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Currently, all children's music schools and art schools in Russia are moving to new teaching standards. Educational programs began to be divided into pre-professional and general developmental. And if children who study under pre-professional programs receive in-depth knowledge in all subjects, then the knowledge of children who master general developmental programs is very superficial. Especially in theoretical subjects, because. according to the curricula, instead of full-fledged lessons in “solfeggio”, “musical literature”, “music theory”, “analysis of musical forms”, students take the subject “Music and the world” (1 hour per week).
When playing works in their specialty, students must have at least elementary knowledge about musical eras, styles, because. this knowledge is very important for broadening the horizons, educating the cognitive activity of students, and maintaining interest in learning. Lessons in a music school should be interesting, colorful, informative, and most importantly, memorable.
This is where the main target lesson-lecture: to promote the formation of students' ideas about aesthetic values through acquaintance with musical eras.
To achieve this goal, it is necessary to solve the following tasks lesson:
- to introduce students to the styles of "baroque", "classicism" and "romanticism";
- give an idea of the sound world masterpieces created in these eras;
- consolidate and generalize knowledge.
During the classes
Slide 1. Music accompanies a person from the first days and throughout his life. We listen to it from the moment we wake up, during the day and fall asleep to the sound of music. We hear it all the time: on the road, on vacation, at work... Music can cheer up, inspire, but it can also lead to a state of melancholy, grief or quiet sadness. Music, as one of the art forms, is aimed primarily at the human soul.
What is music? Music is the art of sounds. Scientists have proven that ancient people survived the ice age and became the dominant species on the planet, because they had the ability to create: transmit and create sounds, colors, create visual and sound images .
Music has developed in parallel with other arts, so it has a lot in common with painting, architecture, sculpture, literature and theatre.
Art, and above all the music of different eras, reflected its time and was expressed in a certain artistic style.
Music has not always been the way we know it now. Today we invite you to take a musical journey through time and get acquainted with some styles of classical music.
Slide 2. First stop - era baroque.
Epoch baroque (from it. barocco - “strange”, “bizarre”), which arose at the turn of the 16th - 17th centuries. - one of the most significant in the history of human development. It was at this time that new styles and trends in art were born: literature, music, painting, architecture. The Baroque era rejects naturalness, considering it ignorance and savagery.
Slide 3. For example, at that time a woman should be unnaturally pale, wearing a frilly wig, a tight corset and an oversized skirt.
Slide 4. A man in a wig without a mustache and beard, powdered and perfumed.
This style is characterized by expressiveness, drama, spectacle, solemnity, splendor, the desire to combine different types of art. These features were fully manifested in the opera, where music, poetry, dramaturgy and theatrical painting were combined.
Slide 5. The first works of the new genre that have come down to us are two operas under the same name “Eurydice”, composers Jacopo Peri and Giulio Caccini created on the plot of the myth of Orpheus.
Opera began to develop rapidly, various opera schools arose. For example, in the Naples Opera School, the bel canto vocal style (it. bel canto- “beautiful singing”), which was famous for its extraordinary beauty of sound, melody and technical perfection.
In the Baroque era, the idea of church music changed. There were works written on texts or plots, but not intended for mandatory performance in the church. These include cantata, oratorio.
Slide 6. The master of the monumental oratorio of that time is Georg Friedrich Handel (1685-1759), German composer and organist. He created a new type of oratorio, grandiose in scale, democratic in musical language. Handel's oratorios had a significant impact on the work of European composers.
In the Baroque era, polyphony, which dominated the music of the Renaissance, began to give way to homophony (from the Greek “homos” - “one” and “background” - “sound”. Unlike polyphony, where all voices are equal, one voice stands out in homophony , and the rest play the role of accompaniment.This gave impetus to the development of instrumental music, the emergence of new genres and, above all, the instrumental concerto.
Slide 7. One of the outstanding masters of violin music worked in the genre of “Concerto Grosso” - a big concert Antonio Vivaldi (1678-1741), who wrote 465 concertos. A. Vivaldi's concertos consist of 3 parts - fast extreme parts and a slow middle part. Many concerts of A. Vivaldi have a program, for example, the cycle of concerts “The Seasons”.
Appendix 1. A. Vivaldi “The Seasons”: “Winter” 1h.
Slide 8. The representative of the German Baroque school is Johann Sebastian Bach (1685-1750) - largest figure world musical culture. His work is one of the pinnacles philosophical thought in music. Freely crossing the features of not only different genres, but also national schools, Bach created immortal masterpieces that stand above time.
Appendix 2. I.S. Bach Toccata and Fugue in d-moll
Being the last (along with G. F. Handel) great composer of the Baroque era, he summarized the achievements of the musical art of the transitional period from Baroque to Classicism.
Slide 9. Next stop - epoch classicism .
Art style classicism from lat. Classicus-“exemplary”, “perfect” arose in the 17th century in France. Based on the ideas of regularity, the rationality of the world order, the masters of this style strove for an ideal, clear and strict forms, harmonious images. Classicism in many ways opposed the Baroque with its passion, variability, and inconsistency. Like the man himself, the art of classicism was life-affirming and bright. It was at this time that "exemplary" structures for the entire subsequent history of the sonata and symphony were formed in Western European music.
slide 10. sonata form is the principle of presentation musical material, which involves the interaction of themes and artistic images. Topics - main and secondary - are either opposed to each other or complement each other. The development of themes goes through three stages - exposition, development and recapitulation. Themes appear in the exposition, the further development of the themes takes place in the development. The recapitulation is the result of a complex path, to which the themes have come enriched by development in exposition and development. The development results are sometimes fixed in an additional section - the code, but it is optional.
Slide 11. Symphony- the most complex form of instrumental music. Performed by a symphony orchestra. Viennese composers classical school(Haydn, Mozart, Beethoven) developed a sonata-symphony cycle of four parts, which differ in the nature of the music, tempo and methods of developing the theme.
The first part was usually performed at a fast pace, filled with dramatic content, written in sonata form. The second part is slow, contemplative - this is the lyrical center of the composition. The third part is movable, wears a dance or playful character(Minuet or Scherzo). Fourth movement The finale, usually a fast movement, sums up the development of images and themes of the entire symphony.
