Differences between warehouse and invoice. warehouse criteria. Monodic, polyphonic and harmonic warehouses.
Warehouse (German Satz, Schreibweise; English setting, constitution; French conformation) is a concept that determines the specifics of the deployment of voices (voices), the logic of their horizontal, and in polyphony also vertical organization.
Invoice (lat. factura - manufacturing, processing, structure, from facio - I do, carry out, form; German Faktur, Satz - warehouse, Satzweise, Schreibweise - manner of writing; French facture, structure, conformation - device, addition; English. texture, texture, structure, build-up; Italian strutture). In a broad sense - one of the sides of the muses. forms, is included in the aesthetic and philosophical concept of muses. forms in unity with all means of expression; in a narrower and use. sense - the specific design of the muses. fabrics, music exposition.
Warehouse and texture correlate as categories of genus and species. For example, an accompaniment (as a functional layer) in a homophonic-harmonic warehouse can be performed in the form of a chord or figurative (for example, arpeggiated) texture; a polyphonic piece can be sustained in a homorhythmic (
in which each voice of a polyphonic whole moves in the same rhythm) or in an imitation texture, etc.
Monody and its historical forms. The difference between a monodic warehouse and a monophonic texture.
Monody (from Greek - singing or reciting alone) - a musical warehouse, the main textural feature of which is monophony (singing or
performance on musical instrument, in polyphonic form - with duplications in an octave or unison). In contrast to monophonically performed (monophonic texture) new European melodies, which in one way or another describe or imply tonal functions, works of a monodic warehouse do not imply any harmonization - modern science explains the laws of their pitch structure immanently, as a rule, from the standpoint of modality. Thus, monodic compositions are not the same as monophonic compositions (monophonic texture). In music theory, monody is opposed to homophony and polyphony. Monodic. the warehouse assumes only a "horizontal dimension" without any vertical relationship. In strictly unison monodich. samples (Gregorian chant, Znamenny chant) single-headed. music fabric and texture are identical. A rich monodic texture distinguishes, for example, the music of the East. peoples who did not know polyphony: in the Uzbek and Tajik maqom, singing is duplicated by an instrumental ensemble with the participation of percussionists performing usul. The monodic structure and texture easily turn into a phenomenon intermediate between monody and polyphony - into a heterophonic presentation, where unison singing in the process of performance is complicated by various melodic-textural options.
Antique (Ancient Greek and Roman) music was monodic in nature. Monodic are the songs of European minstrels - troubadours, trouveurs and minnesingers, the oldest traditions of liturgical singing in the Christian church: Gregorian chant, Byzantine and Old Russian chants, medieval
paraliturgical songs - Italian laudas, Spanish and Portuguese cantigas, monophonic conducts, all regional forms of the Eastern maqamat
(Azerbaijani mugham, Persian dastgah, Arabic maqam, etc.).
By the (false) analogy with ancient monody, Western musicologists (since the 1910s) generally use the word “monody” to refer to solo singing with instrumental
accompaniment (usually limited to a digital bass), that is, instances of a homophonic-harmonic warehouse that are observed in Italian and German music of the early baroque (between approximately 1600 and 1640) - arias, madrigals, motets, songs, etc.
The term "monodic style" (stylus monodicus, instead of the then common stylus recitativus) in relation to the music of Caccini, Peri and Monteverdi in 1647
year suggested J.B. Doni.
Polyphony and its types. Difficult counterpoint.
Polyphony (from Greek - numerous and - sound) - a warehouse of polyphonic music, characterized by the simultaneous sounding, development and interaction of several voices (melodic lines, melodies in the broad sense), equal in terms of compositional and technical melodic development) and musical-logical (equal carriers of "musical thought"). The word "polyphony" also refers to the musical-theoretical discipline that studies polyphonic compositions (formerly "counterpoint").
The essence of polyphony. warehouse - correlation at the same time. sounding melodies. lines are relatively independent. the development of which (more or less independent of the consonances arising along the vertical) constitutes the logic of the muses. forms. In polyphonic music The tissues of the voice show a tendency towards functional equality, but they can also be multifunctional. Among the qualities of polyphonic F. creatures. density and rarefaction ("viscosity" and "transparency") are important, to-rye are regulated by the number of polyphonic. voices (masters of a strict style willingly wrote for 8-12 voices, preserving one type of F. without a sharp change in sonority; however, in masses it was customary to set off magnificent polyphony with light two- or three-voices, for example, Crucifixus in the masses of Palestrina). Palestrina only outlines, and in free writing, polyphonic techniques are widely used. thickening, thickening (especially at the end of the piece) with the help of increase and decrease, strettas (fugue in C-dur from the 1st volume of Bach's Well-Tempered Clavier), combinations of different themes (the code of the finale of Taneyev's symphony in c-moll). In the example below, textural thickening due to the rapid pulse of the introductions and textural growth of the 1st (thirty-second) and 2nd (chords) elements of the theme are characteristic: F. d "Ana. An excerpt from a motet.
