual concretization, composers create program music. production; prescribing op. program, they force the means of speech language, arts. lit-ry act in unity, in synthesis with the actual muses. means. The unity of music and literature is also facilitated by the fact that they are temporary arts, capable of showing the growth and development of the image. Unity of divergence the lawsuit has been going on for a long time. In ancient times, there were no independent entities at all. types of lawsuits - they acted together, in unity, the lawsuit was syncretic; at the same time it was closely associated with labor activity and with diff. kind of rituals, rituals. At that time, each of the lawsuits was so limited in terms of funds that it was out of syncretic. unity aimed at solving applied problems could not exist. The subsequent allocation of claims-in was determined not only by a change in the way of life, but also by the growth of the possibilities of each of them, achieved within the syncretic. unity associated with this growth of aesthetic. human feelings. At the same time, the unity of art-in never ceased, including the unity of music with the word, poetry - primarily in all kinds of woks. and wok.-dramatic. genres. In the beginning. In the 19th century, after a long period of existence of music and poetry as independent arts, the tendency towards their unity intensified even more. This was determined no longer by their weakness, but rather by their strength, by pushing their own to the limit. opportunities. Further enrichment of the reflection of reality in all its diversity, in all its aspects could be achieved only by the joint action of music and words. And programming is one of the types of unity of music and the means of speech language, as well as literature, denoting or displaying those sides of a single object of reflection, which music is not able to convey by its own means. Thus, an integral element of the program music. prod. is a verbal program created or chosen by the composer himself, whether it is a brief program heading indicating a phenomenon of reality, which the composer had in mind (the play "Morning" by E. Grieg from the music for G. Ibsen's drama "Peer Gynt") , sometimes "referring" the listener to a certain lit. prod. ("Macbeth" by R. Strauss - a symphonic poem "based on Shakespeare's drama"), or a lengthy excerpt from a literary work, a detailed program compiled by the composer according to one or another lit. prod. (symphonic suite (2nd symphony) "Antar" by Rimsky-Korsakov based on the fairy tale of the same name by O. I. Senkovsky) or out of touch with Ph.D. lit. prototype ("Fantastic Symphony" by Berlioz).
Not every title, not every explanation of music can be considered as its program. The program can only come from the author of the music. If he did not tell the program, then his very idea was non-program. If he first gave his Op. program, and then abandoned it, so he translated his Op. into the non-program category. The program is not an explanation of music, it complements it, revealing something that is missing in music, inaccessible to the embodiment of muses. means (otherwise it would be redundant). In this, it fundamentally differs from any analysis of the music of a non-program op., any description of its music, even the most poetic, incl. and from the description belonging to the author of Op. and pointing to specific phenomena, to-rye caused in his creativity. consciousness of certain muses. images. And vice versa - program op. - this is not a "translation" into the language of music of the program itself, but a reflection of the muses. means of the same object, which is designated, reflected in the program. Headings given by the author himself are not a program either, if they denote not specific phenomena of reality, but concepts of an emotional plane, which the music conveys much more accurately (for example, headings like "Sadness", etc.). It happens that the program attached to the product. by the author himself, is not in organic. unity with music, but this is already determined by the arts. the skill of the composer, sometimes also by how well he compiled or selected the verbal program. This has nothing to do with the question of the essence of the phenomenon of programming.
Muses himself possesses certain means of concretization. language. Among them are the Muses. figurativeness (see Sound painting) - a reflection of various kinds of sounds of reality, associative representations generated by music. sounds - their height, duration, timbre. An important means of concretization is also the attraction of the features of "applied" genres - dance, march in all its varieties, etc. National-characteristic features of muses can also serve as concretizations. language, music style. All these means of concretization make it possible to express the general concept of Op. (for example, the triumph of light forces over dark ones, etc.). And yet they do not provide that substantive, conceptual concretization, which is provided by the verbal program. Moreover, the more widely used in music. prod. music proper. means of concretization, the more necessary for the full perception of music are the words, the program.
One of the types of programming is picture programming. It includes works that display one image or a complex of images of reality that does not undergo beings. changes throughout its duration. These are pictures of nature (landscapes), pictures of bunks. festivities, dances, battles, etc., music. images objects of inanimate nature, as well as portrait muses. sketches.
The second main type of music programming - plot programming. Source of plots for software products. of this kind serves primarily as art. lit. In the plot-program music. prod. music development. images in general or in particular corresponds to the development of the plot. Distinguish between generalized-plot programming and sequential-plot programming. The author of a work relating to the generalized plot type of programming and connected through the program with one or another lit. production, does not aim to show the events depicted in it in all their sequence and complexity, but gives muses. characteristic of the main images of lit. prod. and the general direction of the development of the plot, the initial and final correlation of the acting forces. On the contrary, the author of a work belonging to the serial-plot type of programming seeks to display intermediate stages in the development of events, sometimes the entire sequence of events. Appeal to this type of programming is dictated by plots, in which the middle stages of development, which do not proceed in a straight line, but are associated with the introduction of new characters, with a change in the setting of the action, with events that are not a direct consequence of the previous situation, become important. Appeal to sequential-plot programming also depends on creativity. composer settings. Different composers often translate the same plots in different ways. For example, the tragedy "Romeo and Juliet" by W. Shakespeare inspired P. I. Tchaikovsky to create a work. generalized plot type of programming (overture-fantasy "Romeo and Juliet"), G. Berlioz - to create a product. sequential-plot type of programming (dramatic symphony "Romeo and Juliet", in which the author even goes beyond pure symphonism and attracts a vocal beginning).
