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France bird training tool. Musical instruments in the Middle Ages

France bird training tool. Musical instruments in the Middle Ages

28.03.2019

the first musical instrument - the shepherd's pipe - was made by the god Pan. One day, on the shore, he exhaled through the reeds and heard his breath, passing along the trunk, produce a sad lament. He cut the trunk into unequal parts, tied them together, and now he had the first musical instrument!

1899 Mikhail Alexandrovich Vrubel "Pan"

The truth is that we cannot name the first musical instrument, since everything primitive people all over the world, it seems, created this or that music. It was usually music with some kind of religious meaning, and the audience became participants in it. They danced, drummed, clapped and sang along with her. It wasn't just for fun. This primitive music was a significant part of people's lives.

The legend of Pan and the reed suggests how man came up with the idea of making so many different musical instruments. He may have imitated the sounds of nature, or used nature's objects around him to create his music.

The first musical instruments were percussion (drum type).

Later, man invented wind instruments made from animal horns. From these primitive wind instruments, modern brass instruments have evolved. As man developed his musical sense, he began to use reeds and thus produced more natural and gentler sounds.

In 2009, an expedition led by archaeologist Nicholas Conard from the University of Tübengen discovered the remains of several musical instruments. During excavations in the Hols Fels cave in Germany, scientists managed to find four bone flutes. The most interesting find is a 22-cm flute which is 35,000 years old.
The flute has 5 holes for extracting sounds and a mouthpiece.
These finds show that the Neanderthal already knew how to make musical instruments. This circumstance allows us to take a different look at the world of primitive man, it turns out that music in his world played far from the last role.

Finally, man invented the simple lyre and harp, from which bowed instruments came. Lyra was the most significant string instrument Ancient Greece and Rome along with cithara. According to myth, the lyre was invented by Hermes. For its manufacture, Garmes used a tortoise shell; for the antelope horn frame.

In the Middle Ages, the Crusaders brought many amazing oriental musical instruments from their campaigns. Combined with the folk instruments that already existed in Europe, they developed into many instruments that are now used to play music.

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French music- one of the most interesting and influential European musical cultures, which draws its origins from the folklore of the Celtic and Germanic tribes who lived in ancient times on the territory of present-day France. With the formation of France during the Middle Ages, folk musical traditions of numerous regions of the country merged in French music. French musical culture developed, interacting also with the musical cultures of other countries. European nations, in particular Italian and German. Since the second half of the 20th century, the French music scene has been enriched by the musical traditions of Africans. She does not stay away from the world musical culture, absorbing new musical trends and giving a special French flavor to jazz, rock, hip-hop and electronic music.

Story

origins

French musical culture began to take shape on a rich layer folk song. Although the oldest reliable recordings of songs that have survived to this day date back to the 15th century, literary and artistic materials indicate that since the time of the Roman Empire, music and singing have occupied a prominent place in people's daily lives.

Church music came to French lands with Christianity. Originally Latin, it gradually changed under the influence of folk music. The church used material in worship that was understandable local residents. Between the 5th and 9th centuries, Gaul developed peculiar type liturgies - Gallican rite with Gallican singing. Among the authors of church hymns, Hilary of Poitiers was famous. The Gallican rite is known from historical sources, indicating that it differed significantly from the Roman. It did not survive, because the French kings abolished it, seeking to receive the title of emperors from Rome, and the Roman church tried to achieve the unification of church services.

Polyphony gave rise to new genres of church and secular music, including the conduct and motet. The conduct was originally performed mainly during the festive church service, but later became a purely secular genre. Among the authors of the conduct is Perotin.

Based on the conductor at the end of the 12th century. in France, the most important genre of polyphonic music was formed - motet. Its early examples also belong to the masters of the Parisian school (Perotin, Franco of Cologne, Pierre de la Croix). Motet allowed the freedom to combine liturgical and secular tunes and texts, a combination that led to the birth in the 13th century. joking motet. The motet genre received a significant update in the 14th century under the conditions of the direction ars nova, whose ideologist was Philippe de Vitry.

In the art of ars nova, great importance was attached to the interaction of "everyday" and "scientific" music (that is, song and motet). Philippe de Vitry created a new type of motet - the iso-rhythmic motet. The innovations of Philippe de Vitry also affected the doctrine of consonance and dissonance (he announced consonances of thirds and sixths).

The ideas of ars nova and, in particular, the isorhythmic motet continued their development in the work of Guillaume de Machaux, who combined the artistic achievements of chivalrous musical and poetic art with its unanimous songs and polyphonic urban musical culture. He owns songs with a folk warehouse (lays), virele, rondo, he also first developed the genre of polyphonic ballads. In the motet, Machaux used musical instruments more consistently than his predecessors (probably, the lower voices were instrumental before). Macheud is also considered the author of the first French polyphonic Mass (1364).

Renaissance

At the end of the 15th century in France, the culture of the Renaissance is established. The development of French culture was affected by such factors as the emergence of the bourgeoisie (15th century), the struggle for the unification of France (completed by the end of the 15th century), and the creation of a centralized state. The continuous development of folk art and the activities of composers of the Franco-Flemish school were also of significant importance.

The role of music in social life is growing. The French kings created large chapels at their courts, arranged musical festivals, the royal court became the center of professional art. The role of the court chapel was strengthened. In Henry III, he approved the position of "chief purser of music" at court, the first to hold this post italian violinist Baltasarini de Belgioso. important centers musical art along with the royal court and the church, there were also aristocratic salons.

The heyday of the Renaissance, associated with the formation of French national culture, falls on the middle of the 16th century. At this time, secular polyphonic song - chanson - becomes an outstanding genre of professional art. Her polyphonic style receives a new interpretation, consonant with the ideas of the French humanists - Rabelais, Clement Marot, Pierre de Ronsard. The leading chanson author of this era is considered to be Clément Janequin, who wrote over 200 polyphonic songs. Chansons gained fame not only in France, but also abroad, largely due to musical notation and the strengthening of ties between European countries.

During the Renaissance, the role of instrumental music increased. Viola, lute, guitar, violin (as a folk instrument) were widely used in musical life. Instrumental genres penetrated both everyday music and professional, partly church music. Lute dance pieces stood out among the dominant ones in the 16th century. polyphonic works by rhythmic plasticity, homophonic composition, transparency of texture. Characteristic was the combination of two or more dances according to the principle of rhythmic contrast into peculiar cycles, which became the basis of the future dance suite. Organ music also acquired more independent significance. The emergence of the organ school in France (late 16th century) is associated with the work of the organist J. Titluz.

Education

17th century

The rationalistic aesthetics of classicism had a strong influence on French music of the 17th century, which put forward the requirements of taste, balance of beauty and truth, clarity of intention, harmony of composition. Classicism, which developed simultaneously with the Baroque style, received in France in the 17th century. complete expression.

At this time, secular music in France prevails over the spiritual. With the establishment of absolute monarchy, court art acquired great importance, which determined the direction of development of the most important genres of French music of that time - opera and ballet. The years of the reign of Louis XIV were marked by the extraordinary splendor of court life, the desire of the nobility for luxury and sophisticated amusements. In this regard, a large role was assigned to the court ballet. In the 17th century Italian trends intensified at court, which was especially promoted by Cardinal Mazarin. Acquaintance with Italian opera served as an incentive to create their own national opera, the first experience in this area belongs to Elisabeth Jacquet de la Guerre ("Triumph of Love",).

At the end of the 17th - 1st half of the 18th century, such composers as N. A. Charpentier, A. Kampra, M. R. Delaland, A. K. Detouche wrote for the theater. With Lully's successors, the conventionality of the court theatrical style is intensified. In their lyrical tragedies, decorative-ballet, pastoral-idyllic sides come to the fore, and the dramatic beginning is weakened more and more. Lyrical tragedy gives way to opera-ballet.

In the 17th century in France, various instrumental schools developed - lute (D. Gautier, who influenced the harpsichord style of J.-A. d "Anglebert, J. Ch. de Chambonnière), harpsichord (Chambonniere, L. Couperin), violin (M. Maren , who for the first time in France introduced the double bass instead of the double bass viol into the opera orchestra). The French school of harpsichordists acquired the greatest importance. The early harpsichord style was formed under the direct influence of lute art. The manner of ornamentation of the melody, characteristic of French harpsichordists, was reflected in the works of Chambonnière. The abundance of decorations gave works for harpsichord a certain sophistication, as well as greater coherence, "melodiousness", "extension" jerky sound of this instrument. instrumental music widely used since the 16th century. the union of paired dances (pavane, galliard, etc.), which led in the 17th century to the creation of an instrumental suite.

18th century

In the 18th century, with the growing influence of the bourgeoisie, new forms of musical and social life were taking shape. Gradually, the concerts go beyond the palace halls and aristocratic salons. In A. Philidor (Danikan) he organized regular public “Spiritual Concerts” in Paris, in Francois Gossec he founded the “Amateur Concerts” society. The evenings of the Friends of Apollo academic society (founded in ) were of a more closed nature, the Royal Academy of Music arranged annual concert cycles.

