Mounting composition in literature. What is composition

Composition (lat. sotropère - to fold, build) - the construction, arrangement and ratio of parts, episodes, characters, means of artistic expression in a literary work. The composition holds together all the elements of the work, subordinating them to the author's idea. The constituent elements of the composition: characters, ongoing events, artistic details, monologues and dialogues, portraits, landscapes, interiors, digressions, insert episodes, artistic previews and framing. V. Khalizev singles out such links of the composition as repetitions and variations that become motifs, omissions and recognition. There are different types of compositions. Yes, composition. lyrical works can be linear (the poem "Winter. What should we do in the village? I meet ..." A.S. Pushkin), amoeba (regular, symmetrical alternation of two voices or themes - Russian folk songs); it can also often be based on the reception of antithesis (the poem "Demon" by A.S. Pushkin); ring (coincidence of the beginning and ending - a poem by S.A. Yesenin "Honey, let's sit next to ..."); hidden ring (the same theme is given at the beginning and at the end of the work - the theme of a blizzard, both a natural phenomenon and a life cycle in the poem “Snow memory is crushed and pricked ...” by S.A. Yesenin). For prose works characterized by a wide variety of compositional techniques. There is a linear composition (successive deployment of events and the gradual discovery of the psychological motivations for the actions of the characters - the novel " ordinary story» I.A. Goncharov), ring composition (the action ends where it began - the story "The Captain's Daughter" by A.S. Pushkin), reverse composition (the work opens with the last event, which gradually begins to be explained to the reader - the novel "What to do?" N.G. Chernyshevsky), mirror composition (images are symmetrical, episodes - the novel in verse "Eugene Onegin" by A.S. Pushkin), associative composition (the author uses the technique of default, the technique of retrospection, the technique of "story in a story" (the story "Bela" in " A Hero of Our Time "by M.Yu. Lermontov, the story "Asya" by I.S. Turgenev), dotted composition (discontinuity in the description of ongoing events and psychological motivations is characteristic, the narrative suddenly breaks off, intriguing the reader, the next chapter begins with a different episode - the novel "Crime and Punishment" by F.M. Dostoevsky).

Composition - structure, arrangement and ratio constituent parts text, due to its content, issues, genre and purpose.

The composition of the text is a way of constructing it, connecting its parts, facts, images.

The famous Roman scholar Marcus Fabius Quintilian is credited with developing the theory of speech composition. Quintilian singled out eight parts in the orator's speech. The composition of speech, developed by him, entered the practice of later rhetoric.

So, eight parts of the composition according to Quintilian.

1. Appeal. Its purpose is to attract the attention of the audience and position it towards the speaker.

2. Naming the theme. The speaker names what he will be talking about, sets the listeners on the subject, makes them remember what they know, and prepares them to delve into the subject.

3. Narration consists of a description of the history of the subject (how the issue to be resolved arose, and how the case itself developed).

4. Description. Talk about what's going on at the moment.

5. Proof consists of logical arguments that justify the solution to the problem.

6. Refutation. Proof by contradiction. A different point of view on the subject is allowed, which the speaker refutes.

7. Appeal. Appeal to the feelings of the listeners. The goal is to evoke an emotional response from the audience. It occupies the penultimate place in the structure of speech, because people are usually more likely to make judgments based on emotions rather than logic.

8. Conclusion. Summary of what has been said and the conclusions on the case under discussion.

• linear composition is a sequential statement of facts and events and is usually built on a chronological basis (autobiography, report);

• stepped - involves an accentuated transition from one position to another (lecture, report),

• parallel - is based on a comparison of two or more provisions, facts, events (for example, school essays, the topics of which are

"Chatsky and Molchalin", "Onegin and Lensky", "Sisters Larina"

• discrete - suggests a pass individual moments presentation of events. This complex type organization is characteristic of literary texts. (For example, such a solution often underlies detective stories);

• ring composition - contains a repetition of the beginning and ending of the text. This type of structure makes it possible to return to what has already been said in the beginning at a new level of comprehension of the text.

So, for example, the incomplete repetition of the beginning in A. Blok's poem "Night, street, lantern, pharmacy" makes it possible to comprehend what the poet said as a vital contradiction to the words "And everything will be repeated as of old" in the end of the text.);

• contrast - based on a sharp contrast between the two parts of the text.

