Melody and accompaniment as a background in a piece of music. Glossary of musical terms

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The presentation for the music lesson is intended for mastering the topic “Means of musical expression” in the second grade of a comprehensive school. The lesson provides for the use of communicative-dialogue technologies of developing education. A fragment of the student’s “Workbook” corresponding to this topic has been developed for the lesson materials (Annex 1).

Planned personal results:

• in the value-oriented sphere - the formation of artistic taste in communication with musical works (P.I. Tchaikovsky "Waltz", H. Wolf "Gardener", F. Schubert "Trout");
• in the labor sphere - the use of expressive means in creative and performing activities on musical material (performing rhythmic accompaniment to the song by V. Shainsky “The world is like a colored meadow”);
• in the cognitive sphere - the ability to cognize the world through musical images (dance, horse race, murmur of water).

Planned metasubject results:

• active use of intellectual operations (comparison of the role of accompaniment in "Waltz" by P.I. Tchaikovsky and the song "Gardener" by H. Wolf, analysis of visual and expressive possibilities of accompaniment);
• formation of key competencies: communication skills(development of students' ability to express their thoughts and impressions about music in the process of finding answers to questions).

Planned subject results:

• in the cognitive sphere - awareness of the features of the musical language, artistic means of expression (accompaniment), the specifics of the musical image (dance - in "Waltz" by P.I. Tchaikovsky, horse racing - in the song "The Gardener" by H. Wolf, the murmur of water - in the song " Trout” by F. Schubert);
• in the value-oriented sphere - awareness of the value musical culture different peoples of the world and the place in it of domestic musical art;
• in the communicative sphere - the development of dialogue forms of communication with works of musical art (statement of hypotheses, assumptions about musical accompaniment in the works of P.I. Tchaikovsky and H. Wolf);
• in the aesthetic sphere - finding associative links and understanding their role in creative and performing activities (the role of accompaniment in music and the background in painting);
• in the labor sphere - the use of expressive means in creative and performing activities on musical material (expressive performance of the songs “The World is Like a Colored Meadow” and “Song-Spore”).

• development of figurative and associative thinking, creative imagination;
• education of emotional and valuable attitude to music; musical taste of students;
• mastering knowledge about the features of the musical language; about the impact of music on a person; about its relationship with other arts and life.

Learning objectives:

• mastering the concept of “accompaniment” and getting to know its types and functions;
• emotional-figurative perception and characterization of the works of P.I. Tchaikovsky "Waltz" and H. Wolf "Gardener";
• expressive performance of the songs of G. Gladkov “Song-argument” and V. Shainsky “The world is like a colored meadow”;
• repetition of the concepts of “rhythm” and “pause”, the theme of “duration of notes”;
• familiarity with the duration of pauses;
• performance of rhythmic accompaniment to the song by V. Shainsky “The world is like a colored meadow”;
• observation of how the accompaniment affects the figurative content of a musical work on the example of F. Schubert's song "Trout".

Lesson equipment:

• Computer
• CD player
• projection system
• Children's noise instruments: bells, maracas, drum, bell.

DURING THE CLASSES

The lesson opens by inviting students to joint successful activities. The teacher demonstrates the presentation “Musical intonation”. Presentation slides change on click. All lettering and illustrations appear on click. Through hyperlinks transition to different types of activities in the lesson. The presentation presents the main activities in a music lesson: choral singing, mastering musical literacy, perception of music and thinking about it, plastic intonation. Thanks to hyperlinks, the teacher can use the proposed order of activities, change it or reduce their number.

The teacher invites students to perform G. Gladkov's song “Song-argument”. Children sing a song: boys - their part, girls - theirs. (During the song, the slides change automatically.) The teacher draws the attention of the children to the fact that the dialogue of boys and girls was performed against the background of sounding music, which helped singing. It is called "musical accompaniment". The teacher informs the students that the word "accompaniment" in French means "accompaniment". ( On Click an image of the family appears: the parents accompany the boy.) The teacher asks the children: “What accompanies the accompaniment?”. Children answer: "Song." After all, they had just performed the "Song-Argument" with accompaniment. The teacher corrects what the students have done melody songs. But instead of boys and girls, the melody of this song could be played on some musical instruments. For example, the clarinet could play for the boys, and the flute for the girls. Thus, the teacher leads the children to the conclusion that the accompaniment accompanies the melody of a voice or an instrumental work. ( On Click a reproduction of a picture appears in which a girl plays the piano.) Along the way, the teacher asks what is more important - the melody that the guys performed themselves, or the accompaniment? Students answer that the melody is more important. The teacher invites the children to reason: if the melody is more important, then maybe try to do without accompaniment? Why do you need accompaniment? You can sleep without it. The guys answer that without music it is not interesting to sing, it is difficult; music is better. The teacher agrees and draws the attention of the children to the fact that in painting there is also something similar to melody and accompaniment. He suggests, as an example, to carefully consider the painting by I. Aivazovsky “Approaching a Storm” and think: what in the picture can be compared with a melody, and what with an accompaniment? ( On Click a reproduction of the painting appears.)

Students answer that the ship resembles a melody, and the sea and sky are an accompaniment. The teacher suggests leaving only the “melody” in the picture - the ship, and removing the “accompaniment” - the sea and the sky. ( On Click a white sheet appears with a ship in the center.)

The children did not like the picture. The teacher agrees with the guys and offers to return the "accompaniment" - the background, but at the same time removes the ship. ( On Click a picture of the sea and sky appears, but without a ship.)

He asks the children: “Maybe this is better: the sea and the sky without a ship? After all, the picture is called "Approaching the storm." Why does it need a ship?” Students disagree: the picture needs both a ship and a sea. ( On Click the picture without the ship disappears). The teacher returns the children to music: both melody and accompaniment are also important in it.

The teacher asks which instruments most often accompany singing in a music lesson or at home with family? The guys answer: piano, guitar ... (On Click paintings appear depicting a guitar, piano, accordion.) The teacher adds that the accompaniment can be performed by an orchestra (symphony, jazz, strings) or an ensemble. (On Click paintings appear depicting a pianist accompanied by a symphony orchestra, string and jazz ensemble.)

“Do you know what the accompaniment was before?” the teacher asks. And he reports that a long time ago, clapping your hands or beating the rhythm with your foot could accompany the performance of folk songs. Often the melody was accompanied by the sound of a percussion instrument, such as a tambourine. ( On Click corresponding drawings appear.) This was the accompaniment. Then the accompaniment was simply the repetition of the same melody by other instruments. And 300 years ago, an accompaniment appeared that supported the melody, but was recorded under it with numbers denoting chords. Therefore, the musicians had to decipher these numbers using their imagination, taste and skill. And only at the time when Mozart and Beethoven lived did the composers begin to record the accompaniment in full. Another 100 years later, in instrumental and vocal music, the accompaniment began to “speak out” what the soloist “left out” or create musical illustrations for the content of the work. That is, the accompaniment sometimes became an equal partner of the melody. So the teacher leads the students to answer the question about the role of accompaniment. He can be a helper and partner. (On Click corresponding drawings appear: a boy with a dog (assistant) and two children (partners).)

The teacher invites students to listen to musical works and determine the role of accompaniment in them. ( On Click sounds "Waltz" P.I. Tchaikovsky from the piano cycle "Children's Album".) Children listen to music. To the question of the teacher, what role does the accompaniment play in P.I. Tchaikovsky's "Waltz", the students answer that in this work the accompaniment is an assistant to the melody. ( On Click the word “assistant” moves to the picture “Waltz” by A. Lyamin.) On the next slide, the children will have a musical example of “Waltz” by P.I. Tchaikovsky and the question: “Which line is the accompaniment written on?”. Children answer that it is written on the bottom line. ( On Click on the musical example, the inscriptions “accompaniment” appear on the bottom line and “melody” on the top.)