In the 20-30s of the 18th century. the harpsichord suite reaches its peak. Among the French harpsichordists, the leading role belongs to F. Couperin, the author of free cycles based on the principles of similarity and contrast of pieces. Along with Couperin, a great contribution to the development of the program-characteristic harpsichord suite was also made by J. F. Dandre and especially J. F. Rameau.

The system of musical education has also undergone radical transformations. Metrics were abolished; but it opened School of Music National Guard for the training of military musicians, and in - the National Music Institute (with - the Paris Conservatory).

The period of the Napoleonic dictatorship (1799-1814) and the Restoration (1814-15, 1815-30) did not bring bright achievements to French music. By the end of the Restoration period, there is a revival in the field of culture. In the struggle against the academic art of the Napoleonic Empire, the French romantic opera, which in the 20-30s occupied a dominant position (F. Ober). In the same years, the genre of grand opera on historical, patriotic and heroic subjects was formed. French musical romanticism found its most striking expression in the work of G. Berlioz, the creator of programmatic romantic symphonism. Berlioz, along with Wagner, is also considered the founder of a new school of conducting.

An important event in the life of social France in the 1870s was the Paris Commune of 1870-1871. This period gave rise to many working songs, one of which - " The Internationale" (music by Pierre Degeyter to the words of Eugene Pottier) became the anthem of the communist parties, and in -1944 - the anthem of the USSR.

20th century

In the late 80s - 90s of the 19th century, a new trend arose in France, which became widespread at the beginning of the 20th century - impressionism. Musical impressionism revived certain national traditions - the desire for concreteness, programmatic, sophistication of style, transparency of texture. Impressionism found its most complete expression in the music of C. Debussy, affected the work of M. Ravel, P. Duke and others. Impressionism also introduced innovations in the field of musical genres. In Debussy's work, symphonic cycles give way to symphonic sketches; piano music is dominated by program miniatures. Maurice Ravel was also influenced by the aesthetics of Impressionism. In his work, various aesthetic and stylistic tendencies intertwined - romantic, impressionistic, and in his later works - neoclassical tendencies.

Along with impressionistic tendencies in French music at the turn of the 19th and 20th centuries. the traditions of Saint-Saens continued to develop, as well as Franck, whose work is characterized by a combination of classical clarity of style with vivid romantic imagery.

France played a significant role in the development of electronic music - it was here that specific music appeared in the late 1940s, under the leadership of Xenakis a computer with graphical input of information was developed - UPI, and in the 1970s the direction of spectral music was born in France. Since 1977, IRCAM, a research institute founded by Pierre Boulez, has become the center of experimental music.

Modernity

academic music

The musical center of France remains its capital - Paris. The Paris State Opera operates in Paris (gives performances at the Opera Garnier and Opera Bastille), concerts and opera performances are given at the Théâtre des Champs-Elysées, among the leading musical groups- National Orchestra of France, Philharmonic Orchestra of Radio France, Orchester de Paris, Orchestra Column and others.

Among the specialized musical educational institutions are the Paris Conservatory, "Skola cantorum", "Ecole Normal" - in Paris. The most important musical research center is the Institute of Musicology at the University of Paris. Books, archival materials are stored in the National Library (the department of music was created in), the Library and the Museum of Musical Instruments at the Conservatory.

IN contemporary culture chanson is called popular French music, which retains a specific rhythm French, differing from songs written under the influence of English-language music. Among the prominent chanson performers are Georges Brassens, Edith Piaf, Joe Dassin, Jacques Brel, Charles Aznavour, Leo Ferre, Jean Ferrat, Georges Moustaki, Mireille Mathieu, Patricia Kaas and others. French chanson performers are usually referred to as chansonniers. In the 1960s, the direction and yé-yé (yé-yé, yéyé) was a popular variety of chanson, represented mainly by female performers, among them France Gall, Sylvie Vartan, Brigitte Bardot, Francoise Hardy, Dalida, Michel Torr.

France hosted the Eurovision Song Contest three times - in, and years. Five French musicians won the Eurovision Song Contest - Andre Clavier (), Jacqueline Boyer (), Isabelle Aubret (), Frida Boccara () and Marie Miriam (), after which the second place was the highest French achievement in years.

Jazz

A specific phenomenon was French house, characterized by an abundance of phaser effects and frequency cuts, inherent in Eurodisco of the 1970s. The founders of this direction are Daft Punk, Cassius and Etienne de Crécy. In the 2000s, house DJ David Guetta became one of the highest paid French musicians.

Rock and hip hop

Rock music in France has appeared since the late 1950s thanks to such performers as Johnny Hallyday, Richard Anthony, Dick Rivers and Claude Francois, who performed rock and roll in the spirit of Elvis Presley. In the 1970s, progressive rock was well developed in France. Among the patriarchs of French rock in the 1960s and 70s are the progressive rock bands Art Zoyd, Gong, Magma, similar in sound to German kraut rock. The 1970s also saw a thriving celtic rock scene, especially in the northwest of the country where Alan Stivell, Malicorne, Tri Yann and others come from. The key groups of the 80s are post-punks Noir Désir, metallers Shakin "Street and Mystery Blue. In the 1990s, an underground black metal movement was formed in France Les Légions Noires. The most successful groups last decade- metallers Anorexia Nervosa and performing rapcore Pleymo.

Pleymo are also associated with the French hip hop scene. This "street" style is very popular among non-indigenous people, Arab and African immigrants. Some performers from immigrant families have achieved mass fame, such as K. Maro, Diam's, MC Solaar, Stromae, Sexion d'Assaut.

France hosts such rock music festivals as Eurockéennes (since 1989), La Route du Rock (since 1991), Vieilles Charrues Festival (since 1992), Rock en Seine (since 2003), Main Square Festival (since 2004), Les Massiliades (since 2008).

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Literature

O. A. Vinogradova. // Music Encyclopedia, M., 1973-82
T. F. Gnativ. Musical culture of France at the turn of the nineteenth and twentieth centuries / Textbook for music universities. - K .: Musical Ukraine, 1993. - 10.92 p.
french music second half of XIX century (Sat. Art.), entry. Art. and ed. M. S. Druskina, M., 1938
Schneerson G., Music of France, M., 1958
Edith Weber, Histoire de la musique française de 1500 to 1650, Regards sur l'histoire, 1999 (ISBN 978-2-7181-9301-4)
marc robin, Ilétait une fois la chanson française, Paris, Fayard/Chorus, 2004, (ISBN 2-213-61910-7).
Francois Porcile, La belle epoque de la musique française 1871-1940, Paris, Fayard, 1999, (Chemins de la musique) (ISBN 978-2-213-60322-3)
Damien Ehrhardt, Les relations franco-allemandes et la musique à program, Lyon, Symétrie, 2009 (collection Perpetuum mobile) (ISBN 978-2-914373-43-2)
Collectif (Auteur) Un Siècle de chansons françaises 1979-1989(Partition de musique), Csdem, 2009 (ISBN 979-0-231-31373-4)
Henry, Blog: 2010.
Paris A. Le nouveau dictionnaire des interpretes. Paris: R. Laffont, 2015. IX, 1364 p. ISBN 9782221145760.
Dictionnaire des Musiciens: les Interpretes. : Encyclopaedia universalis France, 2016. ISBN 9782852295582.

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An excerpt characterizing the Music of France

