There are a great variety of musical genres and trends. If you start listing the genres of music, the list will be simply endless, since dozens of new musical trends appear on the borders of different styles from year to year. This is due to the development of musical technologies, new developments in the field of sound production, sound production, but first of all, with the need of people for a unique sound, with a thirst for new emotions and sensations. Be that as it may, there are four broad musical directions that, in one way or another, gave rise to all other styles. There are also no clear boundaries between them, and yet the production of a musical product, the content of the songs and the structure of the arrangements differ markedly. So what are the genres of vocal music, at least the main ones?
Pop
Pop music is not only a direction, but also a whole mass culture. The song is the only form that is acceptable for the pop genre.
The key points in creating a pop-composition are the presence of the simplest and most memorable melody, the construction on the principle of a verse-chorus, and the rhythm and human voice are brought to the fore in the sound. The purpose for which pop music is created is purely entertainment. A pop-style performer cannot do without a show ballet, production numbers and, of course, expensive video clips.
Pop music is a commercial product, so it constantly changes in sound depending on the style that is at the peak of popularity. For example, when jazz was in favor in the US, artists like Frank Sinatra became popular. And in France, chanson has always been in honor, so Mireille Mathieu, Patricia Kaas are a kind of French pop icons. When there was a wave of popularity of rock music, pop artists widely used guitar riffs in their compositions (Michael Jackson), then there was an era of mixing pop and disco (Madonna, Abba), pop and hip-hop (Beastie Boys), etc.
Modern world stars (Madonna, Britney Spears, Beyonce, Lady Gaga) picked up the wave of rhythm and blues and develop it in their work.
Rock
The palm in rock music is given to the electric guitar, and the highlight of the song, as a rule, is the expressive solo of the guitarist. The rhythm section is weighted, and the musical pattern is often complicated. Not only powerful vocals are welcome, but also mastery of the technique of splitting, screaming, growling and all kinds of growls.
Rock is a sphere of experiments, expression of one's own thoughts, sometimes - revolutionary judgments. The problems of the texts are quite broad: the social, political and religious structure of society, personal problems and experiences. It is difficult to imagine a rock artist without his own group, since performances are carried out only live.
The most common rock music genres - list and examples:
- rock and roll (Elvis Presley, The Beatles);
- instrumental rock (Joe Satriani, Frank Zappa);
- hard rock (Led Zeppelin, Deep Purple);
- glam rock (Aerosmith, Queen);
- punk rock (Sex Pistols, Green Day);
- metal (Iron Maiden, Korn, Deftones);
- (Nirvana, Red Hot Chili Peppers, 3 Doors Down) etc.
Jazz
Describing modern genres of music, it would be worth starting the list with jazz, since it had a huge impact on the development of other areas, including pop and rock. Jazz is music based on African motifs brought to the United States from West Africa by black slaves. Over the century of its existence, the direction has changed significantly, but what is unchanged is the passion for improvisation, free rhythm and widespread use. Jazz legends are: Ella Fitzgerald, Louis Armstrong, Duke Ellington and others.
Electronic
The 21st century is the era of electronics, and the electronic direction in music today occupies one of the leading positions. Here, bets are made not on live instruments, but on electronic synthesizers and computer sound emulators.
Here are the most popular and in-demand electronic music genres, a list of which will give you a general idea:
- house (David Guetta, Benny Benassi);
- techno (Adam Beyer, Juan Atkins);
- dubstep (Skrillex, Skream);
- trance (Paul van Dyk, Armin van Buuren), etc.
Musicians are not interested in sticking to the framework of style, so the ratio of performers and styles is always rather arbitrary. The genres of music, the list of which is not limited to the above areas, have recently been tending to lose their characteristic features: performers mix musical genres, there is always a place in music for amazing discoveries and unique finds, and the listener is interested to get acquainted with the next musical novelties every time.
movement of emotions.
Musical dramaturgy
musical style
musical form
4) as an aesthetic order in a musical composition, which manifests itself as formality or formlessness.
5) as one of the sections of musical-theoretical science.
Thus, two categories of musical form are considered:
a) in the broad sense of the word - as a way of embodying the content;
b) in close - as a plan for deploying functionally different sections and parts of a musical work, which are combined into a coherent composition. Otherwise it is called form of composition or compositional plan.
The form of the composition has two sides:
*) external, connected with the musical content, with the genre and with the theme, as well as with the forms of existence of music, which is especially important for primary genres.
*) internal, associated with the disclosure of the internal organization, its aspects, elements.
Composition functions:
1) semantic, determined by the content of the work;
2) communicative, aimed at managing the listener's perception.
Method of analysis and its forms
The main problem of analysis is the relationship between form and content. Analysis tasks:
a) to formulate what feelings, emotions the music expresses;
b) what means are used for this;
c) connect the content with the era that gave rise to a given style, genre, composer's work. The above points can be considered as separate aspects of the analysis and separated into independent forms.
Forms of analysis(according to Yu. Kholopov) :
1) Analysis as practical aesthetics. It consists in tracing the patterns of music and making assessments. The perception and aesthetic experience of the phenomena of music included in the analysis give a certain part of the analysis the character of concrete aesthetic research, practical aesthetics.
2) Analysis-description. This species is of scientific value only when a new phenomenon is described. Description is a retelling of the musical text in well-known terms.
3) Holistic or complex analysis. W. Zuckerman's method. It consists in attracting to the analysis a wide range of information related to the essay. Content and form are considered inseparable unity. Zuckerman: "Analysis is a synthesis of science and art, as it requires not only knowledge, but also susceptibility."
4) Quantitative-measuring analysis. This is analysis in the literal sense of the word, that is, the division of the whole into elements. There is a problem here, because the main object of measurement is inaccurate.
From a broader standpoint, analysis as such cannot be separated from synthesis at all. These are two sides of a single process of thinking, cognition. The analysis should not only be holistic, but valuable, that is, it must detect the presence spiritual connections. Musical analysis does not leave music if it:
*) presents the technical means of music as aesthetic
*) preserves the sound form of music, that is, operates with musical examples.