The teacher praises the students for their answers. He draws their attention to the fact that the melody is interrupted by short pauses; stresses - accents - are placed by Tchaikovsky on the second beat. This waltz is not easy to dance. Especially since it sounds at a very fast pace. The teacher informs the children that the bass and two chords in the accompaniment are typical of the waltz. Together with the melody, they create a feeling of smooth circular motion. Thanks to the deep bass, the melody can float freely, and the dancers will not lose their rhythm.

The teacher invites the children to listen to H. Wolf's song "Gardener" and continue the conversation about the role of accompaniment. ( On Click a song sounds.) Children listen to music. Before answering the question about the role of accompaniment, the teacher invites students to choose a musical example with a rhythmic accompaniment pattern for the song “Gardener” and explain their answer.

The teacher clap illustrates both musical examples. Children choose example “B” because the rhythm in it is more abrupt. (On Click note example “B” increases.) The teacher asks what the accompaniment represents. The guys answer that it looks like a horse race. ( On Click a picture of a galloping horse appears.) The teacher slaps the rhythmic pattern of the song's accompaniment again and invites the students to repeat it. The children are doing the task. Before answering the question about the role of the accompaniment, the teacher asks who is performing the song, who is he singing about, what can we imagine? The guys answer that the gardener sings the song. He sings about a beauty that he liked. This beauty is riding a white horse. The teacher brings the students back to the question of the role of accompaniment. Children report that the accompaniment in this song plays the role of a partner, because it depicts a horse galloping. ( On Click the word “partner” moves to K. Bryullov’s painting “Riders”.) The teacher praises the children. He invites them to perform their favorite song “The world is like a colored meadow” and pay attention to the role of accompaniment in it.

Children sing a song, in the chorus they clap their hands after each line. (Slides change automatically and are accompanied by funny pictures corresponding to the content.) After the performance, the students answer that the accompaniment plays the role of an assistant. The teacher thanks the children and informs them that they have now created a rhythmic accompaniment to the song by clapping. He proposes to continue embellishing the song with rhythmic accompaniment.

Students see on the slide parts for a tambourine, maracas, drum, bell.

They studied note durations in the previous academic quarter. And the signs of pauses are not yet familiar to them. There is a difficulty. To overcome this difficulty, the teacher suggests remembering what rhythm is. Children answer that these are different notes: long and short. The teacher adds: "... and pauses." ( On Click a definition of rhythm appears.) When asked by the teacher about pauses, the guys report that a pause is a stop, silence. ( On Click the definition of a pause appears.) The teacher invites students to recall all the note durations they know, reminds them that the longest note is a whole note. In the previous quarter, children compared a whole note to an orange, which they then divided into parts: into halves, quarters, eighths and sixteenths. Students name each note in turn. ( On Click orange is divided into parts. The corresponding note names and musical notation appear on the left half of the slide.) And the teacher reports that they correspond to pauses of exactly the same duration. After all, a pause can replace a note.

A whole rest is the longest, so it “hangs” off the musical scale. ( On Click pauses appear in turn.) But a half pause “held” on the ruler, because it is half shorter than the whole one. So in appearance they can be distinguished from each other. The quarter pause cannot be confused with any other. The eighth rest has one “hook”, like an eighth note has one tail. And the sixteenth has two. The teacher asks: “What is the name of the pause with three “hooks”?”. Children answer: “Thirty-second”, because they answered a similar question when they studied the duration of notes. Thus, new knowledge about the durations of pauses is introduced based on the already existing knowledge about the durations of notes.

After that, students are invited to return to decorating the song “The world is like a colored meadow” - to perform the simplest rhythmic accompaniment on children's noise instruments. Children have to keep the rhythm throughout the whole verse or verse. The children master the rhythmic pattern of each instrument in turn. (On the slide on click rhythmic groups for bells, maracas, drum, bell appear in turn. The teacher can choose other instruments that are available in the music room. The sound of the song is turned on with the trigger arrow.) The teacher emotionally supports the efforts of the children. The song "The world is like a colored meadow" sounds. Students perform rhythmic accompaniment on noise instruments, repeating their rhythmic group several times. The teacher thanks the children. He explains to them that now the guys can independently come up with rhythmic accompaniment to their favorite songs, using the durations of notes and pauses known to them.

Summing up the conversation about musical accompaniment, the teacher invites students to answer the quiz questions. Students will write their answers in their workbook. (Annex 1). (Correct answers appear on the presentation slides on click only after the answers of the children. Thus, all students work individually, and the test is carried out collectively.)

What is "accompaniment"? The guys write down the word “accompaniment” in the workbook. ( On Click the word “accompanying” appears.)

What musical instruments can accompany the song? Students perform Exercise 1: choose from the proposed instruments and emphasize: button accordion, trumpet, piano, drum, guitar, horn. ( On Click piano, guitar, button accordion stand out from the pictures with musical instruments.)

Which instrument does the orchestra accompany? ( On Click sounds “Neapolitan dance” from the ballet “Swan Lake” by P.I. Tchaikovsky. The slide shows a violin, trumpet, piano, drum, guitar, saxophone.) The guys have to choose a picture depicting a solo instrument. The teacher listens to the answer of the student who first raised his hand. ( On Click a trumpet stands out from the pictures with musical instruments.)

What notes correspond to these pauses? Students perform Task 2: use arrows to connect the pauses and their corresponding note durations. (After completing the task on click pauses are alternately connected by arrows to their corresponding notes.)

What role can accompaniment play? The guys answer that he can be an assistant or partner. ( On Click captions appear above the pictures.)

What role does the accompaniment play in the song “Gardener” by H. Wolf and “Waltz” from the “Children's Album” by P.I. Tchaikovsky? Students perform Task 3.: write the words “assistant” and “partner” opposite the indicated works. Children answer: in “Waltz” - an assistant, and in the song “Gardener” - a partner. (After students answer on click inscriptions appear under the paintings depicting horsemen and dance.)

What is the role of accompaniment in the song "Trout"? The teacher explains to the children that trout is a beautiful fish that swims in clear water. She is very difficult to catch. But if you stir up the water, the trout will not see the fishing line. At this point, it's easy to catch her. The teacher offers to listen to F. Schubert's song. ( On Click the song “Trout” sounds.) The guys finish writing in Task 3. the word "partner". ( On Click the word “partner” appears with magnification.) The teacher agrees and draws attention to the fact that the accompaniment paints a whole picture of catching fish in the song. The accompaniment changes depending on the content of the song. Children say that he depicts the movement of a fish, the murmur of water, the brilliance of the sun.

The teacher approves the students' answers - they successfully completed the quiz questions and showed that they understand the role of accompaniment in a piece of music. The teacher sums up, evaluates the work of the children in the lesson and thanks them for their cooperation. As homework, he asks students to color the bouquet of flowers and the accompaniment” (background) to it, using only the colors of the rainbow for the “accompaniment”.

Literature

1. Mikheeva L.V. Musical vocabulary in stories. M., Soviet composer, 1984.
http://dizlion.at.ua/news/2010-02-07-87

Here is an example that is probably familiar to everyone. At the singing lesson, the teacher is learning a new song. First she plays a melody, the students repeat it. Then, when the melody is well remembered, the class sings it in chorus, and the teacher plays the piano. She accompanies, that is, she accompanies the singing with her playing. The word "accompagner" is French and means "accompany". With accompaniment in music one has to meet very often. Singers sing to the accompaniment of a grand piano or piano, an instrumental ensemble or an orchestra, or even an accordion or a guitar. Piano accompaniment is played by violinists, cellists and wind instruments performers. But not every combination of a piano with another instrument turns out to be an accompaniment. Sometimes the sheet music is written, for example: "Sonata for Violin and Piano". Or "Piece for Flute and Piano". This means that the piano in this case does not play a secondary, accompanying role, but acts as a full partner. It is no coincidence that there are two different academic disciplines in music schools: accompaniment and ensemble.