All this news made me dizzy... But Veya, as usual, was surprisingly calm, and this gave me the strength to ask further.
- And who do you call an adult? .. If there are such, of course.
- Well, of course! The girl laughed sincerely. - Want to see?
I just nodded, because my throat was suddenly completely seized with fright, and my “fluttering” conversational gift was lost somewhere ... I perfectly understood that right now I would see a real “star” creature! .. And, despite the fact that, as far as I could remember, I had been waiting for this all my conscious life, now all of a sudden all my courage for some reason quickly “went to the heels” ...
Veya waved her hand - the terrain has changed. Instead of golden mountains and a stream, we found ourselves in a marvelous, moving, transparent "city" (in any case, it looked like a city). And right towards us, along a wide, wet, silver-shiny “road”, an amazing man was slowly walking ... He was a tall, proud old man, who could not be called anything else but majestic! sometimes very correct and wise - and pure, like crystal, thoughts (which for some reason I heard very clearly); and long silvery hair covering him with a shimmering cloak; and the same, surprisingly kind, huge violet "Vaina" eyes ... And on his high forehead shining, wonderfully sparkling with gold, diamond "star".
“Rest to you, Father,” Veya said softly, touching her forehead with her fingers.
“And you, the departed one,” the old man answered sadly.
From him emanated endless kindness and affection. And all of a sudden I really wanted to to a small child, bury in his knees and, hide from everything for at least a few seconds, breathing in the deep peace emanating from him, and not think about the fact that I'm scared ... that I don't know where my house is ... and that I I don’t know at all where I am, and what is really happening to me at the moment ...
– Who are you, creature?.. – I mentally heard his gentle voice.
“I am human,” I replied. “Sorry to disturb your peace. My name is Svetlana.
The elder looked at me warmly and attentively with his wise eyes, and for some reason approval shone in them.
“You wanted to see the Wise One – you see him,” Veya said quietly. - Do you want to ask something?
- Please tell me, does evil exist in your wonderful world? – although ashamed of my question, I still decided to ask.
- What do you call "evil", Human-Svetlana? the sage asked.
- Lies, murder, betrayal ... Don't you have such words? ..
- It was a long time ago ... no one remembers anymore. Only me. But we know what it was. This is embedded in our "ancient memory" to never forget. Have you come from where evil lives?
I nodded sadly. I felt very sorry for my native land, and for the fact that life on it was so wildly imperfect that it made me ask such questions ... But, at the same time, I really wanted Evil to leave our House forever, because I loved this house with all my heart , and very often dreamed that someday such a wonderful day would come when:
a person will smile with joy, knowing that people can only bring him good ...
when a lonely girl is not afraid to walk through the darkest street in the evening, not being afraid that someone will offend her...
when you can open your heart with joy, without fear that your best friend will betray you...
when it will be possible to leave something very expensive right on the street, not being afraid that if you turn away - and it will be immediately stolen ...
And I sincerely, with all my heart, believed that somewhere there really was such a wonderful world, where there is no evil and fear, but there is a simple joy of life and beauty ... That is why, following my naive dream, I used the slightest opportunity to to learn at least something about how it is possible to destroy this very same, so tenacious and so indestructible, our earthly Evil... And one more thing - so that it would never be ashamed to tell someone somewhere that I am a Human. ..
Of course, these were naive childhood dreams ... But then I was still just a child.
– My name is Atis, Svetlana Man. I live here from the very beginning, I have seen Evil... A lot of evil...
– And how did you get rid of him, wise Hatis?! Did someone help you? .. - I asked hopefully. - Can you help us? .. Give at least advice?
– We found the reason... And killed it. But your evil is beyond our control. It is different... Just like others and you. And not always someone else's good may be good for you. You must find your own reason. And destroy it, - he gently put his hand on my head and a wonderful peace flowed into me ... - Farewell, Human Svetlana ... You will find the answer to your question. Rest to you...
I stood deep in thought, and did not pay attention to the fact that the reality surrounding me had changed a long time ago, and instead of a strange, transparent city, we now “floated” on dense purple “water” on some unusual, flat and transparent device, which there were no handles, no oars - nothing at all, as if we were standing on a large, thin, moving transparent glass. Although no movement or pitching was felt at all. It glided over the surface surprisingly smoothly and calmly, making you forget that it was moving at all ...
– What is it?.. Where are we sailing? I asked in surprise.
“To pick up your little friend,” Veya replied calmly.
- But how?!. She can't...
- Will be able. She has the same crystal as yours, was the answer. - We will meet her at the "bridge", - and without explaining anything else, she soon stopped our strange "boat".
Now we were already at the foot of some kind of brilliant “polished” black as night wall, which was sharply different from everything bright and sparkling around, and seemed artificially created and alien. Suddenly, the wall “parted”, as if in that place it consisted of dense fog, and in a golden “cocoon” appeared ... Stella. Fresh and healthy, as if she had just gone for a pleasant walk... And, of course, she was wildly pleased with what was happening... When she saw me, her pretty face beamed happily and, out of habit, she immediately chattered:
– Are you here too?!... Oh, how good!!! And I was so worried! .. So worried! .. I thought something must have happened to you. But how did you get here? .. - the baby stared dumbfounded at me.
“I think the same as you,” I smiled.
- And when I saw that you were carried away, I immediately tried to catch up with you! But I tried and tried and nothing worked ... until she came. Stella pointed at Wei with her pen. “I am very grateful to you for this, Wei girl! - according to her funny habit of addressing two people at once, she thanked sweetly.
- This "girl" is two million years old... - I whispered in my friend's ear.
Stella's eyes widened in surprise, and she herself remained standing in a quiet tetanus, slowly digesting the stunning news ...
“Ka-a-ak - two million? .. Why is she so small? ..” breathed Stella, stunned.
- Yes, she says that they live a long time ... Maybe your essence is from the same place? I joked. But Stella, apparently, did not like my joke at all, because she was immediately indignant:
- How can you?! .. I'm the same as you! I'm not purple at all!
I felt funny, and a little ashamed - the baby was a real patriot ...
As soon as Stella appeared here, I immediately felt happy and strong. Apparently, our common, sometimes dangerous, “floor walks” had a positive effect on my mood, and this immediately put everything in its place.
Stella looked around in delight, and it was clear that she was eager to bombard our “guide” with a thousand questions. But the little girl heroically restrained herself, trying to appear more serious and mature than she really was...
“Tell me please, Weya’s girl, where can we go?” Stella asked very politely. Apparently, she was never able to "put" in her head the idea that Veya could be so "old" ...
“Wherever you want, since you are here,” the “star” girl calmly replied.
We looked around - we were pulled in all directions at once! .. It was incredibly interesting and I wanted to see everything, but we perfectly understood that we could not stay here forever. Therefore, seeing how Stella fidgets in place with impatience, I suggested that she choose where we would go.
- Oh, please, can we see what kind of "animal" you have here? – unexpectedly for me, asked Stella.
Of course, I would like to see something else, but there was nowhere to go - she herself suggested that she choose ...
We found ourselves in the likeness of a very bright forest, raging with colors. It was absolutely amazing! .. But for some reason I suddenly thought that I would not want to stay in such a forest for a long time ... It was, again, too beautiful and bright, a little oppressive, not at all the same as our soothing and fresh, green and light earthy forest.
Perhaps it is true that everyone should be where he truly belongs. And I immediately thought about our sweet "star" baby ... How she must have missed her home and her native and familiar environment! .. Only now I could at least understand a little how lonely she must have been on our imperfect and sometimes dangerous Earth...
- Please tell me, Veya, why did Atis call you gone? - I finally asked the question that was annoyingly spinning in my head.
“Oh, that’s because, a long time ago, my family volunteered to help other beings who needed our help. This happens to us often. And the departed never return to their home ... This is right free choice so they know what they're getting into. That's why Atis took pity on me...
Who leaves if you can't come back? Stella was surprised.
“Very many... Sometimes even more than necessary,” Veya said sadly. – Once, our “wise ones” were even afraid that we would not have enough viilis left to normally inhabit our planet...
“What is a wiilis?” Stella asked.
- This is us. Just like you humans, we are viilis. And our planet is called Viilis. Wei replied.
And then I suddenly realized that for some reason we had not even thought of asking about it before!.. But this is the first thing we should have asked!
Have you changed, or have you always been like this? I asked again.
“They changed, but only inside, if that's what you meant,” Veya replied.
A huge, insanely bright, multi-colored bird flew over our heads ... A crown of brilliant orange “feathers” sparkled on its head, and its wings were long and fluffy, as if it was wearing a multi-colored cloud. The bird sat on a stone and stared very seriously in our direction ...
Why is she looking at us so closely? - Stella asked shivering, and it seemed to me that she had another question in her head - “has this “bird” already had dinner today?” ...
The bird cautiously jumped closer. Stella squeaked and jumped back. The bird took another step... It was three times larger than Stella, but did not seem aggressive, but rather curious.
“What, she liked me, didn’t she?” Stella pouted. Why doesn't she come to you? What does she want from me?
It was funny to watch how the little girl barely restrained herself so as not to shoot a bullet away from here. Apparently a beautiful bird did not cause much sympathy in her ...
Suddenly the bird unfolded its wings and a blinding radiance came from them. Slowly, slowly, a fog began to swirl over the wings, similar to the one that fluttered over Veya when we saw her for the first time. The fog swirled and thickened more and more, becoming like a dense curtain, and from this curtain huge, almost human eyes looked at us ...
- Oh, is she turning into someone?! .. - Stella squealed. - Look, look!
There really was something to look at, since the "bird" suddenly began to "deform", turning either into a beast, with human eyes, or into a man, with an animal body ...
- What is it? - bulged out her surprise brown eyes my girlfriend. - What's going on with her?
And the “bird” had already slipped out of its wings, and before us stood a very unusual creature. It looked like a half-bird, half-human, with a large beak and a triangular human face, very flexible, like a cheetah, body and predatory, wild movements ... She was very beautiful and, at the same time, very scary.
This is Miard. – introduced being Weya. - If you want, he will show you "living creatures", as you say.