Genre types of composition

Depending on the genre of the text, it can be:

• tough- obligatory for all texts of the genre (references, informational notes, statements, memorandums);
• variable- the approximate order of the parts of the text is known, but the author has the opportunity to vary it (textbook, answer in the lesson, letter);
• non-rigid- assuming sufficient freedom of the author, despite the fact that he focuses on existing examples of the genre (story, essay, composition);

In texts:

• built on the basis of combining elements, a linear, stepped, parallel, concentric composition is used,
• in literary texts its organization is often more complex - it arranges time and space in its own way artwork.

Our short presentation on this topic

Materials are published with the personal permission of the author - Ph.D. O.A. Maznevoy (see "Our Library")

COMPOSITION OF A LITERARY AND ARTISTIC WORK. TRADITIONAL COMPOSITION TECHNIQUES. DEFAULT / RECOGNIZATION, "MINUS" - RECEPTION, CO- AND CONTRASTIONS. MOUNTING.

Composition literary work- this is the mutual correlation and arrangement of units of the depicted and artistic speech means. Composition provides unity and integrity artistic creations. The foundation of the composition is the orderliness of the fictional reality depicted by the writer.

Elements and levels of composition:

• plot (in the understanding of formalists - artistically processed events);
• the system of characters (their relationship with each other);
• narrative composition (change of narrators and point of view);
• composition of parts (correlation of parts);
• the ratio of narrative and description elements (portraits, landscapes, interiors, etc.)

Traditional compositional techniques:

• repetitions and variations. They serve to highlight and emphasize the most significant moments and links of the subject-speech fabric of the work. Direct repetitions not only dominated the historically early song lyrics, but also constituted its essence. Variations are modified repetitions (the description of the squirrel in Pushkin's The Tale of Tsar Saltan). The strengthening of the repetition is called gradation (the increasing claims of the old woman in Pushkin's Tale of the Fisherman and the Fish). The repetitions also include anaphora (single words) and epiphora (repeated endings of stanzas);
• co- and opposition. At the origins of this technique is the figurative parallelism developed by Veselovsky. It is based on the conjugation of natural phenomena with human reality (“Spreads and winds / Silk grass in the meadow / Kisses, has mercy / Mikhaila his little wife”). For example, Chekhov's plays are based on comparisons of the similar, where the general life drama of the depicted environment excels, where there are neither completely right nor completely guilty. Contradictions take place in fairy tales (the hero is a pest), in Griboyedov's Woe from Wit between Chatsky and 25 Fools, etc.;
• “Default/recognition, minus reception. The defaults are outside of the detailed image. They make the text more compact, activate the imagination and increase the reader's interest in the depicted, sometimes intriguing him. In a number of cases, omissions are followed by clarification and direct discovery of what was hitherto hidden from the reader and / or the hero himself - what is still called recognition by Aristotle. Recognitions can complete a recreated series of events, as, for example, in Sophocles' tragedy Oedipus Rex. But omissions may not be accompanied by recognitions, remaining gaps in the fabric of the work, artistically significant inconsistencies - minus devices.
• mounting. In literary criticism, montage is the fixation of co- and oppositions that are not dictated by the logic of the depicted, but directly imprinting the author's train of thought and associations. A composition with such an active aspect is called an assembly composition. Spatio-temporal events and the characters themselves in this case are connected weakly or illogically, but everything depicted as a whole expresses the energy of the author's thought, his associations. The montage beginning somehow exists where there are inserted stories (“The Tale of Captain Kopeikin” in “ Dead souls”), lyrical digressions (“Eugene Onegin”), chronological permutations (“A Hero of Our Time”). The montage construction corresponds to the vision of the world, which is distinguished by its diversity and breadth.

ROLE AND SIGNIFICANCE OF ARTISTIC DETAILS IN A LITERARY WORK. RELATIONSHIP OF DETAILS AS A COMPOSITE RECEPTION.

An artistic detail is an expressive detail in a work that carries a significant semantic and ideological and emotional load. The figurative form of a literary work includes three aspects: a system of details of subject representation, a system of compositional techniques, and a speech structure. To artistic detail usually include substantive details - everyday life, landscape, portrait.

Detailing objective world in literature is inevitable, since only with the help of details can the author recreate the subject in all its features, evoking the necessary associations in the reader with the details. Detailing is not decoration, but the essence of the image. The addition by the reader of mentally missing elements is called concretization (for example, the imagination of a certain appearance of a person, an appearance that is not given by the author with exhaustive certainty).