Watch value Accompaniment in other dictionaries

Accompaniment— accompaniment
Synonym dictionary

Accompaniment M.— 1. Musical accompaniment of a solo vocal or instrumental part, the main theme or melody of a musical work. 2. trans. Action, phenomenon, accompanying ........
Explanatory Dictionary of Efremova

Accompaniment- -A; m. [ital. accompagnamento].
1. Musical accompaniment to the solo part of a voice or instrument, as well as to the main theme, melody of a musical work. Write a.........
Explanatory Dictionary of Kuznetsov

Accompaniment- (French accompagnement - from accompagner - to accompany), 1) harmonic and rhythmic accompaniment of the main melodic voice. 2) Accompaniment by one or more instruments, ........
Big encyclopedic dictionary

Accompaniment- (French accompagnement, from accompagner - to accompany; Italian accompagnamento; English accompaniment; German Begleitung). 1) An instrument part (e.g., piano, guitar, etc.) or an ensemble instrument part (singer..........
Music Encyclopedia

Listening to music of various genres, styles and eras, one can notice that the main musical theme (melody) is often accompanied and decorated with undertones of secondary importance. It is this addition and the peculiar sounding of the melody that is called accompaniment.

Musical accompaniment

Translated from French, accompaniment means accompaniment. That is, accompaniment in music is the accompaniment of a solo part by several others. It can vary and change, while the melodic line must remain unchanged.

It is interesting that accompaniment is not always musical parts. It can also be expressed in rhythmic clapping, imitation of the sounds of nature, etc.

What is accompaniment? In its classical manifestation, it is possible only in a homophonic-harmonic musical presentation, when a melody performed by a solo vocalist or instrumentalist must be sounded using one or more instruments, for example, a piano, guitar, button accordion, accordion, instrumental or vocal ensemble, choir, orchestra.

Homophony is one of the types of polyphony, where parts are divided into main and secondary parts.

Depending on the time period and country, the accompaniment in different times had a different shape. For example, in African countries from time immemorial to the present day, the melody is accompanied by the rhythms of ethnic drums.

In the Middle Ages, the main part was amplified with the help of vocal or instrumental octave doubling.

During the period of Classicism in Western Europe, vocalists, violinists, oboists and other instrumentalists were accompanied by a harpsichord.

In Russia, this function was taken over by such instruments as button accordion, balalaika and gusli.

In Ukraine, these are kobza, bandura, cymbals, domra, etc.

Since the era of Romanticism and to this day, most often you can hear solo parts accompanied by piano or guitar. The most luxurious accompanists are vocal and instrumental ensembles, orchestras and choirs.

Role of accompaniment

V. Dahl's dictionary also contains the answer to the question "What is accompaniment?". Here it is characterized as a musical accompaniment, an echo for the main part / melody. It enriches the artistic perception of the work as a whole.

Starting from the 16th century, with the development of the foundations of harmony, musical accompaniment acquires the character of a well-coordinated harmonic support and melody edging.

During the above period, accompanists were issued only bass line with the designation of chords using numbers (bass general).

Starting with the Classical composers Haydn, Mozart and Beethoven, all voices and rhythmic patterns began to be completely written out in the accompaniment, which makes it possible for the music to be reproduced invariably by different performers.

The most common types of accompaniment:

• Chord accompaniment. Often found in dramatic, chamber, symphonic and operatic music. With the help of such accompaniment, modal and tonal inclinations are clearly emphasized, which expresses the emotional mood of the music.
• Accompaniment of pulsating chords. It is possible in works of various nature and content. The pulsation can be both saturated and fast, and soft, calm. With this presentation, arpeggiated turns are often used, connecting into chords.
• Alternating bass line with middle voices. Assumes, as it were, the stepping movement of the bass and chord.
• Also, accompaniment is often used, in which the melodic part is duplicated.

Today, all children studying music know from an early age what accompaniment is. Vocalists, string players, wind players and populists from the first grades learn to play with piano accompaniment, and pianists and guitarists learn the art of accompanists, which greatly develops the sense of the ensemble and harmonic ear.

Electronic accompaniment programs

Today, there are many programs for automatic electronic accompaniment, such as Bestfree, ChordPulse, Soundsmith, Band-in-box, etc.

The performance of the accompanist and the soloist must be the same in dynamic, metric, tempo and emotional terms. Only in this case, the work will sound organic, harmonious and beautiful.

Accompaniment

ACCOMPANIMENT -a m. accompagnement m., it. accopagnamento. 1200. Lexis. 1 . music Harmonic processing basic melodies; instrumental accompaniment to the lead melody. Sl. 18. 70 sonatas with accompaniment and without onago. Book. music 16. She recitative is accompanied by different instruments, and sometimes only by bass. In the first case, this is called accompagnement. Clavichord. school 155. I send the opera Two Miserly Accompaniments. ADT 550. Sonata means a composition for some musical instrument with or without accompaniment by another. Jan. 3 705. They The girls sang, alternately, without accompaniment, true and loud. 1844. Matveev Excerpts 64. The second verse was sung by Panshin with special expression and power: in the stormy accompaniment one could hear the overflow of waves. Turg. Nobles. nest. Acompany(e)ment. Essence, the very music of polyphony, whether composed or performed, voice, second. Dal. || obsolete Same as accompaniment. BAS-2. Singers and singers loved his Mussorgsky very much and cherished his accompaniment. Roman - Kors. Letop. my music. life. What an expression "the accompaniment of an orchestra!" It's time to quit! Let the piano accompany, but is it a decent thing for forty musicians to "accompany" one. Today, concerts should begin with the orchestra, not the accompaniment of the orchestra. 1875. Cui 96.

2. trans. Actions, phenomena, persons, etc., accompanying something or someone, creating a background for something. I do not think that the figure of my doctor could be more vile in nature, and I do not think that the accompaniments of Dr. invited doctors could be uglier. 1789. Vasilchikov Sem. Intelligence. 1 410. Loud laughter, the accompaniment to this comforting apothegma, broke out of my chest. V. G. TEPLYAKOV. // Prose of poets 21. The tasks of the corps de ballet in the performance were reduced mainly to the background for the dances of the ballerina or soloists, to the accompaniment. Fokin against the current. I have long been a soloist and do not expect accompaniment, I drink alone. Leskov On knives. - You, Artyukh, do not be angry! It’s more convenient for us to speak under the vino, for us it is instead of accompaniment, out of habit. Y. Mark Kord. // Star 1931 5 203. || In a broader sense, in an artistic ensemble visual arts- elements of the composition that create the effect of chords: simultaneous perception of contrasting themes. In the material, pragmatic sense, an accompaniment can be called a set, a set of products of decorative or applied art in an architectural interior, jewelry in costume, decorative painting and statues in architecture. Pavlov 8-1 109. - Lex. Jan. 1803: accompaniment; Ents. lex. 1935: accompaniment; SAN 1847: accompaniment e/ nt; Dal-2: accompaniment e/ nt and accompanist e/ nt; SAN 1891: accompaniment e/ nt; Sl. 18: accompaniment e/ nt 1799, acco-1806, pimento 1795, accompaniment 1796.

Historical Dictionary of Gallicisms of the Russian Language. - M.: Dictionary publishing house ETS http://www.ets.ru/pg/r/dict/gall_dict.htm. Nikolay Ivanovich Epishkin [email protected] . 2010 .