In the field of music language cannot be distinguished. signs of P. m. This is also true in relation to the form of software products. In works representing the pictorial type of programming, there are no prerequisites for the emergence of specific. structures. Tasks, to-rye set by the authors of software products. of a generalized plot type, are successfully performed by forms developed in non-program music, primarily the sonata allegro form. The authors of the program op. sequential plot type have to create muses. form, more or less "parallel" to the plot. But they build it by combining the elements of different. forms of non-program music, attracting some of the methods of development already widely represented in it. Among them is the variational method. It allows you to show changes that do not affect the essence of the phenomenon, concerning many others. important features, but associated with the preservation of a number of qualities, which makes it possible to recognize the image, in whatever new form it appears. The principle of monothematism is closely related to the variational method. Using this principle in terms of figurative transformation, which was so widely used by F. Liszt in his symphonic poems and other works, the composer acquires greater freedom to follow the plot without the danger of violating the music. wholeness op. Another type of monothematism associated with the leitmotif characterization of characters (see Leitmotif) finds application in Ch. arr. in serial-plot productions. Having originated in the opera, the leitmotif characteristic was also transferred to the area of instr. music, where G. Berlioz was one of the first and most widely resorted to it. Its essence lies in the fact that one theme throughout the Op. acts as a characteristic of the same hero. She appears each time in a new context, denoting the new environment surrounding the hero. This theme can change itself, but changes in it do not change its "objective" meaning and reflect only changes in the state of the same hero, a change in ideas about him. The reception of the leitmotif characteristic is most appropriate in conditions of cyclicity, suiteness and turns out to be a powerful means of combining the contrasting parts of the cycle, revealing a single plot. It facilitates the embodiment in music of successive plot ideas and the unification of the features of sonata allegro and sonata-symphony in a single-movement form. cycle, characteristic of the symphonic genre created by F. Liszt. poems. Diff. the steps of an action are conveyed with the help of relatively independent ones. episodes, the contrast between which corresponds to the contrast of parts of the sonata-symphony. cycle, then these episodes are "brought to unity" in a compressed reprise, and in accordance with the program, one or another of them is singled out. From the point of view of the cycle, the reprise usually corresponds to the final, from the point of view of the sonata allegro, the 1st and 2nd episodes correspond to the exposition, the 3rd ("scherzo" in the cycle) - to the development. Liszt has the use of such synthetic. forms are often combined with the use of the principle of monothematism. All these techniques allowed composers to create music. forms that correspond to the individual features of the plot and at the same time organic and holistic. However, new synthetic the forms cannot be regarded as belonging to the program music alone. They arose not only in connection with the implementation of program ideas - the general trends of the era also affected their appearance. Exactly the same structures were constantly used in non-program music.
There are program music. cit., in which as a program involved products. painting, sculpture, even architecture. Such are, for example, symphonic Liszt's poems "The Battle of the Huns" after the fresco by V. Kaulbach and "From the Cradle to the Grave" after the drawing by M. Zichy, his own play "William Tell's Chapel"; "Betrothal" (to the painting by Raphael), "The Thinker" (based on the statue of Michelangelo) from fp. cycles "Years of Wanderings", etc. However, the possibilities of subject, conceptual concretization of these claims are not exhaustive. It is no coincidence that paintings and sculptures are supplied with a concretizing name, which can be considered as a kind of their program. Therefore, in music works written on the basis of various works depict, art, in essence, combine not only music and painting, music and sculpture, but music, painting and word, music, sculpture and word. And the functions of the program in them are performed by Ch. arr. not manufactured depict, claims, but a verbal program. This is determined primarily by the diversity of music as a temporary art-va and painting and sculpture as a static, "spatial" art. As for architectural images, they are generally unable to concretize music in the subject-conceptual plane; music authors. works associated with architectural monuments, as a rule, were inspired not so much by them themselves as by history, by the events that took place in them or near them, the legends that developed about them (the play "Vyshegrad" from the symphonic cycle of B. Smetana " My Motherland", the above-mentioned fp. play "The Chapel of William Tell" by Liszt, which the author not accidentally prefaced with the epigraph "One for all, all for one").