According to Andrey Borisovich Esin, there are three large groups details:

• plot;
• descriptive;
• psychological.

The predominance of one type or another gives rise to the corresponding dominant property of style: plot (“Taras and Bulba”), descriptiveness (“ Dead Souls”), psychologism (“Crime and punishment).

Details can both “agree with each other” and oppose each other, “arguing” with each other. Efim Semenovich Dobin proposed a typology of details based on the criterion: singularity / multitude. He defined the ratio of detail and detail as follows: the detail gravitates toward singularity, the detail acts in the multitude.

Dobin believes that by repeating itself and acquiring additional meanings, a detail grows into a symbol, and a detail is closer to a sign.

DESCRIPTIVE ELEMENTS OF COMPOSITION. PORTRAIT. LANDSCAPE. INTERIOR.

It is customary to refer to the descriptive elements of the composition landscape, interior, portrait, as well as the characteristics of the characters, the story of their repeated, regularly repeated actions, habits (for example, the description of the heroes’ usual daily routine in Gogol’s “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich” ). The main criterion for a descriptive element of composition is its static nature.

Portrait. A portrait of a character is a description of his appearance: bodily, natural, and in particular age-related properties (facial features and figures, hair color), as well as everything in the appearance of a person that is formed by the social environment, cultural tradition, individual initiative (clothing and jewelry, hairstyle and cosmetics).

Traditional high genres are characterized by idealizing portraits (for example, the Polish woman in Taras Bulba). Quite a different character had portraiture in works of a comical, comedy-farcical nature, where the center of the portrait is the grotesque (transforming, leading to some ugliness, incongruity) presentation of the human body.

The role of the portrait in the work varies depending on the genre, genre of literature. In the drama, the author confines himself to indicating the age and general characteristics, given in remarks. In the lyrics, the technique of replacing the description of the appearance with the impression of it is used to the maximum. Such a substitution is often accompanied by the use of the epithets "beautiful", "charming", "charming", "captivating", "incomparable". Comparisons and metaphors based on the abundance of nature are very actively used here (a slender camp is a cypress, a girl is a birch, a shy doe). Gems and metals are used to convey the brilliance and color of the eyes, lips, hair. Comparisons with the sun, moon, gods are characteristic. In the epic, the appearance and behavior of a character are associated with his character. Early epic genres tales, for example, are full of exaggerated examples of character and appearance - ideal courage, extraordinary physical strength. Behavior is also appropriate - the majesty of postures and gestures, the solemnity of unhurried speech.

In the creation of a portrait up to late XVIII in. its conditional form, the predominance of the general over the particular, remained the leading trend. AT literature XIX in. two main types of portrait can be distinguished: expositional (tending to be static) and dynamic (transitioning into the whole narrative).

The exposition portrait is based on a detailed enumeration of the details of the face, figure, clothing, individual gestures and other signs of appearance. It is given on behalf of the narrator, interested in the characteristic appearance representatives of some social community. A more complex modification of such a portrait is psychological picture, where the features of appearance predominate, indicating the properties of character and inner peace(not laughing eyes Pechorin).

A dynamic portrait, instead of a detailed enumeration of physical features, suggests a brief, expressive detail that occurs in the course of the story (the images of the characters in The Queen of Spades).

Landscape. By landscape it is most correct to understand the description of any open space of the external world. Landscape is optional artistic world, which emphasizes the conditionality of the latter, since landscapes are everywhere in the reality surrounding us. The landscape has several important functions:

• designation of the place and time of action. It is with the help of the landscape that the reader can clearly imagine where and when events take place. At the same time, the landscape is not a dry indication of the spatio-temporal parameters of the work, but artistic description using figurative, poetic language;
• plot motivation. Natural, and especially meteorological processes can direct the plot in one direction or another, mainly if this plot is chronicle (with the primacy of events that do not depend on the will of the characters). The landscape also occupies a lot of space in animalistic literature (for example, the works of Bianchi);
• form of psychology. The landscape creates a psychological mood for the perception of the text, helps to reveal the internal state of the characters (for example, the role of the landscape in the sentimental "Poor Lisa");
• form of presence of the author. The author can show his patriotic feelings by giving the landscape national identity(for example, Yesenin's poetry).

The landscape has its own characteristics in different kinds of literature. In the drama, he is presented very sparingly. In the lyrics, it is emphatically expressive, often symbolic: personifications, metaphors and other tropes are widely used. In the epic, there are many more opportunities for the introduction of the landscape.