The creature, named Miard, again began to appear fairy wings. And he waved them invitingly in our direction.
- And why exactly him? Are you very busy, "star" Weya?
Stella had a very unhappy face, because she was clearly afraid of this strange "beautiful monster", but apparently she did not have the courage to admit it. I think she would rather go with him than be able to admit that she was simply scared ... Veya, clearly reading Stella's thoughts, immediately reassured:
He is very affectionate and kind, you will like him. After all, you wanted to see the living, and it is he who knows this best of all.
Miard cautiously approached, as if sensing that Stella was afraid of him... But this time, for some reason, I was not at all afraid, rather the opposite - he interested me wildly.
He came close to Stella, who at that moment was already almost squealing inside with horror, and gently touched her cheek with his soft, fluffy wing ... A purple mist swirled over Stella's red head.
- Oh, look - I have the same as Weya! .. - the surprised little girl exclaimed enthusiastically. – But how did it happen?.. Oh-oh, how beautiful!.. – this already referred to a new area with absolutely incredible animals that appeared before our eyes.
We stood on the hilly bank of a broad, mirror-like river, the water of which was strangely "frozen" and seemed to be easy to walk on - it did not move at all. Above the river surface, like a gentle transparent smoke, a sparkling mist swirled.
As I finally guessed, this “fog, which we saw everywhere here, somehow enhanced any actions of the creatures living here: it opened the brightness of their vision for them, served as a reliable means of teleportation, in general, helped in everything, no matter what at that moment these beings were not engaged. And I think it was used for something else, much, much more, which we still could not understand ...
The river meandered in a beautiful wide "snake" and, smoothly leaving into the distance, disappeared somewhere between the lush green hills. And amazing animals walked, lay and flew along both its banks... It was so beautiful that we literally froze, amazed by this amazing sight...
The animals were very similar to unprecedented royal dragons, very bright and proud, as if they knew how beautiful they were ... Their long, curved necks sparkled with orange gold, and spiked crowns shone on their heads with red teeth. The royal animals moved slowly and majestically, with each movement shining with their scaly, mother-of-pearl-blue bodies, which literally burst into flames, falling under the golden-blue sunbeams.
- Beauty-and-and-sche!!! Stella breathed out in delight. - Are they very dangerous?
“The dangerous ones don’t live here, we haven’t had them for a long time. I don’t remember how long ago... – came the answer, and only then we noticed that Veya was not with us, but Miard was addressing us...
Stella looked around fearfully, apparently not feeling too comfortable with our new acquaintance...
“So you don’t have any danger at all?” I was surprised.
“Only external,” came the reply. - If they attack.
– Does this happen too?
“The last time it was before me,” Miard answered seriously.
His voice sounded soft and deep in our brains, like velvet, and it was very unusual to think that such a strange half-human being communicates with us in our own “language” ... But we are probably already too used to various, transcendent miracles, because after a minute they freely communicated with him, completely forgetting that this is not a person.
- And what - you never have any, no trouble ?!. The little girl shook her head in disbelief. “But then it’s not at all interesting for you to live here! ..
It spoke the real, unquenchable Earthly "thirst for adventure." And I understood it perfectly. But for Miard, I think it would be very difficult to explain this...
- Why is it not interesting? - our "guide" was surprised, and suddenly, interrupting himself, he pointed up. – Look – Savii!!!
We looked up and were dumbfounded.... In the light pink sky, fabulous creatures soared smoothly!.. They were completely transparent and, like everything else on this planet, incredibly colorful. It seemed that wonderful, sparkling flowers were flying across the sky, only they were incredibly large ... And each of them had a different, fantastically beautiful, unearthly face.
“Oh-oh.... Look-and-those... Oh, what a marvel...” Stella, completely stunned, said in a whisper for some reason.
I don't think I've ever seen her so shocked. But there really was something to be surprised... In no, even the most violent fantasy, it was impossible to imagine such creatures!.. They were so airy that it seemed that their bodies were woven from a shining mist... , spraying sparkling gold dust... Miard "whistled" something strange, and the fabulous creatures suddenly began to smoothly descend, forming above us a solid, flashing with all the colors of their crazy rainbow, a huge "umbrella" ... It was so beautiful that it took our breath away!..
Mother-of-pearl-blue, pink-winged Savia was the first to “land” to us, which, having folded her sparkling wings-petals into a “bouquet”, began to look at us with great curiosity, but without any fear ... It was impossible to calmly look at her bizarre beauty, which attracted like a magnet and wanted to admire it endlessly ...
– Do not look for a long time – the Savii are fascinating. You won't want to leave here. Their beauty is dangerous if you don't want to lose yourself,” Miard said quietly.
“But how did you say that there is nothing dangerous here?” So it's not true? Stella was immediately indignant.
“But this is not the kind of danger that needs to be feared or that needs to be fought. I thought that's what you meant when you asked, - Miard was upset.
- Come on! We seem to have different ideas about many things. It's normal, isn't it? - "nobly" reassured his baby. - Can I talk to them?
- Speak if you can hear. - Miard turned to the miracle Savia, who had come down to us, and showed something.
The marvelous creature smiled and came closer to us, while the rest of his (or her? ..) friends still soared easily right above us, sparkling and shimmering in the bright sunlight.
“I am Lilis…fox…is…” an amazing voice whispered. It was very soft, and at the same time very resonant (if such opposite concepts can be combined into one).
Hello beautiful Lilis. Stella greeted the creature joyfully. - I'm Stella. And here she is - Svetlana. We are people. And you, we know, Savia. Where did you fly from? And what is Savya? - questions again rained down like hail, but I didn’t even try to stop her, since it was completely useless ... Stella just “wanted to know everything!”. And it always has remained so.
Lilis came very close to her and began to examine Stella with her bizarre, huge eyes. They were bright crimson, with golden flecks inside, and sparkled like precious stones. The face of this miracle creature looked surprisingly delicate and fragile, and had the shape of a petal of our earth lily. She “spoke” without opening her mouth, at the same time smiling at us with her small, round lips... But, probably, the most amazing thing was their hair... They were very long, almost reaching the edge of the transparent wing, absolutely weightless and , not having a permanent color, all the time flashed with the most varied and most unexpected brilliant rainbows ... The transparent bodies of Savia were sexless (like the body of a small earthly child), and from the back they passed into “petals-wings”, which really made them look like big colorful flowers...
“We flew in from the mountains-or ...” the strange echo sounded again.
"Could you tell us sooner?" asked Miarda impatient Stella. - Who are they?
- They were brought from another world once. Their world was dying, and we wanted to save them. At first they thought that they could live with everyone, but they could not. They live very high in the mountains, no one can get there. But if you look into their eyes for a long time, they will take it with them... And you will live with them.
Stella shivered and slightly moved away from Lilis, who was standing next to her... - And what do they do when they take you away?
- Nothing. They just live with those who are taken away. Probably they had a different world in the world, but now they do it just out of habit. But for us they are very valuable - they "clean" the planet. Nobody ever got sick after they came.
– So, you saved them not because you felt sorry for them, but because you needed them?!.. Is it good to use them? - I was afraid that Miard would be offended (as they say - do not go into someone else's hut with boots ...) and strongly pushed Stella in the side, but she did not pay any attention to me, and now she turned to Savia. – Do you like living here? Are you sad for your planet?
- No, no ... It's beautiful-wild-willow ... - the same soft voice whispered. - And well, osho ...
Lilis unexpectedly raised one of her glittering "petals" and gently stroked Stella's cheek.
“Baby... Good-shay-ay... Stella-la-a...” and the mist sparkled over Stella’s head for the second time, but this time it was multi-colored...
Lilis smoothly flapped her transparent petal wings and slowly began to rise until she joined her own. The Savii became agitated, and suddenly, flashing very brightly, they disappeared ...
– Where do they go? the little girl was surprised.
- They are gone. Here, look... – and Miard pointed to already very far, in the direction of the mountains, floating smoothly in the pink sky, marvelous creatures lit by the sun. They went home...
Wei suddenly appeared...
“It’s time for you,” the “star” girl said sadly. “You can't stay here that long. It's hard.
“Oh, but we haven’t seen anything yet! Stella was upset. – Can we come back here, dear Veya? Farewell, dear Miard! You're good. I will definitely come back to you! - as always, addressing everyone at once, Stella said goodbye.
Veya waved her hand, and we again whirled in a frenzied whirlpool of sparkling matter, after a short (or maybe it only seemed short?) moment "thrown" us to our usual Mental "floor"...
- Oh, how interesting it is! .. - Stella squeaked in delight.
It seemed that she was ready to endure the heaviest loads, if only to once again return to the colorful Weiying world she had loved so much. Suddenly, I thought that she really must have liked it, since it was very similar to her own, which she liked to create for herself here, on the “floors” ...
My enthusiasm decreased a little, because I had already seen this beautiful planet for myself, and now I wanted something else! .. I felt that dizzying “taste of the unknown”, and I really wanted to repeat it ... I already I knew that this "hunger" would poison my further existence, and that I would miss it all the time. Thus, wishing to remain at least a little happy person in the future, I had to find some way to “open” the door to other worlds for myself ... But then I still hardly understood that opening such a door was not so simply... And that many more winters will pass while I will freely "walk" wherever I want, and that someone else will open this door for me... And this other will be my amazing husband.
“Well, what are we going to do next?” Stella pulled me out of my dreams.
She was upset and sad that she could not see more. But I was very glad that she became herself again and now I was absolutely sure that from that day on she would definitely stop moping and be ready for any new “adventures” again.
“Forgive me, please, but I probably won’t do anything else today ...” I said apologetically. But thank you very much for helping.
Stella beamed. She loved to feel needed, so I always tried to show her how much she meant to me (which was absolutely true).
- OK. Let's go somewhere else, - she agreed complacently.
I think she, like me, was a little haggard, only, as always, she tried not to show it. I waved my hand to her... and ended up at home, on my favorite sofa, with a bunch of impressions that now I had to calmly comprehend, and slowly, without haste to "digest"...

