The theme song is a term proposed in the late 1870s by the German musicologist G.P. von Wolzogen to characterize the orchestral polyphony of R. Wagner's Ring of the Nibelung; subsequently began to be used in literary criticism. In symphonic, instrumental music and opera, the leitmotif is a relatively short construction, characterizing character, phenomenon, emotion or abstract concept. The leitmotif technique in music was already used by A. Gretry, W.A. Mozart, L. Cherubini, but the leitmotif was widely used in the 19th century. First of all, this refers to the musical dramas of R. Wagner, who is considered the founder of the leitmotif system. Like many romantics, Wagner was excited by the idea of ​​a "synthesis of the arts", which he interpreted like the unity of word and music in ancient tragedy. opera reform Wagner, conceived as the embodiment of this idea, required a special structure of the musical fabric. Separate opera numbers were replaced by a continuous flow of music, built on the alternation of contrasting "plastic motifs" - the characteristics of "nature and human natures". According to Wagner, these motives are “each in the course of his individual development- must take shape in the carriers of passionate aspirations, directing a diversely branched action, and characters expressing themselves in this action ”(Wagner R. Articles and materials).

Leitmotif in literary criticism

In literary criticism, the leitmotif is one of the main structural elements of the text.: a repetitive detail, figurative turnover, intonation (leitinttonation), arising as a way of characterizing a character, position, experience. The leitmotif can vary, change, several leitmotifs contrast each other, intertwine, flow one into another, forming a system. The way in which the system of leitmotifs is applied by a particular writer or school, genre should be defined as a leitmotif technique. The use of leitmotiv technique in the novel genre is usually associated with the works of L. Tolstoy, C. Dickens, G. Flaubert, French naturalists, and especially novelists of the 20th century. (A. Bely, T. Mann, J. Joyce, F. Kafka, T. Wolfe), where the problem of "synthesis of arts" was replaced by the problem of the analogy of literature with music. The first attempts to transfer musical techniques to the region literary creativity were undertaken by the French Symbolists (C. Baudelaire, S. Mallarme). They sought, “not content with the “dictionary”, purely “rational” meaning of lexical units ... to reveal their full potential and thereby maximize the semantic impact of the poem” (Kosikov G. Two ways of French post-romanticism ... Poetry of French symbolism.). Hence their interest in modern achievements in music, in particular, in the Wagnerian musical drama. In Russian literature, an example of a symbolist work based on a system of leitmotifs is A. Bely's "Symphony" (1902-08). The leitmotif can be formed in replicas actors, be introduced stage means(the sound of a broken string in The Cherry Orchard, 1904, A.P. Chekhov).

stage interpretation dramatic work allows you to emphasize or reduce the role of the leitmotif. Comparing the leitmotif technique of "Transformation" (1916), "In Search of Lost Time" (1913-27) and "Ulysses" (1922), V. Nabokov comes to the conclusion that it is present in Kafka and Proust along with other techniques, while the entire text of Joyce is “a pattern of recurring themes” (Nabokov V.V. Lectures on foreign literature). The ways in which the leitmotif technique is applied are manifold; already in ancient epic poetry one can find a repetition of a static leitmotif. At the same time, it not only serves as a “reminder”, but, according to the concept of the “epic formula” of M. Perry - A. Lord, is one of the main compositional elements of the epic poem. However, outside of epic poetry, the technique of repeating static leitmotifs, helping to compare each given event with events earlier or later, does not endow this event with an additional, symbolic meaning. The repetition of static leitmotifs can also be used to stylize or parody an epic narrative. The leitmotif can become a truly structural factor in the narrative in the process of variation, when it is repeatedly reproduced in different situations, applied to different characters, each time receiving a new emotional coloring (for example, the image of the starry sky in the finale of each of the chapters of T. Wilder's novel "The Bridge of King Louis Saint", 1927). As a result, the leitmotif acquires associations, becomes not just a visible display of the theme, but also a symbol. In its symbolic quality, the leitmotif is capable of acquiring a certain independence from the theme. The terms "" and leitmotif are often confused. Subject literary work is outside the text and is embodied in the leitmotif, which is a direct structural element of the text. The leitmotif system of the work provides a figurative embodiment of themes and problems in the text.

In a broader sense, the leitmotif is the main idea, idea, emotional tone of a literary work or creativity of a given author.

The word leitmotif comes from German Leitmotiv, which means - the leading motive.

