Accompaniment- musical accompaniment of a soloist (singer, instrumentalist, ensemble, dance, gymnastic exercises, etc.)
Chord(consonance) - the simultaneous sounding of three or more sounds, different in height, name.
Accent(accent) - emphasizing a sound, chord. A. has various graphic designations: >, V, ^, sf, etc. They are affixed in vocal (solo and choral) parts above the staff (in the absence of text); in instrumental works. A. can be affixed between musical lines or above each separately, depending on the expressiveness of the performer.
Alteration- raising or lowering a sound by a semitone or a tone using signs: # (sharp) raises by a semitone; b (flat) lowers a semitone; - (bekar) cancels sharp or flat, etc.
Ensemble(together). 1. Musical work for several performers: duet(two performers) trio or tercet(three), quartet(four), quintet(five), etc. 2. A single artistic team. 3. Unity, consistency of choral performance.
Fingering- designation in the notes of the correct alternation of fingers for the convenience of playing musical instruments.
Arpeggio- successive performance in a chord of sounds one after another.
Volta- a graphic designation of the repetition of the previous musical passage, which is indicated as follows:

Gamma- scale - sequential sounding of the steps of the fret in ascending and descending movements. The most common G. are diatonic (from 7 steps) and chromatic (from 12 steps).
Harmonization- instrumental accompaniment of the melody, written in folk or other styles.
Harmony. 1. A consistent, regular combination of consonances in terms of mode and tonality. 2. Academic subject in music theory.
Range- the sound capabilities of a singing voice or any instrument, the volume between the highest and lowest sounds of the voice (instrument).
Dynamics(strength) - the use of amplification or weakening of the sound as an expressive means of performance. The main graphic symbols of D.: f (forte) - loud, p (piano) - soft, mf (mezzo forte) - moderately loud, mp (mezzo piano) - moderately quiet, crescendo (crescendo) - amplifying, diminuendo (diminuendo) - weakening, etc.
Duration- the property of sound that determines its length. The main designation for duration is a whole note, equal to two half notes, four quarter notes, eight eighth notes, etc.

Share- a unit of musical time (sound), divided into strong (percussion), weak (unstressed).
Dissonance- consonance, in which sounds do not combine, cause a feeling of coherence.
Genre- a concept that defines the content, character, direction of a musical work, for example, the genre of opera, symphony, vocal, chamber music. Genre usually refers to music that is closely related to everyday life (march, dance, etc.).
Zatakt- the beginning of a piece of music with a weak beat.

Sound musical- vibration of a sounding body, which has the main properties: height, duration, timbre, dynamics (strength).
Scale- the sequence of the main steps of the mode: do, re, mi, fa, salt, la, si.
Improvisation - creative activity directly during performance, i.e. inventing your own versions of songs, dances, marches, etc.
Interval- the distance between two sounds of different pitch, of which the lower one is called the base, the upper one is the top, for example prima(repetition of the same sound) second, third, quart, fifth, sixth, seventh, octave etc.
Intonation- melodic turn, the smallest musical construction, which has independent expressiveness.
Key - a sign that determines the pitch and name of the sound and is placed at the beginning of the musical notation. Most used:

violin bass

(salt- on the second line), (fa - on the fourth line).

Consonance- consonance, in which sounds merge and, as it were, complement each other.
Lad- ratio, the relationship of stable and unstable sounds.
Legato- related performance of several sounds.
league- a graphic image in the form of an arc (concave or convex), which indicates the associated performance of several sounds of different heights, an increase in the duration of one sound, the combination of sounds performed in a song into one syllable.

melismas- peculiar musical ornaments of one sound:

Major- modal sound, which most often conveys a bright, joyful mood of music.
Melody- a monophonic sequence of sounds united by semantic content.
Meter- sequential alternation of strong and weak beats in a measure.
Minor- a modal sound that most often conveys the pensive, sad mood of the music.
Polyphony- a consonant combination of several independent melodic lines (voices).
Modulation- a logical, intonational transition to a different key.
motive- the smallest musical structure, usually contains one strong beat.
Musical literacy- basic knowledge in the field of music theory.
Note- graphic representation of sound.
stave(stave) - a graphic image of five horizontal parallel lines for recording notes.
Nuance- a shade that emphasizes the character of the sound of music.
Pause- a sign that interrupts the musical sound for a certain period of time and corresponds to the duration of the notes.

Semitone- the smallest distance between two sounds that are different in pitch.
Size- the number of strong and weak beats of a certain duration that form a beat; It is displayed as a fraction, in the denominator of which the duration of one beat is indicated, in the numerator - the number of such shares. It is set at the beginning of the work, on each staff separately, after the key signs, and the value is stored until the end of the work or until the old time signature is changed and a new one is established. For example: 2/4, *, 6/8, etc.
Register- determines the sound range of a musical instrument, a singing voice and differs in high, medium and low.
Rhythm- sequential alternation of sounds (of different heights and durations) that have a semantic and expressive meaning.
Syncope- shifting the sound stress from a strong beat to a weak one.
Staccato- a performance technique characterized by a short, abrupt sound.
Steps fret- sounds with the following designations:

Tact- a small segment of a piece of music enclosed between two strong beats (starts with a strong one and ends before a strong one) T. is divided on a musical line by a bar line (vertical line).
Pace- speed of movement, alternation of metric units. The designations T are put down at the beginning of the work above the first musical line in Russian and Italian, for example: moderately - moderate (moderato), quickly - allegro (allegro), lingering - adagio (adagio).
Tone- the distance between two sounds, including two semitones.
Tonality is a specific pitch of sounds of a certain mode, characteristic of a particular work. T. has its own key signs and is determined by the position of the tonic at one or another degree of the scale.
Transposition(transposition) - the performance of a work (song, play) in a different key.
Triad- a chord in which three sounds are arranged in thirds (for example, do-mi-sol). T. can be major or minor and thus determine the mode.
Texture- a combination of various means of musical expression: melody, accompaniment, individual voices, echoes, theme, etc.
Fermata- graphic designation of additional extension, sound for greater expressiveness.