Slide 12. In the opera of the 17th century. classicism is represented by works Christoph Willibald Gluck (1714-1787), who created a new interpretation of this type of musical and dramatic art. The innate instinct of the playwright and the feeling of dissatisfaction with the opera seria, with its cult of virtuoso singers, draw the composer in the direction of musical drama, to the ancient model.
The first operas created according to the new rules were Orpheus and Eurydice (1762), Paris and Helena (1770). The libretto for these operas was written by the poet and playwright Ranieri da Calzabidgi, this was the first example of cooperation between the author of music and the librettist in the process of creating an opera, before composers wrote music for ready-made and separately published librettos. For his operas Gluck chose, as a rule, antique stories in which the feat in the name of love and the fulfillment of duty was sung. The composer paid the main attention to the word. He sought to ensure that the music accurately expressed the spirit and mood of the poetic text. An important role in Gluck's operas was played by recitatives, they always sounded to the accompaniment of the orchestra (in contrast to the "secco" - opera recitatives - "seria"), which were accompanied by a harpsichord. The main melodic line is held in arias. The role of the orchestra has increased. The main ideas were already outlined in the overture. In Gluck's works, he was attracted by the clarity of dramatic development, the integrity of images, the classical rigor and expressiveness of music, the naturalness and beauty of melodies, the nobility of the characters' feelings.
The pinnacle in the development of musical classicism was the work of J. Haydn, V.A. Mozart and L. Beethoven, who worked mainly in Vienna and formed a direction in musical culture - the Viennese classical school.
Slide 13. With creativity Joseph haydn (1732-1809) is associated with the flowering of such genres as the symphony (he has 104 of them), string quartet, clavier sonata. The composer paid much attention to concertos for various instruments, chamber ensembles, and sacred music. The composers of the Viennese classical school, and, above all, Haydn, are credited with the formation of a stable composition of the orchestra. The sound of musical instruments was brought into a strict system, which obeyed the rules of instrumentation, based on knowledge of the capabilities of the instruments.
Slide 14. Creativity Wolfgang Amadeus Mozart (1756-1791) occupies a special place in the Viennese classical school. In his works, classical rigor and clarity of form combined with deep emotionality.
Mozart paid special attention to opera, but did not strive, following the example of Gluck, to create a new operatic form - his music itself was innovative. IN mature works the composer abandoned the strict distinction between serious and comic opera - a musical-dramatic performance appeared in which these elements are intertwined ("The Marriage of Figaro", "Don Giovanni", "Magic Flute").
Appendix 3. V.A. Mozart Aria of the Queen of the Night from the opera "The Magic Flute", written in the style of bel canto.
Mozart paid great attention to symphonies, the last three - No. 39, No. 40 and No. 41 "Jupiter" are especially popular. In the works of this genre, the 4-part cycle and the rules of sonata form were finally fixed.
Mozart became one of the creators of the classical concerto genre. Piano works include 19 sonatas, as well as compositions in the fantasy genre. He also created spiritual works: masses, cantatas, oratorios, requiems.
Slide 15. The last representative of the Vienna Classical School was Ludwig van Beethoven (1770-1827). Beethoven's worldview took shape under the influence of the ideas of the Enlightenment and the French Revolution. IN musically his work, on the one hand, continued the traditions of Viennese classicism, on the other hand, it contains the features of a new, romantic art (bold experimentation in symphonies and sonatas, interest in vocal and instrumental miniatures and programming). During his life, the composer wrote nine symphonies, thirty-two sonatas for piano, as well as for violin and cello, sixteen string quartets, the opera Fidelio, five piano concertos. The Ninth Symphony is rightfully considered the pinnacle of symphonic creativity. The symphony is grandiose in scale, the finale is especially unusual, which is something like a big cantata for choir, soloists and orchestra, written to the text of the horde to the delight of I.F. Schiller.
Slide 16 romanticism.
At the turn of the 18th-19th centuries, a new direction emerged in European art - romanticism (fr. romanticisme), in the formation of which played a huge role French revolution 1789. She brought people disappointment and hopelessness, because. what the revolutionaries fought for did not come true. The reality was grim, so the romantics sought solace in the dream world. The main themes are loneliness, the distant past, a dream, a fairy tale. Romantics are interested in the human soul, its passions and experiences.
The society of philistines, merchants, ordinary inhabitants dictated their tastes to musical art, which led to the creation of “light” genres. The song and the romance were widely developed.
The leading genre is the miniature, often with a specific name. In a small instrumental composition-miniature, one could capture fleeting feelings, and deep emotional shock, and an instant mood, and a sketch from nature.
An important means of creating a musical image has become a verbal program that reveals the content of the work. Sometimes music was written as an illustration to a work of literature or painting. Sometimes the composer himself composed a plot for instrumental music and set it out in a special explanation for the score.
Romantic composers often turned to folklore, using intonations, rhythms, motifs of folk dances and songs.
Romantic composers were convinced that through musical education it was possible to change the world and a person, so they devoted a lot of effort to journalism and educational activities. They sought to personally influence a large audience and became performers or conductors. It was the Romantics who created the system of public concerts in Europe.
Slide 17. The Austrian composer became the first representative of romanticism Franz Schubert (1797-1828). For his short life the composer created more than 1000 compositions. Schubert's instrumental music is associated with the traditions of the Viennese classical school. The composer wrote nine symphonies. Symphony No. 8, subtitled "Unfinished" (1822) - one of the most bright works not only in the work of Schubert, but also in world symphonic music. But during his lifetime, he received recognition only as a songwriter, and his symphonies, sonatas, piano miniatures were forgotten for a long time.
Appendix 4 F. Schubert "Bee".
Schubert wrote over 600 songs. Each of them is a story about a person capable of strong, sincere feelings. The main part of the songs is devoted to love, however, among them there are landscape and genre sketches (for example, "Trout"), romantic legends (the ballad "Forest King" on verses German poet I.V. Goethe). In songs, the piano part is of great importance, which seems to be completely subordinate to the voice, it is the instrument that conveys those feelings and emotions that cannot be expressed in words. The vocal cycles “The Beautiful Miller's Woman” and “The Winter Road” are the pinnacle of F. Schubert's work.
Slide 18. Another representative of romanticism is a composer Robert Schumann (1810-1856). In his work, the composer paid great attention to piano music. One after another, the famous piano cycles "Variations" (1830), "Butterflies" (1831), "Carnival" (1835), "Fantastic Pieces" (1837), as well as "Children's Scenes", " Kreislerian", "Novelettes". The composer wrote psychological music, which was far from folklore motives. Schumann's works are something "personal". The harmonious language of his works is more complex than that of his contemporaries. The rhythm of Schumann's creations is quite whimsical and capricious.