Programming was a great conquest of the muses. lawsuit. She led to the enrichment of the range of images of reality, reflected in the muses. prod., the search for new expresses. means, new forms, contributed to the enrichment and differentiation of forms and genres. The composer's appeal to P. m. is usually determined by his connection with life, with modernity, attention to topical issues, in other cases, it itself contributes to the composer's rapprochement with reality, to a deeper comprehension of it. However, in some ways P. m. is inferior to non-program music. The program narrows the perception of music, diverts attention from the general idea expressed in it. The embodiment of plot ideas is usually associated with music. characteristics that are more or less conventional. Hence the ambivalent attitude of many great composers towards programming, which both attracted them and repelled them (sayings by P. I. Tchaikovsky, G. Mahler, R. Strauss, etc.). P. m. is not a certain: the highest kind of music, just as non-program music is not. These are equal, equally legitimate varieties. The difference between them does not preclude their connection; both genera are also associated with the wok. music. So, the opera and the oratorio were the cradle of program symphonism. The opera overture was the prototype of the program symphony. poems; in operatic art, there are also prerequisites for leitmotivism and monothematism, which are so widely used in P. m. In turn, non-programmed instr. the music is influenced by the wok. music and P. m. Found in P. m. new will express. possibilities become the property of non-program music as well. General trends epochs affect the development of both classical music and non-program music.
The unity of music and program in the program Op. is not absolute, indissoluble. It happens that the program is not brought to the listener when performing op., that lit. product, to which the author of the music refers the listener, turns out to be unfamiliar to him. The more generalized form the composer chooses to embody his idea, the less damage to perception will be caused by such a "separation" of the music of the work from its program. Such a "separation" is always undesirable when it comes to the execution of modern. works. However, it may turn out to be natural when it comes to the performance of production. more early era, since program ideas may lose their relevance and significance over time. In these cases, the music prod. to a greater or lesser extent lose the features of programmability, turn into non-programmable ones. Thus, the line between P. m. and non-program music, in general, is completely clear, in the historical. aspect is conditional.
P. m. developed essentially throughout the history of prof. music lawsuit. The earliest of the reports found by researchers about software muses. op. refers to 586 BC. - this year, at the Pythian games in Delphi (Ancient Greece), the avletist Sakao performed a play by Timosthenes, depicting the battle of Apollo with the dragon. Many program works was created in later times. Among them are clavier sonatas " bible stories"by the Leipzig composer J. Kunau, harpsichord miniatures by F. Couperin and J. F. Rameau, the clavier "Capriccio for the Departure of a Beloved Brother" by J. S. Bach. Programming is also presented in the work of the Viennese classics. Among their works: the triad of program symphonies Haydn, characterizing various times of the day (No 6, "Morning"; No 7, "Noon"; No 8, "Evening"), his own " farewell symphony"; "Pastoral symphony"(No 6) of Beethoven, all parts of which are equipped with program subtitles and on the score there is a note that is important for understanding the type of programming in the author of the op. - "More expression of feelings than an image", his own play "The Battle of Vittoria ", originally intended for the mechanical musical instrument of the panharmonicon, but then performed in the orchestral version, and especially his overture to the ballet "The Creations of Prometheus", to the tragedy "Coriolanus" by Collin, the overture "Leonora" No. 1-3, the overture to the tragedy "Egmont" by Goethe.Written as introductions to drama or music-drama works, they soon gained independence.Later program works were also often created as introductions to classical literary works, over time However, they lost their initial functions. The true flowering of the P. m. came in the era of musical romanticism. Compared with representatives of the classicist and even Enlightenment aesthetics, romantic artists understood the specifics of various arts more deeply. They saw that each of them reflects life in its own way, using the means peculiar only to it and reflecting the same object, a phenomenon from a certain side accessible to it, which, consequently, each of them is somewhat limited and gives an incomplete picture of reality. This is what led the romantic artists to the idea of synthesis of art in order to more complete, multilateral display of the world. Muses. romantics proclaimed the slogan of the renewal of music through its connection with poetry, which was translated into many. music prod. Program Op. occupy important place in the works of F. Mendelssohn-Bartholdy (overture from music to Shakespeare's "A Midsummer Night's Dream", overtures "Hebrides", or "Fingal's Cave", "Sea Silence and Happy Swimming", "Beautiful Melusina", "Ruy Blas", etc. .), R. Schumann (overtures to Byron's Manfred, to scenes from Goethe's Faust, many piano pieces and cycles of plays, etc.). P. m. acquires especially great importance in G. Berlioz (Fantastic Symphony, symphony Harold in Italy, dramatic symphony Romeo and Juliet, Funeral and Triumphal Symphony, overtures Waverly, Secret Judges) , "King Lear", "Rob Roy", etc.) and F. Liszt (symphony "Faust" and symphony to the "Divine Comedy" by Dante, 13 symphonic poems, many piano pieces and cycles of plays). In subsequent times, an important contribution to the development of P. m. poems "Waterman", "Golden Spinning Wheel", "Forest Dove", etc., overtures - Hussite, "Othello", etc.) and R. Strauss (symphonic poems "Don Juan", "Death and Enlightenment", "Macbeth ", "Til Ulenspiegel", "Thus Spoke Zarathustra", fantastic variations on the knightly theme "Don Quixote", "Home Symphony", etc.). Program Op. also created by C. Debussy (orc. prelude "Afternoon of a Faun", symphonic cycles "Nocturnes", "Sea", etc.), M. Reger (4 symphonic poems according to Böcklin), A. Honegger (symphonic poem " Song of Nigamon", symphony of the movement "Pacific 231", "Rugby", etc.), P. Hindemith (symphonies "Artist Mathis", "Harmony of the World", etc.).