The term leitmotif has german roots(Leitmotiv) and translates as "leading motive". IN musical creativity it is a distinctive theme or phrase describing a character in a ballet or opera. The leitmotif characterizes the features of the character or a certain dramatic scene in different episodes of the work. It is repeated over and over throughout the course of the action.

Operatic meaning of the word leitmotif

Wikipedia reports that the first author who was able to implement this sending inside your works became Richard Wagner, famous German composer. Thanks to this discovery, his music acquired an all-consuming continuity of action.

The author himself never used the designation "leitmotif". In 1871, the musicologist and teacher from Germany F. Jens began to use this word for the first time. A. G. Wolzogen widely used the term to analyze Wagner's work.

In music, the leitmotif performs not only an emotional function, but acts as a formative and unifying category. According to the degree of development of the mastery of opera music, the term began to play more and more significant roles. Its principle was already outlined in the very early work Monteverdi "Orpheus". In Scarlatti and Lully, the leitmotif is revealed in its rudimentary form, and slips through only minor fragments. At the end of the 18th century this musical image acquires great meaning in the late operas of Mozart and in the works of French composers of the revolutionary era.

The term is unambiguously approved in the period development of musical romanticism and becomes the main means of embodying the idea of ​​a single opera. In the works, there is a clash of two opposing forces and the appearance of a contrast to depict dramatic development.

Wagner develops operas based on full-fledged leitmotifs. In his later works, this musical image reflects major episodes and thoroughly penetrates the polyphonic component.

On a note! Since oversaturation of a work with these musical categories could weaken the perception of the whole, in Wagner's time, authors reduced excessive complexity.

term in choreography

The first rudiments of the leitmotif in ballet music were visible in Giselle by A. Adam (1841), and, three decades later, this principle was most successfully introduced in L. Delibes' Coppellia and the works of P. I. Tchaikovsky. The genre itself gave rise to a specific problem- choreographic. To do this, they use pas ballote in ballet - the most difficult technique to perform, requiring great strength. Choreographic and musical synthesis was successfully created in the works of Soviet authors (Khachaturian, Grigorovich, Prokofiev).

Leitmotif in instrumental music

The motive principle plays here one of the critical roles. This technique originated in the days of harpsichord playing, and later was greatly exalted by the authors of Viennese classicism. For example, in Berlioz's Fantastic Symphony, the leitmotif, changing, permeates all five movements. This musical image is affirmed as portrait characteristic the main character, but sometimes serves as a construct, moving away from personification.

For the two-century history of the leitmotif, principle characterize more suitable for performance on instruments than for vocal parts, due to harmony and a wider range of action.

What is a leitmotif in a literary context?

Here the word leitmotif means one of the main structural elements of the text. The principle of static repetition can be found already on the pages ancient epic at Homer. The keynote is the most important factor, which plays the role of not only a reminder, but also becomes the main component of the work.

The French symbolists, among whom Baudelaire and Mallarmé are singled out, made attempts to transfer musical techniques in the field of manuscripts. The authors sought to go beyond the usual rational meaning of words and discover a wider meaning, just as a melody does.

The role of the leitmotif is automatically reduced or increased due to the stage expression of the dramaturgy itself. For a principle to become a truly key factor, it needs to be repeated and variation in different formations, giving all new colors to one character. Because of this, the leitmotif is filled with associations and acquires a kind of symbolism, which allows it to stand apart from the main presentation. The figurative embodiment of the theme of the work and the problems is provided thanks to the system of main motives.

term in a poem

To determine the basis of the work, one should look at one of the most important classifications: love, fate, death, beauty. However, only a certain theme in the poem is not enough; here, a synthesis of many problems is more common.

The leitmotif in this type of literature has immediate foundation and contains elements of the work. Having revealed it, it will easily reveal the prerequisites. The basis of the entire poem is the first bursts, impulses that are responsible for the initial and further impression. The forms that follow them gradually come into awareness. Every phrase in poetic work has its own place, and its effect is predetermined even before the reading begins.

The section is very easy to use. In the proposed field, just enter the desired word, and we will give you a list of its meanings. I would like to note that our site provides data from various sources - encyclopedic, explanatory, word-building dictionaries. Here you can also get acquainted with examples of the use of the word you entered.

The meaning of the word leitmotif

keynote in the crossword dictionary

Explanatory dictionary of the Russian language. D.N. Ushakov

keynote

leitmotif, m. (German Leitmotiv, lit. guiding motive) (book).