The composer also turned to vocal music. The central place in Schumann's vocal heritage is occupied by two cycles “Love and Life of a Woman” and “Love of a Poet”.
Appendix 5. R. Schumann “I am not angry” from the cycle “Poet's Love”.
slide 19. Frederic Chopin(1810-1849) - romantic composer, founder of the Polish national composer school. F. Chopin is a unique composer, as he wrote practically only piano music. A characteristic feature of the "Chopin" style is the combination of chamber lyrics, poetic improvisation with brilliant virtuoso technique. Chopin's composing style is characterized by a synthesis of romantic and classical traditions. Appeal to folk origins: the use of folk modes, rhythms and harmonization. The piano often “imitates” a folk orchestra. Many of the composer's piano compositions are elegiac in melody. Chopin created many works in the rhythm of Polish folk and urban dances (mazurka, polonaise, waltz).
Appendix 6. F. Chopin Nocturne Es-dur.
Slide 20. Opera in the era of romanticism developed in two ways - through the development and renewal of traditions ( Giuseppe Verdi (1813-1901) in Italy, Georges Bizet (1838-1875) in France) and through reform ( Richard Wagner (1813-1883) in Germany).
The operas of Verdi and Bizet summed up the best achievements of Italian and French opera, significantly updating their content. The main thing is new heroes. These are not mythological characters and historical figures, but simple people, often - "humiliated and insulted." A jester in Rigoletto, a courtesan in Verdi's La Traviata, a tobacco factory worker and a soldier in Bizet's Carmen. But it is them life stories become the basis of the plot, it is their feelings and passions that the listener empathizes with. At the same time, the characters of the characters are revealed in dramatic, even tragic conditions.
Operas by Verdi and Bizet are examples of psychological lyrics in music, and combine the features of romantic and realistic art.
Slide 21. R. Wagner- the greatest figure in history music XIX V. His personality and work caused heated discussions that continue almost to this day. His whole life was focused on one thing - the creation of what he himself called "The work of art of the future."
The principles of the operatic reform of R. Wagner (formulated by him in numerous theoretical works, for example, “Opera and Drama”):
1) The process of composition begins with the formulation of an artistic idea.
2) Composer and playwright are one person. He owns the idea, he writes both the text and the music of his opera. This is entirely his work.
3) The plot is based on myths and legends. It is in them that one can find eternal ideas that have passed the centuries-old test of time, which means that they are always relevant ideas.
4) The composer develops a musical language that would become a “sensual expression of thought”.
The listener not only enjoys the beautiful harmonies, but reads the music like a text. For this, a system of leitmotifs is used. A leitmotif (i.e., a recurring theme) can symbolize a feeling (love, suffering), a concept (temptation, fate, death,), an object (a magic sword, a ring of power), a natural phenomenon (storm). By arranging these leitmotifs in various sequences, repeating and changing them, the composer directs the listener's thought.
It is interesting that each of Wagner's reformist operas, despite the generalization of the mythological content and the significance of philosophical ideas, is brought to life by deeply personal experiences, i.e. based on autobiographical motifs. And this betrays in him a typical romantic artist.
This is the end of our musical journey. We briefly got acquainted with some of the most important epochs for the development of art. A small quiz will help us sum up our journey.
Slides 22, 23. Questions and answers:
What epochs are we familiar with today? (Baroque, classicism, romanticism)
What is the name of the operatic vocal style, which was famous for its extraordinary beauty of sound, melody and technical perfection? (bel canto - "beautiful singing")
What is the difference polyphonic music from homophonic music? (In polyphony, all voices are equal, and in homophony, one voice stands out, and the rest play the role of accompaniment.)
- Who is the author of the cycle of instrumental concerts “Seasons”? (A. Vivaldi)
- The great German composer of the Baroque era - the largest figure in world musical culture? (J.S. Bach)
- Name the structure of sonata form. (Exposition, development, reprise)
- Name the composers of the Viennese classical school. (J. Haydn, W. A. Mozart and L. Beethoven)
- What genres did romantic composers most often turn to? (miniature, song, romance)
- What German composer in the theoretical work "Opera and Drama" outlined his principles of opera reform? (R. Wagner)
But there is also a "classical" period in the history of music, called classicism, Haydn and Mozart were prominent representatives of classicism. This is primarily the appearance of the first public concerts, education in the capitals and big cities musical societies and orchestras.
Late classicism associated with the Enlightenment, approximately from the middle of the XVIII to early XIX century, is associated primarily with the Viennese classical school. This direction includes, in particular, the reformist operas of K. V. Gluck, the early Viennese and Mannheim schools.
Classicism in music - Viennese classics
In music, as in no other art form, the concept of "classic" has an ambiguous content. Forgive me lovers early music for the frivolous word "hit", but after all, great composers once wrote popular music for their contemporaries, not at all aiming at eternity. In the 18th century, a new round of development began public consciousness The Age of Enlightenment has arrived. The pomp and pomp of baroque, the immediate predecessor of classicism, was replaced by a style based on simplicity and naturalness.
Aesthetic settings of classicism
The ideal model for artists of this trend was ancient aesthetics with its harmonious logic and harmony. The requirement of the era of classicism is the balance of proportions, excluding everything superfluous, secondary.
General characteristics of the style
The development of a new musical culture in the middle of the 18th century gave rise to the emergence of many private salons, musical societies and orchestras, open concerts and opera performances. capital music world at that time it was Vienna. Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven - three great names that went down in history as Viennese classics.
High style music in which rich figurative content is embodied in a simple but perfect art form, - Here main feature works of the Viennese classics. Haydn and Beethoven gravitated towards instrumental music - sonatas, concertos and symphonies. The musical culture of classicism is associated with the creation of many genres of instrumental music, such as the sonata, symphony, and concerto.
In the era of classicism, the main types of chamber ensembles were formed - the trio, the string quartet. Let us briefly dwell on the innovations characteristic of classicism. The classical sonata form is based on the opposition of 2 themes (often contrasting, sometimes conflicting) - main and secondary - and their development. As a rule, the first, fast parts of a sonata or symphonic cycle were written in sonata form, therefore the name sonata allegro was assigned to them.