The opposite case is polyphonic. F., based on the full metrorhythm. independence of voices, as in the mensural canons (see the example in v. Canon, column 692); the most common type of complementary polyphonic. F. is determined thematically. and rhythmic. like themselves. voices (in imitations, canons, fugues, etc.). Polyphonic F. does not exclude a sharp rhythmic. stratification and an unequal ratio of voices: contrapuntal voices moving in relatively short durations form the background for the dominant cantus firmus (in masses and motets of the 15th-16th centuries, in Bach's organ choral arrangements). In the music of later times (19th-20th centuries), polyphony of different themes developed, creating unusually picturesque F. (for example, the textured interweaving of the leitmotifs of fire, fate, and Brünnhilde's dream at the conclusion of Wagner's opera The Valkyrie).
Among the new phenomena of music of the 20th century. should be noted: F. linear polyphony (the movement of harmonically and rhythmically uncorrelated voices, see Milhaud's Chamber Symphonies); P., associated with complex dissonant duplication of polyphonic. voices and turning into polyphony of layers (often in the work of O. Messiaen); "dematerialized" pointillistic. F. in op. A. Webern and the opposite polygon. severity orc. counterpoint by A. Berg and A. Schoenberg; polyphonic F. aleatory (in V. Lutoslavsky) and sonoristic. effects (by K. Penderecki).
O. Messiaen. Epouvante (Rhythmic canon. Example No 50 from his book "The Technique of My Musical Language").
Polyphony is divided into types:
Sub-vocal polyphony, in which, along with the main melody, its echoes sound, that is, slightly different options (this coincides with the concept of heterophony). Typical for Russian folk song.
Imitation polyphony, in which the main theme sounds first in one voice, and then, possibly with changes, appears in other voices (there may be several main themes). The form in which the theme is repeated without change is called canon. The pinnacle of imitation polyphony is fugue.
Contrasting polyphony (or polymelody), in which different melodies sound simultaneously. First appeared in the 19th century.
Complex counterpoint- polyphonic combination of melody developed voices(different or in imitation of similar ones), which is designed for contrapuntal modified repetition, reproduction with a change in the ratio of these voices (as opposed to simple counterpoint - German einfacher Kontrapunkt - a polyphonic combination of voices used in only one given combination of them). Abroad, the term "S. to." does not apply; in him. musicological literature uses the related concept mehrfacher Kontrapunkt, denoting only triple and quadruple vertically movable counterpoint. In S. to., the original (given, original) connection of melodic is distinguished. voices and one or more derivative compounds - polyphonic. original options. Depending on the nature of the changes, there are, according to the teachings of S. I. Taneyev, three main types of counterpoint: mobile counterpoint (divided into vertically mobile, horizontally mobile and doubly mobile), reversible counterpoint (divided into complete and incomplete reversible ) and counterpoint, which allows doubling (one of the varieties of mobile counterpoint). All these types of S. to. are often combined; for example, in the Fugue Credo (No 12) from J.S. Bach's mass in h-moll, two response intros (in bars 4 and 6) form the initial connection - a stretta with an entry distance of 2 bars (reproduced in bars 12-17), in in bars 17-21, a derivative connection sounds in doubly movable counterpoint (the distance of the entry is 11/2 measures with a vertical shift of the lower voice of the original connection up by a duodecime, the top one - down by a third), in measures 24-29 a derivative connection is formed from the connection in measures 17-21 in vertically movable counterpoint (Iv = - 7 - double octave counterpoint; reproduced at a different height in bars 29-33), from bar 33 follows a stretta in 4 voices with an increase in the theme in the bass: top. the pair of voices represents a compound derived from the original stretta in doubly movable counterpoint (introduction distance 1/4 bar; played at a different pitch in bars 38-41) with doubling the top. voices by the sixth from the bottom (in the example, polyphonic voices that are not included in the above combinations, as well as the accompanying 8th voice, are omitted).
Imitation polyphony. Topic. Simulation characteristics (interval and distance). Types of imitation. Counterposition.Canon. Proposta and risposta.
Imitation (from Latin imitatio - imitation) in music is a polyphonic technique in which, after the presentation of the topic in one voice, it is repeated in other voices. In the canons and fugues, the elements of imitation are named - proposta and risposta, theme and answer. The initial voice is called proposta (from Italian proposta - sentence (i.e. topic)), imitating voice - risposta (from Italian risposta - answer). There can be several risposts, depending on the number of votes. There are imitation interval (according to the initial sound), distance (according to the length of the proposta), and side (above or below the proposta). Imitation is simple and canonical.
Canonical imitation is a kind of imitation in which the imitating voice repeats not only the monophonic part of the melody, but also the oppositions that appear in the initial voice. Such imitation is often called continuous.
Simple imitation differs from canonical imitation in that only the monophonic part of the proposta is repeated in it.
The risposta can be different: in circulation (each interval in the proposta is taken in the opposite direction); in increase or decrease (in relation to the rhythm of the proposta); in combination of the first and second (for example, in circulation and increase); in a rakhode (movement in a rispost from the end to the beginning of the proposta); inaccurate (incomplete match with proposta).
Contrasubjectum (lat. contrasubjectum, from contra - against, and subjicio - to lay) in music - a voice accompanying the theme, in polyphonic or imitation polyphony. The main property of opposition is aesthetic value and technical independence in relation to the topic. It is achieved with the help of a different rhythm, a different melodic pattern, articulation, register, etc. At the same time, the opposition should form an ideal connection with the main voice.
Canon. A polyphonic form based on the technique of canonical imitation.