Value analysis reveals the figurative and emotional side of music through aesthetic experience. With the value method of analysis, “means” are interpreted primarily within the framework of the musical form. Hence the dominant meaning of the concept of form as an object of analysis.
The structure of musical speech
The musical form is characterized by a hierarchy of structure (mutual subordination). The musical form consists of a number of sections, each of which is divided into subsections. The period contains the following subsections:
1) sentence - the largest part of the period, completed by the cadence;
2) a phrase is a part of a sentence separated by a caesura;
3) motive - the minimum constructive element of the form, associated with one strong share.
Metric shape structures
For music as a temporary art, proportionality, proportionality of parts is important. In the musical form, the following metric structures are distinguished, depending on the number of strong beats:
1) squareness - “4-cycle parts” (Sposobin). Squareness is typical for genres associated with movement (dances, marches);
2) non-square - violation of the principle of squareness (3 + 3; 6 + 6 vols.). Typical for Russian folk songs.
Simple two-part form
Simple forms are forms consisting of 2 or 3 parts, each of which is no more complicated than a period. The difference from the period is the presence of a developing section. Simple forms originated from song or dance music. Sphere of use - songs, instrumental miniatures, genre and everyday music.
Simple 2-part form is a form consisting of two sections or periods, where the first section is a presentation of musical thought, and the second is its development and completion. Simple 2-part forms are divided into contrasting A+B and developing A+A1.
1) contrast (non-reprise). The structure is chants and choruses, with genre features (r.n. "Dubinushka").
2) developing (reprise): aa1 + ba1, where the second section consists of two constructions: V - updating and developing the theme, the so-called "middle"; a1 - repetition of the second sentence of the first section.
A simple three-part form.
A simple three-part form is a form in which the first part is a presentation of musical thought, the second part is either its development or the presentation of a new musical thought, the third part is completion with the help of a reprise. Depending on the thematic material of the middle part, there are 2 varieties of a simple 3-part form:
1) developing (single-dark) AA1A. The middle section is characterized by tonal-harmonic instability, avoidance of tonics, deviations, fractional structures, sequences, polyphonization of the theme (Tchaikovsky, Barcarolle).
2) contrast (two-dark) ABA. The middle section is a period of a non-expositional type, in which there is no completeness, at the end an unstable harmony accumulates (Tchaikovsky, romance "Among the noisy ball").
Reprise is of two types:
a) exact (literal, static, da capo);
b) modified - varied, expanded or abbreviated (rarely).
A variation of a simple three-part form - three-five-part form ABABA (Liszt, "Dreams of Love").
complex shapes
They consist of 2 or 3 parts, each of which (at least one) is a simple form. It has a pronounced contrast of opposite figurative spheres.
Complex two-part form
Scope of application - chamber vocal, opera music, less often - in instrumental music (Mozart, Fantasia in D minor). It exists in two varieties:
1) non-reprise or reprise AA1(Bach, HTK II, preludes No. 2,8,9,10,15,20; Scriabin, preludes op.11 No. 3,16,21);
2) contrast AB. ( Bach, HTC I, Preludes No. 3.21). The inequality of the parts contributes to the integrity of the form:
a) 1 part - introductory, 2 - main (Glinka, Cavatina and Antonida's Rondo from the opera "Ivan Susanin"). Or in the Chorus of Hunters (Weber, opera "Magic Shooter"): part 2 - chorus.
Complex three-part form
This is a reprise form, consisting of 3 parts, each of which is a simple form. This form includes two contrasting images with the subsequent consolidation of the first. History of origin: instrumental and vocal music of the 17th century - dance cycles, aria da capo. Sphere of use: middle parts of sonata-symphony cycles, individual instrumental works, romances, arias, choirs. Varieties:
1) ASA 2) AA1A(arias da capo) 3) ABSA(among the romantics)
Feature of the first part: lack of contrast - single-dark 2x or 3x private form.
Historically, two types of middle section have developed:
1) middle part with trio where presentation of new material prevails over development. This construction is stable, complete in form and tonal-harmonic structure, clearly separated by a caesura from the extreme parts (Rakhmaninov, Prelude in G minor)
2) the middle part - episode where development prevails over presentation. This construction is tonally, harmonically and structurally unstable, with a smooth transition to the reprise (Tchaikovsky, "February").
With the Romantics, the distinction between a trio and an episode is blurred.
Reprise types:
1) exact (Mozart, symphony in G minor, 3rd movement)
2) varied (Chopin, nocturne in D-flat major)
3) dynamic, containing a figurative rethinking of the thematic material of the first movement and a new figurative contrast (Chopin, nocturne in C minor).
coda- developed post-reprise addition. Performs the final, synthesizing function. Main features: tonic organ point, plagal phrases.
Variation form
Variation is a form based on the presentation of the theme and its repetition in a modified form: AA1A2… The number of parts is not limited. The meaning is the disclosure of various figurative states inherent in the theme.
Origin - connected with the folk performing tradition. Sphere of use - independent works, parts of sonata-symphonic cycles.
It is necessary to distinguish between variation (this is a way of developing a theme) and variations, that is, a variational form.
Historical types of variations:
1) Vintage variations(XVI - XVII centuries). Basso ostinato variations. 2 types:
A) passacaglia- a large form, Maestoso. An unchanged theme in the bass varies.
b) chaconne- chamber, lyrical. Usually included in a large form. The invariable harmonic formula varies.
By the end of the 17th century, the differences between the passacaglia and the chaconne were blurred (Bach, Chaconne in D minor; Handel, Passacaglia from the suite in G minor, No. 7).
2) Strict variations. VKSh variations. Figurative, ornamental variations.
Theme Features:
1) middle register, 2) moderate tempo, 3) chord texture,
4) clear functionality of the theme, 5) song and dance character of the theme,
6) form - simple two-part, less often - 3-part, even more rarely - period.