Sonata-symphony cycle
This piece is for orchestra and solo instrument. Music of classicism miraculously combines external simplicity and clarity with a deep inner content, which is not alien to strong feelings and drama. Classicism, moreover, is the style of a certain historical era, and this style is not forgotten, but has serious connections with the music of our time (neoclassicism, polystylistics).
Everything that did not correspond to reason, everything ugly had to appear in the art of K. purified and ennobled
The term "classical" in music is mainly used to define serious, artistic music, i.e. music that is not folk, popular, jazz, rock, etc. Classicism began in the Age of Enlightenment - a time of radical changes in the awareness of human and social values and the rules of behavior in society. The new composition of the orchestra led to the emergence of a symphony - the most important type of music, according to the standard consisting of three tempos - a fast beginning, a slow middle and a fast end.
Works are created specifically for string quartet with its four-tempo standard, reminiscent of a symphony. In the same era, the piano or fortepiano was created ( correct name). This allowed keyboardists to play music in different variations, both soft (piano) and louder (forte), depending on the keys used.
Like symphonies, sonatas have become a way of combining many different types of instrumental music into one type. 1750 to 1820 I am more inclined to believe that this era began after the capitalist revolution in Britain and ended with the great bourgeois revolution in France.
Significant changes at this time are distinguished musical life Europe. Orchestras are expanding in composition, the organ and harpsichord are leaving them, the groups of wind instruments are increasing, the clarinet is coming into use with its sensitive, full of bliss sound. From this environment, one of the most important genres of the era of classicism, the string quartet, is formed. By the depth and relevance of the images, by the developed technique musical fabric and the structure of the form, he is able to compete with the symphony - this kind of classic instrumental drama.
Second half of the 18th century - the time of reform processes, one might say, revolutionary changes in the opera. They are associated primarily with the names of K.-V. Gluck and V.-A. Mozart. Christoph Willibald Gluck (1714-1787) is an Austrian composer, whose childhood and youth were spent in the Czech Republic, then he moved to Milan, where he was the head of the chapel of the Italian aristocrat A. Melzi.
At the same time, the innate instinct of the playwright and the feeling of dissatisfaction with the sena opera with its cult of virtuoso singers draw the composer towards the musical drama, towards the ancient model. And at the turn of the 1760s. Gluck embarks on the path of reform: not a technically sophisticated coloratura, but a dramatic action with sharp collisions expressed by music.
In music, its most prominent representative was J. B. Lully, the creator of the genre of "lyrical tragedy", which, in terms of its subject matter and basic. stylistic
The plot of the opera is based on the ancient Greek myth about the poet-singer Orpheus, who, with the power of feeling and his skill, moved the Furies to pity. underworld, in which it falls dead wife Eurydice. Characters from static figures turn into actors who enter into active actions, conflict relations.
This is one of the few classical operas that are actively preserved in the repertoire of modern musical theaters. Classicism (from lat. classicus - exemplary), art style, which existed in the 17th - early. 19th centuries in Europe literature and art. The basis of the art of classicism is the cult of reason - rationalism, harmony and logic. The highest achievements of classicism in music are associated with the activities of the Viennese classical school - with the work of J. Haydn, W. A. Mozart and L. van Beethoven.
Classicism, which replaced the Renaissance in several stages, took shape in France in late XVII century, reflecting in his art partly a serious rise in absolute monarchy, partly a change in worldview from religious to secular. In the 18th century, a new round of development of social consciousness began - the Age of Enlightenment began. The pomp and pomp of baroque, the immediate predecessor of classicism, was replaced by a style based on simplicity and naturalness.
AESTHETIC SETTINGS OF CLASSICISM. The basis of the art of classicism is the cult of reason - rationalism, harmony and logic. The name "classicism" by origin is associated with the word from the Latin language - classicus, which means - "exemplary". The ideal model for artists of this trend was ancient aesthetics with its harmonious logic and harmony. In classicism, reason prevails over feelings, individualism is not welcome, and in any phenomenon, general, typological features. Each work of art must be built according to strict canons. The requirement of the era of classicism is the balance of proportions, excluding everything superfluous, secondary.
Classicism is characterized by a strict division into "high" and "low" genres. "High" works are works that refer to ancient and religious subjects, written in a solemn language (tragedy, hymn, ode). And the “low” genres are those works that are presented in a colloquial language and reflect folk life(fable, comedy). Mixing genres was unacceptable.
CLASSICISM IN MUSIC - VIENNA CLASSICS. The development of a new musical culture in the middle of the 18th century gave rise to the emergence of many private salons, musical societies and orchestras, holding open concerts and opera performances. The capital of the musical world in those days was Vienna. Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven are three great names that went down in history as Viennese classics. Composers of the Viennese school masterfully owned the most different genres music - from everyday songs to symphonies. The high style of music, in which rich figurative content is embodied in a simple but perfect artistic form, is the main feature of the work of the Viennese classics. The musical culture of classicism, like literature, as well as art, sings the actions of a person, his emotions and feelings, over which the mind reigns. Artists-creators in their works are characterized by logical thinking, harmony and clarity of form. The simplicity and ease of expression of classical composers might seem banal to the modern ear (in some cases, of course), if their music were not so brilliant. Each of the Viennese classics had a bright, unique personality. Haydn and Beethoven gravitated towards instrumental music - sonatas, concertos and symphonies. Mozart was universal in everything - he easily created in any genre. He had a great influence on the development of opera, creating and improving its various types - from opera buff to musical drama. In terms of composers' preferences for certain figurative spheres, Haydn is more characteristic of objective folk-genre sketches, pastoral, gallantry, Beethoven is close to heroism and drama, as well as philosophy, and, of course, nature, to a small extent, and refined lyrics. Mozart covered, perhaps, all existing figurative spheres.
GENRES OF MUSICAL CLASSICISM. The musical culture of classicism is associated with the creation of many genres of instrumental music, such as the sonata, symphony, and concerto. A multi-part sonata-symphony form (4-part cycle) was formed, which is still the basis of many instrumental compositions. In the era of classicism, the main types of chamber ensembles were formed - the trio, the string quartet. System developed Viennese school forms is still relevant - modern "bells and whistles" are layered on it as a basis. Let us briefly dwell on the innovations characteristic of classicism.