The literary landscape has a very branched typology. Distinguish between rural and urban, steppe, sea, forest, mountain, northern and southern, exotic - opposed to flora and fauna native land author.

Interior. The interior, unlike the landscape, is an image of the interior, a description of a closed space. Mainly used for social and psychological characteristics characters, demonstrates their living conditions (Raskolnikov's room).

"NARRATIVE" COMPOSITION. NARRATOR, NARRATOR AND THEIR RELATIONSHIP WITH THE AUTHOR. "POINT OF VIEW" AS A CATEGORY OF NARRATIVE COMPOSITION.

The narrator is the one who informs the reader about the events and actions of the characters, fixes the passage of time, depicts the appearance of the characters and the situation of the action, analyzes internal state the hero and the motives of his behavior, characterizes him human type, without being either a participant in events or an object of image for any of the characters. The narrator is not a person, but a function. Or, as Thomas Mann said, "the weightless, incorporeal and omnipresent spirit of the story." But the function of the narrator can be attached to a character, provided that the character as narrator does not at all coincide with him as a character. So, for example, the narrator Grinev in " Captain's daughter"- by no means a definite person, in contrast to Grinev - the protagonist. The view of Grinev-character on what is happening is limited by the conditions of place and time, including the features of age and development; much deeper is his point of view as a narrator.

In contrast to the narrator, the narrator is entirely inside the depicted reality. If no one sees the narrator inside the depicted world and does not assume the possibility of his existence, then the narrator will certainly enter the horizons of either the narrator or the characters - listeners of the story. The narrator is the subject of the image, associated with a certain socio-cultural environment, from the position of which he portrays other characters. The narrator, on the contrary, is close to the author-creator in his horizons.

In a broad sense, narration is a set of those statements of speech subjects (narrator, narrator, image of the author) that perform the functions of "mediation" between the depicted world and the reader - the addressee of the entire work as a single artistic statement.

In a narrower and more precise, as well as more traditional meaning, narration - a set of all speech fragments of a work containing various messages: about events and actions of characters; about the spatial and temporal conditions in which the plot unfolds; about the relationship of actors and the motives for their behavior, etc.

Despite the popularity of the term "point of view", its definition has caused and still raises many questions. Consider two approaches to the classification of this concept - by B. A. Uspensky and B. O. Korman.

Ouspensky says about:

• ideological point of view, understanding by it the vision of an object in the light of a certain worldview, which is transmitted different ways, testifying to his individual and social position;
• phraseological point of view, understanding by it the use by the author to describe different heroes different language or in general elements of foreign or substituted speech in the description;
• spatio-temporal point of view, understanding by it a fixed and defined in spatio-temporal coordinates place of the narrator, which may coincide with the place of the character;
• point of view in terms of psychology, understanding by it the difference between two possibilities for the author: to refer to one or another individual perception or to strive to describe events objectively, based on the facts known to him. The first, subjective, possibility, according to Uspensky, is psychological.

Korman is closest to Ouspensky regarding the phraseological point of view, but he:

• distinguishes between spatial (physical) and temporal (position in time) points of view;
• divides the ideological-emotional point of view into direct-evaluative (an open, lying on the surface of the text relationship between the subject of consciousness and the object of consciousness) and indirect-evaluative (the author's assessment, not expressed in words that have an obvious evaluative meaning).

The disadvantage of Korman's approach is the absence of a "plan of psychology" in his system.

So, the point of view in a literary work is the position of the observer (narrator, narrator, character) in the depicted world (in time, space, in the socio-ideological and linguistic environment), which, on the one hand, determines his horizons - both in terms of volume ( field of view, degree of awareness, level of understanding), and in terms of assessing the perceived; on the other hand, it expresses author's assessment this subject and his horizons.

In literary criticism, they say different things about composition, but there are three main definitions:

1) Composition is the arrangement and correlation of parts, elements and images of a work (components art form), the sequence of introducing units of the depicted and speech means of the text.

2) Composition is the construction of a work of art, the correlation of all parts of the work into a single whole, due to its content and genre.

3) Composition - the construction of a work of art, a certain system of means of disclosure, organization of images, their connections and relationships that characterize life process shown in the work.

All these terrible literary concepts, in essence, a fairly simple decoding: composition is the arrangement of novel passages in a logical order, in which the text becomes solid and acquires an inner meaning.

How, following the instructions and rules, we collect from small parts constructor or puzzle, so we collect from text passages, whether it be chapters, parts or sketches, and a whole novel.