The principle of variation: reproduction of the theme as a whole, enrichment with its details.
The theme changes: melodic pattern, rhythm, texture, tempo, etc.
Remain unchanged: harmonic plan, form , tonality (can be replaced once with the same name or parallel).
Melody development techniques: a) ornamentation, b) chant, V) variant transformation. (Mozart, sonata in A major, No. 11, 1st part).
3) Free variations. Established in the work of romantic composers at the beginning of the XIX century. Genre-specific variations. Each variation is like an independent play based on the material of the theme. The theme is just an excuse to create contrasting images. The principle of variation: the theme element is an object of independent development (Rakhmaninov, "Rhapsody on a Theme of Paganini").
Double variations.
These are variations on two themes. Topics can vary both individually and in turn (Glinka, "Kamarinskaya").
Glinka variations(soprano ostinato).
The theme remains unchanged, the accompaniment changes (Glinka, Persian choir from the opera Ruslan and Lyudmila).
sonata form
Sonata form is a form in which the 1st section (exposition) is based on the tonal contrast of two main themes. Section 2 (development) intensively develops them. Section 3 (reprise) brings the themes into tonal unity.
The sonata form is the highest among instrumental homophonic forms, having absorbed the features of all other forms. Due to the complicated structure, the sonata form is able to reflect vivid figurative contrasts, embody complex content in development, and show a qualitative change in images.
The sonata form was finally formed in the work of the VKSh composers. It is used in the extreme parts of sonata-symphony cycles, as a form of one-movement program orchestral works (overture, fantasy, painting, poem), as a form of opera overture. Rarely found in vocal music (Ruslan's aria from the opera "Ruslan and Lyudmila" by Glinka).
Sonata form contains three mandatory sections: exposition, development, and coda. In addition to them, there may be additional ones - an introduction and a code.
exposition
This is a display of musical images, the beginning of a drama. Based on the tonal (thematic) contrast of the main and side parts. It is necessary to distinguish between the concepts of a part and a theme: a part is a section of an exposition or a reprise. The theme is the musical material that characterizes the image.
Main party- more often of an active, strong-willed nature (movement along chord sounds, impulsive rhythm). Often contains an internal contrast of various elements.
Side party- mostly lyrical. Usually it is a melodious genre-dance theme. Sometimes a side part consists of several themes (Beethoven, "Heroic" symphony, 1 movement). Often a side batch contains a break (shift) - the introduction of elements of the main batch, the linking batch. This brings tension, anticipates the drama of development.
Typical tonal ratios:
Ch.p. (in major) - b.p. (in the key of D)
Ch.p. (in minor) - b.p. (in parallel major)
In addition to the main and side parts, the exposition contains linking party , which tonally and thematically connects the main part with the side part, discharges the energy accumulated in the main part. The main feature of the connecting part is tonal instability. The connecting party can be different in scale: from developed constructions to a short bunch (Schubert, "Unfinished" symphony, 1 part).
Final game- sums up the exposition, fixes the tone of the side part. It is built more often on the material of the themes of the exposition, less often on a new theme.
Development
This is the development and culmination of musical action. The contrast of the themes of the exposition is either deepened or smoothed out. More often, the development is based on the theme of the main party, as more active and internally conflicting. The main methods of theme development:
1) fragmentation of the theme into elements and their tonal, harmonic, texture, register, timbre development.
2) theme polyphonization.
Development can consist of several sections, each with its own culmination (the so-called waves). The last section, based on the accumulation of energy of an unstable function, is called predicate. The appearance in the development of a new theme that was not heard in the exposition is called episode(Shostakovich, "Leningrad" symphony, 1 part).
reprise
This is the denouement of the musical action, in which the themes converge on the basis of tonal unity. The reprise of sonata form is:
1) exact (Beethoven, symphony No. 3, 1st movement)
2) dynamic - figurative rethinking of the themes of the exposition; the beginning of the reprise coincides with the climax of the development (Shostakovich, Symphony No. 7, 1st movement)
3) mirror (Chopin, ballad No. 1, G minor)
4) incomplete, with the missing main part, which appears in the coda (Chopin, Sonata No. 2, in B flat minor).
coda
Its function is to sum up the results of development, to bring the contrast into unity, to affirm the main idea. The stronger the contrast in the exposure, the more dynamic the development in development, the greater the value of the coda. The sonata form coda may be similar to the second development. Usually the coda is built on the thematic material of the exposition, less often on a new topic.
Rondo sonata
It is an intermediate form between rondo and sonata form. Scheme : ABA C AB1A, Where AVA- exposure, WITH- episode , AB1A- reprise. The middle (central) episode can be replaced by the development of previous themes. According to W. Zuckerman, “Rondo-sonata is such a type of rondo with three (occasionally four) episodes, in which the extreme episodes are thematically and tonally in the same ratio as the side parts of the exposition and reprises of the sonata form. Varieties:
1) if the central episode WITH– development of exposition themes, then this view approaches the sonata form,
2) if the central section WITH- episode, then - to the rondo.
Signs of sonata form:
*) tonal contrast of themes A And IN at the beginning and their tonal unity at the end
*) episode IN- not an intermediate construction, but the opposition of Ch. n. as an independent party
Difference from sonata form:
*) repetition of ch. n. at the end of exposition and reprise
Signs of rondo:
*) refrain at least three times
*) genre and dance themes
Difference from rondo:
*) repetition of a new episode in a new key.
Scope: finals of sonata-symphony cycles, sometimes as independent pieces. The introduction for the rondo sonata is not typical, the coda is possible. Beethoven, sonata No. 8, finale, middle section - episode. Mozart, sonata No. 17, finale, middle section - development).
Cyclic forms
A cyclic form is a form consisting of several completed contrasting parts, united by a common idea.
There are two types of cyclic forms:
1) suite, in which the contrast of parts predominates,
2) sonata-symphonic (vocal-symphonic, vocal, instrumental) cycle, in which the main thing is the unity of the cycle.