Programming has received rich development in Russian. music. For Russian nat. music schools appeal to software dictated aesthetic. the attitudes of its leading representatives, their desire for democracy, the general intelligibility of their works, as well as the "objective" nature of their work. From writings, osn. on song themes and, therefore, containing elements of the synthesis of music and words, since the listener, when perceiving them, correlates texts of correspondences with music. songs ("Kamarinskaya" by Glinka), Russian. composers soon came to the actual musical composition. A number of outstanding program op. created by members of the "Mighty Handful" - M. A. Balakirev (symphonic poem "Tamara"), M. P. Mussorgsky ("Pictures at an Exhibition" for piano), N. A. Rimsky-Korsakov (symphonic painting "Sadko ", symphony "Antar"). A large number of software products belongs to P. I. Tchaikovsky (1st symphony "Winter Dreams", symphony "Manfred", fantasy overture "Romeo and Juliet", symphonic poem "Francesca da Rimini", etc.). Vibrant software products A. K. Glazunov (symphonic poem "Stenka Razin"), A. K. Lyadov (symphonic paintings "Baba Yaga", "Magic Lake" and "Kikimora"), and Vas. S. Kalinnikov (symphonic painting "Cedar and Palm Tree"), S. V. Rachmaninov (symphonic fantasy "Cliff", symphonic poem "Isle of the Dead"), A. N. Scriabin (symphonic "Poem of Ecstasy", " The Poem of Fire" ("Prometheus"), pl. fp. plays).
Programming is also widely represented in the work of owls. composers, incl. S. S. Prokofiev ("Scythian Suite" for orchestra, symphonic sketch "Autumn", symphonic painting "Dreams", piano pieces), N. Ya. Myaskovsky (symphonic poems "Silence" and "Alastor", symphonies No 10, 12, 16, etc.), D. D. Shostakovich (symphonies No 2, 3 ("May Day"), 11 ("1905"), 12 ("1917"), etc.). Program Op. are also created by representatives of younger generations of owls. composers.
Programming is characteristic not only of professional, but also of Nar. music claim. Among the peoples, muses. cultures to-rykh include developed instr. music-making, it is associated not only with the performance and variation of song melodies, but also with the creation of compositions independent of song art, b.ch. software. So, program op. make up a significant part of Kazakh. (Kui) and Kirg. (kyu) instr. plays. Each of these pieces, performed by a soloist-instrumentalist (Kazakhs - kuishi) on one of the bunks. instruments (dombra, kobyz or sybyzga among the Kazakhs, komuz, etc. among the Kyrgyz), has a program name; pl. of these plays have become traditional, like songs being passed on in different languages. variants from generation to generation.
An important contribution to the coverage of the phenomenon of programming was made by the composers themselves who worked in this area - F. Liszt, G. Berlioz and others. musicology not only did not advance in understanding the phenomenon of P. m., but rather moved away from it. It is significant, for example, that the authors of articles on P. m., placed in the largest Western European. music encyclopedias and should generalize the experience of studying the problem, give very vague definitions to the phenomenon of programmability (see Groves Dictionary of music and musicians, v. 6, L.-N. Y., 1954; Riemann Musiklexikon, Sachteil, Mainz, 1967), sometimes even refuse c.-l. definitions (Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik, Bd 10, Kassel u. a., 1962).
In Russia, the study of the problem of programming began in the period of activity of the Rus. classical music schools, representatives of which left important statements on this issue. Attention to the problem of programming was especially intensified in Sov. time. In the 1950s on the pages of the magazine. " Soviet music" and gas. "Soviet Art" held a special discussion on the issue of musical programming. This discussion also revealed differences in understanding the phenomenon of P. m. For example, thoughts were expressed about "programming in the strict sense of the word" and in a broad sense , about programmability "declared" and "unannounced", about programmability "for oneself" (the composer) and for listeners, about programmability "conscious" and "unconscious", about programmability in non-program music, etc. The essence of all these statements boils down to the recognition of the possibility A musical composition without a program given to the composition by the composer himself Such a point of view inevitably leads to the identification of programmaticity with content, to declaring that all music is programmatic, to justifying the "guessing" of unannounced programs, i.e., an arbitrary interpretation of the composer's intentions, against In the 1950s and 1960s, quite a few works appeared that made a certain contribution to the development of problems of programmability, in particular, to the area of delimitation of the types of musical instruments.
