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Musical dictionary. Large encyclopedic dictionary of what counterpoint is, what it means and how to spell it correctly New explanatory dictionary of the Russian language, T

Musical dictionary. Large encyclopedic dictionary of what counterpoint is, what it means and how to spell it correctly New explanatory dictionary of the Russian language, T

17.07.2019

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COUNTERPOINT, the art of simultaneously combining several melodic lines. In the history of music, the term "counterpoint" applied in a special sense to the style that arose in the 14th century. and the one that replaced the so-called treble 13th century In a broader and generally accepted meaning, the term counterpoint is used to describe the music of all subsequent eras. The term “polyphony” is largely synonymous with the term “counterpoint”; it also often characterizes musical works written using counterpoint.

The contrapuntal style first flourished in the 16th century. The choral works of Palestrina (c. 1525–1594) are considered its pinnacle, although in Palestrina and even earlier one can discern (taking into account the so-called passing notes) elements of harmonic writing. When composing in a contrapuntal style, the composer faces the problem of combining individual voices (vocal or instrumental parts) so that they contrast each other rhythmically and so that each of them has its own melodic appearance. Thus, if each voice is melodically interesting, none of them can be dominant - unlike the "solo" voice in the homophonic style.

Although Palestrina's skill in composing contrapuntal works for unaccompanied choir remained unsurpassed, his mastery of counterpoint reached a second peak in the instrumental and choral works of J. S. Bach (1685–1750). Bach's counterpoint is based on a more developed harmonic system and is characterized by greater freedom of melodic lines. In Bach, the harmonic framework of counterpoint is especially noticeable in the “figured bass” part (basso continuo), performed on the organ or clavier.

Counterpoint in the 20th century.

P. Hindemith (1895–1963) came to the conclusion that counterpoint in the previous three and a half centuries turned out to be too closely connected with the harmonic basis, which hindered the development and individualization of individual voices. Hindemith's “linear counterpoint” is in a certain sense a return to the pre-Palestrine style, although in terms of the use of dissonances this style is quite modern. According to Hindemith, the dissonant, conflicting relationship between the parts forces the listener to perceive them as independent lines - in contrast to counterpoint, which is based on traditional harmony. This theory is contradicted by the fact that, abandoning traditional harmony, the composer builds his style not on arbitrarily chosen intervallic relationships, but on his own system of dissonant harmony. Consequently, the listener's perception is still tied to the harmonic basis.

Types of counterpoint.

The doctrine of counterpoint is an important branch of music theory. When teaching this art, certain types of counterpoint are distinguished. According to the classification of I. J. Fuchs (1660–1741), the difficulties of composing and combining independent melodic lines are overcome in five stages. The first is “note against note” (lat. punctum contra punctum, from which the word “counterpoint” comes): here the rhythm of the “added voice” (counter-addition) is identical to the rhythm of the main voice (cantus firmus) . The second stage consists of composing two counter notes to one cantus note; the third stage is in composing four notes per one note of the cantus. At the fourth stage, syncopations are introduced (usually arrests); at the fifth stage, the composition becomes more free.

In the so-called strict counterpoint is an attempt to compose according to the norms of the 16th century. often combined with the use of old church modes. Free contrapuntal writing is based on major-minor patterns rather than scales, and unlike strict counterpoint there are modulations, a developed harmonic basis, and more dissonant passing notes.

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Counterpoint in the 20th century.

Types of counterpoint.

You can find out what “counterpoint” is almost everywhere. In films, according to textbooks, it began to be used since the time of Dziga Vertov. But today we are not talking about this, but about its unusual use in modern cinema.

It is unknown why such a subtle technique as counterpoint is not taught in directing departments. Probably because the filmmakers themselves are confused: who has the right to work with him? Sound engineers? Editors? Musicians (there is such a point of view)? Of course, the correct answer here is everyone. However, we must keep in mind that the sound background is entirely part of the director's intention.

There is a dogmatic idea of counterpoint that states that this technique exists only to enhance the drama in the frame. This can be seen in all the classic examples, and this principle is followed by everyone: from the greats (Coppola and Scorsese - the “kings” of counterpoint) to the New Smarties.

Scene from the movie "The Godfather". Dir. F. F. Coppola, 1972

Stanley Kubrick stands as a separate “pillar”. According to famous legend, "Singing in the Rain" in the famous scene of violence in A Clockwork Orange is an invention of Malcolm McDowell, but these are all excuses. The director is responsible for the final film, and not someone else's - albeit brilliant - improvisations.