By the time I was ten, I had become very attached to my father.
I have always adored him. But, unfortunately, in my early childhood he traveled a lot and was at home too rarely. Every day spent with him at that time was a holiday for me, which I then remembered for a long time, and I collected all the words spoken by dad, bit by bit, trying to keep them in my soul, like a precious gift.
From an early age, I always had the impression that I had to earn my father's attention. I don't know where it came from or why. No one has ever prevented me from seeing him or talking to him. On the contrary, my mother always tried not to disturb us if she saw us together. And dad was always happy to spend with me all his free time left from work. We went to the forest with him, planted strawberries in our garden, went to the river for a swim, or just talked under our favorite old apple tree, which is what I liked to do almost the most.

In the forest for the first mushrooms...

On the bank of the Nemunas River (Neman)

Dad was a great conversationalist, and I was ready to listen to him for hours if the opportunity came across ... Probably just his strict attitude to life, the alignment of life values, the never-changing habit of not getting anything for nothing, all this created for me the impression that I must deserve it too...
I remember very well how, as a very young child, I hung around his neck when he returned home from business trips, endlessly repeating how much I love him. And dad looked at me seriously and answered: “If you love me, you don’t have to tell me this, but you always have to show ...”
And it was precisely these words of his that remained an unwritten law for me for the rest of my life ... True, I probably didn’t always succeed very well in “showing”, but I always tried honestly.
And in general, for everything that I am now, I owe it to my father, who, step by step, sculpted my future “I”, never giving any concessions, despite how selflessly and sincerely he loved me. In the most difficult years of my life, my father was my “island of calm”, where I could return at any time, knowing that they were always waiting for me there.
Himself lived a very difficult and hectic life, he wanted to be sure for sure that I would be able to stand up for myself in any circumstances that were unfavorable for me and would not break down from any troubles in life.
Actually, I can say with all my heart that I was very, very lucky with my parents. If they were a little different, who knows where I would be now, and whether I would be at all ...
I also think that fate brought my parents together for a reason. Because it seemed to be absolutely impossible to meet them ...
My dad was born in Siberia, in the distant city of Kurgan. Siberia was not the original place of residence of my father's family. This was the decision of the then "fair" Soviet government and, as was always the case, was not subject to discussion ...
So, my real grandparents, one fine morning, were rudely escorted out of their beloved and very beautiful, huge family estate, cut off from their habitual life, and put in a completely creepy, dirty and cold car, following in a frightening direction - Siberia ...
Everything that I will talk about further, I have collected bit by bit from the memoirs and letters of our relatives in France, England, as well as from the stories and memoirs of my relatives and friends in Russia and Lithuania.
To my great regret, I was able to do this only after my father's death, after many, many years ...
Their grandfather's sister Alexander Obolenskaya (later - Alexis Obolensky) was also exiled with them, and Vasily and Anna Seryogin, who voluntarily went, who followed their grandfather of their own choice, since Vasily Nikandrovich long years was grandfather's attorney in all his affairs and one of his closest friends.

Alexandra (Alexis) Obolenskaya Vasily and Anna Seryogin

Probably, one had to be a truly FRIEND in order to find the strength in oneself to make such a choice and go of one's own free will to where one was going, as one goes only to one's own death. And this "death", unfortunately, was then called Siberia ...
I was always very sad and hurt for our, so proud, but so mercilessly trampled by Bolshevik boots, beautiful Siberia! .. She, just like many other things, was turned into cursed by people, frightening "earthly hell" ... And no words can tell how much suffering, pain, lives and tears this proud, but exhausted to the limit, earth absorbed into itself ... Is it because it was once the heart of our ancestral home, "far-sighted revolutionaries" decided to denigrate and destroy this land, choosing it for their diabolical purposes?... After all, for many people, even after many years, Siberia still remained a "cursed" land, where someone's father died, whose -someone's brother, someone's son... or maybe even someone's whole family.
My grandmother, whom I, to my great chagrin, never knew, at that time was pregnant with my father and endured the road very hard. But, of course, there was no need to wait for help from anywhere ... So the young Princess Elena, instead of the quiet rustle of books in the family library or the usual sounds of the piano when she played her favorite works, this time listened only to the ominous sound of wheels, which, as it were menacingly they were counting the remaining hours of her life, so fragile and turned into a real nightmare... She was sitting on some sacks at the dirty car window and staring at the last pitiful traces of the "civilization" so familiar and familiar to her going farther and farther away...
Grandpa's sister, Alexandra, with the help of friends, managed to escape at one of the stops. By common agreement, she was supposed to get (if she was lucky) to France, where at the moment her whole family lived. True, none of those present could imagine how she could do this, but since this was their only, albeit small, but certainly the last hope, it was too much luxury to refuse it for their completely hopeless situation. At that moment, Alexandra's husband, Dmitry, was also in France, with the help of whom they hoped, already from there, to try to help the grandfather's family get out of that nightmare into which life had so ruthlessly thrown them, with the vile hands of brutalized people ...
Upon arrival in Kurgan, they were settled in a cold basement, without explaining anything and without answering any questions. Two days later, some people came for grandfather, and stated that they allegedly came to “escort” him to another “destination” ... They took him away like a criminal, not allowing him to take any things with him, and not deigning to explain where and for how long they are taking it. Nobody ever saw Grandpa again. After some time, an unknown military man brought grandfather's personal belongings to the grandmother in a dirty coal sack ... without explaining anything and leaving no hope of seeing him alive. On this, any information about grandfather's fate ceased, as if he had disappeared from the face of the earth without any traces and evidence ...
The tormented, tormented heart of poor Princess Elena did not want to accept such a terrible loss, and she literally bombarded the local staff officer with requests to clarify the circumstances of the death of her beloved Nikolai. But the "red" officers were blind and deaf to the requests of a lonely woman, as they called her - "from the noble", who was for them just one of the thousands and thousands of nameless "numbered" units that meant nothing in their cold and cruel world ... It was a real hell, from which there was no way back to that familiar and good world, in which her home, her friends, and everything that she was accustomed to from an early age, and that she loved so much and sincerely ... And there was no one who could help or even gave the slightest hope to survive.
The Seryogins tried to keep their presence of mind for three, and tried by any means to cheer up Princess Elena, but she went deeper and deeper into an almost complete stupor, and sometimes sat for days on end in an indifferently frozen state, almost not reacting to the attempts of her friends to save her heart and mind from final depression. There were only two things that briefly brought her back to the real world - if someone started talking about her unborn child or if any, even the slightest, new details came about about the alleged death of her beloved Nikolai. She desperately wanted to know (while she was still alive) what really happened, and where her husband was, or at least where his body was buried (or abandoned).
Unfortunately, there is almost no information left about the life of these two courageous and bright people, Elena and Nikolai de Rohan-Hesse-Obolensky, but even those few lines from the two remaining letters from Elena to her daughter-in-law, Alexandra, which somehow survived in family archives Alexandra in France show how deeply and tenderly the princess loved her missing husband. Only a few handwritten sheets have survived, some lines of which, unfortunately, cannot be made out at all. But even what has been achieved screams with deep pain about a great human misfortune, which, without having experienced it, is not easy to understand and impossible to accept.

April 12, 1927 From a letter from Princess Elena to Alexandra (Alix) Obolenskaya:
“I am very tired today. She returned from Sinyachikha completely broken. The wagons are packed with people, it would be a shame even to carry cattle in them………………………….. We stopped in the forest – it smelled so delicious of mushrooms and strawberries there… It’s hard to believe that these unfortunate people were killed there! Poor Ellochka (meaning the Grand Duchess Elizaveta Feodorovna, who was the relative of my grandfather along the line of Hesse) was killed nearby, in this terrible Staroselim mine ... what a horror! My soul cannot accept this. Remember, we said: “Let the earth be down”?.. Great God, how can such a land be down?!..
Oh, Alix, my dear Alix! How can you get used to such horror? ...................... ..................... I'm so tired of begging and humiliating myself... Everything will be completely useless if the Cheka does not agree to send a request to Alapaevsk ...... I will never know where to look for him, and I will never know what they did to him. Not an hour passes without me thinking about such a familiar face for me ... What a horror it is to imagine that he lies in some abandoned pit or at the bottom of a mine! .. How can you endure this everyday nightmare, knowing that already I will never see him?!.. Just as my poor Vasilek (the name that was given to my father at birth) will never see him... Where is the limit of cruelty? And why do they call themselves human?
My dear, kind Alix, how I miss you!.. If only I knew that everything is all right with you, and that Dmitry, dear to your soul, does not leave you in these difficult moments........... ................................... If I had even a drop of hope to find my dear Nikolai, I would seems to have taken it all. The soul seems to have gotten used to this terrible loss, but it still hurts very much ... Everything without him is different and so deserted.