SONATA FORM The sonata genre existed as far back as early XVII century, but the sonata form was finally formed in the works of Haydn and Mozart, and Beethoven brought it to perfection and even began to break the strict canons of the genre. The classical sonata form is based on the opposition of 2 themes (often contrasting, sometimes conflicting) - main and secondary - and their development. The sonata form includes 3 main sections: the first section is the exposition (carrying out the main themes), the second is the development (development and comparison of themes) and the third is the recapitulation (a modified repetition of the exposition, in which the tonal convergence of previously opposing themes usually occurs). As a rule, the first, fast parts of a sonata or symphonic cycle were written in sonata form, therefore the name sonata allegro was assigned to them.
SONATA-SYMPHONY CYCLE In terms of structure, the logic of the sequence of parts, symphonies and sonatas are very similar, hence common name their integral musical form is the sonata-symphony cycle. A classical symphony almost always consists of 4 parts: I - a fast active part in the sonata allegro form, traditional for it; II - a slow part (its form, as a rule, is not strictly regulated - variations are possible here, and a three-part complex or simple shape, and rondo sonatas, and slow sonata form); III - a minuet (sometimes a scherzo), the so-called genre part - in form almost always a complex three-part; IV - the final and final rapid part, for which they also often chose sonata form, sometimes in the form of a rondo or a rondo sonata.
CONCERT The name of the concert, as a genre, comes from Latin word concertare - "competition". This piece is for orchestra and solo instrument. instrumental concert, created in the Renaissance and received simply grandiose development in the musical culture of the Baroque, in the work of the Viennese classics acquired a sonata-symphonic form.
STRING QUARTET A string quartet usually consists of two violins, a viola and a cello. The form of the quartet, similar to the sonata-symphony cycle, was already determined by Haydn. Mozart and Beethoven also made enormous contributions and paved the way for further development of this genre. The musical culture of classicism has become a kind of "cradle" for the string quartet, in subsequent times and to the present day, composers do not stop writing more and more works in the concerto genre - this type of work turned out to be so in demand. The music of classicism surprisingly combines external simplicity and clarity with a deep inner content, which is not alien to strong feelings and drama. Classicism, in addition, is the style of a certain historical era, and this style is not forgotten, but has serious connections with the music of our time (neoclassicism, polystylistics).
Classicism (from lat. сlassicus - exemplary) - a style in art of the 17th - 18th centuries. The name "classicism" comes from the appeal to classical antiquity as the highest standard of aesthetic perfection. Representatives of classicism drew their aesthetic ideal from samples ancient art. Classicism was based on the belief in the reasonableness of being, in the presence of order and harmony in nature and the inner world of man. The aesthetics of classicism contains the sum of mandatory strict rules that a work of art must comply with. The most important of them are the demand for a balance of beauty and truth, logical clarity, harmony and completeness of the composition, strict proportions, and a clear distinction between genres.
In the development of classicism, 2 stages are noted:
Classicism of the 17th century, which developed partly in the struggle with the art of the Baroque, partly in interaction with it.
Enlightenment classicism of the 18th century.
Classicism of the 17th century is in many ways the antithesis of the Baroque. It receives its most complete expression in France. This was the heyday of the absolute monarchy, which provided the highest patronage to court art and demanded pomp and splendor from it. The tragedies of Corneille and Racine, as well as the comedies of Moliere, on whose work Lully relied, became the pinnacle of French classicism in the field of theatrical art. His "lyrical tragedies" bear the imprint of the impact of classicism (strict logic of construction, heroics, restrained character), although they also have baroque features - the splendor of his operas, the abundance of dances, processions, choirs.
Classicism of the 18th century coincided with the Age of Enlightenment. Enlightenment is a broad movement in philosophy, literature, and art that has engulfed all European countries. The name "Enlightenment" is explained by the fact that the philosophers of this era (Voltaire, Diderot, Rousseau) sought to educate their fellow citizens, tried to resolve issues of the structure of human society, human nature, and his rights. Enlighteners proceeded from the idea of the omnipotence of the human mind. Faith in a person, in his mind determines the bright, optimistic mood inherent in the views of the Enlightenment figures.
Opera is at the center of musical and aesthetic disputes. French encyclopedists considered it a genre in which the synthesis of arts that existed in ancient theater. This idea formed the basis of K.V. Gluck.
The great achievement of enlightenment classicism is the creation of the genre of symphony (sonata-symphony cycle) and sonata form, which is associated with the work of composers of the Mannheim school. The Mannheim school was formed in the city of Mannheim (Germany) in the middle of the 18th century on the basis of a court chapel, in which mainly Czech musicians worked (the largest representative was the Czech Jan Stamitz). In the work of the composers of the Mannheim school, the 4-part structure of the symphony and the classical composition of the orchestra were established.
The Mannheim school became the forerunner of the Viennese classical school - a musical direction denoting the work of Haydn, Mozart, Beethoven. In the work of the Viennese classics, the sonata-symphony cycle, which became a classic, was finally formed, as well as the genres of chamber ensemble and concerto.
Among the instrumental genres, various types of everyday entertainment music were especially popular - serenades, divertissements that sounded in the open air in the evening. Divertimento (French entertainment) - multi-part instrumental works for a chamber ensemble or orchestra, combining the features of a sonata and a suite and close to a serenade, nocturne.
K. V. Gluck - the great reformer of the opera house
Christoph Willibald Gluck (1714 - 1787) - a German by birth (born in Erasbach (Bavaria, Germany)), nevertheless, is one of the prominent representatives of the Viennese classical school.
Gluck's reform activities took place in Vienna and Paris and were carried out in line with the aesthetics of classicism. In total, Gluck wrote about 40 operas - Italian and French, buffa and seria, traditional and innovative. It was thanks to the latter that he secured a prominent place in the history of music.
The principles of Gluck's reform are outlined in his preface to the score of the opera Alceste. They come down to this:
Music must express the poetic text of the opera; it cannot exist on its own, outside of dramatic action. Thus, Gluck significantly enhances the role of the literary and dramatic basis of the opera, subordinating the music to the drama.
Opera should have a moral impact on a person, hence the appeal to ancient subjects with their high pathos and nobility (“Orpheus and Eurydice”, “Paris and Helen”, “Iphigenia in Aulis”). G. Berlioz called Gluck "Aeschylus of music".