Suite.
This is a cyclic work, consisting of a number of diverse pieces. Historical types of suites:
1) Ancient suite (partita). XVI-XVIII centuries. Consists of four dances:
a) allemande(German dance) - slow tempo, 4/4, polyphonic warehouse;
b) chimes(French dance) - moderate tempo, 3/4, polyphonic warehouse;
c) sarabande(Spanish dance) - slow tempo, 3/4, chord texture;
d) giga(English dance) - fast tempo, triplet rhythm. In addition to the main dances, additional dances were sometimes introduced into the suite - gavotte, minuet, bure, etc. The suite opened with a prelude or toccata. (Bach, English, German, French suites).
2) VKSh Suite . Main genres: cassations, divertissements, serenades (Mozart, "Little Night Serenade"). There is a rejection of obligatory dancing and a rapprochement with the sonata-symphony cycle.
3) New Suite (2nd quarter of the 19th century). Its features are: the great importance of programming, the unification of the parts by a certain plot, the increased contrast of the parts (Schumann, "Carnival"). A suite can be composed of the main musical numbers of a performance, ballet, opera (Grig, Peer Gynt).
Sonata-symphony cycle
The sonata-symphonic cycle includes the genres of symphony, sonata, concerto, quartet. The classical sonata-symphony cycle consists of 4 parts, including Allegro in sonata form, a slow movement, a minuet (later a scherzo) and a finale. There is no minuet in the concerto and sonata genres. The compositional unity of the parts of the cycle is manifested in the tempo organization of the whole, in tonal-harmonic, thematic and figurative connections.
Parts of the sonata-symphonic cycle are, as it were, phases of the disclosure of the concept of the composition as a whole. Each part of the cycle has its typical genres and forms:
1 part(sonata Allegro) - sonata form.
part 2(Andante, Adagio) - a complex 3-part form, sonata form without development, variation form, sometimes - rondo.
part 3(Minuet) is a complex 3-part form.
part 4(Finale) - sonata form or rondo (rondo-sonata).
Tonal connections: the extreme parts are written in the same key or the same key, the 2nd part - in the key S, the same key or parallel. 3rd part - in the main key.
Free and mixed forms
These are non-cyclic musical forms that do not fit into the typical forms of classical and romantic music, or combine the features of various forms. Free forms differ from mixed forms in that mixed forms combine sonata form with other forms. In free forms, suite forms are combined with other forms. Free forms are associated with genres of entertaining instrumental music (Strauss waltzes, potpourri). Rondality often becomes the leading principle. Each new musical image has a finished form. Free forms are characteristic of compositions that have a program.
Free forms of the Baroque era - organ and clavier fantasies and genres related to them. A characteristic feature of free forms of the 2nd half of the 18th century is a mixture of homophonic and polyphonic features.
The increased importance of free and mixed forms in the 19th century (ballads, poems, rhapsodies) is determined by the aesthetics of romanticism. They are characterized by a detailed exposure of contrasting themes, an increase in the intensity of development, the transformation and convergence of images, and the dynamization of the reprise-code part.
In the 19th-20th centuries, free forms were based on an idea that influenced the form (program). The individual "composition of form" becomes the principle of composition in the 2nd half of the 20th century.
Polyphonic forms
1) simulation, based on the development of one topic.
2) non-imitation (contrasting), based on the simultaneous combination (contrasting) of various topics.
Polyphony arose in the 14th century as a kind of church music for a capella choir. The main polyphonic genres are fugue, fughetta, ricercar, invention, etc.
Fugue
Fugue is the highest form of imitation polyphony. The main compositional elements of the fugue: theme, answer, counterposition, interlude (building between topics, based on the development of the elements of the topics) and stretta (imitative introduction of the topic in one voice before ending it in another).
A fugue usually consists of three sections:
1 section- exposure. This is a sequential introduction of voices with a theme in the T-D ratio. Between the 2nd and 3rd presentations of the theme, as well as after the entire exposition, interludes sound.
2 section- development, based on the implementation of the theme in subordinate keys. Theme and interlude transformations are used.
3 section- reprise. It begins with the return of the theme (in the main key), which is carried out in all voices.
Stretta is widely used in reprise.
A fugue on one theme is called a simple fugue, on two themes is called a double, on three is called a triple. Double and triple fugues come with separate or joint exposure. A fugue can have a two-part structure: section 1 - exposition, section 2 - free.
Fughetta - a small fugue, of a less serious character. Based on simple types of imitation.
Features of formation in vocal and choral music
The synthesis of text and music leads to the fact that individual parts of the vocal form are less complete than in instrumental forms. Thus, the initial periods of vocal forms often end with a half cadence. The non-square structure of the initial periods, which is free in relation to the internal structure, is often encountered.
Another feature of vocal forms - their low suitability for thematic development - is associated with two reasons:
2) with a uniform metrical and structural structure of the poetic text.
This is one of the reasons for the rare use of the sonata form in vocal music.
The uniform structure of a poetic text can lead to the fact that in the middle the structure of expositional constructions is preserved, but with tonal-harmonic, melodic, textural variation. There is a so-called "variant middle".
More often than in instrumental, in vocal music there are also variant reprises.
For vocal forms, the interpenetration of various principles of shaping, leading to synthetic forms, is very characteristic.
Among the special forms of vocal music, there are 3 main types that have turned out to be historically very stable:
1) couplet form
2) varied form
3) through vocal form.
Music is a complex and difficult art form to understand because music, unlike other art forms, is directed exclusively to auditory perception. There are different points of view on the question of what constitutes the content of music:
1) “Music is something entirely innate, internal, not needing any experience drawn from life” (I. Goethe).
2) G. Laroche: "Music reflects the general spirit of the era."
3) E. Hanslick: “There is no content in music” (i.e., no information). "Musical content is the movement of sound forms."
4) B. Asafiev: "Fugue is the queen of logic."