Translated from Greek, the term canon means rule, law. The voices of the canon have specific names: Proposta and Risposta. Proposta - the initial voice of the canon, in translation means a sentence, I propose. Risposta - imitating the voice of the canon, in translation means continuation, I continue.
In terms of composition technique, canon and canonical imitation are close; in the process of analyzing these polyphonic devices, a strict distinction between terms is not always observed. However, it should be borne in mind that the term "canon" refers not only to the technique of continuous imitation. This is the name of an independent composition - a complete form of canonical imitation in the form of a completed section or individual work. Note that the canon as an independent composition belongs to the most ancient forms of the polyphonic warehouse. As for canonical imitation, the canon is characterized by such an element as a link. The number of links from two minimum can reach up to twenty or more.
Fugue. Topic. Answer and its types. Sideshows. Composition of the fugue as a whole. Fugues are simple and complex (double, triple). Fugato. Fughetta.
Fugue (lat. fuga - “running”, “escape”, “fast flow”) is a musical work of an imitation-polyphonic warehouse, based on the repeated performance of one or more themes in all voices. The fugue was formed in the 16-17th century from a vocal and instrumental motet and became the highest polyphonic form. Fugues are 2, 3, 4, etc. voice.
The theme of the fugue is a separate structural unit, which very often develops without any caesura into a codette or counterposition. The main sign of the isolation of a polyphonic theme is the presence in it of a stable melodic cadence (on the I, III or V steps). Not every theme ends with this cadence. Therefore, there are topics closed and open.
The main sections of the fugue are the exposition and the free part, which can be subdivided in turn into the middle (development) and final (reprise).
Exposure. The theme (T) in the main key is the leader. Carrying out the theme in the key of the Dominant - the answer, the companion. The answer is real - the exact transposition of the theme in the key of D; or tonal - slightly modified at the beginning to gradually introduce a new key. The counterpoint is the counterpoint to the first answer. The opposition can be withheld, i.e. unchanged to all themes and answers (in the complex counterpoint of the octave, - vertically movable) and unrestrained, i.e. new every time.
A bunch from a theme to an opposition (two or more sounds) is a codette.
Sideshow - building between the conduct of the topic (and answer). Interludes can be in all sections of the fugue. They may be sequential. An interlude is a tense area of action (a prototype of the development of sonata forms). The order of entry of voices (soprano, alto, bass) may be different. Additional topics are possible.
A counter-exposure is possible - a second exposure.
Middle part. A sign is the appearance of a new tonality (not expositional, not T and not D), often parallel. Sometimes its sign is the beginning of active development: the theme is magnified, stretta imitation. Stretta is a compressed imitation, where the theme enters in a different voice before it ends. Stretta can be found in all sections of the fugue, but is more typical of the final movement, or middle movement. It creates the effect of "thematic condensation".
Final part (reprise). Its sign is the return of the main key with the theme carried out in it. There may be one holding, 2, 3 or more. T - D are possible.
Often there is a coda - a small cadence construction. Possible T organ point, adding voices is possible.
Fugues are simple (on one topic) and complex (on 2 or 3 topics) - double. triple. The presence of a free part, in which all themes are combined contrapuntally - required condition complex fugue formation.
Double fugues are of 2 types: 1) Double fugues with a joint exposition of themes sounding simultaneously. Usually four voices. They are similar to fugues with a retained counterposition, but, unlike the latter, double fugues begin with two voices of both themes (the counterposition in ordinary fugues sounds only with the answer). Topics are usually contrasting, structurally closed, thematically significant. Note. Kyrieeleison from Mozart's Requiem.
2) Double fugues with separate exposure of topics. The middle part and the final part, as a rule, are common. Sometimes separate exposure and middle part on each topic with a common final part.
Numerous forms are based on imitation, including canons, fugues, fughettas, fugatos, as well as such specific techniques as stretta, canonical sequent, endless canon, etc.
Fughetta is a small fugue. Or a fugue of less serious content.
Fugato is an exposition of a fugue. Sometimes the exposition and the middle part. Often found in the development of sonatas, symphonies, in sections of cycles (cantatas, oratorios), in polyphonic (on basso ostinato) variations.
Harmonic Warehouse. Types of invoices in it. Definition of a chord. Classification of chords. Invoice receipts. non-chord sounds.
Most often, the term "Texture" is applied to music of a harmonic warehouse. In the immeasurable variety of types of harmonic Textures, the first and simplest is its division into homophonic-harmonic and proper chordal (which is considered as a special case of homophonic-harmonic). Chordal F. is monorhythmic: all voices are set out in sounds of the same duration (the beginning of Tchaikovsky's overture-fantasy Romeo and Juliet). In homophonic harmonic. F. drawings of melody, bass and complementary voices are clearly separated (the beginning of Chopin's c-moll nocturne).