The opera must comply with "the three great principles of beauty in all arts" - "simplicity, truth and naturalness". It is necessary to rid the opera of excessive virtuosity and vocal ornamentation (inherent in Italian opera), intricate plots.
There should not be a sharp contrast between the aria and the recitative. Gluck replaces the secco recitative with an accompaniment, as a result of which it approaches an aria (in the traditional opera seria, recitatives served only as a link between concert numbers).
Gluck also interprets arias in a new way: he introduces features of improvisational freedom, connects the development of musical material with a change in the psychological state of the hero. Arias, recitatives and choirs combine into large dramatic scenes.
The overture should anticipate the content of the opera, introduce listeners into its atmosphere.
The ballet should not be an interstitial number that is not connected with the action of the opera. Its introduction must be determined by the course of the dramatic action.
Most of these principles were embodied in the opera Orpheus and Eurydice (premiered in 1762). This opera marks the beginning of a new stage not only in Gluck's work, but also in the history of all European opera. Orpheus was followed by another of his pioneering operas, Alceste (1767).
In Paris, Gluck wrote other reformist operas: Iphigenia in Aulis (1774), Armida (1777), Iphigenia in Tauris (1779). The staging of each of them turned into a grandiose event in the life of Paris, causing a heated controversy between the "Glukists" and "Picchinists" - supporters of the traditional Italian opera, which was personified by the Neapolitan composer Nicolo Picchini (1728 - 1800). Gluck's victory in this controversy was marked by the triumph of his opera Iphigenia in Tauris.
Thus, Gluck turned opera into an art of high educational ideals, saturating it with deep moral content, and revealing genuine human feelings on stage. Gluck's operatic reform had a fruitful influence both on his contemporaries and on subsequent generations of composers (especially the Viennese classics).
№ 5 MUSICAL GENRES OF THE AGE OF CLASSICISM
The most important of the solo works of the classical period were the sonatas, they were written for any solo instrument, but primarily for the piano. Like symphonies, sonatas became a way of combining many different types of instrumental music into one type.
The content of musical compositions is connected with the world of human feelings, which are not subject to the strict control of the mind. However, the composers of this era created a very harmonious and logical system of rules for constructing a work. In the era of classicism, such genres as opera, symphony, sonata were formed and reached perfection. In theory, church genres were still considered the most valuable and respected, but in practice the higher genres of theatrical and chamber music: musical drama and symphony.
The musical theater of genres had its own hierarchy, depending on the “affects” embodied in it. Therefore, the "serious opera" remained more prestigious than the comic. Comic genres are also turning into high comedy with complex characters, refined feelings and highly developed musical forms.
The opera extended its influence to church and instrumental music. The hierarchy of genres was as follows:
The first was the symphony, as the highest step. Early classical period distinguished between "theatrical" symphonies (i.e. overtures, which could still be called "partitas") and "chamber". Chamber symphonies were string, orchestral and concert. The strings were notable for the refinement of writing, because they were designed for the refined ear of connoisseurs. Orchestral symphonies also featured wind instruments. Orchestral music was mainly entertaining. Divertimento, serenades, partitas were significantly lower than the symphony. Here the composer could afford noise and sound effects, extravagant jokes.
At the next "stage" - concerts that combine both the orchestral-collective and solo-personal principles.
Sonatas in the 18th century represented an extensive genre group: all ensemble and solo combinations (from clavier sonatas to trios, quartets, quintets, etc.) The main "rules" for distinguishing the sonata as a species from the symphonies were: Unregulated number of parts (from two to four, and in ensembles and more); Performance of each party by one instrument;
As a result, the individualization of content and the possibility of expressing independent subtle feelings or very subjective moods.
String ensemble sonatas (quartets and trios) experienced an unprecedented flowering and rapid evolution. This work should be purely "home", for a narrow circle of people. There are two trends here:
Music for amateurs, not too technically complicated;
Music for connoisseurs. The composer could use any techniques, including experimental ones.
There were also ensembles with the participation of the clavier. The piano part could be performed by both an amateur and a professional pianist. Even lower were sonatas for two instruments and their following genre varieties:
A type of sonata for a solo instrument, especially the violin, with a clavier acting as a continuo.
Sonatas for clavier with accompaniment of violin, flute, cello. The accompanying voice may have been written in the Ad libitum.
Sonatas, duets for two equal instruments without the participation of the clavier and were more chamber in nature.
At the very bottom were piano miniatures (the classics had rondos, minuets, bagatelles), variations on popular themes, songs, arrangements folk songs for voice with instrumental ensemble (Haydn, Beethoven); dance cycles - minuets, country dances, ecossaises - for piano, ensemble and orchestra. They were also entertaining.
GEOGRAPHICAL CENTERS OF DEVELOPMENT.
KEY REPRESENTATIVES
the founder of classicism in the musical theater was J.B. Lully (the creator of the lyrical tragedy), the features of classicism and baroque are combined in the opera seria genre; the pinnacle stage in the development of musical classicism was the art of the Viennese classical school.
The real revolution was the operatic reform of Christoph Gluck. His creative program was three great principles - simplicity, truth, naturalness. In the musical drama, he was looking for meaning, not sweet voice. From the opera, Gluck removes everything superfluous: decorations, magnificent effects, gives poetry greater expressive power, and music is completely subject to disclosure. inner world heroes. The opera "Orpheus and Eurydice" was the first work in which Gluck implemented new ideas and laid the foundation for opera reform. Strictness, proportionality of form, noble simplicity without frills, sense of artistic proportion in Gluck's works reminds one of the harmonious forms of ancient sculpture. Arias, recitatives, choirs form a large operatic composition.
The heyday of musical classicism began in the second half of the 18th century. Vienna, the capital of musical culture of that time, became the central platform for the development of this direction. The highest expression of classicism was the work of Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, who worked in Vienna and formed a direction in musical culture - the Viennese classical school. The work of the Viennese classics expresses a dynamic understanding of life processes, which found its most complete embodiment in sonata form and determined the symphony of many of their compositions. With symphonism, in a broad sense, the flowering of the leading instrumental genres of the era - symphony, sonata, concerto and chamber ensemble, the final formation of a 4-movement sonata-symphony cycle is associated. Haydn is called the founder of classical instrumental music, the founder of the modern symphony orchestra and the father of the symphony. In a classical symphony, an ideal form has been found that can accommodate a very deep content. In the work of Haydn, the type of classical three-movement sonata is also established. The composer's works are characterized by beauty, order, subtle and noble simplicity. Haydn's art had a tremendous impact on the formation of Mozart's symphonic and chamber style. Based on his achievements in the field of sonata-symphonic music, Mozart contributed a lot of new and original. His operas are of great artistic value. For two centuries Le nozze di Figaro and Don Giovanni have enjoyed success, striking with their charmingly elegant melody, simplicity, and luxurious harmony. Mozart's operatic work opened up broad prospects for the development of various types of opera - lyrical and socially accusatory comedy, musical drama, philosophical fairy tale opera, and others.