See what "accompaniment" is in other dictionaries:

ACCOMPANIMENT- (fr. accompagnement, from accompagner to accompany). Playing an instrument that accompanies singing or playing solo on another instrument. Dictionary foreign words included in the Russian language. Chudinov A.N., 1910. ACCOMPANIMENT playing on ... ... Dictionary of foreign words of the Russian language

accompaniment- Cm … Synonym dictionary

Accompaniment- (accompagnamento) accompagnement) is a musical term denoting the accompaniment of melodies, aimed primarily at its harmonic decoration, as well as supporting vocal parts with instruments. The accompaniment is harmonic, consisting of ... ... Encyclopedia of Brockhaus and Efron

accompaniment- ACCOMPANIMENT, accompaniment, accompaniment ACCOMPANI, play along / play along ... Dictionary-thesaurus of synonyms of Russian speech

ACCOMPANIMENT- (French accompagnement, from accompagner to accompany), musical accompaniment (instrumental or vocal) of a solo part or parts (for example, a piano part in a romance) ... Modern Encyclopedia

ACCOMPANIMENT- (French accompagnement from accompagner to accompany), 1) harmonic and rhythmic accompaniment of the main melodic voice. 2) Accompaniment by one or more instruments, as well as an orchestra of a solo part (singer, instrumentalist, choir ... Big Encyclopedic Dictionary

ACCOMPANIMENT- ACCOMPANIMENT, husband. Musical accompaniment. Sing under a. piano. Under a. rain (trans.: at the sound of rain). | adj. accompaniment, oh, oh. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 ... Explanatory dictionary of Ozhegov

Accompaniment- (French accompagnement, from accompagner to accompany), musical accompaniment (instrumental or vocal) of a solo part or parts (for example, a piano part in a romance). … Illustrated Encyclopedic Dictionary

Accompaniment- Typical accompaniment for an aria or concerto by Mozart. Play ... Wikipedia

Accompaniment- (accompagnamento, accompagnement) a musical term denoting the accompaniment of melodies, aimed primarily at its harmonic decoration, as well as supporting vocal parts with instruments. The accompaniment is harmonic, consisting of ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

Books

• Self-instruction manual for playing the six-string guitar: song accompaniment (+ CD-ROM), Peterson A.V. and for ... Buy for 331 rubles
• My favorite songs. I'm learning to pick up an accompaniment... with tips. Tutorial. Issue 1, A. Amazaryan, G. Danilenko. "Useful notebook" on solfeggio is intended for students of junior and secondary music school classes and DSHI. It contains favorite children's songs, many of which are remembered from childhood even by adults. On the…

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BRIEF GLOSSARY OF MUSICAL TERMS

Accompaniment(French accompagnement - accompaniment) - musical background to the main melodies, which is of secondary importance in the work.

Chord(it. accordo, fr. accord - agreement) - consonance, the sound of several (at least three) musical tones, taken, as a rule, simultaneously. A. are divided into consonant and dissonant (see. consonance And dissonance).

Act(lat. actus - action) - a relatively completed part theatrical performance (operas, ballet etc.), separated from another of the same part by a break - intermission. Sometimes A. is divided into paintings.

Ensemble(fr. ensemble - together) - 1. The name of a relatively independent musical episodes V opera, representing the simultaneous singing of two or more singers, vocal parts which are not identical; according to the number of participants A. are divided into duets, trio or tercetes, quartets, quintets, sextets etc. 2. Play, intended for joint performance by several musicians, most often instrumentalists. 3. The quality of joint performance, the degree of coherence, unity of the overall sound.

Intermission(French entr'acte - letters, interaction) - 1. Break between acts theatrical performance or branches concert. 2. Orchestral introduction to one of the acts, except for the first (cf. overture)

Arietta(it. arietta) - small aria.

Arioso(it. arioso - like an aria) - a variety arias, characterized by a freer construction, more closely connected with the previous and subsequent musical episodes.

Aria(it. aria - song) - developed vocal episode in opera, oratorios or cantata sung by one singer accompanied by orchestra, which has a wide range melody and completeness of the musical forms. Sometimes A. consists of several contrasting(see) sections. Varieties A. - arietta, arioso, cavatina, cabaletta, canzone, monologue etc.

Ballet(fr. ballet from it. ballo - dance, dance) - a major musical choreographic(cm.) genre, in which the main artistic means is dance, as well as pantomime, presented on the theater stage in a picturesque decorative design accompanied by orchestral music. B. in the form of independent dance scenes is sometimes part of operas.

Ballad(French ballade, Italian ballare - to dance) - originally the name of the Provencal (France) dance songs; then - literary and poetic genre connected with folk legends or telling about the events of the past. From the beginning of the XIX century. - designation vocal and instrumental plays narrative warehouse.

Baritone(Greek barytono - heavy-sounding) - male voice of the middle between bass And register tenor; another name is high bass.

Barcarolle(from it. barca - boat, barcaruola - song of the boatman) - genus songs, common in Venice, and also the name vocal and instrumental plays contemplative melodious character with a smooth, swaying accompaniment; size 6/8. Another name for B. is a gondolier (from the Italian gondola, a Venetian boat).

Bass(it. basso - low, Greek basis - basis) - 1. The lowest male voice. 2. Common name for low register of orchestral instruments (cello, double bass, bassoon, etc.).

Bolero(Spanish bolero) - spanish dance, known since the end of the 18th century, of moderately fast movement, accompanied by the blows of castanets; size 3/4.

Bylina- a work of Russian folk epic, a story about old days, about the exploits of folk heroes-bogatyrs. B. has the character of a leisurely smooth recitative like a sung speech; sometimes accompanied by playing the harp and other musical instruments.

Waltz(French valse, German Walzer) is a dance that originated from Austrian, German and Czech folk dances. V. is danced in pairs in a smooth circular motion; size 3/4 or 3/8, pace varying from very slow to very fast. Thanks to its special figurative and expressive possibilities, dance became widespread from the middle of the 19th century not only as a dance and concert(cm.) genre but also as an important component of music operas, ballet, symphonies and even chamber — solo And ensemble(see) works.

Variations(lat. variatio - change) - a piece of music based on a gradual change set out at the beginning Topics, during which the original image is developed and enriched without losing its essential features.

Virtuoso(it. virtuoso - lit. valiant, courageous) - a performing musician who is fluent in his instrument or voice, easily, brilliantly overcoming any technical difficulties. Virtuosity is the skill and technical perfection of musical performance. Virtuoso music is music replete with technical difficulties, requiring brilliant, spectacular performance.

Vocal music(from it. vocale - voice) - music for singing - solo, ensemble or choral(see) with accompaniment or without it.

Introduction- the initial section, directly introducing into any vocal or an instrumental piece, painting or Act musical and theatrical performance.

Gavotte(fr. gavotte) - an old French dance of folk origin; subsequently, from the 17th century, it entered into court use, in the 18th century it took its place in the dance suite. G.'s music is energetic, moderately fast movement, meter 4/4 with a characteristic two-quarter upbeat.

Harmony(Greek harmonia - proportionality, consistency) - 1. One of the expressive means of musical art, associated with chordal(see) combinations of tones and their sequences accompanying the main melody. 2. The science of chords, their movement and connections. 3. The name of individual chord sound combinations when characterizing their expressiveness (“hard harmony”, “light harmony”, etc.). 4. The general designation of the range of chordal means characteristic of a particular work, composer, musical style(“Mussorgsky's harmony”, “romantic harmony”, etc.).

Hymn(Greek hymnos) - a solemn laudatory chant.

Grotesque(French grotesque - bizarre, ugly, strange) - an artistic device associated with a deliberate exaggeration or distortion of the real features of the image, which gives it a bizarre, fantastic, often caricature-humorous, sometimes frightening character.

Gusli(from Old Russian gusel - string) - an old Russian folk instrument, which is a hollow flat box on which metal strings are stretched. Playing the G. was usually accompanied by the performance of epics. The performer in G. is a harpist.

Declamation— artistic reading poems or prose in an emotionally uplifting manner. D. musical - correct reproduction in recitative characteristic intonations - rises, falls, accents, etc. - expressive human speech.

woodwind instruments- the general name of a group of instruments that includes a flute (with varieties of flute-piccolo and alto flute), oboe (with varieties of alto oboe, or English horn), clarinet (with varieties of clarinet-piccolo and bass clarinet), bassoon (with variety of contrabassoon). D. d. i. are also used in brass bands, various chamber ensembles And How soloists(see) tools. In the orchestral score group D. d. and. occupies the top lines, placed in the above order.