Harmonic or melodic turnover, constant sound image (mainly in opera), use. composer for characteristics of some. hero or something. experiences, stage position and repeating every time the hero appears or when this provision during the action (music). Leitmotifs in Rimsky-Korsakov's operas.

trans. The main idea, the leading beginning, the main tone. Keynote of the book. Keynote of the discussion.

Explanatory dictionary of the Russian language. S.I. Ozhegov, N.Yu. Shvedova.

keynote

The main motif recurring in piece of music.

trans. Recurring in some the main idea of ​​the work.

trans. The main idea, what goes through sth. red thread. L. speeches report.

adj. leitmotiv, -th, oh (to 1 value).

New explanatory and derivational dictionary of the Russian language, T. F. Efremova.

keynote

A musical turnover that is repeated in a piece of music as a characteristic or symbol character, object, phenomenon, etc.

trans. The main position, the leading thought, repeatedly repeated, emphasized.

Encyclopedic Dictionary, 1998

keynote

LEITMOTIV (German: leitmotiv, lit. - leading motive) is a musical turnover that is repeated in a piece of music as a characteristic or symbol of a character, object, phenomenon, idea, emotion. Used with con. 18th century in opera, from the 19th century. - in ballet and program instrumental music. R. Wagner used a complex system of leitmotifs in his operas. The term "leitmotif" has a broader meaning: as the definition of the dominant principle in human activity, in the chain of events.

keynote

(German Leitmotiv, literally ≈ leading motive), musical turnover (motive, phrase, less often whole topic, sometimes a harmonic sequence), repeatedly repeated as through image musical work. It usually serves as a characteristic or symbol of a certain character, object, phenomenon, idea, emotion. Starting from the 19th century. The principle of linearity finds wide application in opera, as well as in ballet and instrumental program music. In the late operas of R. Wagner, the complex system of staging forms the basis of musical and dramatic development. The Russian classical composers M. P. Mussorgsky, N. A. Rimsky-Korsakov, and P. I. Tchaikovsky artistically convincingly implemented the principle of L., but it does not occupy such an exceptional position in their works as Wagner’s, and is combined with others. principles of musical dramaturgy. L. retained its importance in the music of the 20th century. (for example, in operas and ballets by S. S. Prokofiev), a new aspect of its use is associated with the development of film music. The concept of L. is often used in the analysis of works of literature, denoting a figurative turn that is repeated in a work as a moment of constant characterization of a character, experience, or situation. Repeating and varying, L. acquires associations and acquires a special ideological, psychological, or symbolic depth. For example, the beat of a mallet in A.P. Chekhov's story "The Bride" is transformed into a symbol of a monotonous and sleepy philistine life and at the same time - accentuates the change of mind of the heroine. They also talk about the sound, rhythmic, intonations of L. in poetry.

The term "L." also received a broader nominal meaning, defining the dominant principle in human activity, in a chain of events, etc.

Lit .: Wagner R., On the application of music to drama, in the book: Selected. articles, M., 1935; Druskin M. S., Questions of the musical dramaturgy of the opera, L., 1952; Yarustovsky B. M., Russian Dramaturgy opera classics, M., 1953; Rimsky-Korsakov N. A., "The Snow Maiden" - a spring tale, Poln. coll. soch., vol. IV, M., 1960.

G. V. Krauklis.

Wikipedia

keynote

Leitmotif, in music - a characteristic theme or musical turn that describes any character in an opera, ballet, program play, its individual features or a certain dramatic situation and sound when they are mentioned, when a character appears or when a dramatic situation is repeated in different parts of the work. Richard Wagner was the first to actively use leitmotifs in his operas.

Examples of the use of the word leitmotif in the literature.

Proust, Joyce, Mann, Doderer enriched prose with musicality, turning the novel into a symphony, ideas and time into musical ones. keynotes.

But one cannot fail to notice similarities in the deeper layers of both works and the fact that the entire fantasy genre exploits the Arthurian myth in one, basic canon - in keynote struggle of the Forces of Good and Progress represented by Arthur, Merlin, Excalibur and round table, with the Forces of Darkness and Destruction, embodied by Morgana, Mordred and the forces behind them.

Also, the author often sympathizes with the unjustified grandiosity of Church Slavonicisms that sounds in the mouths of Plato's heroes, making these expressions for us, his readers, without sarcasm and mockery, leaving them to sound like an internal keynote his text, which eventually breaks out, begins to sound louder than others.

The tasks of strengthening the unity of the non-aligned countries on a consistent anti-imperialist basis have been keynote through a series of visits by F.