Beethoven became famous as the greatest symphonist. His art is permeated with the pathos of struggle. It implemented the advanced ideas of the Enlightenment, which established the rights and dignity human personality. The world of Beethoven's images is diverse. His hero is not only brave and passionate, he is endowed with a finely developed intellect. He is a fighter and a thinker. In Beethoven's music, life in all its diversity - stormy passions and detached daydreaming, dramatic pathos and lyrical confession, pictures of nature and scenes of everyday life. Concluding the era of classicism, Beethoven at the same time opened the way for the coming century, marking the dawn new era known as the Romantic period in music.
№ 5 Realism???
Shishkova Natalia Vitalievna
MOU DOD "Children's Art School No. 1", Balakovo
Epochs in music, painting, architecture
Music in the Renaissance XV-XVI century.
In the Middle Ages, music was the prerogative of the Church, so most musical works were sacred, which were based on church hymns (Gregorian chant).
The Middle Ages were followed by the Renaissance, which was an era of discovery, innovation and exploration for musicians - the Renaissance of all layers of cultural and scientific manifestation of life from music and painting to astronomy and mathematics.
With the invention of the printing press, it became possible to print and distribute sheet music.
It was at this time that the viola, the predecessor of the violin, appeared. There were also popular wind instruments- recorder, flute and horn. The most complex music written for the newly created harpsichord and organ.
Purcell Henry (1659–1695) English composer. His professional life almost entirely took place in the Royal Chapel and Westminster Abbey. Purcell's heritage is based on compositions created "on occasion", i.e. Related royal family and church services in the Chapel and in the Abbey. Among the spiritual works of the composer are at least 60 anthems, 5 complete services and many pieces for solo voices, 6 complete operas and music for 44 plays.
Rameau Jean Philippe (1683–1764) French composer and music theorist. Rameau's heritage consists of several dozen books and a number of articles on music and acoustic theory; four volumes of clavier pieces, several motets and solo cantatas; 29 stage compositions - operas, opera-ballets and pastorals.
Scarlatti, Domenico (1685-1757), son of Alessandro, composer, greatest master of the Italian clavier music. The originality of Scarlatti's clavier style was revealed in 555 sonatas. Kirkpatrick's catalog contains 14 operas, 9 oratorios, 16 chamber cantatas and arias, and 13 spiritual compositions. Among the most striking features of the composer's style are the brilliance of dissonant harmonies and bold modulations, the crossing of left and right hand, rehearsals, trills and other types of ornamentation.
Architecture in the Renaissance.
In Italy, the Renaissance called Gothic medieval art Northern Europe - an artistic style that dominated the countries of Western, Central and partly of Eastern Europe between mid-twelfth V. and XV-XVI centuries. During the Renaissance, the discovery of antiquity caused joy and delight.
Painting in the Renaissance.
B 
otticelli, Sandro. Birth of Venus. Around 1482-1483. Renaissance. Italy. Florence. Uffizi Gallery. In each country, the Renaissance has its own characteristics. In Italy, where the Renaissance was most fully manifested in the classical form, it covers the XIV-XVII centuries. (the turn of the XIII-XIV centuries - Proto-Renaissance; XV century - Early Renaissance; end of the 15th - first quarter of the 16th century. - High Renaissance; 16th century
Music of the Baroque era (1600-1750)
WITH 
The word "baroque" presumably comes from the Portuguese perola barroca - a pearl of a bizarre shape. Indeed, the visual arts and architecture of this period were characterized by very elaborate forms, complexity, pomp and dynamics. Later, the same word was applied to the music of that time. Such brilliant works as the fugues of Johann Sebastian Bach, the Alleluia choir from the oratorio Messiah by Georg Friedrich Handel, The Four Seasons by Antonio Vivaldi, Vespers by Claudio Monteverdi were born in the Baroque era. The musical ornament became very sophisticated, such a type of composition as an opera appeared.
The creation of his recitative style by the Italian composer Claudio Monteverdi (1567-1643) and the consistent development of Italian opera can be considered a conditional transition point between the Baroque and Renaissance eras.
An outstanding representative of the court composers of the court of Louis XIV was Giovanni Battista Lulli (1632-1687). Already at the age of 21, he received the title of "court composer of instrumental music." Lully created the complete type of French opera; the so-called lyrical tragedy in France
Composer and violinist Arcangelo Corelli (1653-1713) is known for his work on the development of the concerto grosso genre. Corelli was one of the first composers whose works were published and performed throughout Europe.
In England, the mature baroque was marked by the brilliant genius of Henry Purcell (1659-1695). Purcell worked in a wide range of genres; from simple religious hymns to marching music, from large format vocal compositions to staged music. His catalog contains over 800 works.
Antonio Vivaldi (1678-1741) - italian composer, was born in Venice. Vivaldi's fame was brought by the publication of his works, which included his trio sonatas, violin sonatas and concertos (more than 500). He also gave programmatic titles to some of his works, such as the famous The Four Seasons.
But perhaps the most famous court composer was Georg Friedrich Handel (1685-1759). He was born in Germany, studied in Italy, started his brilliant and commercial successful career in London. Handel reworked the material of other composers, and constantly reworked his own compositions. Handel mixed in his music the rich traditions of improvisation and counterpoint. The art of musical ornaments reached in his works very high level development.
Johann Sebastian Bach (1685-1750) Germany. During his lifetime, he composed over 1,000 works in various genres, except for opera. But during his lifetime he did not achieve any significant success.
Baroque painting
Baroque painting or baroque painting - paintings the baroque period in the culture of the XVI-XVII centuries, while politically historical period divided into Absolutism and Counter-Reformation. Baroque painting is characterized by dynamism, "corporeality" and pomp of forms, the most character traits baroque - catchy flamboyance and dynamism; a striking example is Rubens, Caravaggio.