Literature: Tchaikovsky P. I., Letters to H. R. von Meck of February 17 / March 1, 1878 and December 5/17, 1878, in the book: Tchaikovsky P. I., Correspondence with N. F. von Meck, vol. 1, M.-L., 1934, the same, Poln. coll. soch., vol. VII, M., 1961 p. 124-128, 513-514; his, O program music, M.-L., 1952; Cui Ts. A., Russian romance. Essay on its development, St. Petersburg, 1896, p. 5; Laroche, Something about program music, "The World of Art", 1900, v. 3, p. 87-98; his own, Translator's Preface to Hanslik's book "On Musically Beautiful", Sobr. music critical articles, vol. 1, M., 1913, p. 334-61; his, One of Hanslick's opponents, ibid., p. 362-85; Stasov V.V., Art in the 19th century, in the book: 19th century, St. Petersburg, 1901, the same, in his book: Izbr. soch., vol. 3, M., 1952; Yastrebtsev V.V., My memories of N.A. Rimsky-Korsakov, vol. 1, P., 1917, L., 1959, p. 95; Shostakovich D., On genuine and imaginary programming, "SM", 1951, No 5; Bobrovsky V.P., Sonata form in Russian classical program music, M., 1953 (abstract of diss.); Sabinina M., What is program music?, "MZH", 1959, No 7; Aranovsky M., What is program music?, M., 1962; Tyulin Yu. N., About programmability in the works of Chopin, L., 1963, M., 1968; Khokhlov Yu., About musical programming, M., 1963; Auerbach L., Considering the problems of programming, "SM", 1965, No 11. See also lit. under the articles Musical Aesthetics, Music, Sound Painting, Monothematism, Symphonic Poem.
What do you think is different piano concert Tchaikovsky from his own symphonic fantasy "Francesca da Rimini"? Of course, you will say that in the concerto the piano is the soloist, but in fantasy it is not at all.
Perhaps you already know that a concerto is a work of many parts, as the musicians say, it is cyclic, but in fantasy there is only one part. But now we are not interested in this. You are listening to a piano or violin concerto, a Mozart symphony or a Beethoven sonata. Enjoying beautiful music, you can follow its development, how different musical themes replace one another, how they change, develop. Or you can reproduce in your imagination some pictures, images that sound music evokes. At the same time, your fantasies will certainly be different from what another person who listens to music with you imagines.
Of course, it does not happen that you feel the noise of battle in the sounds of music, and someone else - an affectionate lullaby. But stormy, formidable music can evoke associations with the rampant elements, and with a storm of feelings in a person’s soul, and with a formidable roar of battle...
And in Francesca da Rimini, Tchaikovsky, by the very title, indicated exactly what his music depicts: one of the episodes of Dante's Divine Comedy. This episode tells how among the hellish whirlwinds, in the underworld, the souls of sinners rush about. Dante, who descended into hell, accompanied by the shadow of the ancient Roman poet Virgil, meets among these spirits carried by a whirlwind the beautiful Francesca, who tells him the sad story of her unhappy love. The music of the extreme sections of Tchaikovsky's fantasy draws hellish whirlwinds, the middle section of the work is Francesca's sorrowful story.
There are many pieces of music in which the composer in one form or another explains their content to the listeners. So, Tchaikovsky called his first symphony "Winter Dreams". He prefaced the first part of it with the heading "Dreams on a winter road", and the second - "A gloomy land, a misty land".
P. I. Tchaikovsky. Symphony No. 1 in G minor, Op. 13. "Winter dreams".
Part 1. "Dreams on a winter road"
P. I. Tchaikovsky. Symphony No. 1 G-mol, Op.13. "Winter Dreams".
Part 2. "Gloomy land, foggy land"
Berlioz, in addition to the subtitle "Episode from the Life of an Artist", which he gave to his Fantastic Symphony, also set out in great detail the content of each of its five parts. This story is reminiscent of a romantic novel.
And "Francesca da Rimini", and the symphony "Winter Dreams" by Tchaikovsky, and Berlioz's Fantastic Symphony are examples of so-called program music.
You probably already understood that program music is such instrumental music, which is based on a "program", that is, some very specific plot or image. Programs are of different types. Sometimes the composer retells in detail the content of each episode of his work. So, for example, did Rimsky-Korsakov in his symphonic picture "Sadko" or Lyadov in "Kikimora".
It happens that, referring to well-known literary works, the composer considers it sufficient only to indicate this literary
The principle of programming in the art of music
Methodological development for classes with high school students in the process of studying subjects of the aesthetic cycle
Hardly any kind of musical art has caused as many contradictory judgments and disputes throughout its history as their program music has caused. First of all, it is necessary to emphasize the controversial attitude towards it on the part of the creators themselves: they constantly experienced the attractive power of software, and at the same time, as if they did not trust it. As you know, the program coexists with a piece of music not really, as in other synthetic genres - the word and music, but conditionally, in the consciousness of the composer first, and then the listener. Thus, the problem of programming is one of the most difficult musical and aesthetic problems. The controversy around it began a long time ago and has not subsided so far.