Musical form- in a broad sense, combines expressive means: melody, rhythm, harmony, structure. In a narrow sense, F. is the structure of a work, for example, two-part and three-part forms.
Chromatism- semitone pitch change using accidentals.

Vocal and choral art

A cappella- polyphonic, mostly choral penis without instrumental accompaniment.
Vocalization- singing, performing technique of singing to vowels.
vocal music- Designed for singing. There are three main types of singing: solo (one performer), ensemble (duets, trios, etc.), choral (collective performance, monophonic or polyphonic, with accompaniment or a cappella).
vocal art- Singing skills.
detonation- Wrong, inaccurate sound.
Range- the sound volume of the singing voice.
Diction- clear, intelligible, expressive pronunciation of words.
Chorus- the beginning of a solo or choral song.
Cantilena- melodious, smooth, manner of performance.
Chorus- part of the song (in couplet form), performed on the same text.

Dance

Bulba- a Belarusian folk song-dance of a lively, cheerful character, having a double meter.
Waltz- a ballroom dance of a smooth, moderately fast character, having a triple meter.
Gallop- ballroom dance, the pace is rapidly fast; two quarter size.
Hopak- Ukrainian folk dance, fast, impetuous, based on big jumps; two quarter size.
Krakowiak– Polish folk dance, lively character; size two quarters; rhythm with characteristic syncopations.
Lyavonikha- Belarusian folk song-dance of a lively, cheerful character with underlined stomp at the end of each musical phrase; the pace is fast; two quarter size.
Mazurka- Polish folk dance with a characteristic sharp rhythm; triple size.
Minuet- an old French ballroom dance of a smooth, somewhat flirty character; three quarter size; the pace is accelerated.
Polka- Czech folk pair dance of a cheerful, light, mobile character; double size; the pace is fast.
round dance- mass game, with singing and movements in a circle.

Elements of dance movements

Runner I. p .: feet in the main stance (heels together, toes apart). Push off with your left foot and make a small jump forward with your right foot (counting “times”), gently lowering yourself onto it; then move forward on an easy run: left foot (count "and"), right foot (count "two"). After that, start the same movements with the left leg (jump, run, etc.).
Lateral gallop- an element of dance, is learned into the account: "one and, two and." I. p .: main stand. The movements are light and springy. On “one” - a small step with a jump with the right foot to the side (from the toe, slightly bending the knees); on "and" - land on the left; on "two and" - repeat the movements.
Fractional step. I. p .: feet parallel, knees slightly bent. It is performed rhythmically, on the spot, on the entire foot with rapidly alternating stomps: right, left, right, etc.
Picker is an element of dance. I. p .: legs in the main stance. It is performed on the account of "one and, two and." On “time and” - a small jump on the left leg, at the same time take the right leg to the side, touching the toe of the floor, turn the slightly bent knee inward; on “two and” - make the second jump on the left leg, put the right on the heel, turn the knee outward.
pas de basque is an element of dance. I. p .: legs d main stance. It is performed at the expense of "and one, and two." On the “and” - a small jump, with a push of the left foot, move the right foot forward and to the right (low above the floor); on “one” - land on the right leg, bend the left, knee out; on “and” - step with the left foot, slightly bending the knee, raise the right one; on "two" - step with the right foot, slightly bending the knee, raise the left and slightly bend.
Russian variable pitch. I. p .: main stand. It is performed on the account of “one and two and” On “one” - step with the right foot forward from the toe; on “and” - a small step with the left foot on the toe (the heel is raised low); on "two and" - a small step with the right foot forward from the toe. Then the movements are performed from the left leg.
Russian round dance step. I. p .: legs in the third position (the heel of the right foot is attached to the middle of the left foot). The movements are a smooth alternate step with each leg from the scythe.
Waltz step(gymnastic). I. p .: toe stand. It is performed on the account - “one two three”. On “time” - step with the right foot forward from the toe to the entire foot, slightly bending the knee (gently springing); on “two, three” - two small steps forward with the left, then with the right foot on the toes (legs are straight).
Waltz step(dance). I. p .: toe stand. It is performed, like the previous step, but on the run, rapidly.
Polka step. I. p .: legs in third position. Performed at the expense of “and one, and two” On “and” - a small sliding jump on the left leg forward, slightly lift the right one forward; on "one" - step right forward on the toe; on "and" - put the left foot behind the right (third position); on "two" - step with the right foot forward.
Drop step. I. p .: legs in the main stance. It is performed at the expense of "and one, and two." On "and" - raise the right leg to the side, to the right; on “one” - take a small step from the toe to the entire foot, slightly bending the knee, at the same time lift the left leg bent at the knee; on the “and” - straightening the legs, stand on the toe of the left leg (behind the right), take the right one to the side; on "two and" - repeat the movement.
Step with a tide. I. p .: feet parallel, knees slightly bent. Performed at the expense of "one, two." On "one" - a small step with a blow of the right foot on the floor, on "two" - the same step with the left foot.

MUSIC AND ARTS

Lesson 6

Subject: Become music, word!

1. Features of similarity between literary and musical speech (on the example of W. A. ​​Mozart's Symphony No. 40).
2. The influence of musical and poetic intonations on instrumental music (on the example of the finale of P. Tchaikovsky's Piano Concerto No. 1).

Music material:

1. W. A. ​​Mozart. Symphony No. 40, I movement. Fragment (hearing);
2. P. Tchaikovsky. Concerto No. 1 for piano and orchestra. III part. Fragment (hearing).

Characteristics of activities:

1. Perceive and identify the inner connections between music and literature.
2. Explore the significance of literature for the embodiment of musical images.
3. Discuss the commonality and differences in the organization of speech in works of literature and music.

"Open your mind! Become the music word!
Hit the hearts so that the world triumphs! .. "
(N. Zabolotsky)

With all the power of its possibilities, music at all times has learned from poetry. If you carefully listen to the sound of a piece of music, you can distinguish between phrases and sentences, exclamations and sighs. But all this belongs to human speech!