Scene from the movie "A Clockwork Orange". Dir. S. Kubrick, 1971

By “New Smarties” we mean primarily Quentin Tarantino, who, by quoting and parodying everyone and everything, restored the ability to create the correct juxtaposition of sound and frame, lost in the 80s. In each film he has a couple of scenes based on this technique, but at least one has already found its way into textbooks. And we all know which one.

Scene from the movie "Reservoir Dogs". Dir. K. Tarantino, 1992

There are, of course, “smart guys” who are newer than the bronzed Tarantino. For example, Zack Snyder, who in one of the first scenes of “Watchmen” connected the murder of the Comedian with “Unforgettable” in the classic version of Nat King Cole, highlighting the scene with the iconic smiley icon for the comic.

Scene from the movie "Watchmen". Dir. Z. Snyder, 2009

What is happening with the reception of non-standard audiovisual juxtaposition today? We find the answer, of course, in TV series. Take, for example, “The Walking Dead” (season seven, episode 11), where “nerd” Eugene Porter (Josh McDermit) gets a comfortable and pleasant home in the enemy’s camp. The first thing he does when he closes the door is turn on the stereo and we hear the upbeat song "Easy Street" by The Collapsable Hearts Club. Looking at Eugene's reaction, you'd think he liked the composition because he started shaking his head. But, knowing the context (remember this word, we will encounter it more than once in this little study), we understand that there is nothing good here, because the same song became “torture” for Daryl a few on-screen days ago.

Scene from The Walking Dead (Season Seven, Episode 11)

We can talk about the battle “context vs counterpoint” for a long time, but I will tell you a real case. A friend of mine from the course and director’s workshop took breathtaking footage somewhere at sea: with girls, beautiful sandy views and other interesting exteriors. He wanted to make a “fun video” out of it and set the video to what he thought was a fun song. It turned out to be "Love Will Tear Us Apart" by Joy Division. Half the audience present at the screening shuddered. The thing is that a couple of years before this, Anton Corbijn’s “Control” was released, and the scene in which Joy Division leader Ian Curtis committed suicide was so firmly imprinted in the heads of those present that no one who saw this video was “funny” Control” (or simply versed in the work of Joy Division) did not recognize it. This brings me to the significance of the concept of “context” within the framework of counterpoint.

Why did I list these well-worn examples? To show how James Gunn came with his “Guardians of the Galaxy” and, if not destroyed the canon, then hooliganly expanded it.

Can musical counterpoint make you laugh?

There are many ways to salvage a joke. Let's say your indispensable actor doesn't demonstrate his humorous potential, so the one-liner he delivers seems unbearable. What to do? Life hack: change the rhythm of the line - the faster, the funnier. If this does not help, then chop, chop, cut the material during installation in all possible ways. This will give one joke some lightness.

Or turn on the music, like James Gunn does in Guardians of the Galaxy.

What did the creators of “Guardians” (which includes comic book authors Dan Abnett and Andy Lanning) do? They took the canon and turned it inside out. Here the musical background does not dramatize, but, on the contrary, mocks the rules. Remember beginning of the first part: death of Peter Quill's mother, near future, gloomy planet, pretentious music by Tyler Bates. A dark character in a scary helmet makes his way along the paths. It seems that so far everything is going as expected, according to Hollywood clichés. And even when we find out that this is a grown-up Quill, we are not prepared for the fact that he will turn on his Walkman and dance to Redbone's "Come and Get Your Love."

This is usually how villains behave. But Chris Pratt's simpleton doesn't fit the antagonist mold. It’s worth adding here that in the Guardians of the Galaxy universe there is not a single unambiguously positive character, but this is so, by the way.

Under Blue Swede "Hooked on a Feeling" the main characters get acquainted with the delights of prison life. James Gunn, as a “watched” and “heard” director, could not help but know that the same song is heard in Quentin Tarantino’s “Reservoir Dogs.” Because of this, in this case it gives the story an even more criminal overtones and once again adds parody and absurdity. This is again about the important role of context.

In the second part, Gunn went to great lengths with his hands untied, abandoning the composer in principle (where he was lacking, he wrote the music himself and even created a separate track for the credits). The very first battle “for batteries” takes place to the frivolous Electric Light Orchestra song “Mr. Blue Sky”.

ELO original composition “Mr. Blue Sky"

As the heroes fly to the living planet Ego, we hear George Harrison's "My Sweet Lord". "Well, Harrison and Harrison, what's the big deal?" - an unprepared viewer might say. But you and I know that the deceased ex-Beatle and the concept of “ego” are incompatible things. Therefore, we can prepare for the fact that it will not be easy for everyone in the new place. This is no longer just musical counterpoint, but something associative.

Is there such a thing as visual counterpoint?