5) First of all, music reflects the emotional world of a person. Emotion itself does not matter, the emotional world is always in motion. Thus, the basis of music is movement of emotions. According to L. Mazel, in music there should be a unity of emotion and thought, that is, Emotion must be comprehended, and thought must be felt.
We recognize the musical content with the help of intonational hearing, which is a kind of “organ of communication”. Intonation hearing distinguishes 4 emotional states of its interlocutor-music:
a) Call - sharply, progressively, without hesitation (upward movement);
b) Petition - plaintively, uncertainly (downward movement);
c) Game - lively and easy, virtuoso (motor movement);
d) Meditation - calmly, measuredly (return to the same speed).
Musical dramaturgy
This is a system of expressive means and techniques for embodying dramatic action in works of the musical stage genre (opera, ballet, operetta). Musical dramaturgy is based on the general laws of drama as one of the art forms: the presence of a pronounced central conflict, which reveals itself in the struggle between the forces of action and reaction; a certain sequence of stages in the development of a dramatic idea (exposition, plot, development, climax, denouement). These general patterns find a specific refraction in each of the types of musical and dramatic art, in accordance with the nature of their expressive means, and the role of music determines a number of features of their composition, which is different from the construction of a literary drama.
In the course of historical development, certain forms have developed that serve to embody the stage action: in the opera - recitative, aria, arioso, ensembles, choirs. In ballet - classical and characteristic dances, ensembles. These forms do not remain unchanged. Thus, operatic dramaturgy is enriched by certain methods of symphonic development (leitmotifs, etc.). In the works of musical stage genres, there are signs of variation, rondo-likeness, sonata.
The concept of dramaturgy is also applied to works of instrumental music. Thus, drama is one of the concrete forms of symphonism (since the method of symphonism is nothing but the method of the dramatic development of thematism).
Musical genres and principles of their classification
In revealing the content of a musical work, the role of the genre is important. As a rule, genre refers to the social role of music, the conditions of existence, the conditions of the means of performance. Genres are historically established types, types, varieties of musical works, which are combined and delimited according to a number of features.
V. Zuckerman and A. Sohor dealt with the problem of the genre in Russian musicology. Zuckerman distinguishes between genres according to the nature of the content - lyrical, narrative-epic, motor, pictorial-pictorial. Sohor distinguishes between genres based on the conditions of performance, existence - everyday (everyday), mass-everyday, concert, theatrical. This is the most general classification of genres; within them there may be subdivisions (Bobrovsky defines them as "secondary genres").
Genres can also be divided into simple and complex. Simple - song, dance, march. They are also subdivided into smaller ones (songs - labor, lyrical, etc. Marches - funeral, military, etc.). Simple genres are otherwise called household (everyday), which emphasizes their utilitarian purpose. Complex genres can be systematized by performing means:
1) instrumental genres - symphonic, chamber, solo music
2) vocal genres - choral, ensemble music, solo with accompaniment
3) mixed instrumental and vocal genres - cantatas, oratorios
4) theatrical genres - operas, ballets, operetta, etc.
musical style
Musical style (from the Latin "stylus" - a stick for writing, that is, a way of presenting) is a concept of aesthetics and art history, fixing the systemic nature of expressive means. In aesthetics, the category of style appeared at the end of the 16th century in connection with the differentiation of professional music, which was previously predominantly cult. In the 17th century, style meant a characteristic of the genre and national schools. Since the 17th century, a broader meaning has been added - the style of the historical period (polyphonic style and a new style - homophonic-harmonic). In the 19th century, the concept of style acquires a narrow meaning - the individual style of the composer's writing. In the 20th century, due to sometimes sharp differences between different stages of the work of one composer, style determines any period of the author's work, or a separate work.
The concept of musical style has an evaluative value, pointing to the unity, the organic relationship of the expressive means of the work, the ratio of traditional and innovative in the individual composer's language.
musical form
The concept of "form" in music is used in several meanings:
1) as an aesthetic-philosophical category, that is, a musical embodiment of the content or a holistic organization of the means of musical expression (melody, harmony, rhythm, timbre, etc.) aimed at embodying the content. It is form in the broadest sense of the word.
2) as a musical concept, that is, a type of composition, a form-scheme according to Asafiev, a form of composition (for example, sonata form, fugue, etc.).
3) as an individual, unique image of a musical work. Asafiev: “There is only one sonata scheme, and there are as many forms of its manifestation as there are sonata forms themselves.”
The purpose of this article is to acquaint readers with various modern musical genres and the musical means that composers use when creating works within a certain style. The ability to navigate musical genres and subgenres is one of the first signs of professionalism, so this article will be of interest to all those who have already embarked on the path of improvement in the musical field.
Most critics divide modern music genres into three main areas: pop, rock and rap, which in turn are rooted in earlier styles and have spawned a large number of offshoots of their own.
Pop is contemporary popular music. It is a very broad term covering many genres such as disco, trance, house, techno, funk, new wave and others. Let's stop and look at the features of each of them.
- Disco. Not so long ago, it was the most popular genre of dance-pop music. It has an abundance of effects, the leading role of the rhythm section of drums and bass, as well as the secondary, background sound of strings and wind instruments.
- Trance. It belongs to one of the genres of electronic music and is notable for its high emotional impact on the listener. This effect is achieved through the use of sad, "cosmic" melodies.
- House. This is the name of dance, completely electronic music. The main and only instrument is a synthesizer. A distinctive feature of this genre is the presence of looped musical phrases and solo melodies. Effects are widely used.
- techno. In one phrase, you can say this: futuristic music of the big city. Techno features include fantastic melodies, gloomy metal sound, "cold", devoid of emotional vocals.
- Funk. One of the dance genres, which is characterized by clearly defined percussionists dominating all other instruments, low melody, "sloppy" rhythm.
- New wave. A genre of popular music that has evolved from punk rock and uses the same musical medium.