Remember the beginning of W. A. ​​Mozart's Fortieth Symphony.

Listening: W. Mozart. Symphony No. 40, I movement (fragment).

Like a poem, in this musical statement everything rhymes, everything is proportionate - the intonational movement, the rhythmic pattern, and the accents. It seems that this music is an endless movement, a striving forward. However, there are pauses and stops in this movement. It seems to hear the intonations of the excited speech of a person who needs a break to take a breath.

Such discontinuity of musical speech, its division into phrases and sentences originate in those distant times, when the word and music were not yet separated from each other. The man worked - and sang, was sad - and sang, danced and sang at the same time. So the word, music and dance arose from one source, one element.

Listening: W. Mozart. Symphony No. 40, I movement (full version, at the request of the teacher).

And now even in music, not even connected with the word, sometimes one can hear the intonations and rhythms of bygone times - those times when the word and music were merged into one.

Tchaikovsky absorbed everything that sounded around him: Russian folk song, and urban romance, and choral music, and everything that was close to him in the music of other peoples. But this, if I may say so, the musical atmosphere that surrounded Tchaikovsky was for him only a support on which he created his own, brightly individual melodic style, about which Boris Vladimirovich Asafiev once said well: “Melody is a kind of Tchaikovsky’s handwriting ". Indeed, by Tchaikovsky's melody, as by handwriting, we recognize his music from the very first bars.

He could take an unpretentious folk or his own melody and carefully preserve it without touching a single note, decorating it with only modest processing, slightly emphasizing the most important points of the melody. And from the same modest song melody he could grow a hymn of joy, a hymn of love or a great human tragedy. All from one melodic grain!

Hearing: P. Tchaikovsky. Concerto No. 1 for piano and orchestra. III part (fragment).

Listen to the beginning of the finale of P. Tchaikovsky's First Piano Concerto. The basis of this beautiful virtuoso music was the folk song - stonefly, which was usually called spring, and the hope for warmth and a good harvest was associated with it. The intonations of such an appeal were heard in the music of stoneflies, in which one or two phrases were repeated many times.

The intonations of stonefly are also heard in Tchaikovsky's music. They determine its expressiveness, mood, dance character. The main motive is repeated many times - just as in many stoneflies the words-invocations are repeated.

In 1874 Pyotr Ilyich completed his First Piano Concerto. He wanted to dedicate it to N. G. Rubinstein, asking him to be the first performer of this work. But Rubinstein did not like the concerto, and he even called it unperformable. Very upset, Tchaikovsky sent the notes to the remarkable German pianist and conductor Hans von Bulow, who became his first performer. In gratitude, Tchaikovsky dedicated the concerto to him. Many years later, Bülow called this concert "... the most sparkling, the most perfect" among the works of the Russian composer.

Hearing: P. Tchaikovsky. Fourth Symphony (final).

Melodies of song origin are found in many composers. Sometimes the songs themselves become the themes of musical works. For example, in the finale of P. Tchaikovsky's Fourth Symphony, the Russian folk song "In the field stood a birch" is used, and in the second part of D. Kabalevsky's Piano Concerto No. 3, his own song "Our Land" is given.

However, folk musical culture is not the only source of influence on the work of composers. The whole history of music suggests that there were other sources of such influence. "Become music, word!" - this line from a poem by N. Zabolotsky reflects the eternal desire of composers to capture in musical sounds all the richness of human speech, to combine word and sound into an inseparable whole.

Questions and tasks:

1. How do you understand the meaning of the words of N. Zabolotsky “Become music, word!”?
2. Why is the music of Mozart's Fortieth Symphony so similar to poetry? Explain your answer.
3. How did the nature of the stonefly influence the music of P. Tchaikovsky's First Piano Concerto?

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
There was a birch in the field (Russian folk song), mp3;
Come out, come out, Ivanka (Ukrainian folk melody), mp3;
Mozart. Symphony No. 40, I ch. Allegro molto (main part), mp3;
Mozart. Symphony No. 40, I ch. Allegro molto, mp3;
Chaikovsky. Concerto No. 1 for piano and orchestra. III part, mp3;
Chaikovsky. Symphony No. 4, IV movement, mp3;
3. Lesson summary, docx.

Music lessons: Music vocabulary

A

A cappella - performance of a piece of music without instrumental accompaniment.

A chord is a simultaneous combination of several sounds.

Ensemble - a small group of musicians performing one piece ( from 2 to 8 people: from two - a duet, from three - a trio,

of four - a quartet, of five - a quintet, of six - a sextet, of seven - a septet, of eight - an octet)

Aria - a solo number in the opera, a complete musical episode, where the hero expresses his thoughts and feelings, and also given

characterization of the character.

Alto is a low female and childish voice.

B

Ballet is a musical performance where all the characters only dance.

Baritone - medium-range male voice.

Barcarolle is a song on the water.

Bass - low range male voice.

Bach I.S. (1685-1750) - German composer of the Baroque era, considered one of the greatest composers in the history of music, author of organ works, vocal music (Masses, cantatas, oratorios, passions - Matthew Passion), orchestral and chamber music (Brandenburg concertos, Italian concerto), clavier works (Well-Tempered Clavier, Inventions, suites, etc.)

Beethoven L.V. ( 1770-1827) - German composer, conductor and pianist, one of the three "Viennese classics", a key figure in Western classical music in the period between classicism and romanticism, one of the most respected and performed composers in the world. He wrote in all the genres that existed in his time, including opera, music for dramatic performances, choral compositions. Instrumental works are considered the most significant in his legacy: piano, violin and cello sonatas, concertos for pianoforte, for violin, quartets, overtures, symphonies. Beethoven's work had a significant impact on symphonic music in the 19th and 20th centuries.

Characteristic creativity - heroism, struggle, victory.

Belcanto (Italian)- beautiful, beautiful singing.

Blues (from a combination of two words: “blue” - blue, “devl” - melancholy, blues) - a folk song of American blacks with a sad, sad undertone. The blues was usually sung with banjo or guitar accompaniment.