There are the following main types of presentation of harmonic consonances (Tyulin, 1976, ch. 3rd, 4th):
a) harmonic figuration of a chord-figurative type, representing one or another form of successive presentation of chord sounds (prelude C-dur from the 1st volume of Bach's Well-Tempered Clavier);
b) rhythmic figuration - the repetition of a sound or chord (poem D-dur op. 32 No 2 by Scriabin);
c) color figuration - dec. duplications, for example, into an octave in an orchestral presentation (a minuet from Mozart's g-moll symphony) or a long doubling into a third, sixth, etc., forming a "tape movement" ("Musical Moment" op. 16 No 3 by Rachmaninov);
d) various types of melodic. figurations, the essence of which is the introduction of melodic. movements in harmony. voices - complication of chord figuration by passing and auxiliary. sounds (Etude in c-moll op. 10 No 12 by Chopin), melodicization (choir and orchestra presentation of the main theme at the beginning of the 4th painting "Sadko" by Rimsky-Korsakov) and polyphonization of voices (introduction to Wagner's "Lohengrin"), melodic-rhythmic "revival" org. point (4th painting "Sadko", number 151).
The above systematization of types of harmonic textures is the most general. In music, there are many specific textural techniques, the appearance of which and the methods of use are determined by the stylistic norms of a given musical-historical era; therefore, the history of the Texture is inseparable from the history of harmony, orchestration (in a broader sense, instrumentalism), and performance.
Chord (French accord, lit. - consent; it. accordo - consonance) - 1) a consonance of three or more sounds, capable of having a different interval structure and purpose, which is the leading structural element of the harmonic system and necessarily possesses in relations with its similar elements three such properties as autonomy, hierarchy and linearity; 2) a combination of several sounds of different heights, acting as a harmonic unity with an individual colorful essence.
chord classification:
by ear impression
by position in the music system
by position in tone
according to the position of the main tone.
according to the number of tones included in chord triads, etc.
according to the interval that determines the structure of the chord (terts and non-terts structures. The latter include consonances of three or more sounds arranged in fourths or having a mixed structure).
chords, the sounds of which are located in seconds (tones and semitones), as well as in intervals of less than a second (by a quarter, third of a tone, etc.), are called clusters.
Non-chord sounds - (German akkordfremde or harmoniefremde Töne, English nonharmonic tones, French notes йtrangires, Italian note accidentali melodiche or note ornamentali) - sounds that are not part of the chord. N. h. enrich harmonies. consonances, introducing melodic into them. gravitation, varying the sound of chords, forming additional melodic-functional connections in relations with them. N. h. are classified primarily depending on the method of interaction with chord sounds: do N. z. to a heavy beat of the measure, and chord ones to a light one, or vice versa, does the N. z. return? to the original chord or goes into another chord, whether N. z appears. in progressive motion or taken abruptly, whether N. z. a second movement or it turns out to be thrown, etc. There are the following main. types of N. h.:
1) detention (abbreviation: h);
2) appoggiatura (ap);
3) passing sound (n);
4) auxiliary sound (c);
5) cambiata (k), or abruptly thrown auxiliary;
6) jump tone (sk) - detention or auxiliary, taken without preparation and abandoned. without permission;
7) lift (pm).
Mixing warehouses (polyphonic-harmonic). warehouse modulation.
The canon may be accompanied by harmonic accompaniment. In this case, a mixed polyphonic-harmonic warehouse appears. A work that begins in one warehouse may end in another.
The history of warehouses and the history of musical thinking (the epoch of monody, the epoch of polyphony, the epoch of harmonic thinking). New phenomena of the XX century: sonor-monodic warehouse, pointillism.
The evolution and changes in the structure of the musical are associated with the main stages in the development of the European professional music; Thus, the epochs of monody (ancient cultures, the Middle Ages), polyphony ( late medieval and Renaissance), homophony (modern times). In the 20th century new varieties of the musical warehouse arose: sonoristic-monodic (a formally polyphonic, but essentially a single line of inseparable, timbre-meaning evucheities is characteristic, see Sonorica), pointillistic musical warehouse (individual sounds or motifs in different registers, formally forming a line, actually belong many hidden voices), etc.
harmonic warehouse and Invoice originate in polyphony; for example, Palestrina, who perfectly felt the beauty of the triad, could use the figuration of emerging chords over many measures with the help of complex polyphonic (canons) and the choir itself. means (crossings, duplications), admiring the harmony, like a jeweler with a stone (Kyrie from the Mass of Pope Marcello, bars 9-11, 12-15 - five counterpoint). For a long time in instr. prod. composers of the 17th century chorus addiction. The style of strict writing was obvious (for example, in the organ. op. by J. Sweelinka), and composers were content with relatively uncomplicated techniques and drawings of mixed harmonica. and polyphonic. F. (for example, J. Frescobaldi).