The musical dramaturgy of this choreographic drama is based on an extended system keynotes, which are symphonically transformed in the process of development.

But Zhukovsky achieved this re-expression of the original in each work with concrete, suitable specifically for given text techniques, for the poet, preserving his own handwriting, translated in more than one manner: his translation, like the two-faced Janus, combined the appearance of the translated author and Zhukovsky himself, included leading keynotes his creativity.

Antisthenes, in turn, was a pagan of the pre-Christian era, and what the phallus from time immemorial served as a symbol, namely, sensual sensation, was still close to his heart - and not only to him alone, but, as you know, to the entire Cynic school, which proclaimed its keynote return to nature.

Each time an action or speech excites one or another complex, the corresponding keynote in some variation.

But in his subtle remarks, and in his humorous comparisons, and even in his principled objections, the same marvelous keynote, which so bribed and touched with its peaceful softness.

The search for this synthesis is keynote incarnations of Shakespeare on our stage, and in our further presentation, analyzing some of the milestone Shakespearean performances, we will trace the contradictions in which this keynote.

This - keynote Greek tragedy, with the difference that Shakespeare's moira does not live in empyrean inaccessible to people, but is the flesh of the flesh of complex and diverse human relationships.

Volunteer army I laid down and persistently enforced as keynote the following principle: if the gentlemen are fighting, then we, the chiefs of staff, must do everything so that the serfs have their forelocks intact.

It was that main trump card keynote, with whom they rushed along Gogolevsky, like a fool with a written sack.

Canine relationship disputes keynote in our family conversations.

The same is true in ordinary psychological life: keynotes- these are shades of feelings of our complexes, our actions and moods are transformations of leitmotifs.

German Leitmotiv, lit. - leading motive

Relatively short music. turnover (b. h. melody, sometimes a melody with harmonization, entrusted certain instrument and so on.; in some cases otd. harmony or sequence of harmonies, rhythmic. figure, instr. timbre), repeatedly repeated throughout the music. prod. and serving as a designation and characteristic of a certain person, object, phenomenon, emotion, or abstract concept (L., expressed by harmony, sometimes called leitharmony, expressed by timbre - leittimbre, etc.). L. is most often used in musical theater. genres and software instr. music. It has become one of the most important expressions. funds in the 1st half. 19th century The term itself came into use somewhat later. It is usually attributed to him. philologist G. Wolzogen, who wrote about Wagner's operas (1876); in fact, even before Wolzogen, the term "L." applied by F. W. Jens in his work on K. M. Weber (1871). Despite the inaccuracy and conventionality of the term, it quickly spread and gained recognition not only in musicology, but also in Everyday life, having become a household word for designating dominant, constantly repeating moments in human activity, surrounding life phenomena, etc.

In the music prod. along with the expressive-semantic function, the language also performs a constructive (thematically unifying, formative) function. Similar tasks until the 19th century. usually resolved separately in decomp. music genres: means of vivid characteristics typical. situations and emotional states were developed in the opera of the 17th-18th centuries, while the through conduct of a single music. themes were used even in ancient polyphonics. forms (see Cantus firmus). The principle of L. was already outlined in one of the earliest operas (Monteverdi's Orpheus, 1607), but in subsequent opera compositions it was not developed due to crystallization in opera music separate woks. forms of conc. plan. Repetitions musical-thematic constructions, divided by other thematic. material, met only in isolated cases (some operas by J. B. Lully, A. Scarlatti). Only in con. 18th century L.'s reception is gradually formed in the late operas of W. A. ​​Mozart and in the operas of the French. era composers Great French. revolution - A. Gretry, J. Lesuera, E. Megul, L. Cherubini. True story L. begins during the development of the muses. romanticism and is associated primarily with it. romantic opera (E. T. A. Hoffmann, K. M. Weber, G. Marschner). At the same time, L. becomes one of the means of implementing the main. the ideological content of the opera. So, the confrontation between light and dark forces in Weber's opera The Free Gunner (1821) was reflected in the development of cross-cutting themes and motifs, united in two contrasting groups. R. Wagner, developing the principles of Weber, applied a number of lines in the opera The Flying Dutchman (1842); the climaxes of the drama are marked by the appearance and interaction of the leitmotifs of the Dutchman and Senta, symbolizing the same time. "curse" and "redemption".

Dutch leitmotif.

Leitmotif of Senta.