IN

Variation form- a form of music based on the repetition of the same theme with various changes.

Vocalise- a genre of vocal music, a song performed by a voice without words (song without words)

vocal music- music performed by voice ( genres of vocal music: song, romance, aria, vocalise, opera, oratorio, cantata, mass, requiem)

Vivaldi A. (1678-1741) - Venetian composer, violinist, teacher, conductor, Catholic priest, one of the largest representatives of the Italian violin art of the 18th century, during his lifetime he received wide recognition throughout Europe, creator of the genre of instrumental concerto, author of 40 operas, most a famous work is a series of 4 violin concertos "The Seasons".

G

Harmony (consonance)- a means of musical expressiveness, a chord chain that accompanies a melody.

Gavrilin V.A. (1939-1999) - Soviet and Russian composer, author of symphonic and choral works, songs, chamber music, music for films.

Glinka M.I. (1804-1857)- Russian composer of the 19th century, founder of Russian music, creator of the first Russian opera ("Ivan Susanin") and the first symphonic work (Waltz Fantasy).

Homophony is a type of polyphonic presentation in which one voice is the main one, and the rest act as an accompaniment.

D

two part form - musical form consisting of music of two different characters (2 parts).

Debussy K. ( 1862-1918) - French composer, founder of impressionism in music, author of piano preludes, symphonic suite "Sea"

Jazz is a form of musical art that arose in the late 19th and early 20th centuries in the United States as a result of the synthesis of African and European cultures.

Dynamics - a means of musical expression, the power of sound.

Conductor ( French manage, lead) - the head of the learning and performance of ensemble (orchestral, choral, opera, etc.) music, who owns the artistic interpretation of the work, carried out under his control by the entire ensemble of performers.

Descant - high children's voice.

Duet- an ensemble consisting of two performers.

spiritual concert- This is a polyphonic polyphonic vocal work for ichor soloists. D. Bortnyansky, M. Berezovsky wrote in the genre of spiritual concert

W

Znamenny chant- the main type of ancient Russian liturgical singing. The name comes from the word banner (other Russian "banner", that is, a sign).

Hook-like signs were used to record the chant. The peculiarity of his sound-masculine monophonic sound a capella.

AND

Instrumental music- music played on musical instruments genres of instrumental music- sonata, symphony, concerto, prelude, nocturne, suite, dance, march, etude, etc.).

Art is a creative reflection of reality in artistic images by artistic means.

Impressionism ( French impression)- a trend in art of the last third of the 19th - early 20th centuries, which originated in France and then spread throughout the world, whose representatives sought to most naturally capture the real world in its mobility and variability, to convey their fleeting impressions. Usually, the term "impressionism" means a direction in painting, although its ideas have also found their embodiment in literature and music.

TO

Chamber music is music intended to be performed in a small room by a small group of musicians.

Canon - two-voice, in which one voice leads the melody, and the other catches up with it.

Cantata is a large vocal and symphonic work of a solemn nature with soloists, a choir and a symphony orchestra.

Chapel -

• in the Middle Ages, the choir was called, performing sacred music,
• large choir group.

Contralto - low range female voice.

Counterpoint - a type of polyphony, polyphony with the simultaneous sounding of several melodic lines that do not violate the overall harmony.

Concert(competition) - a work for a solo instrument with orchestral accompaniment.

Couplet form - a form of music based on the alternation of a verse and a chorus, used in the song genre

L

Fret - means of musical expression the relationship of musical sounds, different in height (major mode - light sound, minor mode - darker)

Libretto (Italian little book) - the literary basis of musical performances: a brief literary summary of the plot ballet, opera, musical,

operettas)

Lyadov A.K. (1855-1914) - Russian composer, created several symphonic miniatures (small plays) on the plots of Russian folklore, fairy-tale fiction (picture for the Russian folk tale "Baba Yaga", fairy-tale picture "Magic Lake", folk legend " Kikimora")

M

Melody is a means of musical expression, the main idea of ​​a musical work, expressed by sound.

Mezzo-soprano is a medium-range female voice.

Mozart W.A.(1756-1799 ) - Austrian composer, virtuoso violinist, harpsichordist, organist. Belongs to the most significant representatives of the Viennese classical school.Characteristic features of his work: sunshine, cheerfulness, elegance, lightness. Works: 41 symphonies, "Rondo in the Turkish style", symphonic suite "Little Night Serenade", operas ("The Marriage of Figaro", "Don Giovanni", "Magic Flute"), Requiem

musical form- the construction of a musical work based on the alternation of contrast and repetition (one-part form, two-part form, three-part form, native form, variation form, couplet form)

musical image- creative reflection of reality in music. this is a living generalized idea of ​​reality, expressed in sounds, musical intonations.

Mussorgsky M.P. (1839-1881) - Russian composer, was a member of the community of Russian composers "The Mighty Handful", the author of the operas "Khovanshchina" and "Boris Godunov", the piano suite "Pictures at an Exhibition", romances and songs

Musical ( English musical comedy) - a musical stage work in which dialogues, songs, music are intertwined, choreography plays an important role. This is an entertaining performance that combines various genres of art - pop and everyday music, choreography and modern dance, drama and visual arts.

A miniature is a small piece.

H

Nocturne- a piece of music depicting images of the night.

ABOUT

One part form - a musical form consisting of music of one character (1 part)

Opera - (ital. work, writing) a musical performance in which all the characters only sing.

The orchestra is a large group of instrumental musicians (symphony orchestra, brass band, jazz orchestra, orchestra of Russian folk instruments, chamber orchestra).

P

Paganini N. (1782-1840) - Italian violinist and composer, author of Caprice No. 24.

Partes singing ( from words partes – voices) - a type of Russian polyphonic vocal music that became widespread in Orthodox worship in the 17th century and the first half of the 18th century. Number of votes can be from 3 to 12, and can reach 48. The most characteristic genre of music in which partes singing was reflected - partes choral concert.

Song - genre of vocal music.