Decimet(from lat. decimus - tenth) - operatic or chamber ensemble ten participants.

Dialogue(Greek dialogos - a conversation between two) - scene- a conversation between two characters operas; roll call of alternating short musical phrases as if responding to each other.

Divertissement(French divertissement - entertainment, entertainment) - a piece of music built like suites, consisting of several diverse, mainly dance, rooms. D. is also called a separate instrumental play entertaining character.

Dynamics(from the Greek dynamikos - power) - 1. Strength, loudness of sound. 2. Designation of the degree of tension, the effective aspiration of the musical narrative (“the dynamics of development”).

Dramaturgy- Literature that involves the stage incarnation; the science of the laws of construction dramatic play. In the 20th century, the term D. began to be applied also to the musical and theatrical art, and then to large instrumental and symphonic works that were not connected with the stage. D. musical - a set of principles for the construction and development of music operas, ballet, symphonies etc. with the aim of the most logical, consistent and effective embodiment of the chosen plot, ideological concept.

Thought, thought— narrative Ukrainian folk song free recitative-improvisational warehouse with tool support. Usually D. is devoted to the story of historical events, but sometimes it acquires the features of a sincere, sad song of a purely lyrical content.

Brass band— orchestra, consisting of copper And woodwinds And percussion tools. Before. has a powerful, bright sonority.

Wind instruments- instruments, different in shape, size and material, which are a tube or a set of tubes that sound due to the vibrations of the air column enclosed in them. According to the material and method of sound extraction D. and. divided into copper And wooden. Among D. and. belongs also organ.

Duet(from lat. duo - two) - operatic or chamber ensemble two participants.

duetino(it. duettino) - small duet.

Genre(French genre - type, manner) - 1. The type of musical work, determined by various criteria: by the nature of the subject (for example, J. epic, comic), the nature of the plot (for example, J. historical, mythological), the composition of the performers (e.g., F - operatic, ballet, symphonic, vocal(see), instrumental), the circumstances of the performance (for example, J. concert, chamber(see), household), features of the form (for example, Zh. romance, songs, instrumental or orchestral miniatures), etc. 2. Genre (in music) - associated with characteristic features folk household musical genres. 3. Genre scene - everyday scene.

Chorus- Start choral song, performed by one singer - the lead singer.

Singspiel(German Singspiel from singen - to sing and Spiel - game) - kind comic opera , which combined colloquial dialogues with singing and dancing; greatest development Z. received in Germany and Austria in the 2nd half of the XVIII and early. XIX centuries.

Improvisation(from lat. improvisus - unforeseen, unexpected) - creativity in the process of execution, without prior preparation, by inspiration; also a characteristic of a certain kind of musical works or their individual episodes, characterized by whimsical freedom of presentation.

Instrumentation- the same as orchestration.

Sideshow(lat. intermedia - located in the middle) - 1. A small musical play, placed between the more important parts of a large work. 2. Plug-in episode or scene in a major theatrical work, suspending the development of the action and not directly related to it. 3. Binder episode between two Topics V fugue, a passing episode in an instrumental piece in general.

Intermezzo(it. intermezzo - pause, intermission) - play linking more important sections; also the name of separate, mainly instrumental, pieces of various nature and content.

Introduction(lat. introductio - introduction) - 1. Small size opera overture, directly put into action. 2. The initial section of any plays, which has its own pace and the nature of the music.

cabaletta(from it. cabalare - fantasize) - a small opera aria, often of a heroically upbeat nature.

Cavatina(it. cavatina) - a kind of opera arias, characterized by a freer construction, lyrical melody, lack of tempo(see) contrasts.

Chamber music(from it. camera - room) - music for soloists(see solo) instruments or voices, small ensembles designed for performance in small concert halls.

Canon(Greek kanon - rule, pattern) - a kind of polyphonic music based on the alternate entry of voices from the same melody.

Kant(from lat. cantus - singing) - in Russian, Ukrainian and Polish music of the 17th-18th centuries, lyrical songs for a three-part choir without accompaniment; in the era of Peter I, greetings to K. vigorous marching(cm. march) character, performed on the occasion of official celebrations.

Cantata(from it. cantare - to sing) - a great work for singers - soloists, chora And orchestra, consisting of a number of numbers - aria, recitatives, ensembles, choirs. K. differs from the oratorio in the absence of a detailed and consistently embodied plot.

Cantilena(lat. cantilena - chanting) - wide melodious melody.

Canzona(it. canzone - song) - old name Italian lyric songs with instrumental accompaniment; later - the name of the instrumental plays melodious lyric.

canzonetta(it. canzonetta - song) - small canzone, melodious vocal or instrumental play small size.

Painting- 1. In a musical and theatrical work, a part act, separable not intermission, but a brief pause during which the curtain falls briefly. 2. The designation of instrumental-symphonic works, which are characterized by special concreteness, visualization of musical images; sometimes such works belong to genre of program music.

Quartet(from lat. quartus - fourth) - opera-vocal or instrumental (most often string) ensemble four participants.

Quintet(from lat. quintus - fifth) - opera-vocal or instrumental ensemble five participants.

Clavier(abbr. German Klavierauszug - piano extract) - processing, arrangement for piano work written for orchestra or ensemble, and operas, cantatas or oratorios(with preservation vocal parties).

Koda(it. coda - tail, end) - the final section of a musical work, usually of an energetic, impetuous nature, asserting its main idea, the dominant image.

Coloratura(it. coloratura - coloring, decoration) - coloring, variation vocal melodies in a variety of flexible, moving passages, virtuosic decorations.

Coloring(from lat. color - color) in music - the predominant emotional coloring of an episode, achieved using various registers, timbres, harmonic(see) and other expressive means.

Carol- the general name of the Slavic folk ritual songs pagan origin associated with the celebration of Christmas (new year's eve).

Composer(Latin compositor - composer, compiler, creator) - the author of a musical work.

Composition(lat. compositio - composition, arrangement) - 1. Musical creativity, the process of creating a musical work. 2. The internal structure of a musical work, the same as musical form. 3. A separate piece of music.

Contralto(it. contralto) - the lowest female voice, the same as in choir viola.

Counterpoint(from Latin punctumcontrapunctum - point against point, that is, note against note) - 1. The simultaneous combination of two or more melodically independent voices. 2. The science of the laws of the combination of simultaneously sounding melodies, the same as polyphony.

Contrast(fr. contraste - opposite) - bright means of expression music, which consists in the rapprochement and direct opposition of dissimilar, sharply differing in the nature of musical episodes. Musical figurative-emotional K. is carried out with the help of tempo, dynamic, tonal, register, timbre(see) and other oppositions.

Concert(from lat. concertare - to compete, it. concerto - consent) - 1. Public performance of musical works. 2. A large, usually three-part, work for soloist(see) tool with orchestra, brilliant, spectacular, with developed elements virtuosity, in some cases approaching in richness and significance of the ideological and artistic content to symphonies.

climax(from lat. culmen - top, top) - the moment of highest tension in the musical development.

couplet(fr. couplet - stanza) - repeated part songs.

banknote(fr. coupure - clipping, reduction) - reduction of a piece of music by removing, skipping any episode, V opera — scenes, paintings or act.

Lezginka- a dance common among the peoples of the Caucasus, temperamental, impetuous; size 2/4 or 6/8.

Leitmotif(German Leitmotiv - leading motive) - musical thought, melody associated in opera with a certain character, memory, experience, phenomenon or abstract concept that arises in music when it appears or is mentioned in the course of a stage action.

Landler(German: Ländler) is a German and Austrian dance of folk origin, the predecessor of waltz, lively, but not fast movement; size 3/4.

Libretto(it. libretto - notebook, little book) - full literary text operas, operettas; verbal presentation of content ballet. The author L. is a librettist.

Madrigal(it. madrigale) - a European polyphonic secular song of the 16th century, of an exquisite nature, usually of love content.