First of all, it is necessary to formulate and define the essence and meaning of the concept of program music. A program is usually called an instrumental work, which is preceded by an explanation of the content of the music; this is a work that has a certain verbal, often poetic program and reveals the content imprinted in it. Thus, the content of program music is undeniable, regardless of whether the work embodies generalized ideas or a detailed literary program. “Personally, I equate programmatic and meaningful content,” writes D.D. Shostakovich. “And the content of music is not only a detailed plot, but also its generalized idea or the sum of ideas ... For me personally, like for many other authors instrumental works, program design always precedes composing music. 1
A typical sign of a program work is the presence of a special explanation - "programs", that is, links to a specific topic, literary plot, a circle of images that the author wanted to embody in music. Speaking of programming, a special quality should be emphasized: concreteness, certainty of content musical images, their visual connection and correlation with real life prototypes. Thus, general principle programming is the principle of concretization of content. Epigraphs, subtitles, separate indications among music text, drawings. A vivid example is A. Vivaldi's concerto for violin and orchestra "The Seasons", in which each of the movements is preceded by a poetic passage, designed to inform the listener of the artist's concrete-figurative intention.
The program does not aim to exhaustively, to the end explain in words the figurative-emotional content of music, because it is expressed in its own right. musical means. The program is designed to inform the listener of the concrete-figurative intention of the author, that is, to explain what specific events, paintings, scenes, ideas, images of literature or other types of art the composer sought to embody in music. There are two main approaches to defining the essence of program music, which were most convincingly formulated by O. Sokolov. 2
1. From the point of view of the type of connection between music and reflected reality. After all, musical art is closely connected with the content of life, with the phenomena of the surrounding world and reality. In addition, music reflects inner world a person and affects him; it embodies the thought, the mood that the composer put into it, and then conveys them to the listener.
2. From the point of view of the presence of the program, that is, the copyright literary word, reported to the listener before the actual musical text.
Kinds literary program may be different. Sometimes even a short title of an instrumental piece generally indicates its content and directs the listener's attention in a certain direction. Let us recall at least the overture of M.I. Glinka “Night in Madrid”, “ old lock”, - one of the plays of the cycle of MP Mussorgsky “Pictures at an Exhibition”, “Butterflies” by R. Schumann. Many program works are preceded by a detailed explanatory text, which sets out the main artistic idea, tells about the characters, gives an idea of the development of the plot, various dramatic situations. Such a program is possessed, for example, by well-known symphonic works - "Fantastic Symphony" by G. Berlioz, "Francesca de Rimini" by P. I. Tchaikovsky, "The Sorcerer's Apprentice" by P. F. Duke. Sometimes composers set out in some detail the content of their program works. So, N.A. Rimsky-Korsakov, in his autobiographical Chronicle, writes: “The program that guided me when composing Scheherazade was separate, unrelated episodes and pictures from the Thousand and One Nights, scattered around all four parts of the suite: the sea and the ship of Sinbad, the fantastic story of Prince Kalender, the prince and the princess, the Baghdad holiday and the ship crashing against a rock with a bronze horseman. 3 . Among the program works there are also those whose idea is embodied with true picture clarity and evoke visual associations. This is facilitated by the ability of music to reproduce the sound diversity of the surrounding reality with the greatest accuracy (n: peals of thunder, the sound of waves, the singing of birds). The analysis of a musical composition often comes down to proving the identity between musical expressive means and sound phenomena. real life(n: sound-visual function of music). Sound-image moments play a huge role in program music, since they are able to decipher, emphasize one or another detail of life or nature, give music an almost objective tangibility (n: imitation of shepherd tunes, sounds of nature, “voices” of animals). The program of a piece of music does not have to be drawn from a literary source; these can be works of painting, and a vivid example of this can be, for example, “Pictures at an Exhibition” by M.P. Mussorgsky (the composer’s musical response to the exhibition of V.A. (on the painting by I.E. Repin “The Cossacks write a letter Turkish sultan), sculpture, and even architecture. But they need a verbal program that gives the listener an incentive for a more complete and deep perception of this particular piece of music. The composer can also choose as a program facts and events snatched directly from the reality of life, but in this case he himself will be the compiler of the literary program of his composition. It should be emphasized that literary sources will always remain the main ones for realistic musical creativity.
Now we should mark characteristics program music:
- greater specificity in the perception of a program composition compared to the perception of a “pure”, that is, non-program, instrumental music;
- program music stimulates the comparative-analytical activity of the listener, leading to the emergence of general artistic associations;
- program music helps to figuratively comprehend an unexpected, original expression, non-traditional tricks used by the composer;
- program music creates an evaluative situation, which is characterized by a critical attitude of the listener to the possibility of translating this program into a musical composition;
- program music preliminarily directs perception in a certain direction of images;
- program music enhances the cognitive possibilities of musical art, as it operates with concepts-symbols;
Depending on the measure and method of concretization, it is possible to distinguish, using the terminology of O. Sokolov, various types or types of software: 4
1. Genre-characteristic or just genre which uses sound-imagery and onomatopoeic moments.
2. Picture-shapedI, using pictorial and pictorial images (n: pictures of nature, landscapes, pictures of folk festivals, dances, battles, and others). These are, as a rule, works that display one image or a complex of images of reality that do not undergo significant changes throughout his perception.