Pergolesi D. (1710-1736) - Italian composer, violinist and organist, representative of the Neapolitan opera school and one of the earliest and most important composers of opera buffa (comic opera), author of the cantata "Stabat mater".

Polyphony is a type of polyphonic presentation in which all voices are equivalent.

Program music- musical works in which ideas, images, plots are explained by the composer himself. The author's explanations can be given in the text - an explanation attached to the work, or in its title.

Prokofiev S. (1891-1953) - one of the largest and most performed composers of the 20th century (cantata "A. Nevsky", ballets "Cinderella" and "Romeo and Juliet", operas "War and Peace" and "The Tale of a Real Man", symphonic fairy tale "Peter and the Wolf" , 7 symphonies, piano miniatures "Fleeting"

Prelude (introduction) - a short piece of music that does not have a strict form.

R

Rhapsody ( rhapsode) - a wandering musician glorifying his homeland) - a genre of instrumental music, a piece of music built in a free form based on folk melodies.

Rachmaninov S.V. (1873 - 1943) - Russian composer, virtuoso pianist and conductor, author vocal music- romances, choral works, operas; piano music- preludes, concertos, sonatas, etc.; symphonic music.

Register - means of musical expressiveness, relative height of sounds, range.

ragtime (broken rhythm)- dance music of a special warehouse is an attempt by Negro musicians to use the cross-rhythms of African music in the performance of polkas, square dances and other dances. This is a piano genre, founded by Scott Joplin.

Rhythm - a means of musical expressiveness, a regular alternation of sounds of various durations .

Romance - a genre of vocal music, a piece of music for voice with an accompanying instrument, written on a small poem of lyrical content (love song). The romance reveals the feelings of a person, his attitude to life and nature.

Rondo - a musical form based on the alternation of a constantly repeating fragment and a new episode (refrain and episode)

Requiem(lat. peace)- mournful piece of music for choir and orchestra.

Rimsky-Korsakov N.A. ( 1844-1908) - Russian composer, a naval officer by profession, was a member of the community of Russian composers "Mighty Handful",

wrote 15 operas, most of them on a fairy tale plot (Sadko, Snegurochka, Golden Cockerel, etc.)

WITH

Sviridov G (1915-1998) - outstanding Soviet and Russian composer, pianist, student of Dmitri Shostakovich. He wrote vocal and instrumental music (musical illustrations for A.S. Pushkin's story "The Snowstorm", cantatas - "Poem in memory of S. Yesenin", "It's snowing")

Symphony (consonance ) is a large instrumental multi-part work for a symphony orchestra.

Sonata - genre of chamber music for solo instrument.

Composition of the symphony orchestra:

1. bowed string instruments- violin, viola, cello, double bass.
2. wind group - woodwind instruments (flute, clarinet, oboe, bassoon); brass instruments (trumpet, trombone, horn, tuba).
3. percussion group - large and snare drums, brass cymbals, triangle, bells, timpani, celesta.
4. a special place is occupied by the harp.

The composition of the orchestra of Russian folk instruments:

1. stringed plucked instruments- balalaika, domra, gusli, bass balalaika.
2. wind instruments- flute, horn, zhaleyka, birch bark, whistles.
3. percussion group - tambourine, wooden spoons, ratchet, box, xylophone, rubel.
4. bayan occupies a special place.

Soprano - high female voice

Means of musical expression(musical language of the work)- intonation, melody, rhythm, tempo, dynamics, timbre, mode, register, harmony, orchestration, character.

Sympho-jazz (English sympho-jazz) is a style that combines elements of jazz and light symphonic music.

Spirituals - songs of North American blacks of religious content, gospels (labor songs).

Suite - a piece of music, consisting of several parts, united by a common name.

T

Timbre is a means of musical expressiveness, the coloring of sound.

Tempo is a means of musical expression, the speed of sound.

Tenor is a high male voice.

three-part form- a musical form consisting of music of three characters (non-repeatedtripartite

form - ABC, repeated three-part form - ABA)

At

Overture -

• orchestral piece, introduction to opera, ballet, which prepares the listener, introduces into the atmosphere of the work, into the circle of ideas and images
• an independent work of a program nature, carrying the idea of ​​​​a name.

F

Fugue is the highest form of polyphony, a polyphonic polyphonic work, which is based on the implementation of one or more musical themes in all voices.

X

Chorus - big group of musicians-singers. The choir in the opera is a crowd stage in the opera.

choral (choral chant)- monophonic chant, which was part of the service in the church of Western Europe.

Habanera is a Cuban folk dance, similar in rhythm to tango.

H

Tchaikovsky P.I. ( 1840-1893) - Russian composer, conductor, teacher, musical and public figure, music journalist. Considered one of the greatest composers in the history of music. Author of more than 80 works, including ten operas and three ballets. His concertos and other works for pianoforte, seven symphonies, four suites, program symphonic music (Romeo and Juliet overture-ntasia, ballets Swan Lake, Sleeping Beauty, The Nutcracker) represent an extremely valuable contribution to world musical culture.

Chesnokov P.G. (1877-1944) - Russian composer,choral conductor, author of widely performed sacred works.

Chiurlionis M.K. (1875-1911) - Lithuanian artist and composer; founder of professional Lithuanian music.

W

Chopin F. (1810-1849) - Polish composer, outstanding pianist, founder of Polish music, ardent patriot of his homeland, the music is permeated with intonations of Polish folk music. He wrote music for the piano: mazurkas, polonaises, waltzes, nocturnes, preludes, etudes, etc.

Schubert F. (1797- 1828) - a German composer, the founder of romanticism, created a new type of songs (small musical scenes with a certain plot, in which the accompaniment is an active participant in the action) and a new vocal genre - a ballad.

MUSICAL GLOSSARY

ACCENT - highlighting, emphasizing a single sound or chord by dynamically amplifying it.

ACCOMPANIMENT - accompaniment to a melody, performed by voice or on a musical instrument.

ALTO - a stringed, bowed instrument, slightly lower in the sound of the violin. Alto – low female voice.