Mazurka(from Polish mazur - a resident of Mazovia) - a Polish dance of folk origin, lively, with a sharp, sometimes syncopated(cm.) rhythm; size 3/4.

March(fr. marche - walking, procession) - genre, Related to rhythm walking, characterized by a clear, measured, energetic movement. M. is marching, solemn, mourning; size 2/4 or 4/4.

Brass instruments— wind instruments, made of copper and other metals, forming a special group in the symphony orchestra, which includes horns, trumpets (sometimes partially replaced by cornets), trombones and tuba. M. d. and. are the basis brass band . In the symphony score group M. d. and. written under the group woodwind instruments, placed in the above order.

Meistersingers(German Meistersinger - master of singing) - in medieval Germany (XIV-XVII centuries) shop musicians.

Melodeclamation(from Greek melos - song and Latin declamatio - recitation) - expressive reading(most often poetry) accompanied by music.

Melody(Greek melodia - singing a song from melos - song and ode - singing) - the main idea of ​​a musical work, expressed in a monophonic chant, the most important means musical expressiveness.

Melodrama(from the Greek melos - song and drama - action) - 1. Part dramatic work accompanied by music. 2. A negative characterization of works or episodes, characterized by exaggerated sensitivity, sentimentality, bad taste.

Minuet(fr. menuet) - an old French dance, originally of folk origin, in the 17th century - a court dance, at the end of the 18th century it was introduced into the symphony cycle(cm. symphony). M. is distinguished by smooth and graceful movements; size 3/4.

Mass(fr. messe, lat. missa) - a large multi-part work for chora with instrumental accompaniment, sometimes with the participation of singers- soloists written in religious latin text. M. - the same as the Catholic mass, liturgy.

mezzo-soprano(from it. mezzo - median and soprano) - a female voice, in register occupying an intermediate position between soprano And contralto. mezzo soprano in chore- the same as alt.

Miniature(it. miniatura) - small orchestral, vocal(see) or an instrumental piece.

Monologue(from the Greek monos - one, speech uttered by one person) in music - one of the most effective solo vocal forms V opera, which usually captures the process of intense experience or reflection, leading to a decision. M., as a rule, is built from several non-identical, contrasting episodes.

Motive(from it. motivo - reason, motivation, and lat. motus - movement) - 1. Part melodies, which has an independent expressive meaning; a group of sounds is a melody united around one accent - stress. 2. In the common sense - a melody, a melody.

musical drama- originally the same as opera. In common sense, one of genres opera, which is characterized by the leading role of intense dramatic action that unfolds on the stage and determines the principles of musical embodiment.

Musical comedy- cm. operetta.

Nocturne(fr. nocturne - night) - the name of relatively small instrumental instruments that spread in the 19th century (rarely - vocal) plays lyrical-contemplative character with expressive melodious melody.

Number- the smallest, relatively complete, allowing separate, independent execution opera episode, ballet or operettas.

But no(from lat. nonus - ninth) - a relatively rare type of opera or chamber ensemble for nine participants.

Oh yeah(Greek ode) - the name of a piece of music borrowed from literature (more often - vocal) solemn laudatory character.

Octet(from lat. octo - eight) - ensemble eight participants.

Opera(it. opera - action, work, from lat. opus - labor, creation) - synthetic genre musical art, including dramatic action, singing and dancing, accompanied by orchestral music, as well as picturesque and decorative design. The opera is made up of solo episodes — aria, recitatives, and ensembles, choirs, ballet scenes, independent orchestral numbers (see overture, intermission, introduction). O. is divided into acts and paintings. How independent genre O. spread in Europe in the 17th century, in Russia from the middle of the 18th century. Further development led to the formation of various national styles and ideological and artistic types of opera art (see. O. big french, O.-buffa, O. comic, O. lyrical-dramatic, O. lyrical French, O. beggars, O.-series, O. epic, singspiel, musical drama, operetta). As a result of the diverse historical development Musical music became the most democratic genre among the complex monumental genres of musical art.

Grand Opera French(fr. grandopéra) - a variety that became widespread in the middle of the 19th century, which is characterized by the embodiment historical themes in a monumental, colorful performance rich in effective moments.

opera buffa(it. opera-buffa) - Italian comic opera that emerged in the first half of the 18th century. About. based on everyday stories, often acquiring a satirical coloring. Developed from the Italian folk "comedy of masks" (comediadelarte), O.-b. reflected the progressive democratic tendencies of the end of the 18th and the first half of the 19th century.

Opera comic- the general specific name of the opera genre that arose in Europe from the middle of the 18th century under the influence of democratic ideas as opposed to courtly aristocratic art. O. to. in different countries had different names: in Italy - opera buffa, in Germany and Austria singspiel, in Spain - tonadilla, in England - beggar's opera, or ballad song opera. O. c. is the generally accepted name for the proper French variety of this genre, which is characterized by the inclusion of colloquial dialogues.

Opera lyrical-dramatic- a variety developed in operatic art second half of the XIX century. For O. l.-d. characteristic is the foreground of dramatic, often tragic personal destinies and human relationships, shown against a realistically truthful life background, in-depth attention composer to the spiritual life of the characters, their feelings, psychological contradictions and conflicts.

French lyric opera- own name French lyric-dramatic opera.

Beggar's Opera(English beggarsopera) - English variety comic opera, in which folk songs were widely used - ballads.

Opera series(Italian operaseria - serious opera, as opposed to comic) - Italian opera of the 18th century, associated with the court-aristocratic environment. Based, as a rule, on mythological and historical-legendary subjects, O.-s. distinguished by the splendor of the production, masterly glitter vocal parts, but in its development was constrained by the conventions of plots, situations and characters.

Opera epic- a kind of classical opera, predominantly developed in Russia, characterized by the use of plots from the folk epos - legends, legends and examples of folk songwriting. Stage action and music of O. e. maintained in the spirit of a majestic, unhurried narrative. TO genre O. e. adjoins also an opera-fairy tale.

Operetta(it. operetta - small opera) - a theatrical performance that combines singing and dancing, accompanied by orchestra with conversational scenes, deriving from comic opera XVIII century. European O. of the 19th century is characterized by an abundance of comedic situations of a satirical or purely entertaining nature. In Soviet musical and theatrical art, O. is more often referred to as musical comedy.

Oratorio(from lat. oratoria - eloquence) - a large vocal and symphonic genre musical art, the works of which are intended to be performed chorus, soloists-singers and orchestra. O. is based on a certain plot that generally tells about the historical or legendary events of folk life, usually with a sublime, heroic coloring. The plot of O. is embodied in a number of completed solo, choral And orchestral(see) numbers sometimes shared recitatives.

Organ(from the Greek organon - instrument, instrument) - the largest of modern musical instruments that has existed and improved over many centuries. O, is a system of pipes that sound due to the blowing of a jet of air into them, produced mechanically. The presence of pipes of different sizes and shapes allows you to extract sounds of different heights and timbre. O. control is carried out using keyboards, manual (up to three manuals) and foot (pedal), as well as numerous switches registers. In terms of power and colorful richness of sound, the O. competes with the symphonic orchestra.

Orchestra(from the Greek. orchestra - in the ancient Greek theater, the place in front of the stage, which housed the choir) - a large group of musicians-performers, intended for the joint performance of musical works. Unlike ensemble, some parties in O. are performed simultaneously by several musicians like a monophonic chora. According to the composition of instruments, orchestras are divided into symphonic, brass, folk instruments, pop, jazz, etc. Opera opera, as well as symphony, consists of four main groups of instruments - groups woodwinds, brass, percussion, strings bowed, and also includes some single instruments that are not included in any of the groups (harp, occasionally piano, guitar, etc.).

Orchestration- creating an orchestral scores, the embodiment of musical thought by means of orchestral expressiveness. O. - the same as instrumentation.

Parody(Greek parodià, from para - against and ode - song, singing, letters, singing vice versa) - imitation for the purpose of distortion, ridicule.