The expressive role of texture is enhanced in the production. 2nd floor. 17th century (in particular, spatial-textural juxtapositions of solo and tutti in A. Corelli's works). The music of J. S. Bach is marked by the highest development of F. (chaconne d-moll for solo violin, "Goldberg Variations", "Brandenburg Concertos"), and in some virtuoso op. ("Chromatic Fantasy and Fugue"; Fantasy G-dur for organ, BWV 572) Bach makes textural discoveries, subsequently widely used by romantics. The music of the Viennese classics is characterized by the clarity of harmony and, accordingly, the clarity of textured patterns. Composers used relatively simple textural means and relied on general forms movements (for example, figures such as passages or arpeggios), which did not conflict with the attitude to F. as a thematically significant element (see, for example, the middle in the 4th variation from the 1st part of the sonata No 11 A-dur Mozart, K.-V. 331); in the presentation and development of the themes from Allegri sonatas, motivic development occurs in parallel with textural development (for example, in the main and connecting parts of the 1st movement of Beethoven's Sonata No 1). In the music of the 19th century, primarily among the Romantic composers, exceptions are observed. a variety of types of F. - sometimes lush and multi-layered, sometimes cozy at home, sometimes fantastically bizarre; strong textural and stylistic differences arise even in the work of one master (cf. the diverse and powerful F. sonatas in h-moll for piano and the impressionistically refined drawing of the pianoforte of Liszt's play "Grey Clouds"). One of the most important trends in music of the 19th century. - individualization of textured drawings: the interest in the extraordinary, unique, inherent in the art of romanticism, made it natural to reject typical figures in F. Were found special ways multi-octave melody selection (List); The musicians found opportunities for updating F. primarily in the melody of a wide harmonica. figurations (including in such an unusual form as in the finale of the piano sonata b-moll by Chopin), sometimes turning almost into polyphonic. presentation (topic side party in the exposition of the 1st ballad for piano. Chopin). Textured variety supported the interest of the listener in the wok. and instr. cycles of miniatures, it to a certain extent stimulated the composition of music in genres directly dependent on F. - etudes, variations, rhapsodies. On the other hand, there was a polyphonization of F. in general (the finale of Frank's violin sonata) and harmonica. figurations in particular (an 8-head canon in the introduction to Wagner's "Gold of the Rhine"). Rus. musicians discovered a source of new sonorities in the textural techniques of the East. music (see, in particular, "Islamei" by Balakirev). One of the most important. achievements of the 19th century in the field of F. - strengthening its motive richness, thematic. concentration (R. Wagner, I. Brahms): in some Op. in fact, there is not a single measure of non-thematic. material (e.g. symphony in c-moll, piano quintet by Taneyev, late operas by Rimsky-Korsakov). The extreme point in the development of individualized Ph. was the emergence of P.-harmony and F.-timbre. The essence of this phenomenon is that at a certain Under conditions, harmony, as it were, passes into F., expressiveness is determined not so much by the sound composition as by the picturesque arrangement: the correlation of the "floors" of the chord with each other, with the registers of the piano, with the orchestra takes precedence. groups; more important is not the pitch, but the texture filling of the chord, that is, how it is taken. Examples of F.-harmony are contained in Op. M. P. Mussorgsky (for example, "Clock with Chimes" from the 2nd act of the opera "Boris Godunov"). But in general, this phenomenon is more typical of the music of the 20th century: F.-harmony is often found in the production of. A. N. Scriabin (the beginning of the reprise of the 1st part of the 4th piano sonata; the culmination of the 7th piano sonata; the last chord of the piano poem "To the Flame"), K. Debussy, S. V. Rachmaninov. In other cases, the merger of F. and harmony determines the timbre (fp. play "Skarbo" by Ravel), which is especially pronounced in orc. the technique of "combining similar figures", when the sound arises from the combination of rhythmic. variants of one textured figure (a technique known for a long time, but brilliantly developed in the scores of I. F. Stravinsky; see the beginning of the ballet "Petrushka").
In the claim of the 20th century. coexist different ways updates F. As the most general trends noted: the strengthening of the role of F. in general, including polyphonic. F., in connection with the predominance of polyphony in the music of the 20th century. (in particular, as a restoration of F. of past eras in the production of the neoclassical direction); further individualization of textural techniques (film is essentially "composed" for each new product, just as an individual form and harmony are created for them); opening - in connection with the new harmonics. norms - dissonant duplications (3 etudes, op. 65 by Scriabin), the contrast of especially complex and "refinedly simple" F. (1st part of Prokofiev's 5th piano concerto), improvisational drawings. type (No 24 "Horizontal and Vertical" from Shchedrin's "Polyphonic Notebook"); combination of original textural features of nat. music with the latest harmony. and orc. technique prof. art-va (brightly colorful "Symphonic Dances" Mold. Comp. P. Rivilis and other works); continuous thematization of F. c) in particular, in serial and serial works), leading to the identity of thematism and F.
Appearance in new music 20th century non-traditional warehouse, not related to either harmonic or polyphonic, determines the corresponding varieties of Ph.: the following fragment of the product. shows the discontinuity characteristic of this music, the incoherence of F. - register stratification (independence), dynamic. and articulation. differentiation: P. Boulez. Piano Sonata No 1, beginning of the 1st movement.
The value of F. in the art of music. avant-garde is brought to logic. limit, when F. becomes almost the only one (in a number of works by K. Penderetsky) or unities. the goal of the actual composer's work (vocal. Stockhausen's "Stimmungen" sextet is a texture-timbre variation of one B-dur triad). F. improvisation in given pitch or rhythmic. within - main. reception of controlled aleatorics (op. V. Lutoslavsky); the field of F. includes an uncountable set of sonoristic. inventions (collection of sonoristic techniques - "Coloristic fantasy" for the opera Slonimsky). to electronic and specific music created without tradition. tools and means of execution, the concept of F., apparently, is not applicable.