ARIA - literally translated from Italian - song. Occurs in opera, operetta, oratorio, cantata.

HARP - plucked string instrument.

BALALAIKA - Russian folk stringed plucked instrument.

DRUM This is a very ancient percussion instrument.

BALLET - this is a musical performance. In it, all the characters dance, accompanied by an orchestra. BALLET is a musical performance in which the main characters of the ballet express their feelings, experiences, emotions and actions through facial expressions and dance movements.

BARCAROLE - a song on the water. Song of the boatman in Venice.

BELCANTO - this style of vocal singing was born in Italy. In translation, the word means "beautiful singing."

ACCORDION It is a kind of accordion. The instrument got its name from the legendary old Russian singer-storyteller Bayan.

EPIC - one of the most ancient genres of Russian song folklore. Folk singer-storytellers performed epics to the accompaniment of the harp, in a singsong voice.

FRENCH HORN - a brass wind instrument sounding just below the trumpet. Translated from German means - forest horn.

WALTZ - the name of a ballroom dance, especially popular both in Europe and in Russia in the 19th century.

VARIATIONS means change. There is a musical form of variation A A1 A2 A3 A4 ...

CELLO - a stringed, bowed instrument, low in sound.

VOCALYSIS - Works for singing without words. This word means a vowel sound that sings.

HARMONY - a sequence of chords along with a melody.

HYMN - a solemn song, adopted as a symbol of the state.

GUITAR - stringed instrument. Homeland Spain. There are six-string and seven-string.

GUSLI - an old Russian folk plucked musical instrument.

RANGE is the distance from the lowest sound that a voice or musical instrument can make to the highest.

DYNAMICS - sound power.

CONDUCTOR leader of an orchestra or choir.

GENRE - a word that refers directly to art, means its variety, genus, type.

ZAPEV - part of the song. The words of the singalong usually do not change, but remain the same

ZAPEVALO - the person who starts the song.

LEGATO

JAZZ - a genre of music that appeared in the 20th century in America. Its first creators are Negroes. A feature of jazz is that performers compose music during the performance itself, improvise on a variety of instruments. Jazz has favorite tunes: SPIRITUAL, BLUES.

RANGE - the distance from the lowest sound of an instrument or voice to the highest.

DYNAMICS - means of musical expression. The power of sound.

DUET - an ensemble of two performers.

INTONATION - a melodic turnover, small in length, but having an independent meaning.

EXECUTOR A musician who performs a piece of music with the voice or on an instrument.

IMPROVISATION - composing music while performing it.

CANTATA - This is a large vocal-instrumental work, consisting of several parts. It is usually performed in a concert hall by a choir, an orchestra and solo singers.

QUARTET - an ensemble of four performers.

QUINTET - an ensemble of five performers.

KIFARA

KEYBOARD - a family of black and white keys.

CONSERVATORY - the highest musical school, in which musicians, future performers and composers, receiving certain knowledge, improve their skills.

DOUBLE BASS - a stringed, bowed instrument is the lowest in sound from this group.

CONCERT - a virtuoso piece for a solo instrument with orchestra accompaniment.

COMPOSITION - a form of artistic creativity, composing music.

CONCERT The word means "compete". Performing a concerto, the soloist, as it were, competes with the orchestra.

LULLABY - This is a smooth song of a calm nature that a mother sings while rocking her baby.

COUNTRY DANCE - translated from English - rural dance.

COUPLET A section of a song where the lyrics change.

XYLOPHONE - percussion instrument, translated from Greek means "sounding tree". It consists of wooden blocks, which are played with two wooden sticks.

LAD - means the relationship of sounds to each other, their consistency. Frets of music: major, minor, variable.

LEGATO - a stroke characteristic of a smooth game.

Timpani - instrument member of a symphony orchestra, percussion instrument. It has a pitch that is different from other drums.

LIRA - an ancient instrument, the predecessor of the guitar.

LUTE - An old instrument.

MAZURKA - an old Polish dance that conquered kings and nobles, and also sounded at rural holidays.

MELODY - "the soul of music", unanimously expressed musical thought.

MINUET is an old French dance.

MINIATURE - a little play.

MUSICAL IMAGE- a generalized reflection in a piece of music of the inner world of a person, his perception of the environment. The musical image can be lyrical, dramatic, tragic, epic, comedic, lyric-dramatic, heroic, etc.

MUSICIAN - a person professionally engaged in any type of musical activity: composing music, playing an instrument, singing, conducting, etc.

MUSICAL - an entertaining performance that appeared in the 19th century in America, which combined music, dance, singing, stage action.

NOCTURNE - which in French means night. This is a melodious, lyrical piece of a sad, dreamy character.

OH YEAH - translated from Greek - song. It is performed at national holidays, during solemn processions, and praised the victorious heroes.

OPERA - this is a musical performance. In it, the characters sing accompanied by an orchestra.

OPERETTA is a musical comedy in which the characters not only sing, but also dance and talk. "Operetta" is an Italian word and means literally a small opera.

ORGAN - an ancient musical instrument, the largest instrument in the world.

ORCHESTRA - a group of people who perform instrumental works together.

ORCHESTRA OF RUSSIAN FOLK INSTRUMENTS- was created in the 19th century. It included balalaikas and domras, psaltery, pity and button accordions.

SCORE - a special musical notation that unites all the voices of the instruments of the orchestra.

THE CONSIGNMENT - a part of a piece of music assigned to a separate voice or instrument.

PASTORAL - from the Latin pastoralis - shepherd.

PRELUDE - a short instrumental piece

PROGRAM MUSIC- music with a certain name, written mainly on a literary plot.

SONG is the most widespread genre of vocal music.

POLONAISE - Polish old dance - procession. Opened balls.

PLAY - This is a complete piece of music in a small size.

REGISTER - segment of the range. There are registers low, medium, high.

REQUIEM - a mournful choral multi-part work, which is usually performed with the participation of an orchestra, organ and soloists.

RECITATIVE - from Italian - recitare - to recite, read aloud. A kind of music that reproduces speech intonation. Half-talk, half-talk.