Score(it. partitura - division, distribution) - musical notation ensemble, orchestral, operatic, oratorio-cantata(see) and other music that requires many performers. The number of P. lines is determined by the number of parties included in it - instrumental, solo vocal And choral, which are in a certain order.

The consignment(from lat. pars - part) - part of the music ensemble, operas etc. performed by one or a group of musicians or singers.

Pastoral(from lat. pastoralis - shepherd) - music, musical play or theatrical scene, expressed in gentle, lyrically soft contemplative tones, painting calm pictures of nature and an idealized serene rural life (cf. idyll).

Song- basic vocal genre folk musical creativity and related genre of vocal music in general. P. is characterized by the presence of a clear, convex, expressive and slender melodies, which has a generalized figurative-emotional content, embodies feelings and thoughts not individual person, but the people. The combination of these features is included in the concept of songwriting as a special means of musical expression, a special warehouse of musical thinking. Folk music, reflecting the most diverse aspects of the life of the people in an innumerable variety of varieties and genres, is the main source of musical art. In the development of folk poetry and the highly artistic refraction of its national characteristics, the greatest merit belongs to the Russians. classical composers. P. is widely represented in their works as household genre, at the same time song, the song beginning was the leading artistic device. In the narrow sense, P. is a small vocal piece with or without accompaniment, distinguished by its simplicity and melodically expressive melodiousness, usually in couplet form, as well as an instrumental piece of similar size and character.

subvoice- more or less independent melody accompanying the main tune in polyphonic music. The presence of developed P. is a characteristic feature of the Russian folk choral(see) music.

Polyphony(from Greek poly - many and phone - voice, letters, polyphony) - 1. Simultaneous combination of two or more independent melodies having independent expressive meaning. 2. The science of polyphonic music, the same as counterpoint.

prelude, prelude(from lat. prae - before and ludus - game) - 1. Introduction, introduction to the play or completed musical episode, opera stage, ballet etc. 2. A common name for small instrumental pieces of various content, character and structure.

Premiere- first show operas, ballet, operettas at the theater stage; the first public performance of a musical work (applies to major works only).

Chorus- Part songs, invariably, together with the same verbal text, repeated after each of its couplet.

Lamentations, lamentations— song crying, one of the most common pre-revolutionary Russia genres folk songs; usually has the character of a mournfully agitated recitative.

Prologue(from lat. prae - before and Greek. logos - word, speech) - an introductory part in a drama, novel, opera etc., introducing into the story; sometimes P. introduces the events that preceded the depicted.

musical development- the movement of musical images, their changes, collisions, mutual transitions, reflecting the processes that take place in the mental life of a person or the hero of a musical and theatrical performance, as well as in the surrounding reality. R. m. - important factor musical dramaturgy directing the listener's attention to the most important parts of the story. R. m. is carried out using a variety of compositional and expressive techniques; all means of musical expression are involved in it.

Requiem(from lat. requiem - peace) - monumental work For chora, soloists-singers and orchestra. Initially, R. is a mourning Catholic mass. Subsequently, in the works of Mozart, Berlioz, Verdi, R. lost its ritual and religious character, turning into a dramatic, philosophically significant musical genre animated by deep universal human feelings and great thoughts.

Recitative(from lat. recitare - read, recite) - musical speech, the most flexible solo form singing in opera, characterized by a large rhythmic(see) diversity and freedom of construction. Usually R. introduces into aria, emphasizing its melodious melody. R. often reproduces the characteristic intonations of living human speech, making it an indispensable tool in creating a musical portrait. actor. The main varieties of R. - R.-secco ("dry", accompanied by rare jerky orchestra chords or chembalo), R.-accompagnato ("accompanied", sounding against the background of a coherent chord accompaniment) and R.-obligato ("mandatory", which indicates the need for an independent melodic thought in the orchestral accompaniment).

Rigaudon(fr. rigodon, rigaudon) - an old Provencal (France) dance of the 17th-18th centuries, a lively, vigorous movement; time signature 4/4 or 2/3 with one-quarter advance.

Rhythm(from Greek rythmos - dimensional flow) - organization musical movement in time, periodic alternation and the ratio of strong and weak parts. A periodically repeating group of strong and weak beats is called a measure. The number of beats in a measure is called the time signature. R. is an important expressive means of musical art, reaching a special richness and variety in dance music associated with the plasticity of the movement of the human body.

Romance(fr. romance) - solo lyrical song with instrumental accompaniment, characterized intimate order feelings, individualized content, special subtlety and expressive variety accompaniment. Vocal melody R. often includes elements recitative.

Rondo(French rondeau from ronde - round, the name of an old French choral song) - form building a musical plays, consisting of several (at least three) contrasting episodes, separated by a periodically returning first episode (refrain).

Sarabande(Spanish zarabanda) - an old Spanish dance in the nature of a slow majestic procession; size 3/4. Genre S. was often used to create images of deep mournful reflection, a funeral procession.

Seguidilla(Spanish seguidilla) - fast Spanish dance, accompanied by whimsical rhythm castanets; size 3/4 or 3/8.

Sextet(from lat. sextus - sixth) - operatic-vocal or instrumental ensemble seven participants.

Serenade(from Italian sera - evening, letters, "evening song") - originally in Spain and Italy, a love song sung with accompaniment guitars or mandolins under the sweetheart's window. Then - works of a welcoming nature for instrumental ensembles And orchestra. Subsequently, S. is the name of lyrical solo songs with instrumental accompaniment, stylized in the spirit of a guitar accompaniment, as well as the name of the lyrical instrumental or orchestral cycle.

Symphony(from the Greek symphonia - consonance) - a monumental work for the orchestra, genre which took shape in the second half of the 18th century. S., as a rule, consists of four large diverse, contrasting parts, which reflect wide circle life phenomena, a wealth of moods and conflicts is embodied. The first part of S. usually has a conflict-dramatic character and is sustained in fast movement; sometimes it is preceded by a slow introduction. The second is a lyrical chant, imbued with moods of reflection. Third - minuet, scherzo or waltz- in a busy dance move. Fourth - the final, the fastest, often festive, upbeat character. However, there are other principles of construction. The set of parts, united by a common poetic idea, forms a symphonic cycle.

Scherzo(it. scherzo - joke) - a small instrumental or orchestral work of a lively, perky character, which has a sharp, clear rhythm, sometimes acquiring a dramatic coloring. From the beginning of the 19th century, S. entered the symphony cycle, taking place in it minuet.

buffoons- carriers of Russian folk art in the XI-XVII centuries, itinerant actors, musicians and dancers.

Solo(it. solo - one, only) - an independent performance of one performer with a whole play or in a separate episode if the play is written for ensemble or orchestra. Performer S. - soloist.

Sonata(from it. sonare - to sound) - 1. In the 17th century - the name of any instrumental work, in contrast to the vocal one. 2. Since the 18th century - the name of a work for one or two instruments, consisting of three or four parts of a certain nature, which form a sonata cycle, in general terms similar to the symphonic one (cf. symphony).

Sonata Allegro- the form in which the first parts are written sonatas And symphonies, - sustained in fast (allegro) tempe. S.'s form and. consists of three large sections: exposition, development and reprise. The exposition is a presentation of two central, contrasting musical images created in the main and secondary parties; development - development topics the main and side parties, the clash and struggle of their images; reprise - a repetition of the exposition with a new ratio of images of the main and secondary parties, achieved as a result of their struggle in development. S.'s form and. the most effective, dynamic, it creates ample opportunities for a realistic reflection of the phenomena of objective reality and the spiritual life of a person in their internal inconsistency and ongoing development. S.'s form and. developed by the middle of the 18th century and soon became widespread not only in the first parts symphonies, sonatas, quartets, instrumental concerts, but also in one-part symphonic poems, concert and opera overtures, and in some cases in extended opera arias(for example, Ruslan's aria in Glinka's opera "Ruslan and Lyudmila").