Of course it happens. Only James Gunn uses it in a very hooligan way. There is such an exercise for students to become editing directors (or simply directors) - “Event in the background.” The point is to capture an event that occurs at a distance from the shooting point. Now remember the first part of "Guardians", namely the scene in which the heroes discuss the escape plan. Groot moves out of focus into the background and does what others only talk about. Funny? I think there is a humorous element. Can this be included in the concept of “counterpoint”? It seems, yes, but what do you call such a contrast between talking characters and one smart tree that has gone out of focus?

Let's go back to the first battle in the new Guardians of the Galaxy, which also features the opening credits. The battle is epic, but it takes place in the background, out of focus, because we are always looking at Baby Groot, who, instead of taking any part in the fight, connects the player to the speakers and starts dancing. Funny? At least it was thought up in a more than witty way.

The thing is that the entire, absolutely entire world of Guardians of the Galaxy is built on counterpoints. Musical, audiovisual, visual, moral, physical - whatever. Everything goes ahead of expectations and against generally accepted morality. For example, a guy can’t hit a girl (Peter Quill does exactly this with Gamora in the first part), he can’t throw raccoons, he can’t “pet the dog,” and he can’t let Stallone into the frame for even a minute of screen time. Inside each of the characters sits a small counterpoint with which the characters struggle, which creates an element of comedy. This is especially evident in the sequel, which is loaded with ambiguities to the brim. Even the funeral of one of the heroes here is accompanied by fireworks and fireworks.

Another example of counterpoint in Guardians of the Galaxy

As a result, from such escapes beyond the boundaries of the outlined circle drawn by film scholars (or simply the history of cinema), a specific humor is born, which, judging by the second week of release in the United States, audiences are ready to accept and want to see. The main thing is that breaking the pattern does not become the pattern itself, otherwise it will no longer be funny.

It is absolutely impossible to imagine modern society without music. It has become a part of human existence. Music accompanies every step and is heard from everywhere. She can express joy and sorrow, triumph and fall, and at the same time she is never superfluous. For those who like to relax or work to musical accompaniment, all songs are just a collection of melodies and voices. For those who have chosen the musical craft, music is a set of notes, chords, terms, techniques that create pleasant melodies.

Meaning of the term

Many of them are unfamiliar to those who do not have a musical education. One of these is counterpoint. This is no coincidence, because the word is synonymous with the more well-known term - polyphony. But what is hidden behind the unknown word?

The term comes from the Latin punctus contra punctum, which literally means “point against point.” Adapting to the musical theme - “note against note”. That is, another melody is added to the main theme, which repeats the rhythm of the main voice, but is slightly modified.

Origin of musical counterpoint

Counterpoint as a form of musical art has been known since the 14th century and replaced treble. All subsequent musical eras are characterized by this style. Giovanni Pierluigi Palestrina was the first to use counterpoint in music. In his compositions, the composer used several voices so that, in addition to contrasting with each other, they had different melodic appearances.

The further development of counterpoint can be traced in the works of Johann Sebastian Bach. His work is characterized by a more developed polyphonic system. The melodic lines have more freedom, but the overall harmony of the entire work is preserved. The composer's work is considered the period in which counterpoint developed most clearly. This can also be said about the works of George Frideric Handel.

Types of counterpoint

You can give a classification that counterpoint has. This is a division into strict and free. In the strict, all melodic voices had to have the correct relationship to the melody of the bass. Free developed later and included both contrapuntal and harmonic rules.

Strict and free polyphony are divided into simple and complex. A simple one combines two or more melodies without forming a new combination, in contrast to a complex one, which allows such formations.

Complex counterpoint has the following categories: mobile and reversible. In mobile voices do not change, but only move. In the second case, there is a reversal or countermovement of votes.

Musical counterpoint makes the sound multifaceted and bright. But the term itself is known not only in music. It is found in the film industry and literature, helping to convey contrasts, making episodes more expressive.

punctum contra punctum, punctus contra punctum - note against note, literally - point vs point) - a simultaneous combination of two or more independent melodic voices. “Counterpoint” was also the name given to the musical theoretical discipline that deals with the study of contrapuntal compositions (now polyphony). The musical term “counterpoint” (metonymically) is now used by literary critics, art critics and journalists.

In screen arts

In cinema and television - a meaningful opposition or comparison of sound and image. Opposite in sync- varieties of video material where the image and sound correspond to the same spatio-temporal situation (most often an interview episode - the viewer sees a person and hears noises and speech, synchronized with the image, recorded in the same place and at the same time when the conversation takes place). Counterpoint can be created by image and noise, image and music. Particularly striking is counterpoint, in which one semantic layer (image) contrasts with another (sound). An example would be a video of a military parade accompanied by a comical circus march.