Rock as an independent genre is rooted in the "black" American blues, which appeared in the 20-30s. Traditional blues consists of 12 measures, that is, sections of a composition consisting of several notes, the first of which has an accent or accent. To the main toolkit blues includes a double bass or bass that sets the rhythm, a solo guitar, drums, often keyboards and brass. To be quite precise, rock emerged from a branch of this genre - the guitar blues, which already has much less keyboards and brass instruments.
Appearance rock And rock and roll, concepts that are often equated with musicians such as Elvis Presley and the Beatles. The former can be called the popularizer of this genre, while the Beatles were the ones who turned rock into art.
Musically, rock has remained almost the same blues, but their semantic content is different: rock is the music of protest against society, power, or something else.
Rock has collected many subgenres, the main ones being soft rock, hard rock, pop rock, folk rock, punk rock, psychedelic rock, heavy metal and thrash.
- Hard rock. Literally, it translates as "heavy, hard." This style has such a name for a reason, because its sound corresponds to what it is called. Heaviness in hard rock is achieved through the dominant sound of a loud and powerful rhythm section over the rest of the instruments. In most cases, the drummers, bass or rhythm guitar are "weighted". Hard rock often uses Overdrive and Distortion effects.
- pop rock. Popular rock. This style is well balanced, using all sorts of effects and popular arrangements. Pop rock can be attributed to any rock music that is designed for a wide audience of listeners.
- folk rock. This is rock music with elements of folk music.
- Punk rock. This genre includes rough, often unprofessional, but expressive music, which is characterized by simple, unpretentious, but shocking melodies.
- Psychedelic rock. Complex, unconventional music, overflowing with various effects. This music has a high level of emotional impact on the listener.
- heavy metal called sharp metal music, which is often not harmonic. It is far from the usual standards.
- Thrash. This is a very hard genre, which is characterized by the complexity and continuity of melodies, as well as improvisation.
Rap how the genre evolved from dance music. Characteristic features: uneven rhythm, complex experiments with drummers, the presence of looped musical fragments. One of the main features of rap is the absence of vocals, which are replaced by recitative. Rap is read like poetry, not sung. The main instruments are drums and a complex bass, which often leads. Often rap musicians use the scratch effect - the squeak of vinyl records.
Most likely rap originated from reggae- a dance style that originated in Jamaica. These two styles have a lot in common: the same uneven, ragged rhythm, the presence of looped musical fragments, a complex drummer.
Style in music. Classification of musical genres
Topic 1.3. Genres of musical art
Target: familiarization with the style in music, the classification of musical genres.
1. STYLE IN MUSIC
The word "style" of Latin origin and in translation means a way of presentation, a way of speech. Style in music, the sum of all the elements and techniques used in it, its “final” form, is called. Styles are usually classified by composer and by era.
Style means:
Stable unity of figurative principles of artistic movements of various historical eras;
Characteristic features of both a separate work and the genre as a whole;
Creative manner of individual composers.
Style in music presupposes the commonality of works of musical art with the characteristic features of works of other types of art of a particular historical period: baroque, classicism, romanticism, impressionism, expressionism, etc.
Baroque(Italian barocco - whimsical, artsy, strange) - a style that dominated art from the end of the 16th to the first half of the 18th century. Baroque reflected the internal contradictions of the era in connection with the feudal Catholic reaction and the active rise of advanced forces. The leading position of the genres - fugues, cantatas, oratorios, operas, the emergence of the instrumental genres of the sonata, concerto. The brightest representatives of the Baroque era were A. Vivaldi, J. S. Bach and G. F. Handel.
Classicism(from lat. classicus - exemplary) – style in art of the 17th - 18th centuries. The ideals of classicism were the ideas of the philosophy of rationalism - the belief in the reasonableness of being, the presence of a universal order, the harmony of human nature.
The highest stage of classicism was Viennese classical school artistic direction in European musical culture of the 18th - early 19th centuries, to which J. Haydn, W. A. Mozart and L. van Beethoven belong. Each of them was a bright individuality: Haydn's style is a bright worldview, the leading role is played by genre and household elements; Mozart has a lyrical-dramatic beginning; Beethoven - the embodiment of the heroic pathos of struggle.
Romanticism(from French romantisme) is an artistic movement of the late 18th - early 19th century. Features of the direction in musical art - a bright individual, personal beginning, a reflection of the emotional life of a person, spiritual sublimity, interest in folk art, denial of soullessness, relief imagery, a fantastic vision of the world. The lyrical beginning determined the desire of the romantics for the infinity of musical development, as well as the interest of composers in chamber forms (poems, ballads, fantasies).
Outstanding representatives of romanticism in music: F. Schubert, F. Mendelssohn, R. Schumann, R. Wagner, I. Brahms, F. Liszt, F. Chopin, N. Paganini and others.
Impressionism(from French impression - impression) arose in Western Europe in the last quarter of the 19th - early 20th centuries. Characteristic signs are the desire to embody fleeting impressions, spiritual landscapes, psychological nuances, to create colorful genre sketches and musical portraits.
The classical expression of impressionism in music is the work of the French composers C. Debussy and M. Ravel.
Realism(from late Latin realis - material, real) - a creative method in art, which implies a truthful and multilateral reflection of reality in conjunction with an obvious author's position, typification of characters and circumstances, interest in the problem of the value of an individual in society.
In the work of Western European composers of the second half of the 19th century, realism was reflected in the works of J. Bizet, G. Verdi, I. Brahms, F. Liszt and others.
The founder of the realistic school in Russian music was M.I. Glinka, whose traditions were developed in the works of A.S. Dargomyzhsky, A.P. Borodin, M.P. Mussorgsky, N.A. Rimsky-Korsakov, P.I. Tchaikovsky, SV. Rachmaninov and others.
In the music of the 20th century, realism was further developed in the works of S.S. Prokofiev, D.D. Shostakovich, A.I. Khachaturian, G.V. Sviridov, R.K. Shchedrin and others.
Expressionism(from lat. expressionis - expression) - a trend in European art of the first quarter of the 20th century, which is based on the tragic worldview of mankind on the eve and during the First World War and in the post-war years. Expressionism is a protest against the absurdity of the world and the humiliation of man.