RHYTHM - the ratio and alternation of the durations of sounds and accents.

ROCOCO is a style in architecture and arts and crafts.

ROMANCE - solo song with instrumental accompaniment.

SVIREL - Russian folk instrument.

SYMPHONY - translated from Greek means consonance. Work for symphony orchestra.

VIOLIN It is a stringed, bowed musical instrument. She has a gentle high voice.

SONATA - comes from the Italian word sonare - to sound. An instrumental genre of music, it is defined as a form that embraces all characters. It has its own plot, its own characters - musical themes.

STACCATO - a touch characteristic of a jerky game.

THEATER - this is the world of fairy tales, amazing adventures and transformations, the world of good and evil wizards.

PACE - the speed of the performance of a piece of music.

KEY - means of musical expression. Fret height.

TRIO - ensemble of three performers.

PIPE One of the oldest brass instruments.

TROMBONE - a brass wind instrument sounds lower than the trumpet and horn in height.

TUBA - a brass wind instrument is the lowest sounding of this group.

OVERTURE - translated from French - opening, beginning. The overture opens the performance, in which we get an idea of ​​the performance as a whole.

TEXTURE It is a way of expressing musical material.

FRAGMENT is a piece of music.

FLUTE - woodwind instrument The instrument is the highest sounding of the woodwind group.

FORM - the structure of the work. The ratio of the individual parts of a musical work. There are one-part, two-part, three-part, variation, etc.

CHELESTA is a percussion instrument invented in France. Externally, the celesta is a small piano. The keyboard is a piano, but instead of strings, metal plates sound in the celesta. The sound of the celesta is quiet, beautiful, gentle. You can play a tune on it.

HATCH - a way of extracting a musical sound by voice or on an instrument.

ETUDE - a small instrumental work for the development of finger technique of a performing musician.

sign; musical composition; musical text; signal; symbol; language

Musicologists often equate a piece of music and a musical text, which is wrong. The article attempts to define the boundaries of the semantic field of the concept of "musical text" through language, sign and symbol. The correlation of musical and natural languages ​​is considered. The problem of the absence of a permanent signified in a musical sign is posed, which can be solved with the help of the concept of "signal".

Article text:

Traditionally, the main object of study in Russian musicology is a piece of music. The concept of "musical work" is central in most scientific works. Within the framework of domestic musicological research, it does not always have clear semantic boundaries and often acts as a synonym for a musical text, while, in my opinion, such an identification is unacceptable due to the fact that these concepts belong to different research strategies. In view of the fact that musicians and musicologists continue to use the phrase "musical text" without proper reflection, it is necessary to identify the main boundaries of its understanding.

Due to the fact that the period of terminological reflection of two or three decades is not enough to develop common views on the musical text, in the specialized literature there is a certain scatter of opinions about this concept.

A musical text is a type of artistic text that is reduced to a text in a broad sense as a signal embodied in objects of physical reality that transmits information from one consciousness to another and therefore does not exist outside the consciousness that perceives it. And since any text is “any coherent sign complex”, then a musical text is a specific sign structure, the purpose of which is to convey artistic information of sound-temporal properties.

If the work is concrete, material and has an author, then the text is not a substantial characteristic of the object, but a certain angle of view on it - “the field of methodological operations” . The text cannot have an author, since it exists only in discourse, it is felt only in the process of its production. The image of the author, if present in the text, is constructed by the reader, the listener. The composer himself coincides with his creation only at the moment when he objectifies the creative intention. And the subsequent existence of the work includes the author in his being on a par with the performer or listener as a guest, an interpreter. "Author" is a concept, a thought about the author, which is also constructed by the interpreter (including the composer himself), as well as the thought about the content of a musical work. And Bach every time at the moment of performance of his work is “my Bach”, “your Bach”, “Bach” of everyone sitting in the concert hall and thinking about Bach.

The cultural context, which in the case of a piece of music is the medium of creation, in relation to the text is a condition of perception - the cultural, historical and social conditions in which the listener lives and thinks. Thus, the focus of the text is not the author, but the addressee.

Musical text (handwritten or printed) primarily acts as an intermediary between the composer and the listener. Usually, a musical text is considered as a fixed side of a work, expressed in the form of musical notation. Some researchers tend to consider a literary text an objective material reality, a sensually perceived part of a work. Hence the common misconception of many musicians who identify the musical text with the musical text. In general, within the framework of musicology, there is a dual understanding of the musical text: the first is as “a system of rigid fixation of the author's intention - a musical text”, the second is a kind of structured field of meaning, updated in the act of sounding. In reality, a musical text is not a part of a work, not a musical notation.

Musical text is a system of conventional signs that visually express the structure, architectonics of a musical work. A musical text is just beginning with a musical text, a procedure for deobjectifying the meaning in real sounding and in the process of perception of this text by the listener is also required, and the interpreter’s thinking in a certain way about this musical work is also necessary.

A musical text, like a musical text, has semiotic structures: language, syntax, semantics, and pragmatics. However, the interaction of the recipient with these structures is different in both cases. The language of musical text is a set of graphic signs (notes, keys, alliteration signs, indications of volume, tempo, etc.) and the rules for their combination. The denotation of musical signs is the sound that occupies its specific place in the temperament system. With the language of the musical text, the situation is much more complicated.

Based on the textbook definition of language (“any ordered system that serves as a means of communication and uses signs”), musicologists are arguing about the presence or absence of signs in a musical text that are similar to those of a natural language. Representatives of traditional music science, following linguists, attribute music to a secondary modeling system and identify the musical language with a complex of means of musical expression (rhythm, tempo, intonation, harmony, timbre). M.Sh. Bonfeld.