May 18, 1927 An excerpt from a letter from Princess Elena to Alexandra (Alix) Obolenskaya:
“The same nice doctor came again. I can’t prove to him that I simply don’t have more strength. He says that I must live for the sake of little Vasilka ... Is it so? .. What will he find on this terrible land, my poor baby? .................................. Cough resumed, sometimes it becomes impossible to breathe. The doctor always leaves some drops, but I am ashamed that I cannot thank him in any way. .................................. Sometimes I dream about our favorite room. And my piano... God, how far away it all is! And was it all? ............................... and cherries in the garden, and our nanny, so affectionate and kind. Where is all this now? ................................ (out the window?) I don’t want to look, it’s all covered in soot and only dirty boots are visible … I hate damp.”

My poor grandmother, because of the dampness in the room, which was not heated even in summer, soon fell ill with tuberculosis. And, apparently weakened from the shocks, starvation and illness, she died during childbirth, never seeing her baby, and not finding (at least!) The grave of his father. Literally before her death, she took the word from the Seryogins that, no matter how difficult it was for them, they would take the newborn (if he, of course, survives) to France, to his grandfather's sister. Which, at that wild time, to promise, of course, was almost “wrong”, since the Seryogins, unfortunately, had no real opportunity to do this ... But they, nevertheless, promised her that at least somehow to ease the last minutes of her, so brutally ruined, still very young life, and so that her soul, tormented by pain, could, at least with little hope, leave this cruel world ... And even knowing that they will do everything possible to keep their word to Elena , The Seryogins still didn’t really believe in their hearts that they would ever be able to bring this whole crazy idea to life ...

A musician in any company, as a rule, is a unique and highly respected person. Especially if he does not strive at all costs to show class by playing the guitar gathering dust in the corner. Here is a selection of the easiest musical instruments to master. Down with scales and conservatory! Life is too short!

KAZU

Kazu is a wind instrument with a built-in membrane, which is a small pipe, no larger than a smoking one. The tool is, frankly, ingenious. It sounds almost like a trumpet or a saxophone, and it does not require you to have any musical instrument skills at all. You just sing or mumble a melody into the receiver with your voice, and the tissue paper membrane does the rest for you.

Even The Beatles and Pink Floyd did not hesitate to use the kazoo. And God told you to.

Price: from 150 rubles.

UKULELE

Or, as it used to be called, the ukulele. You can play all the same, learning is much easier than on a regular one. True, there is a risk that the girls will not see you as a rock star: the instrument is not the most courageous.

It so happened that representatives of the weaker sex are very often fond of playing the ukulele. An additional plus: the tool is inexpensive. If the game does not work out, you can still feel like a rock star for a while, smashing it against the wall (or the head of a real guitarist).

Price: from 1,500 rubles.

CAJON

A percussion musical instrument originally from South America, namely Peru). Outwardly, it looks like a small nightstand. The musician (yes, this is about you in the near future!) plays while riding a cajon. Due to the tension inside the body of the strings from the guitar or the spring from the usual “working” drum, it is possible to extract sounds from the cajon that are very similar to the sound of a real drum set.

If, in addition to a sense of rhythm (which you have no doubt about, but if you doubt it, then here you are) you have the skill of handling elementary tools such as a screwdriver and a hammer, you can even try to assemble a cajon with your own hands.

Price: from 5,000 rubles.

harmonica

You have mastered the basic rules for extracting sound from a harmonica (blow yourself back and forth), and now for those around you (but not very much versed in technology), you are practically Sergei Chigrakov. If you add to this an understanding of the sequence of notes and their combination, you can safely put together a blues band.

Price: from 900 rubles.

BONGO DRUMS

Another member of the percussion family. Consists of two drums, which are fastened together. Remarkably, one of the drums is called "male", the other - "female". When playing, the bongo is clamped between the legs, the sounds are extracted with the palms and fingertips.

This tool is easy to master even for children. Freely transportable, which is why they are so popular with street musicians (why not an additional source of income for you?).

Price: from 2,000 rubles.

SAXOPHONE

The representative of the wind family, which sounds incredible, looks stunning, and at the same time, by the end of the first lesson, you can start extracting something similar to a stumbling melody. (For comparison: if you tried to take up the pipe, you would have to spend several weeks.)

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

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French music is one of the most interesting and influential European musical cultures, which draws its origins from the folklore of the Celtic and Germanic tribes who lived in ancient times on the territory of present-day France. With the formation of France during the Middle Ages, folk musical traditions of numerous regions of the country merged in French music. French musical culture developed, interacting also with the musical cultures of other European nations, in particular Italian and German. Since the second half of the 20th century, the French music scene has been enriched by the musical traditions of Africans. She does not stay away from the world musical culture, absorbing new musical trends and giving a special French flavor to jazz, rock, hip-hop and electronic music.

French musical culture began to take shape on a rich layer of folk song. Although the oldest reliable recordings of songs that have survived to this day date back to the 15th century, literary and artistic materials indicate that since the time of the Roman Empire, music and singing have occupied a prominent place in people's daily lives. Church music came to French lands with Christianity. Originally Latin, it gradually changed under the influence of folk music. The church used material in worship that was understandable to the locals. One of the essential layers of French musical culture was church music, which became widespread along with Christianity. Hymns penetrated church music, their own singing customs developed, and local forms of liturgy appeared. french musical tradition composer

folk music

In the works of French folklorists, numerous genres of folk songs are considered: lyrical, love, complaint songs (complaintes), dance (rondes), satirical, craftsmen's songs (chansons de metiers), calendar, for example Christmas (Noel); labor, historical, military, etc.. Folklore also includes songs associated with Gallic and Celtic beliefs. Among the lyrical genres, a special place is occupied by pastorals (the idealization of rural life). In works love content themes of unrequited love and parting predominate. Many songs are dedicated to children - lullabies, games, counting rhymes (fr. comptines). Labor (songs of reapers, plowmen, winegrowers, etc.), soldiers' and recruit's songs are varied. A special group is made up of ballads about crusades, songs exposing the cruelty of feudal lords, kings and courtiers, songs about peasant uprisings (researchers call this group of songs "the poetic epic of French history").

And although French music has been widely known since the time of Charlemagne, only in the Baroque era did composers of world significance appear: Jean-Philippe Rameau, Louis Couperin, Jean-Baptiste Lully.

Jean-Philippe Rameau. Became famous only in mature years, J.F. Rameau so rarely and sparingly recalled his childhood and youth that even his wife knew almost nothing about it. Only from documents and fragmentary memoirs of contemporaries can we reconstruct the path that led him to the Parisian Olympus. His date of birth is unknown, and he was baptized on September 25, 1683 in Dijon. Ramo's father worked as a church organist, and the boy received his first lessons from him. Music immediately became his only passion.

Jean-Batis Lully. This outstanding musician-composer, conductor, violinist, harpsichordist went through life and creative way, extremely original and in many respects characteristic of his time. Then still strong was unlimited royalty, but the economic and cultural ascent of the bourgeoisie that had already begun led to the emergence of people from the third estate as not only the "rulers of thoughts" of literature and art, but also influential figures in official-bureaucratic and even court circles.

Kupren. Francois Couperin - French composer and harpsichordist, as an unsurpassed master of playing the harpsichord, he was awarded the title "Le Grand" - "The Great" from his contemporaries. Born November 10, 1668 in Paris, in a hereditary musical family. His father was Charles Couperin, a church organist.

French classical music reached its peak in the 19th century. The era of romanticism in France is represented by the works of Hector Berlioz, primarily his symphonic music. In the middle of the 19th century, the works of composers such as Gabriel Fauré, Camille Saint-Saens, and César Franck become famous. And at the end of this century in France there is a new direction in classical music- Impressionism, which is associated with the names of Claude Debussy, Eric Satiya Maurice, Ravel

In the 20s of the 20th century in France, jazz, whose outstanding representative was Stefan Grappelli.

In French pop music, the genre of chanson has developed, where the rhythm of the song repeats the rhythm of the French language, the emphasis is on both words and melody. Thanks to Mireille Mathieu, Edith Piaf and Charles Aznavour, French chanson music has become extremely popular and loved all over the world. I want to tell you about Edith Piaf December 19, 2014 marks exactly 99 years since the singer Edith Piaf was born in Paris. She was born in the hardest time, lived blind for several years and began to sing in the most vicious taverns. Gradually, thanks to her talent, Piaf conquered France, America, and then the whole world ...

Early 30s. Paris. From a small cinema on the outskirts of the city, after an evening screening, a strange creature comes out in a dirty sweater and shabby skirt. Lips unevenly smeared with bright red lipstick, round eyes defiantly look at men. She watched a movie with Marlene Dietrich. And she has hair exactly like a movie star! Swinging her skinny hips, a self-confident pigalika enters a smoky bar and orders two glasses of cheap wine - for herself and a young sailor, with whom she sat down at a table ... This vulgar street girl will soon become Edith Piaf.