Representatives of the expressionist trend in music - A. Schoenberg, A. Berg, B. Bartok and others.
2. CLASSIFICATION OF MUSICAL GENRES
Music genre (from lat. genus - genus, species) - one of the most important means of artistic generalization. Being a multi-valued concept, musical genres characterize the historically established genera and types of musical works in connection with their origin, purpose, method, conditions of performance and perception, as well as with the features of content and form.
By origin and purpose genres are subdivided into everyday genres and genres that do not have certain vital functions. The everyday (primary) genres, depending on the functions performed by music in various everyday, labor, ritual situations, include song, dance, march . Secondary genres ( opera, symphony, ballet etc.), in contrast to the primary ones, are due to the autonomy of creativity. At the same time, the secondary genres of music are genetically related to the primary ones as to content-associative models.
By way and conditions of life musical genres are divided into chamber And concert . Chamber genres (quartets, trios, sonatas, romances, plays) due to the practice of playing music in the home environment; concert genres (concerts for solo instruments with an orchestra) with their virtuosity are intended for concert performance.
By composition of performers and method of performance musical genres are divided into vocal And instrumental . Vocal genres, in turn, are conditionally divided into solo ( song, romance, aria) ensemble and choral. Depending on the participants in the performance, there are purely vocal and vocal-instrumental genres. Vocal-instrumental are divided into chamber (vocal piece accompanied by one or more instruments) and orchestral. The orchestral ones are oratorios, masses, requiems.
Instrumental genres include solo (ballad, poem, lyrical miniature), ensemble (quartet, sonata for solo instrument with accompaniment) and orchestral (symphonies, concertos, overtures).
Song(from lat. cantus) is the most common genre of vocal folk and professional music, based on the relationship between music and poetic images. As a rule, the song has a couplet form. There are a number of classifications of works of the song genre - according to content (lullabies, lyrical, dance, historical, etc.), origin and sphere of existence (urban, peasant), style (one-voiced and polyphonic), forms of performance (solo and choral, with accompaniment and without).
Dance(from German Tanz) is an art form, the main means of creating an artistic image of which is movement.
The history of dance goes back thousands of years. At the initial stage of its formation, the dance existed in a syncretic form - as a unity of singing, dancing and sound accompaniment. In ancient India, dance was understood as the disclosure of the essence of things. In ancient Greece, dance was revered as a means of ennobling a person. In the countries of medieval Europe and in Rus', dance was not recognized as Christian morality, although it continued to exist among the people.
Gavotte(from French gavotte) is a moderate dance of French origin; dance of the gavottes, inhabitants of the region of France.
Minuet(from French menu pas - a small step) - a dance of French origin.
Mazurka(more precisely - Mazur from the name of the inhabitants of Mazovia - Mazurov) - a fast three-beat dance with a characteristic shift in emphasis to the second, sometimes third beat.
Polonaise(from French polonaise - "walking dance", dance-show) - a Polish dance of a solemn nature, originally a village folk dance, then court balls were opened to them.
Krakowiak- a two-part Polish dance that originated in the Krakow Voivodeship.
Waltz(from German Walzen - whirl in dance) - a smooth dance based on smooth whirling combined with forward movement; arose on the basis of the dances of Austria, the Czech Republic, Germany.
Polka(from Czech polka - half step, half) is a lively and simple Czech dance.
Halling(from the name of a valley in southwestern Norway) is a Norwegian moderate solo male dance.
Kamarinskaya- Russian folk dance song and dance (mainly male), dance, mostly of a comic nature. Musical size 2/4, sometimes 3/4.
Trepak- Russian folk dance, fast, perky, rhythmically clear, with dashing footsteps. The main figures are improvised by the dancers, showing their dexterity and ingenuity; size 2/4.
Hopak(from Ukrainian gop - an exclamation that is uttered during the dance; hence the verbs gopati - stomp, gopkati - jump) - Ukrainian folk dance, fast, impetuous; men improvise complex figures, up to high jumps, competing in dexterity; size 2/4.
Bulba(Belarusian - potato) - a modern Belarusian folk dance song. It is sung and danced by girls in the character of folk polka. The pace is lively, perky, the time signature is two-part.
Kryzhachok(from Belarusian kryzh, Polish krzyz - cross), folk song and dance in Belarus and Poland. Musical time signature 2/4 and 4/4.
Lezginka- folk dance of the Lezgins living in Dagestan. Now it is distributed among almost all peoples of the Caucasus (Georgians, Kabardians, Ossetians, Ingush, Chechens, etc.).
In the 20th century, popular rumba(African-American dance in double meter, with a sharply syncopated rhythm and accents on the weak beats of the measure), foxtrot(from English fox - fox and trot - quick step, salon dance at a moderately fast pace with a marching rhythm), Charleston(ballroom dance that originated in Charleston, a kind of foxtrot), samba(mobile Brazilian dance of urban origin), etc.
March(from French marche - procession, movement forward) - a musical genre, the characteristic features of which are a strict, measured tempo, a clear rhythm. Varieties of the march: military, sports, mourning. In addition to the applied value, the march is a genre of stage music (March of Chernomor from the opera "Ruslan and Lyudmila" by M.I. Glinka, March from the ballet "The Nutcracker" by P.I. Tchaikovsky) and concert music ("March of the Wooden Soldiers" from the "Children's Album" P.I. Tchaikovsky).
Music is an integral part of most people's lives. Musical works are listened to in all corners of our planet, even in the most remote ones. Despite the huge popularity and importance of this art direction, many people do not think about what kind of styles and genres of music. This article discusses the TOP 10 musical directions that have not lost their popularity to this day.
Due to the variety of different genres, many of you are wondering: What styles of music are there? We tried to answer your question and organize the main styles of music into a separate list, which, according to experts, will always be popular despite many years.