Soprano(from it. sopra - above, above) - the highest female voice. S. is subdivided into coloratura, lyrical and dramatic.

Style(in music) - a set of features that characterize the work of composers of a certain country, historical period, individual composer.

Stringed instruments- instruments in which sound occurs as a result of vibration (vibration) of stretched strings. According to the method of sound extraction S. and. are divided into bowed (violin, viola, cello, double bass), keyboard ( piano and his predecessors, cf. chembalo) and plucked (harp, mandolin, guitar, balalaika, etc.).

Scene(Latin scena from Greek skene - tent, tent). - 1. Theatrical stage on which the performance takes place. 2. Part of theatrical performance, separate episode act or paintings.

Scenario(it. scenario) - a more or less detailed presentation of the course of action unfolding on stage in opera, ballet And operetta, a schematic retelling of their plot. On the basis of S. is created libretto operas.

Suite(French suite - series, sequence) - the name of a multi-part cyclic work in which parts are compared according to the principle contrast and have a less close internal ideological and artistic connection than in symphonic cycle(cm. symphony). Usually S. is a series of dances or descriptive and illustrative plays. programmatic, and sometimes - an extract from a major musical and dramatic work ( operas, ballet, operettas, motion picture).

Tarantella(it. tarantella) - very fast, temperamental Italian folk dance; size 6/8.

The theme is musical(Greek thema - the subject of the story) - the main, subject development a musical thought expressed in a relatively small, complete, embossed, vividly expressive and memorable melody (see also keynote).

Timbre(fr. timbre) - a specific quality, characteristic coloring of the sound of a voice or instrument.

Pace(from it. tempo - time) - the speed of performance and the nature of the movement in a piece of music. T. is indicated by the words: very slowly - largo (largo), slowly - adagio (adagio), calmly, smoothly - andante (andante), moderately fast - moderato (moderato), quickly - allegro (allegro), very quickly - presto (presto ). Sometimes T. is determined by reference to the well-known nature of the movement: “at the pace waltz"," at the pace march". From the middle of the 19th century, t. was also designated by the metronome, where the number corresponds to the number of indicated durations per minute. The verbal designation T. often serves as the name of a play or its individual parts that do not have a title (for example, the names of parts in a sonata cycle- allegro, andante, etc., ballet adagio, etc.).

Tenor(from lat. tenere - to hold, direct) - a high male voice. T is subdivided into lyrical and dramatic.

Tercet(from lat. tertius - third) - operatic and vocal ensemble three participants. Another name for T. - trio, also used to denote instrumental ensembles with the same number of performers.

Trio(it. trio from tre - three) - 1. In vocal music, the same as tercet. 2. Instrumental ensemble of three performers. 3. Middle section in march, waltz, minuet, scherzo smoother and more melodious character; this meaning of the term originated in the ancient instrumental music, in whose works the middle section was performed by three instruments.

Troubadours, trouvers- knights-poets and singers in medieval France.

Overture(French ouverture - opening, beginning) - 1. Orchestral piece performed before the start operas or ballet, usually based on the themes of the work to which it precedes, and concisely embodying its main idea. 2. The name of an independent single-movement orchestral work, often related to program music.

Percussion instruments- musical instruments from which sound is extracted by striking. U. and. there are: 1) with a certain pitch - timpani, bells and bells, celesta, xylophone and 2) with a sound of indefinite pitch - tam-tom, big and snare drums, tambourine, cymbals, triangle, castanets, etc.

Texture(lat. factura - lit. division, processing) - the structure of the sound fabric of a musical work, including melody accompanying her echoes or polyphonic vote, accompaniment etc.

Fandango(Spanish fandango - Spanish folk dance of moderate movement, accompanied by playing the castanets; size 3/4.

Fantasy(Greek phantasia - imagination, fiction in general, fiction) - masterly free forms. 1. In the 17th century improvisational nature of the introduction to fugue or sonata. 2. Virtuoso composition on Topics any operas, the same as transcription (Latin transcriptio - rewriting) or paraphrase (from Greek paraphrasis - description, retelling, paraphrase). 3. instrumental piece, characterized by a bizarre, fantastic character of music.

Fanfare(it. fanfara) - a trumpet signal, usually of a festive solemn nature.

The final(it. finale - final) - the final part of a multi-part work, operas or ballet.

Folklore(from English folk - people and lore - teaching, science) - a collection of works of oral literary and musical folk art.

Musical form(Latin forma— appearance, outlines) - 1. Means of embodying the ideological and figurative content, including melody, harmony, polyphony, rhythm, dynamics, timbre, invoice, as well as compositional principles of construction or F. in a narrow sense. 2. F. in the narrow sense - the historically established and developed patterns of the structure of musical works, the layout and relationship of parts and sections that determine the general contours of a musical work. The most common are F. tripartite, couplet, variational, rondo, sonata, as well as F. construction suite, sonata And symphonic(cm.) cycles.

piano(from it. forte-piano - loud-quietly) - the general name of the keyboard string instrument (piano, piano), which allows, unlike its predecessors - the harpsichord, chembalo, clavichord, receive sounds of various strengths. sound range and speakers, expressiveness and colorful variety sound, great virtuosic and technical capabilities made F. predominantly solo and concert performers (cf. concert) an instrument, as well as a participant in many chamber-instrumental ensembles.

Fragment(from lat. fragmentum - fragment, piece) - a fragment of something.

Phrase(Greek phrasis - turn of speech, expression) - in music, a short relatively complete passage, part melodies, framed by pauses (caesuras).

Fugue(it. and lat. fuga - running) - a one-part work, which is polyphonic(see) exposition and subsequent development one melodies, Topics.

Fugato(from fuga) - polyphonic episode in an instrumental or vocal play, built like fugues, but not finished and turning into music of the usual, non-polyphonic warehouse.

fugetta(it. fugetta - small fugue) - fugue small sizes, with a reduced development section.

Furiant(Czech, lit. - proud, arrogant) - impetuous temperamental Czech folk dance; variable size - 2/4, 3/4.

Habanera(Spanish habanera - letters, Havana, from Havana) - Spanish folk song-dance, characterized by a restrained clear rhythm; size 2/4.

choir(from Greek choros) - 1. A large singing group, consisting of several groups, each of which performs its own party. 2. Compositions for the choir, independent or included in an operatic work, in which they are one of the most important forms often used in the creation of mass folk scenes.

Chorale(from Greek choros) - 1. Church choral singing to a religious text, common in the Middle Ages. 2. A choral or other work or episode based on a uniform, unhurried movement chords, characterized by a sublimely contemplative character.

Hota(Spanish jota) - Spanish folk dance of temperamental live movement, accompanied by a song; size 3/4.

Music cycle(from the Greek. kyklos - circle, circuit) - a set of parts of a multi-part work, following one after another in a certain order. C. is based on the principle of contrast. The main varieties are the sonata-symphony ts., suite ts. (see. symphony, suite); cyclic also include the forms masses And requiem.

Chembalo(it. cembalo, claviecembalo) is the Italian name for the harpsichord, the forerunner of the modern piano. In the 17th and 18th centuries Ch. was part of operatic or oratorio orchestra accompanying the performance recitatives.

Ecossaise(fr. écossaise - "Scottish") - Scottish folk dance of fast movement; size 2/4.

Expression(from lat. expressio - expression) in music - increased expressiveness.

Elegy(Greek elegia from elegos - complaint) - play sad, thoughtful character.

Epigraph(Greek epigraphe - letters. inscription on the monument) - a figurative name of the initial musical phrase borrowed from literature, Topics or a passage that defines the predominant character, the leading thought of the entire work.

Episode(Greek epeisodion - incident, event) - a small part of the musical and theatrical action; sometimes a section introduced into a piece of music that has the character of a digression.

Epilogue(Greek epilogos from epi - after and logos - word, speech) - the final part of the work, summing up the events, sometimes talking about events that occurred after some time.

Epitaph(Greek epitaphios) - grave word.

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