The invoice means. shaping possibilities (Mazel, Zuckerman, 1967, pp. 331-342). The connection between the form and the form is expressed in the fact that the preservation of this pattern of the form contributes to the fusion of the construction, its change - dismemberment. F. has long served as the most important transformative tool in sec. ostinato and neostinata variational forms, revealing in some cases large dynamic. possibilities ("Bolero" by Ravel). F. is able to decisively change the appearance and essence of the muses. image (carrying out the leitmotif in the 1st part, in the development and code of the 2nd part of the 4th piano sonata by Scriabin); textural changes are often used in reprises of three-movement forms (2nd part of the 16th piano sonata of Beethoven; nocturne c-moll op. 48 by Chopin), in the refrain in the rondo (finale of the piano sonata No. 25 of Beethoven). The formative role of F. is significant in the development of sonata forms (especially orc. compositions), in which the boundaries of sections are determined by a change in the method of processing and, consequently, F. thematic. material. F.'s change becomes one of the main. means of dividing the form in the works of the 20th century. ("Pacific 231" by Honegger). In some new compositions, the form turns out to be decisive for the construction of the form (for example, in the so-called repetitive forms based on the variable return of one construction).
Shader types are often associated with a specific. genres (eg, dance music), which is the basis for combining in production. different genre features that give the music an artistically effective ambiguity (expressive examples of this kind in Chopin's music: for example, prelude No. 20 c-moll - a mixture of features of a chorale, funeral march and passacaglia). F. retains signs of one or another historical or individual muses. style (and, by association, era): so-called. guitar accompaniment enables S.I. Taneev to create a subtle stylization of early Russian. elegy in the romance "When, circling, autumn leaves"; G. Berlioz in the 3rd part of the symphony "Romeo and Julia" to create national and historical color skillfully reproduces the sound of the madrigal a cappella of the 16th century; R. Schumann in "Carnival" writes authentic musical portraits of F. Chopin and N. Paganini. F. is the main source of musical visualization, especially convincing in cases where the movement is depicted. With the help of F. visual clarity of music is achieved (introduction to Wagner's "Gold of the Rhine"), at the same time full of mystery and beauty ("Praise to the Desert" from "The Tale of the Invisible City of Kitezh and the Maiden Fevronia" by Rimsky-Korsakov), and sometimes amazing trembling ("the heart beats in rapture" in M. I. Glinka's romance "I remember a wonderful moment").
Invoice (from lat. factura - manufacturing, processing, structure) - 1) design, structure of the musical fabric; 2) a certain set, content, relationships of various elements of the musical fabric that simultaneously and sequentially unfold, including tones, harmonic intervals, consonances, sonors, all kinds of rhythmic, dynamic, stroke and articulatory structural units involved in the formation of more or less independent simplified linear or melodic voices, sonor layers or discrete space. In the broadest sense, the term "texture" embraces the timbre, all three dimensions of musical space - depth, vertical and horizontal, and is "a sensually perceived, directly audible sound layer of music", capable of acting as the main carrier of its thought - texture theme, i.e. . as a relatively independent equivalent of "theme-melody" and "theme-harmony". As a rule, when determining the texture, they also characterize: "the volume and general configuration of the sound mass of the musical fabric (for example, "crescending sound flow" and "diminating sound flow"), the "weight" of this mass (for example, the texture is "heavy", " massive", "light"), its density (texture "discrete", "sparse", "dense", "condensed", "compact", etc.), the nature of vocal connections (texture "linear", including "gamma-like ", "melodic", "discrete") and relations of individual voices (texture "sub-voice" or "heterophonic", "imitation", "contrast-polyphonic", "homophonic", "choral", "sonor", "discrete" and etc.), instrumental composition (texture "orchestral", "choral", "quartet", etc.) They also talk about the texture typical for certain genres ("texture of a marching march", "texture of a waltz", etc.) and etc." .
For example:
chord-tape texture - a monophonic or polyphonic texture, the voices of which are duplicated by chords;
arpeggio-ostinato texture - repeating arpeggio;
"diagonal texture" - texture, the leading technique of which is "crescendo-diminuendo as a way of decorating the musical fabric, giving it order and integrity", and constituent elements- "total chromatic with continuous filling of halftone "fields", dodecaphonic series, consonance-clusters";
contrast pair-imitation texture* - texture in which voices imitating each other are thematically connected in pairs;
contrast-voice texture (= contrast-polyphonic voice);
contrast-layer texture (= contrast-polyphonic layer texture);
linear-wavy monomer texture;
vibrating band - texture, the content of which is formed in the process of a relatively slow and regular shift up and down for a second of any harmonic element, including: interval, chord, sonor. Her options are:
1 chord vibrating band (= chord vibrato),
2 interval vibrating band,
3 sonoro-vibrating band.
rehearsal-chord gliding texture - a texture in which each chord is quickly repeated with acceleration or deceleration;
static sonar tape - a texture composed of a certain set of voice-lines that do not stand out from the general sound mass; the same as the Sonoro-pedal polylinear texture;
trill texture - texture, the leading structural unit of which is a trill;
texture-allusion - texture, which is presented only as an allusion to some textures, i.e. perceived as their blurry projection;
texture-fermentation - staccato, "markat", "legate", etc. multiple "sweeping" of two or more relatively closely spaced tones, harmonic intervals, chords, reminiscent of the process of fermentation, boiling of a viscous liquid, on the surface of which regular and irregular, uneven-pitched and single-pitched "tones-bursts", "intervals-bursts" constantly or alternately appear and "burst chords";
Texture in music (from lat. facere - to do) - a manner of technical and artistic work in musical presentation composers, for example. F., or work, contrapuntal - in an essay that is distinguished by the independence and relief of each voice; F. harmonic - in which the chord sound combination prevails.
encyclopedic Dictionary F. Brockhaus and I.A. Efron. - St. Petersburg: Brockhaus-Efron. 1890-1907 .