3. Generalized emotional or generalized plot, which uses abstract philosophical concepts, characteristics of various emotional states.
4. Story or serial-plotusing literary and poetic sources. This type involves the development of the image, corresponding to the development of the plot of a work of art.
The origins of programming, its episodic manifestations at the level of individual techniques and means (onomatopoeia, plot) can be traced already in the instrumental works of the 17th - 18th centuries (J.F. Rameau, F. Couperin). The Baroque era was one of the brightest eras in the development of program music. During this period, the role of the program was largely determined by the theory of affects and figures. “The dominant view of music was that of imitation through sounds located on a certain scale - imitation with the help of voice or musical instrument natural noises or manifestations of passions,” writes V.P. Shestakov in his book “From Ethos to Affect”. 5 Consequently, the program was assigned the function of naming affects or natural phenomena, which gave rise to and strengthened the homophonic-harmonic system. This is a description of emotional states, yet naive depiction; genre scenes, portrait sketches - the main types of programming.
The flourishing of programming in the era of romanticism is closely connected with the intensively increased attraction to the originality of musical expression. In addition, software created an additional opportunity to express the inner "I" of the artist and the listener to penetrate into the unique world of figurative ideas of the author of the work, since it is in this historical period human individuality appears as an inexhaustibly deep universe, more significant than the outer world. In mature romantic art (the works of F. Liszt, G. Berlioz), the main features of the program genre were: figurativeness, plot, the presence of a program pre-prepared for the work.
The content of programming in the Russian musical classics of the second half of the 19th century becomes qualitatively new and richer. In addition to the emphasized descriptiveness and clearly expressed plot, an indispensable condition for creativity was the awareness of the idea-content and the possibility of verbal expression of this idea in the program. Realistic programming becomes the main principle of creativity. The formulation of the program becomes a matter not only for composers, but also for musicologists, which allowed V.V. Stasov to speak of programmability as feature Russian music in general. Russian classics created a new type of programming: based on the genre musical material, saturation of images with real life content, the use of genres program symphony, symphonic poem, piano miniature. Prominent representatives of Russian program music were: M.I. Glinka "Night in Madrid", "Kamarinskaya", "Prince Kholmsky", M.P. Mussorgsky "Pictures at an Exhibition". Composers introduced into their symphonic work the images of A. Dante and W. Shakespeare, A. S. Pushkin and M. Yu. Lermontov, pictures of folk life, poetic descriptions of nature, images of folk epos, tales and legends and “Francesca de Rimini” by P.I. Tchaikovsky, “Sadko” and “Sich at Kerzhents” by N.A. Rimsky-Korsakov, “Tamara” by M.A. "Baba Yaga", "Kikimora" and "Magic Lake" by A.K. Lyadov).
Next, let us dwell on the main position of a program work: in a program musical composition, the main carrier of the content that is inextricably linked with the program is, first of all, the musical fabric itself, the means themselves. musical expressiveness, and the verbal program acts as an auxiliary component.
The first stage is a clear ideological and artistic concept (selection of the type of program composition), development of the plot and plan of the composition. Further, a diverse realistic intonational development of all the main images is needed. With a complex program task, the composer inevitably faces the task of embodying not only the emotions of the hero by means of music (through musical intonations turned into a melody human voice), but also a varied background - be it a landscape or household genre. At the same time, in case of a miss, the software always "avenges itself", causing disappointment to the audience. Programming requires from the composer a very subtle and sensitive intonation ear, and, further, a deep creative ability to process real intonations into musical intonations - melodic, harmonic, rhythmic, timbre. And the difference between rhythmic, modal, register, dynamic, tempo intonations and designations is one of the main elements of programming, clarifying and deepening the content, concretizing the awareness and understanding of a musical composition.
In expressive meaning, the role of pitch is more clearly emphasized when changing musical registers.
Key is a generalized reflection of the stability of any shades of moods, experiences, figurative moments. A connection is established between the "keys" in life, for example, heroic, joyful, tragic, and keys in the art of music.
Rich prerequisites for specifying the image are contained in harmony, i.e. chord structure vertically. Here you can draw analogies with certain qualities real phenomena: consistency, harmony, completeness, softness, consonance or inconsistency, instability, acute tension, dissonance. Through harmony, the aesthetic attitude of the composer to the displayed reality is revealed.
Rhythm, as a means of musical expressiveness, generalizes the qualities of movements: their regularity or inconsistency, lightness or heaviness, slowness or swiftness. Traditional rhythm formulas, inherent in certain forms and genres, contribute to the genre concretization of the content of the composition. The juxtaposition of contrasting images is sometimes emphasized by the techniques of polyrhythm and polymetry. Approximation of musical rhythms to the typical rhythms of poetic and colloquial speech makes it possible to emphasize the national and historical-temporal features of the images.
Pace musical compositions characterizes the intensity of the process in time, the level of intensity of this process, n: rapid, stormy, moderate, slow. In program musical works, the tempo contributes to the concretization of the reflected processes and actions (the flight of a bumblebee, the movement of a train).