M.Sh. Bonfeld is not inclined to reduce the musical language to the natural language due to the lack of independent sign formations with a stable field of signified meaning: “... musical works do not single out such units-signs that, out of context, like the words of a natural language, preserve the established unity of the signifier-signified” . Therefore, it is fundamentally impossible to compile a kind of “intonation dictionary”, a dictionary of musical “words”-signs, however, musicians continue to use this concept as a term, while this is just a good metaphor: “The expression “intonation dictionary” existing in musicological literature means nothing more than a circle of intonations characteristic of an era, style, direction, creativity of an individual composer, but does not imply either the cataloging of these intonations inherent in dictionaries according to any generally accepted (formal) feature, much less their stable (limited in number) meanings) interpretation".

Nevertheless, the musical text is not chaotic, it is structured and "articulate" (M.Sh. Bonfeld's term), but not discrete. The structural units of a musical text are not signs, but sub-signs (similar to natural language morphemes): “... a musical work is speech mediated not by language (a semiotic system of word-signs), but by a system of sub-signs, outside speech (i.e. outside the work) not possessing a stable meaning and acquiring it only as particles of an integral sign. Thus, the antinomy between the text (statement, discourse) and the sign in the art of music is removed. Thus, a sounding musical text is not a sign system, but a text-sign that correlates not with language, but with speech - a single, and therefore unique, act of translating meaning.

The opposite position is taken by G. Orlov. If M.Sh. Bonfeld, with reservations, but recognized the right of semiotics to interfere in the musical text, then G. Orlov considers music as a fundamentally non-linguistic sphere of human existence. Despite the common sound roots, music and language exist and develop in parallel and are not reducible to each other: “... language implies a predominant orientation towards analytical rationality, the logic of static conceptual distinctions and timeless descriptions of phenomena at a certain chosen moment of their existence. Music relies on a syncretic all-encompassing sensibility, concentrates perception on the qualitative completeness of the sound phenomenon in its diachronic, temporal deployment.

Music in his concept does not have a symbolic nature, therefore, the structural-semiotic approach is not applicable to it. The concepts of "musical text" and "musical language" are useless. Instead, G. Orlov proposes to use the concept of “symbol” in the sense of a kind of “portal” in the act of participation (the term is understood in the context of L. Levy-Bruhl’s theory), which opens access to hidden levels of reality: “the sound of music is one of the purest symbols: part and the herald of that nameless reality with which we come into contact through music and musical experience.

G. Orlov’s position is essentially ethnomusicological — music correlates with myth as a form of a mystical act of participation in being: “Such contact with music arises only when it becomes his reality, when, leaving judgments, he loses his “I” in it, becomes identified with it, ceases to perceive it as something external, other than himself, - becomes a part, identical to the whole. Within the framework of G. Orlov's theory, music ceases to be both a text and a work, remaining only a symbol. A means of communication without language - this is how the scientist defines music - serves as a means of self-understanding of a person within the framework of collective cultural experience.

G. Orlov, criticizing the theory of information, writes: “For it, sound is just a material carrier of a message. The qualities and meanings that sound has in the eyes of the listener are not its own properties, but are assigned to it in a certain coding system, as is characteristic of any communication. And further: “The message does not contain meaning: it is just signal sequence(emphasis mine - Sat.), managing the choice of meanings from the stock available to the recipient. Denying the sign of music, G. Orlov, nevertheless, touches on an interesting topic - music as a sequence of sound signals - but does not develop it.

In my opinion, the problem of the absence of a stable signified in a musical text, which musicologists unanimously talk about, can be solved with the help of the concept of “signal”. It was to him that the participants of the round table "Text about the text" S. Dolgopolsky, S. Zimovets and V. Kruglikov eventually came. Despite the etymology (from Latin signum - sign), within the framework of a musical text, a signal can be accepted as a vector (in space and time) organized physical impulse, which is filled with meaning only in a certain act of sounding. In the opinion of the participants in the discussion, it is the sign as a signal that can form the basis of the structure of a text without a signifier. This concept is close to the understanding of the musical text by M.Sh. Bonfeld as a system of subsigns.

A similar position is taken by A.M. Pyatigorsky. The text is considered by him not as a set of signals, but as one signal. The text as a signal has the properties of the integrity of the translation in time and space, clarity, purposefulness, that is, it implies a transmission channel from the author to the addressee. Signal, according to A.M. Pyatigorsky, there is a physically more specific form of the sign, which implies the absence of the need for decoding (which is typical for the perception of a musical text), which is inevitable in the case of working with a sign.

B. Norman also separates signal and sign. The procedure of distinction is based on the recognition of the biological nature of the former. The signal, in his opinion, belongs to the environment of animals, the sign - to the society of people. In his work "Language as a system of signs" B. Norman proposes criteria for determining a sign and a signal. The sign presupposes the presence of four properties: intentionality (the goal is to deliver information), two-sidedness (the plan of expression and the plan of content), conventionality, conditionality (the sign is inscribed in the system). Musical sound has three of these properties, with the exception of two-sidedness (provided there is no intentional onomatopoeia). The plane of expression and the plane of content are so merged that it is not possible to draw a line between them. This leads to unceasing disputes about the presence/absence of a fixed signified in a musical sign.

B. Norman distinguishes between a sign and a signal according to one more feature - temporality. The sign is located in the ternary time system - past, present and future, and can be perceived intermittently without losing the semantic core. The signal is relevant here and now, neither the past nor the future communication in this case does not apply.

In a sense, B. Norman's position is close to G. Orlov's reflections on the extra-linguistic and pre-linguistic nature of music. The "solidarity" of researchers is also manifested in the opinion about the absence of text at the signal/symbolic level.

In my opinion, a musical text has the characteristics of both systems - sign and signal: having a syntax, a hierarchy of elements, a purposefulness of communication, a musical text is at the same time a holistic signal that sounds and is perceived only in the present, acting both at the level of consciousness and on body level of the recipient. The musical text, of course, has language as an ordered system that serves as a means of communication. But this system is specific and only partly correlates with the natural, primary, sign system of human communication, since it does not have signs similar to the words of a natural language that would constitute a musical dictionary.

One can also agree with G. Orlov's opinion about the pre-linguistic nature of human musical practice. In this case, further research in this area should be carried out precisely at the level of studying the signal as the simplest carrier of information or the "stimulator" of thought.

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