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The composition of the work is external and internal.

External composition of the book

The external composition (aka architectonics) is the breakdown of the text into chapters and parts, the allocation of additional structural parts and epilogue, introduction and conclusion, epigraphs and lyrical digressions. Another external composition is the division of the text into volumes (separate books with a global idea, a branching plot and in large numbers heroes and characters).

External composition is a way of dispensing information.

The novel text, written on 300 sheets, is unreadable without structural breakdown. At a minimum, he needs parts, as a maximum - chapters or semantic segments, separated by spaces or asterisks (***).

By the way, short chapters are more convenient for perception - up to ten sheets - after all, we, being readers, having overcome one chapter, no, no, let's count how many pages are in the next - and continue to read or sleep.

The internal composition of the book

The internal composition, unlike the external one, includes many more elements and techniques of text composition. All of them, however, boil down to common purpose- build the text in a logical order and reveal the author's intention, but go to it different ways- plot, figurative, speech, thematic, etc. Let's analyze them in more detail.

1. Plot elements internal composition:

• prologue - introduction, most often - prehistory. (But some authors take an event from the middle of the story as a prologue, and then from the final - an original compositional move.) The prologue is an interesting, but optional element as external composition, and external;
• exposition - the initial event in which the characters are introduced, a conflict is outlined;
• tie - events in which a conflict is tied;
• development of actions - the course of events;
• culmination - the highest point of tension, the clash of opposing forces, the peak of the emotional intensity of the conflict;
• denouement - the result of the climax;
• epilogue - a summary of the story, conclusions on the plot and assessment of events, outlines later life heroes. Optional element.

2. Figurative elements:

• images of heroes and characters - promote the plot, are the main conflict, reveal the idea and the author's intention. The system of actors - each image separately and the connections between them - is an important element of the internal composition;
• images of the environment in which the action develops are descriptions of countries and cities, images of the road and accompanying landscapes, if the characters are on the way, interiors - if all events take place, for example, within the walls of a medieval castle. The images of the environment are the so-called descriptive "meat" (the world of history), atmospheric (feeling of history).

Figurative elements work mainly for the plot.

So, for example, the image of a hero is assembled from the details - an orphan, without family and tribe, but with magic power and the goal is to learn about your past, about your family, to find your place in the world. And this goal, in fact, becomes a plot - and compositional: from the search for a hero, from the development of the action - from a progressive and logical progress forward - a text is formed.

And the same goes for the images of the environment. They both create the space of history, and at the same time limit it to certain limits - medieval castle, city, country, world.

Concrete images complement and develop the story, make it understandable, visible and tangible, like correctly (and compositionally) arranged household items in your apartment.

3. Speech elements:

• dialogue (polylogue);
• monologue;
• lyrical digressions (the author's word, not related to the development of the plot or the images of the characters, abstract reflections on a specific topic).

Speech elements are the speed of perception of the text. Dialogues are dynamics, while monologues and lyrical digressions (including descriptions of the action in the first person) are static. Visually, a text without dialogues seems cumbersome, uncomfortable, unreadable, and this is reflected in the composition. Without dialogues, it is difficult to understand - the text seems to be drawn out.

A monologue text, like a bulky sideboard in a small room, relies on many details (and contains even more), which are sometimes difficult to understand. Ideally, in order not to weigh down the composition of the chapter, monologue (and any descriptive text) should take no more than two or three pages. And by no means ten or fifteen, just few people will read them - they will miss them, they will look diagonally.

Dialogues, on the other hand, are composed of emotions, easy to understand and dynamic. At the same time, they should not be empty - only for the sake of dynamics and "heroic" experiences, but informative, and revealing the image of the hero.

4. Inserts:

• retrospective - scenes from the past: a) long episodes that reveal the image of the characters, showing the history of the world or the origins of the situation, can take several chapters; b) short scenes(flashbacks) - from one paragraph, often extremely emotional and atmospheric episodes;
• short stories, parables, fairy tales, stories, poems are optional elements that interestingly diversify the text ( good example compositional fairy tale - "Harry Potter and the Deathly Hallows" by Rowling); chapters of another story in the composition “a novel within a novel” (“The Master and Margarita” by Mikhail Bulgakov);
• dreams (dreams-premonitions, dreams-predictions, dreams-riddles).