Timbre reflects the characteristic of the sound of real objective phenomena. This opens up great opportunities for direct onomatopoeia or sound representation, evoking certain life associations (wind noise, rain, thunderstorm, storm, etc.).
Dynamics in music reflects the level of sound power real prototypes. Techniques for concretizing content with the help of various means of dynamics are widely used in program music. For example, dynamic ostinato, as the preservation of one emotional state, strengthening and weakening of sonority, as a manifestation of real emotional processes: excitement, impulsiveness or peace, relaxation.
plays an important role in musicgenre nature of images.Thanks to the genre features (n: the march has a predominance of active rhythms, energetic, inviting intonations, clear square structures corresponding to the movement of the step), the listener perceives the “objective” content of the music more easily. Genre features, thus, play the role of a kind of stimulus to the imagination, involving it in associations that connect music with the surrounding reality and determine the programmatic nature of a musical composition. Consequently, the implementation of the program idea becomes possible on the basis of referring to a particular genre as a whole, and even (due to the individualization of individual elements of musical speech) by referring to some characteristic detail of the musical genre. So, for example, second descending intonations most often serve to embody a sigh, a groan, and melodic moves up a fourth, with the approval of the tonic on downbeat tact - are perceived as an active heroic intonation. The triplet movement at a fast tempo often gives flight, and the choral warehouse of music, combined with a slow tempo, reflects a thoughtful and contemplative mood. Often the composer takes as the basis of the work one main musical theme, called in this case the leitmotif (translated into German - “leading motive”). At the same time, he uses the technique of genre transformation of this leitmotif, which speaks of diverse events. human life, about the struggle and dreams, about the love and suffering of the hero. Such a technique is a fairly effective means for transmitting the program of a work.
An important role in concretizing the content program is played by the refraction of folklore specifics, reflectiongenre folklore prototypes. The program functions of folk-genre elements are among the most capacious and multi-valued. The thematic section of program music, which combines pictures of nature, landscape sketches, includes both song and dance genres and imitation of folk instrumentalism. Important program functions are to animate nature, their role in anthropomorphism is significant visual means as a manifestation of the constant presence of a person, an expression of his feelings, perception, attitude to nature. Genre concretization is often combined with visual program functions. Particularly widely used in this case are coloristic techniques and spatial effects, such as: fifth organ points - as an element of spatial associations and a sign of folk instrumental music; tremolo, gliding, arpeggio - elements of colorful sound and folk coloring; modal-harmonic features, the use of frets folk music and pentatonic. Imitation of shepherd's tunes (pipe, horn) introduces an element of pastorality and lyrics into the landscape depiction. The sound of these instruments is perceived along with the singing of birds as part of the "sounding nature". Vocal-choral style of presentation (polyphonic polyphony, terts, organ points, ostinato) are associated with folk songs, fairy tales, in which artistic metaphor is widespread, that is, the identification of a birch and a slender girl, an eagle and a brave Cossack.
The next step in creating a software product is the no less important question of the problem of choice. forms, that is, the search for such constructions of musical logic that are able to most correctly, truthfully express the real logic, the real development of a given plot in the totality of its phenomena and aspects.
Of fundamental importance is the problem of objective and subjective (P.I. Tchaikovsky's term) programmability, declared and unannounced (M. Tarakanov's term), direct and indirect (V. Vanslov's term) programmability. For the first time, P.I. Tchaikovsky spoke about this in a letter to N.F. von Meck: “I find that the inspiration of a composer can be twofold: subjective and objective. In the first case, he expresses in his music his feelings of joy, suffering, in a word, like a lyric poet, he pours out, so to speak, his own soul. In this case, the program is not only not needed, but it is impossible. But, it's another matter when a musician, while reading poetic work or struck by a picture of nature, he wants to express in musical form the plot that ignited inspiration in him. This is where the program is needed. 6
V. Vanslov defines these areas of program music as follows: 7 direct programming is a plot, visual picturesqueness of music. These works have an announced program (the main types of an announced program are: the verbal designation of the title of the work, the verbal designation of the main story line works, a clear and precise formulation of the main idea of the work) and, plus, more points of contact with other types of art, primarily with literature and painting; mediated programming - not directly related to other arts or not defined by a verbally expressed plot. Therefore, these works receive a program only in the form of a short title, naming their main theme or idea, or sometimes in the form of a short dedication.
As for the role of software in the perception of music by listeners, then general formulas does not exist here. For a general audience that is not well versed in musical literature, a positive role can also be played by detailed programs, the figurative concreteness of which is close to the listeners, helping them to better understand the musical work, to respond more vividly and emotionally to the composer's intention. For others, the most appropriate is the general definition of the theme of the work, directing their imagination in a certain direction, but at the same time not constraining it with a detailed program. Finally, for many listeners, a vivid emotional perception may not be accompanied by any visual associations, specific images, or even ignore ready-made images offered by the composer or his interpreters. It seems that the most important moment in working with listeners is the systematic education of a sensitive, emotional attitude to all elements of music, to the integrity of musical images.
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