In the second half of the 20th century, pop music became popular in France, the famous performers of which are Patricia Kaas, Joe Dassin, Dalida, Mylène Farmer. Patricia Kaams (fr. Patricia Kaas; genus. December 5, 1966, Forbach, Moselle department, France) - French pop singer and an actress. Stylistically, the singer's music is a mixture of pop and jazz. Since the release debut album Kaas "Mademoiselle sings the blues" (fr. Mademoiselle chante le blues) in 1988, more than 17 million records of her performances were sold worldwide. Especially popular in Francophone and German-speaking countries, as well as in Russia. An essential part of her formula for success is constant touring: Kaas is on foreign tours almost all the time. She represented France in the 2009 Eurovision Song Contest and finished 8th.

One of the pioneers electronic music was the French composer Jean-Michel Jarre, his album Oxygene became a classic of electronic music. In the 90s of the 20th century, other genres of electronic music were developing in France, such as house, trip-hop, new age, and others.

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folk music

In the works of French folklorists, numerous genres of folk songs are considered: lyrical, love, complaint songs (complaintes), dance (rondes), satirical, craftsmen's songs (chansons de metiers), calendar, for example Christmas (Noel); labor, historical, military, etc.. Folklore also includes songs associated with Gallic and Celtic beliefs. Among the lyrical genres, a special place is occupied by pastorals (the idealization of rural life). The themes of unrequited love and parting predominate in the works of love content. A lot of songs are dedicated to children - lullabies, games, counting rhymes (fr. comptines). Labor (songs of reapers, plowmen, winegrowers, etc.), soldiers' and recruit's songs are varied. A special group is made up of ballads about the Crusades, songs exposing the cruelty of feudal lords, kings and courtiers, songs about peasant uprisings (researchers call this group of songs "the poetic epic of the history of France").

Middle Ages

church music

During the Middle Ages, the development of church music was best documented. The early Gallican forms of Christian liturgy were replaced by the Gregorian liturgy. The spread of Gregorian chant during the reign of the Carolingian dynasty (751-987) is associated primarily with the activities of the Benedictine monasteries. The Catholic abbeys of Jumiège (on the Seine, also in Poitiers, Arles, Tours, Chartres and other cities) became centers of church music, cells of professional spiritual and secular musical culture. To teach students to sing at many abbeys, special singing schools (metrisas) were created. They taught not only Gregorian chant, but also playing musical instruments, the ability to read music. In the middle of the 9th c. non-mandatory notation appeared, the gradual development of which, after many centuries, led to the formation of modern musical notation.

In the 9th century Gregorian chant was enriched with sequences, which in France are also called prose. The creation of this form was attributed to the monk Notker from the St. Gallen monastery (modern Switzerland). However, Notker indicated in the preface to his "Book of Hymns" that he received information about the sequence from a monk from Jumièges Abbey. Subsequently, the authors of prose Adam from the Abbey of Saint-Victor (12th century) and the creator of the famous "Donkey Prose" Pierre Corbeil (beginning of the 13th century) became especially famous in France. Another innovation was the tropes - inserts in the middle of the Gregorian chant. Through them, secular melodies began to penetrate church music.

From the 10th c. in Limoges, Tours and other cities, in the depths of the divine service itself, a liturgical drama appeared, born from dialogue tropes with alternate "questions" and "answers" of two antiphonal groups of the choir. Gradually, the liturgical drama moved more and more away from the cult (along with images from the Gospel, realistic characters were included).

Since ancient times, folk songs have been characterized by polyphony, while the Gregorian chant was formed as a monophonic one. In the 9th century, elements of polyphony also began to penetrate church music. In the 9th century manuals on organum polyphony were written. The monk Gukbald of Saint-Aman near Tournai in Flanders is considered to be the author of the oldest of them. The polyphonic style that has developed in church music, however, differs from folk musical practice.

secular music

Along with cult music, secular music developed, which sounded in folk life, at the courts of the Frankish kings, in the castles of feudal lords. The carriers of the folk musical traditions of the Middle Ages were mainly itinerant musicians - jugglers, who were very popular among the people. They sang moralizing, humorous, satirical songs, danced to the accompaniment of various instruments, including tambourine, drum, flute, lute-like plucked instrument (this contributed to the development of instrumental music). Jugglers performed at holidays in villages, at feudal courts and even in monasteries (they participated in some rituals, theatrical processions dedicated to church holidays, called carole). They were persecuted by the church as representatives of a secular culture hostile to it. In the 12th-13th centuries. among jugglers happened social stratification. Some of them settled in knight's castles, falling into complete dependence on the feudal knight, others stayed in cities. Thus, jugglers, having lost the freedom of creativity, became settled minstrels in knight's castles and city musicians. However, this process at the same time contributed to the penetration of folk art into castles and cities, which becomes the basis of knightly and burgher musical and poetic art.

In the era of the late Middle Ages, in connection with the general rise of French culture, the art of music began to develop intensively. In feudal castles, on the basis of folk music, the secular musical and poetic art of the troubadours and trouvers flourished (11th-14th centuries). Famous among the troubadours were Markabrun, Guillaume IX - the Duke of Aquitaine, Bernard de Ventadorne, Geoffre Rudel (late 11th-12th centuries), Bertrand de Born, Giraut de Borneil, Giraut Riquier (late 12th-13th centuries). In the 2nd floor. 12th c. V northern regions country, a similar direction arose - the art of the trouveurs, which at first was chivalrous, and then more and more converged with folk art. Among the trouveurs, along with the kings, the aristocracy - Richard the Lionheart, Thibault of Champagne (King of Navarre), representatives of the democratic strata of society - Jean Bodel, Jacques Bretel, Pierre Mony and others - subsequently became famous.

In connection with the growth of such cities as Arras, Limoges, Montpellier, Toulouse, etc., urban musical art developed in the 12-13 centuries, the creators of which were poets-singers from the urban estates (artisans, ordinary citizens, and, in addition, the bourgeois) . They brought their own characteristics to the art of troubadours and trouveurs, moving away from its sublimely chivalric musical and poetic images, mastering folk and everyday themes, creating characteristic style, their genres. The most prominent master of urban musical culture of the 13th century was the poet and composer Adam de la Halle, the author of songs, motets, and, in addition, the popular play “The Game of Robin and Marion” (c. 1283), saturated with city songs, dances ( the very idea of creating a secular theatrical performance permeated with music was already unusual). He interpreted the traditional unanimous musical and poetic genres of the troubadours in a new way, using polyphony.

notre dame school

More: Notre Dame School

Strengthening economic and cultural significance cities, the creation of universities (including the University of Paris at the beginning of the 13th century), where music was one of the compulsory subjects (part of the quadrivium), contributed to the enhancement of the role of music as an art. In the 12th century, Paris became one of the centers of musical culture, and above all its Singing School of Notre Dame Cathedral, which brought together the greatest masters - singers-composers, scientists. The flourishing in the 12th-13th centuries is associated with this school. cult polyphony, the emergence of new musical genres, discoveries in the field of musical theory.

In the works of the composers of the Notre Dame School, the Gregorian chant has undergone changes: the previously rhythmically free, flexible chant has acquired greater regularity and smoothness (hence the name of such a chant cantus planus). Complications of the polyphonic fabric and its rhythmic structure required the exact designation of durations and the improvement of notation - as a result, representatives of the Parisian school gradually came to replace the doctrine of modes with mensural notation. The musicologist John de Garlandia made a significant contribution in this direction.

Polyphony brought to life new genres of church and secular music, including conduct and motet. The conduct was originally performed mainly during the festive church service, but at the same time later became a purely secular genre. Among the authors of the conduct is Perotin.

Based on the conductor at the end of the 12th century. in France, the most important genre of polyphonic music, the motet, was formed. Its early examples also belong to the masters of the Parisian school (Perotin, Franco of Cologne, Pierre de la Croix). Motet allowed the freedom to combine liturgical and secular tunes and texts, a combination that led to the birth in the 13th century. joking motet. The motet genre received a significant update in the 14th century under the conditions of the direction ars nova, whose ideologist was Philippe de Vitry.

The ideas of ars nova and, in particular, the iso-rhythmic motet continued their development in the work of Guillaume de Machaux, who combined the artistic achievements of knightly musical and poetic art with its unanimous songs and polyphonic urban musical culture. He owns songs with a folk warehouse (lays), virele, rondo, he also first developed the genre of polyphonic ballads. In the motet, Machaux used musical instruments more consistently than his predecessors (probably, the lower voices were instrumental before). Macheud is also considered the author of the first French polyphonic Mass (1364).

Renaissance

Education

17th century

A strong influence on the French music of the 17th century was exerted by the rationalistic aesthetics of classicism, which put forward the requirements of taste, balance of beauty and truth, clarity of intention, harmony of composition. Classicism, which developed simultaneously with the Baroque style, received in France in the 17th century. complete expression.