See what "Texture in music" is in other dictionaries:
latin word"facturo" means processing, making, and in a figurative sense, a device. Perhaps this the last word and will best define what texture is in music. This is the warehouse itself, the arrangement of the musical fabric, the totality of its elements ... Music dictionary
- (lat. factura doing, creation). 1) a detailed description of the sold goods with the designation of prices; invoice or invoice. 2) plan, parts processing piece of music. 3) among the French: register in the authorities. Dictionary of foreign words included in ... ... Dictionary of foreign words of the Russian language
- (from lat. factura processing) ..1) in music, a specific sound image of a work. The components of the texture are timbre, register position, voice leading, etc.2)] In the visual arts, the nature of the surface of a work ... Big Encyclopedic Dictionary
INVOICE, invoices, female. (lat. factura work). 1. only units originality artistic technique in poetry, music, painting or sculpture (claim). It is very difficult to imitate the texture of Pushkin's verse. 2. Inventory of the sent ... ... Dictionary Ushakov
- (lat. factura manufacturing, processing, structure, from facio I make, carry out, form; German Faktur, Satz warehouse, Satzweise, Schreibweise manner of writing; French facture, structure, conformation device, addition; English facture, texture, ... … Music Encyclopedia
texture- uh. 1) only units. The originality of artistic technique in works of art. The texture of the painting. Symphony texture. [Lomonosov] was the first to establish the texture of the verse, introduced into the Russian poem the meters inherent in the spirit of the language (Belinsky). 2) only units ... Popular dictionary of the Russian language
- (from lat. factūra processing, structure) the nature of the surface artwork, its processing in fine arts, the originality of artistic technique in poetry, music, painting or sculpture. Also under the invoice ... ... Wikipedia
s; and. [from lat. factura processing, structure] 1. The nature of processing, the structure of which l. material that define it appearance. Smooth, fleecy f. fabrics. Interesting f. tree. F. glass, granite. Reproduce the texture of marble. Handle... ... encyclopedic Dictionary
- (from lat. factura - processing, structure) in the visual arts, the nature of the surface of a work of art, its processing. In painting, F. is the nature of the paint layer: for example, “open” F. (wide stroke, uneven layer of paint) ... Great Soviet Encyclopedia
This term has other meanings, see Warehouse (meanings). Warehouse (German Tonsatz, French écriture, English texture) in music, the principle of adding voices or / and consonances, refereed by their musically logical and technical compositional function. ... ... Wikipedia
In this article, we will get acquainted with the definition of musical texture and consider its basic types.
Any musical thought is abstract, unless it is fixed in some way.
It doesn't matter what is used for this: music sheet, recorder or sequencer. In any case, even the simplest musical idea cannot exist without texture.
There are five main layers that make up music:
- Melody
- Texture
None of them can exist without texture. It may be absent, but the invoice never.
For music, texture is the body, and the idea is the soul.
Texture this is the structure of the musical fabric, taking into account the nature and ratio of its constituent voices. Synonyms for the word texture are: warehouse, presentation, musical fabric, letter.
It can be said that mastery is the ability to express one's abstract ideas in the form of texture that best suits the image. All ideas concerning form, melody and must be expressed in a certain way.
You can also say that the texture determines the style of music by 90%.
Shader space
- Rapid movement of figurative texture in S. Rachmaninov's romance "Spring Waters".
- The space of texture in the fragment "Morning in the mountains" from the opera "Carmen" by G. Bizet.
Music material:
- S. Rachmaninov, lyrics by F. Tyutchev. "Spring Waters" (hearing);
- J. Bizet. "Morning in the mountains". Intermission to act III from the opera "Carmen" (listening)
Characteristics of activities:
- Understand the meaning of funds artistic expressiveness(texture) in creating a musical work (taking into account the criteria presented in the textbook).
- Talk about the brightness of images in music.
- Creatively interpret the content and form of musical works in visual activity.
It is known that the texture is literally "manufacturing", "processing" (lat.), and in music - the musical fabric of the work, its sound "clothes". If in a piece the leading voice is the melody, and the other voices are the accompaniment, chords of harmony, then such a texture is called homophonic-harmonic. Homophony (from the Greek Homos - one and phone - sound, voice) is a type of polyphony with the division of voices into main and accompanying.
It has many varieties. The main ones are:
- Melody with chord accompaniment;
- chord texture; it is a progression of chords in which the top voice represents the melody;
- unison texture; the melody is stated in one voice or in unison (lat. one sound).
Another important type is polyphonic texture, which means "polyphonic". Every voice polyphonic texture- independent melody. Polyphonic texture is associated primarily with polyphonic music. Two- and three-part inventions by J.S. Bach are written in polyphonic texture.
Concepts such as "imitation", "fugue", mentioned earlier, refer to polyphonic music. The combination of homophonic-harmonic and polyphonic texture can be found in various works.
Thus, texture is a way of presenting musical material: melody, chords, figurations, echoes, etc. In the process of composing a work, the composer combines these means musical expressiveness, processes: for factura, as we have already said, is processing. Texture is inextricably linked with the genre of a musical work, its character and style.