Inserts are extra-plot elements, and remove them from the text - the plot will not change. However, they can frighten, amuse, disturb the reader, suggest the development of the plot, if there is a complex series of events ahead. lines);

— arrangement and design of the text in accordance with the plot (idea) is, for example, the form of a diary, term paper student, novel within a novel;

— the theme of the work- a hidden, cross-cutting compositional technique that answers the question - what is the story about, what is its essence, what main idea the author wants to convey to the readers; in in practical terms solved through the choice of significant details in key scenes;

— motive are stable and repetitive elements that create through images: for example, images of the road - the motive of travel, adventurous or homeless life of the hero.

Composition is a complex and multi-layered phenomenon, and it is difficult to understand all its levels. However, you need to understand in order to know how to build the text so that it is easily perceived by the reader. In this article, we talked about the basics, about what lies on the surface. And in the following articles we will dig a little deeper.

Stay tuned!

Daria Gushchina
writer, fantasy writer
(page VKontakte

In order to correctly use words borrowed from other languages ​​in your speech, you need to understand their meaning well.

One of the words frequently used in different areas activities, mainly in the arts, is "composition". What does this word mean and in what cases is it used?

Word "composition" borrowed from Latin, where "composition" means compiling, adding, linking a whole from parts. Depending on the field of activity, the meaning of this word may acquire certain semantic variations.

So, chemists-technologists are well aware of composite materials, which are a composition of plastic and mineral chips, sawdust or other natural material. But most often this word is found in descriptions of works of art - painting, music, poetry.

Any art is an act of synthesis, as a result of which a work is obtained that has the power of emotional impact on viewers, readers or listeners. An important component creativity, concerning the organizational principles of the art form, is the composition.

Its main function is to give integrity to the connection of elements and to correlate separate parts With general idea author. For each type of art, composition has its own meaning: in painting it is the distribution of shapes and color spots on canvas or paper, in music it is combination and mutual arrangement musical themes and blocks, in literature - the structure, rhythm of the text, etc.

Literary composition is the structure of a literary work, the sequence of its parts. She serves for best expression common thought works and can use all forms for this artistic image available in the literary baggage of a writer or poet.


Important parts literary composition are the dialogues and monologues of its characters, their portraits and systems of images used in the work, storylines, and the structure of the work. Often the plot develops in a spiral or has a cyclic structure, a large artistic expressiveness different descriptive passages, philosophical digressions and the interweaving of stories told by the author.

A work may consist of separate short stories linked by one or two actors, or have a single storyline and narrate on behalf of the hero, combine several plots (a novel within a novel) or have no storyline. It is important that its composition serve to most fully express the main idea or enhance the emotional impact of the plot, embodying everything the author intended.

Consider the composition of S. Yesenin's poem "Birch".

White birch
under my window
covered with snow,
Exactly silver.

The first stanza draws big picture: the author's view from the window falls on a snow-covered birch.

On fluffy branches
snow border
Brushes blossomed
White fringe.

In the second stanza, the description of the birch becomes more convex.


Reading it, we clearly see branches covered with hoarfrost in front of us - wonderful, fabulous picture Russian winter.

And there is a birch
In sleepy silence
And the snowflakes are burning
In golden fire

The third stanza describes the picture of the early morning: people have not yet woken up, and silence envelops the birch, illuminated by the dim winter sun. The feeling of calmness and quiet charm of winter nature is enhanced.

A dawn, lazy
Walking around,
Sprinkles branches
New silver.

Quiet, windless winter morning imperceptibly passes into the same quiet sunny day, but the birch, like the Sleeping Beauty from a fairy tale, remains. The artfully constructed composition of the poem is aimed at making readers feel the charming atmosphere of a winter Russian fairy tale.

Composition in musical art extremely important. complex musical composition relies on several basic musical themes, the development and variation of which allows the composer to achieve the emotional effect desired by the composer. The advantage of music is that it affects directly the emotional sphere of the listener.

Consider, as an example, the well-known musical composition- Hymn Russian Federation. It begins with a powerful introductory chord that immediately sets the listener in a solemn mood. The majestic melody floating above the hall evokes the numerous victories and accomplishments of Russia, and for older generations it is a link between today's Russia and the USSR.


The words "Glory to the Fatherland" are reinforced by the ringing of the timpani, like a surge of jubilation of the people. Further, the melody becomes more melodic, including Russian folk intonations - free and wide. In general, the composition awakens in the listeners a sense of pride in their country, its endless expanses and majestic history, its power and unshakable fortress.