At this time, secular music in France prevails over the spiritual. With the establishment of absolute monarchy, court art acquired great importance, which determined the direction of development of the most important genres of French music of that time - opera and ballet. The years of the reign of Louis XIV were marked by the extraordinary splendor of court life, the desire of the nobility for luxury and sophisticated amusements. In this regard, a large role was assigned to the court ballet. In the 17th century Italian trends intensified at court, which was especially facilitated by Cardinal Mazarin. Acquaintance with Italian opera served as an incentive to create his own national opera, the first experience in this area belongs to Elisabeth Jacquet de la Guerre (Triumph of Love, 1654).

Opened in Paris in 1671 Opera theatre called the Royal Academy of Music. The head of this theater was J. B. Lully, who is now considered the founder of the national opera school. Lully created a number of comedies-ballets, which became the forerunner of the genre of lyrical tragedy, and later - opera-ballet. Lully's contribution to instrumental music is essential. He created a type of French opera overture(the term was established in the second half of the 17th century in France). Numerous dances from his works of large form (minuet, gavotte, sarabande, etc.) influenced the further formation of the orchestral suite.

In the 17th century various instrumental schools developed in France - the lute (D. Gauthier, who influenced the harpsichord style of J. A. Anglebert, J. Ch. de Chambonnière), the harpsichord (Chambonniere, L. Couperin), the viol (M. In France, he introduced the double bass into the opera orchestra instead of the double bass viola). The French school of harpsichordists acquired the greatest importance. The early harpsichord style developed under the direct influence of lute art. In the works of Chambonnière, the manner of melody ornamentation, characteristic of French harpsichordists, was reflected. The abundance of decorations gave the works for the harpsichord a certain sophistication, as well as greater coherence, "melodiousness", "length" and the jerky sound of this instrument. In instrumental music, the music used since the 16th century has been widely used. the union of paired dances (pavane, galliard, etc.), which led in the 17th century to the creation of an instrumental suite.

18th century

In the 18th century, with the growing influence of the bourgeoisie, new forms of musical and social life were taking shape. Gradually, the concerts go beyond the palace halls and aristocratic salons. In 1725, A. Philidor (Danikan) organized regular public "Spiritual Concerts" in Paris, and in 1770 Francois Gossec founded the "Amateur Concerts" society. The evenings of the Friends of Apollo academic society (founded in 1741) were of a more closed character, and the Royal Academy of Music arranged annual concert cycles.

In 1733, the successful premiere of Rameau's opera Hippolyte et Arisia secured a leading position for this composer in the court opera, the Royal Academy of Music. In the work of Rameau, the genre of lyrical tragedy reached its culmination. His vocal-declamatory style was enriched with melodic-harmonic expression. His two-part overtures are distinguished by a great variety, but at the same time, three-part overtures, close to the Italian opera "sinfonia", are also represented in his work. In a number of operas, Rameau anticipated many of the later achievements in the field of musical drama, paving the way for opera reform K. V. Gluck. Rameau owns a scientific system, a number of provisions of which served as the basis for the modern doctrine of harmony ("Treatise on Harmony", 1722; "The Origin of Harmony", 1750, etc.).

By the middle of the 18th century, the heroic-mythological operas of Lully, Rameau and other authors no longer met the aesthetic demands of the bourgeois audience. In their popularity, they are inferior to the sharply satirical fair performances known since the end of the 17th century. These performances are aimed at ridiculing the morals of the "higher" strata of society, and also parody the court opera. The first authors of such comic operas were the playwrights A. R. Lesage and C. S. Favara. In the bowels of the fair theater, a new French operatic genre has matured - the opera comedian. Its position was strengthened by the arrival in Paris in 1752 of an Italian opera troupe, which staged a number of buff operas, including Pergolesi's The Servant-Mistress, and a controversy over opera art that flared up between supporters (bourgeois-democratic circles) and opponents (representatives of aristocracy) of the Italian opera buff, - the so-called. "War of the Buffoons".

In the tense atmosphere of Paris, this controversy acquired particular urgency and received a huge public outcry. The figures of the French Enlightenment took an active part in it, supporting the democratic art of the "buffonists", and Rousseau's pastoral "The Village Sorcerer" (1752) formed the basis of the first French comic opera. The slogan proclaimed by them "imitation of nature" had a great influence on the formation of the French operatic style of the 18th century. The works of the encyclopedists also contain valuable aesthetic and musical-theoretical generalizations.

Post-revolutionary time

One of the first publications of "La Marseillaise", the national anthem of France, 1792

The Great French Revolution brought enormous changes to all areas of musical art. Music becomes an integral part of all the events of the revolutionary time, acquiring social functions, which contributed to the establishment of mass genres - songs, hymns, marches and others. The theater also underwent the influence of the French Revolution - such genres as apotheosis, a propaganda performance using large choral masses, arose. During the years of the revolution, the “opera of salvation” received special development, raising the themes of the fight against tyranny, exposing the clergy, glorifying loyalty and devotion. Brass music acquired great importance, and the National Guard Band was founded.

The system of musical education has also undergone radical transformations. Metrics were abolished; but in 1792 the music school of the National Guard was opened to train military musicians, and in 1793 the National Music Institute (since 1795 the Paris Conservatory).

The period of the Napoleonic dictatorship (1799-1814) and the Restoration (1814-15, 1815-30) did not bring bright achievements to French music. By the end of the Restoration period, there is a revival in the field of culture. In the struggle against the academic art of the Napoleonic Empire, the French romantic opera took shape, which in the 1920s and 1930s occupied a dominant position (F. Aubert). In the same years, the genre of grand opera on historical, patriotic and heroic subjects was formed. French musical romanticism found its most vivid expression in the work of G. Berlioz, the creator of programmatic romantic symphonism. Berlioz, along with Wagner, is also considered the founder of a new school of conducting.

During the years of the Second Empire (1852-70), the musical culture of France was characterized by a passion for cafe-concerts, theatrical revues, and the art of chansonnier. During these years, numerous theaters of light genres arose, where vaudevilles and farces were staged. French operetta is developing, among its creators are J. Offenbach, F. Herve. From the 1870s, under the conditions of the Third Republic, the operetta lost its satire, parody, topicality, historical, everyday and lyrical-romantic plots became predominant, and lyric came to the fore in music.

Opera and ballet in the second half of the 19th century. there is an increase in realistic tendencies. In the opera, this tendency manifested itself in the desire for everyday plots, for the depiction of ordinary people with their intimate experiences. The most famous creator of the lyric opera is Ch. Gounod, the author of such operas as Faust (1859, 2nd edition 1869), Mireil and Romeo and Juliet. J. Massenet and J. Bizet also turned to the genre of lyric opera; in his opera Carmen, the realistic principle is more clearly manifested.

Maurice Ravel, 1912

In the late 80s - 90s of the 19th century, a new trend arose in France, which became widespread at the beginning of the 20th century - impressionism. Musical impressionism revived certain national traditions - the desire for concreteness, programmatic, sophistication of style, transparency of texture. Impressionism found its fullest expression in the music of C. Debussy, affected the work of M. Ravel, P. Duke and others. Impressionism also introduced innovations in the field of musical genres. In Debussy's work, symphonic cycles give way to symphonic sketches; piano music is dominated by program miniatures. Maurice Ravel was also influenced by the aesthetics of Impressionism. In his work, various aesthetic and stylistic tendencies intertwined - romantic, impressionistic, and in his later works - neoclassical tendencies.

Composers of the "French Six".

After the First World War, French art tends to reject German influence, strive for novelty and, at the same time, for simplicity. At this time, under the influence of the composer Eric Satie and the critic Jean Cocteau, creative association, called the "French Six", whose members opposed themselves not only to Wagnerianism, but also to impressionist "vagueness". However, according to its author, Francis Poulenc, the group “had no other goals than a purely friendly, and not at all ideological association,” and since the 1920s, its members (among the most famous also Arthur Honegger and Darius Milhaud) have developed each in an individual way.

In 1935, a new creative association of composers emerged in France - "Young France", which included, among other things, such composers as O. Messiaen, A. Jolivet, who, like the "Six", put the revival of national traditions and humanistic ideas at the forefront. Rejecting academicism and neoclassicism, they focused their efforts on updating the means of musical expression. The most influential were Messiaen's searches in the field of modal and rhythmic structures, which were embodied both in his musical works and in musicological treatises.

After the Second World War, avant-garde musical currents spread in French music. An outstanding representative of the French musical avant-garde was the composer and conductor Pierre Boulez, who, developing the principles of A. Webern, widely uses such methods of composition as pointillism and seriality. A special "stochastic" system of composition is used by the composer Greek origin I. Xenakis.

France played a significant role in the development of electronic music - it was here that concrete music appeared in the late 1940s, a computer with graphical input of information - UPI was developed under the leadership of Xenakis, and in the 1970s the direction of spectral music was born in France. Since 1977, IRCAM, a research institute founded by Pierre Boulez, has become the center of experimental music.