Let us turn to S. Rachmaninov's romance - "Spring Waters". Written to the words of F. Tyutchev, it not only conveys the image of the poem, but also introduces new impetus and dynamics into it.
Snow is still whitening in the fields,
And the waters are already rustling in the spring -
They run and wake up the sleepy shore,
They run and shine and say...
They say all over the place:
Spring is coming, spring is coming!
We are messengers of young spring,
She sent us ahead!”
Spring is coming, spring is coming!
And quiet, warm, May days
Ruddy, bright round dance
Crowds merrily after her.
A joyful foreboding of the imminent spring literally permeates the romance. The tonality of E-flat major sounds especially bright and sunny. The movement of the musical texture is swift, seething, covering a huge space, like a powerful and cheerful stream of spring waters breaking all barriers. There is nothing more opposite in feeling and mood to the recent numbness of winter with its cold silence and fearlessness.
In "Spring Waters" - the feeling is bright, open, enthusiastic, captivating listeners from the very first bars.
The music of the romance seems to be deliberately constructed in such a way as to avoid everything soothing, lulling. The endings of almost all melodic phrases are ascending; they contain even more exclamations than the poem.
It is also important to note that the piano accompaniment in this work is not just an accompaniment, but an independent participant in the action, sometimes surpassing even the solo voice in terms of expressiveness and pictorial power!
The love of the earth and the charm of the year,
Spring smells good to us! -
Nature gives a feast to creation,
Goodbye feast gives sons! ..
Spirit of life, strength and freedom
Raises, envelops us! ..
And joy flooded into my soul
As a response to the triumph of nature,
Like God's life-giving voice! ..
These lines from another poem by F. Tyutchev - "Spring" sound like an epigraph to a romance - perhaps the most joyful and exultant in the history of Russian vocal lyrics.
A huge role is played by texture in those works where it is necessary to convey the idea of musical space.
One example is the Intermission to Act III from G. Bizet's opera Carmen, which is called Morning in the Mountains.
The name itself determines the nature of the music, which paints a bright and expressive picture of the morning mountain landscape.
listening this fragment, we literally see how the first rays rising sun gently touch the high peaks of the mountains, as they gradually sink lower and lower and at the moment of climax, as if flooding the entire boundless mountain space with their dazzling radiance.
The initial holding of the melody is given in a high register. Its sound in relation to the accompaniment is a range of three octaves. Each subsequent holding of the melody is given by downlink- the voices are approaching, the dynamics is growing, the climax is coming.
So, we see that the texture captures everything that is connected with the expressiveness of musical sound. A lonely voice or a powerful choir, the rapid movement of water or the endless mountainous space - all this gives rise to its own musical fabric, this “patterned cover” of texture is always new, unique, deeply original.
Questions and tasks:
- What feelings are expressed in the romance "Spring Waters" by S. Rachmaninov? How are these feelings expressed in the textural presentation of the work?
- What creates the impression of a musical space in the musical intermission "Morning in the Mountains" by G. Bizet?
- Remember in what musical genres a significant range of texture space is used. What is it connected with?
Presentation
Included:
1. Presentation, ppsx;
2. Sounds of music:
Bizet. Morning in the mountains. Orchestral intermission, mp3;
Rakhmaninov. Spring waters in Spanish. D. Hvorostovsky, mp3;
3. Accompanying article, docx.
Texture is a way of expressing musical fabric.
In artistic practice, the texture is different in density. It depends on the number of votes composing it (from one to several dozen).
Often the word texture is replaced by the word warehouse, which is similar in meaning. Currently, two main types of texture are known: homophony and polyphony. Mixed
type appears when the first two interact.
Monody (unison) (from the Greek “mono” - one) is the oldest monophonic texture, which is a monophonic melody, or holding a melody by several voices in unison, or in octave doubling.
heterophony- also ancient type texture (originated in the 9th century).
homophony- (from the Greek "homo" - a person, "background" - sound, voice). Homophony or homophonic-harmonic texture is one and the same.
Homophonic - harmonic texture consists of melody and accompaniment. It established itself in the music of the Viennese classics (second half of the 18
century) and is the most common texture to this day.
chord texture- is a chord presentation without a pronounced melody. Examples are church hymns - chorales
(quite often such a texture is called choral), it includes instrumental and choral works of a chordal warehouse.
Polyphony(from the Greek "poly" - a lot and "background" - sound, voice) - older than homophonic, it flourished in the Baroque era (XVII century -
first half of the 18th century). This is a type of polyphony in which two or more voices have an independent melodic meaning (“equality” of all voices).
in).
polyphonic texture There are three varieties: contrast, imitation, subvocal.
Contrasting (different-dark) polyphony o It is formed if the themes (melodies) in polyphony are different, contrasting.
Imitation (from lat. - imitation)- is formed in that case. When the melodies of a polyphonic warehouse are the same or similar, they enter into a relationship with a shift in time. Imitative polyphony reached its peak in the work of J.-S. Bach.
heterophony- also an ancient type of texture (it appeared in the 9th century), it is the most primitive kind of polyphony. In it, the voices move parallel to each other (tape movement - in fourths, fifths, thirds, sixths).
mixed invoice- arose as a result of the interaction of textures of different types, it can be polyphonic-harmonic, heterophonic-harmonic