1 Pop music
This style belongs to the modern direction of music. This genre is characterized by simplicity, interesting instrumentation and a sense of rhythm, while vocals are far from being the main focus. The main and practically the only form of musical compositions is the song. "Pop" includes the characteristic features of Europop, Latin, synthpop, dance music, etc.
Music experts highlight the following features of pop music:
- conservative scheme for constructing songs "verses + choruses";
- simplicity and ease of perception of melodies;
- the main instrument is the human voice, the accompaniment plays a secondary role;
- the rhythmic structure plays an important role: most of the compositions are written for dancing, so they are distinguished by a clear, unchanging beat;
- on average, the length of the songs is from 3 to 5 minutes, which is fully consistent with the format of modern radio stations;
- lyrics are usually dedicated to personal emotions and experiences (love, sadness, joy, etc.);
- The visual presentation of works is of great importance.
2 Rock
As the name implies (rock - “download”), this genre of music characterized by rhythmic sensations that are associated with a certain movement. Some signs of rock compositions (electromusical instruments, creative self-sufficiency, etc.) are secondary, which is why many music styles mistakenly attributed to rock. Various subcultures are associated with this musical direction: punks, hippies, metalheads, emo, goths, etc.
Rock is divided into several directions or styles, ranging from "light" works of danceable rock and roll, pop rock and Britpop, to brutal and aggressive death metal and grindcore. This genre is characterized by "musical expression", in particular, increased dynamics (loudness) of performance (some compositions are performed at 120-155 dB).
Rock bands usually have a vocalist, a guitarist (who plays electric guitar), a bass player, and a drummer (sometimes a keyboardist). The rhythm section is made up of bass guitar, drums and rhythm guitar (not always).
3 Hip-hop
This direction of music consists of several genres: from "light" styles (pop-rap) to aggressive ones (hardcore, horrorcore). Lyrics can also have different content - from light and laid-back (memories of childhood, youth, etc.) to complex social problems.
Hip-hop is based on styles such as funk, jazz, reggae, soul and rhythm and blues. Quite often, hip-hop is confused with rap, which is fundamentally wrong. Rap is a recitative performance of musical compositions, while hip-hop may not have recitative at all. In the USSR, this music style appeared in the 1980s.
The following subgenres of hip hop exist:
- old school: relatively simplified recitative, lines of the same length, unchanged direction of rhythm and beats;
- newschool: relatively short tracks, more soulful motives (in the direction of pop music);
- gangsta rap: songs about hard life, hooliganism, crime, etc.;
- political hip-hop: the lyrics contain a call for anti-social activities, the unification of society to resolve various internal and external threats;
- alternative hip-hop: this direction is based on funk, jazz, pop-rock, soul styles, and the compositions are a combination of music with recitative;
- G-funk: This style combines pi-funk melodies and deep funk basses (synthesizer fill, thin flute sound and recitative), diluted with male or female backing vocals;
- horrorcore: this direction is distinguished by the greatest "rigidity" and brutality of the tracks;
- southern hip-hop: this style has southern motives of African and Latin American countries;
- Grime: Characterized by the track's dark atmosphere, booming basses, and fast-paced, aggressive rapping.
4 RAP
Rap is a rhythmic recitative that is usually read to the beat. The performers of such compositions are rappers or MCs. Rap is one of the main components of hip-hop. But this style is also used in other genres (drum and bass, pop music, rock, rapcore, nu metal, etc.).
The origin of the word "rap" is based on the English "rap" (beats, knocks) and "to rap" (talk).
Rap - music is quite diverse. Compositions can be simple, but at the same time interesting and melodic. They are based on the beat - the rhythm of the songs. Often, each bar will have some emphasis on the clap (clap), snare (clear and short drum beat), percussion (whistles, chains, etc.) or bass drum.
Keyboards, brass and computer sounds are usually used as musical instruments.
5 R&B
R&B (rhythm and blues) refers to the song and dance genre of music. This style is based on the blues and jazz trends of the first half of the 20th century. A distinctive feature of the genre are dance motifs that encourage listeners to dance uncontrollably.
The R&B style is dominated by cheerful melodies that do not carry any special philosophical or mental themes.
Many music experts associate rhythm and blues with black people, since all the “black” genres are based on, with the exception of classical and religious motifs.
6
This musical direction arose at the end of the 19th century in the United States. This style of music combines African and European cultures.
Distinctive features of this direction are improvisation, sophisticated rhythm (syncoped figures) and unique techniques of rhythmic textures.
Jazz also refers to dance music. The compositions are cheerful, give vivacity and a good mood. But unlike R&B, jazz melodies are calmer.
7 Instrumental music
Compositions of this music directions are performed with the help of musical instruments, and the human voice does not take any part in this. MI can be solo, ensemble and orchestral.
Instrumental music is one of the best "background" styles. Melodies based on live instruments and modern hits are ideal for calm radio stations, and listening to them gives harmony while working and relaxing.
8 folk music
Quite a popular style is folk music related to musical folklore. Compositions are the musical and poetic creative ideas of the people, which are passed down from generation to generation. Traditional melodies are usually created by the rural population. Such direction of music a weighty opposition to popular and academic singing.
The texts are based on various motives, ranging from warm love relationships to terrible and terrible military events.
9 Electro
Electronic music is a fairly broad genre, the melodies of which are created using electronic musical instruments and computer technology. This style has various directions, ranging from experimental academic songs to popular electronic dance tracks.
Electronic music combines the sounds generated by electronic technology and electromechanical musical instruments (telarmonium, Hammond organ, electric guitar, theremin and synthesizer).
10 Trance Music
Trance is a type of electronic music characterized by an artificial sound, emphasis on harmonics and timbres, and a relatively fast tempo (between 120 and 150 beats per minute). Usually trance is used for various dance events.
If you start to continue this list, it will be endless, as hundreds of different styles and sub-styles appear from year to year. We also wanted to note that our list did not include such styles of music as:
- disco
- techno
- country music
- lounge
- trance
We will be glad if you leave your comments and add to the list!