Baroque architecture
The Italian word "baroque" literally means "strange", "bizarre". The Baroque style gravitated toward ceremonial solemnity and splendor. At the same time, he expressed progressive ideas about the unity, infinity and diversity of the world, about its complexity, variability, and constant movement.
Music of the Classical Era.
Classicism (from lat. classicus - exemplary) - artistic style and aesthetic direction in European art XVII-XIX centuries Piece of art, from the point of view of classicism, should be built on the basis of strict canons, thereby revealing the harmony and logic of the universe itself. The concept of classicism in music is steadily associated with the work of Haydn, Mozart and Beethoven, called Viennese classics and determined the direction of further development of musical composition.
Franz Joseph Haydn (1732-1809) - Austrian composer, representative of the Viennese classical school, one of the founders of such musical genres as the symphony and string quartet.
Wolfgang Amadeus Mozart (1756-1791) - Austrian composer, bandmaster, virtuoso violinist, harpsichordist, organist. His uniqueness lies in the fact that he worked in all musical forms of his time and achieved the highest success in all.
Ludwig van Beethoven (1770-1827) was a great German composer, conductor and pianist. He wrote in all the genres that existed in his time, including opera, ballet, music for dramatic performances, choral compositions. The most significant in his legacy are considered instrumental works: piano, violin and cello sonatas, concertos for pianoforte, for violin, quartets, overtures, symphonies.
Painting of the era of Classicism.
The greatest theorist of the Renaissance, Leon Batista Alberti, back in the 15th century. expressed ideas that foreshadowed certain principles of classicism and were fully manifested in the fresco of Raphael " Athenian school» (1511). The discovery of "genuine" ancient painting during the excavations of Pompeii, the deification of antiquity by the German art critic Winckelmann, in the second half of the 18th century breathed new breath into classicism.
Classical architecture.
The main feature of the architecture of classicism was the appeal to the forms of ancient architecture as the standard of harmony, simplicity, rigor, logical clarity and monumentality. The architecture of classicism as a whole is characterized by the regularity of planning and the clarity of volumetric form.
Music of the Romantic era (1810-1910).
Music in the Romantic period is characterized by energy, intensity and passion. Strict forms classical music gained expression and expression. Music became closer to art, literature and theater. The main task of romanticism was the image of the inner world, spiritual life.
Many composers began creating symphonies that followed the same basic storyline or "program" ("Fantastic Symphony" by Berlioz or "Faust Symphony" by Liszt, "Wedding March" by Mendelssohn).
The Romantic period was the period of the birth of virtuoso soloists as a phenomenon, the performers became the stars of their day. The list of virtuosos is headed by the pianists Liszt and Chopin and the violinist Paganini. All of them were musical diamonds of the Romantic era.
In Germany, romance has become a very significant part of the musicians' repertoire - perfect shape for romanticism, as the unity of music and poetry. Schubert and Brahms created a lot of romances. The songs were mostly sung to the piano.
In the middle of the romantic era, the star of Giuseppe Verdi rose, who is recognized as one of the the greatest composers of all times. He turned the whole of Italian opera upside down by presenting to the world new plots of works, often with social, political or patriotic themes.
In Germany, Richard Wagner became the reformer of the opera, he completely changed German opera. Wagner's operas are written as long, continuously flowing music. The characters' characters and ideas of the work describe short melodies called leitmotifs.
Painting of the Romantic era.
Romanticism is an ideological and artistic movement in European and American culture late 18th - early 19th centuries. Romanticism contrasted utilitarianism and the leveling of the individual with the aspiration for boundless freedom and the infinite, the thirst for perfection and renewal, the pathos of personal and civic independence. The painful discord between the ideal and reality formed the basis of the romantic worldview.
Image strong passions, the spiritualization of nature, interest in the national past, the desire for synthetic forms of art are combined with the motives of world sorrow, a craving for research and recreation of the "shadow", "night" side of the human soul, with the famous "romantic irony".
Architecture of the Romantic era.
AND 
interest in the national past (often its idealization), the traditions of folklore and culture of one’s own and other peoples, the desire to create a universal picture of the world (primarily history and literature), the idea of art synthesis found expression in the ideology and practice of romanticism.
Music of the XX century. Jazz.
Jazz as a form of musical art appeared in the United States at the turn of the 19th and 20th centuries, incorporating the musical traditions of European settlers and African folklore melodic patterns.
Characteristic improvisation, melodic polyrhythm and expressiveness of steel performance hallmark the first New Orleans jazz ensembles (jazz-band) in the first decades of the last century.
Over time, jazz has gone through periods of its development and formation, changing the rhythmic pattern and stylistic orientation: from the improvisational style of ragtime (ragtime), to dance orchestral swing (swing) and unhurried soft blues (blues).
The period from the early 20s to the 1940s is associated with the heyday of jazz orchestras (big bands), which consisted of several orchestral sections of saxophones, trombones, trumpets and a rhythm section. The peak of the popularity of big bands came in the mid-30s of the last century. Music performed by the jazz bands of Duke Ellington (Duke Ellington), Count Basie (Count Basie), Benny Goodman (Benny Goodman) sounded on dance floors and on the radio.
Impressionism.
Musical Impressionism - Musical direction, similar to impressionism in painting and parallel to symbolism in literature, which has developed in France in the last quarter XIX century - early XX century, primarily in the work of Eric Satie, Claude Debussy and Maurice Ravel.
The term "impressionism" itself is emphatically conditional. The means of painting, connected with vision, and the means of musical art, based on hearing, can be connected with each other with the help of special, subtle associative parallels that exist only in the mind.
Impressionism in painting.
Impressionism is a trend in the art of the last third of the 19th - early 20th centuries, whose masters, fixing their fleeting impressions, sought to most naturally and impartially capture the real world in its mobility and variability.
Literature.
Konen W. Purcell and Opera. M., 1978
Westrap J. G. Purcell. L., 1980
Bryantseva V.N. Jean Philippe Rameau and the French musical theatre. M., 1981
Malignon J. J. F. Rameau. L., 1983
Okrainets, I.A. Domenico Scarlatti: through instrumentalism to style. M., 1994
Luchina E.I. Opera by Alessandro Scarlatti "Griselda". Voronezh, 1998
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