The most important merit of Wagner was the creation and development of muses. dramaturgy, esp. on the L system. It received its most complete expression in his later music. dramas, especially in the tetralogy "Ring of the Nibelungen", where obscure muses. images are almost completely absent, and L. not only reflect the key moments of dramas. actions, but also permeate the entire musical, preim. orchestral, fabric They announce the appearance of heroes on the stage, "reinforce" the verbal mention of them, reveal their feelings and thoughts, anticipate further events; sometimes polyphonic. the connection or sequence of L. reflect the causal relationships of events; in picturesque-depict. episodes (the woods of the Rhine, the element of fire, the rustle of the forest), they turn into background figurations. Such a system, however, was fraught with a contradiction: the oversaturation of L.'s music weakened the impact of each of them and complicated the perception of the whole. Modern To Wagner, composers and his followers avoided the excessive complexity of the L system. The significance of linearity was recognized by most composers of the 19th century, who often came to the use of linearity independently of Wagner. France in the 1920s and 1930s 19th century every new stage in the development of the opera shows a gradual but steady increase in dramaturgy. the roles of L. (J. Meyerbeer - C. Gounod - J. Wiese - J. Massenet - C. Debussy). In Italy they are independent. G. Verdi took a position in relation to L.: he preferred to express only the center with the help of L.. idea of ​​the opera and refused to use the system of L. (exception - "Aida", 1871). L. acquired greater importance in the operas of the verists and G. Puccini. In Russia, the principles of music-thematic. repeats back in the 30s. designed by M. I. Glinka (opera "Ivan Susanin"). To rather wide use of L. come to the 2nd floor. 19th century P. I. Tchaikovsky, M. P. Mussorgsky, N. A. Rimsky-Korsakov. Some of the latter's operas were noted for their creativity. the implementation of Wagnerian principles (especially Mlada, 1890); at the same time, he introduces a lot of new things into the interpretation of L. - into their formation and development. Russian classics generally renounce the extremes of the Wagnerian system.

An attempt to use the principle of linearity in ballet music was already made by A. Adam in Giselle (1841), but the system of linearity is especially fruitfully applied by L. Delibes in Coppélia (1870). L.'s role is also significant in Tchaikovsky's ballets. The specificity of the genre put forward another problem of cross-cutting dramaturgy - choreographic. L. In the ballet "Giselle" (ballet dancers J. Coralli and J. Perrot), a similar function is performed by the so-called. pas ballot. The problem of close interaction between choreographic and musical dances was successfully solved in Sov. ballet ("Spartacus" by A. I. Khachaturian - L. V. Yakobson, Yu. N. Grigorovich, "Cinderella" by S. S. Prokofiev - K. M. Sergeev, etc.).

In instr. L. music began to be widely used also in the 19th century. The impact of music t-ra played an important role in this, but did not rule it out. role. Technique of conducting through the whole play k.-l. characteristic motif was developed by another French. harpsichordists of the 18th century. ("Cuckoo" by K. Daken and others) and was raised to a higher level by the Viennese classics (1st part of Mozart's symphony "Jupiter"). Developing these traditions in relation to more purposeful and clearly expressed ideological concepts, L. Beethoven came close to the principle of L. (the Appassionata sonata, part 1, the Egmont overture, and especially the 5th symphony).

The Fantastic Symphony by G. Berlioz (1830) was of fundamental importance for the approval of L. in the program symphony, in which a melodious melody passes through all 5 parts, sometimes changing, designated in the author's program as the "beloved theme":

Used in a similar way, L. in the symphony Harold in Italy (1834) by Berlioz is supplemented by the timbre characteristic of the hero (solo viola). As a conditional "portrait" osn. character, L. firmly established himself in the symphony. prod. program-plot type ("Tamara" by Balakirev, "Manfred" by Tchaikovsky, "Til Ulenspiegel" by R. Strauss, etc.). In Rimsky-Korsakov's suite "Scheherazade" (1888), the formidable Shahriar and gentle Scheherazade are depicted by means of contrasting L., but in a number of cases, as the composer himself points out, these are thematic. elements serve purely constructive purposes, losing their "personalized" character.

Leitmotif of Shahriar.

Leitmotif of Scheherazade.

The main part of the I part ("Sea").

Side part of Part I.

The anti-Wagnerian and anti-romantic movements, which intensified after the First World War of 1914-18. tendencies markedly reduced the fundamental dramaturgy. the role of L. At the same time, he retained the value of one of the means of cross-cutting muses. development. Many can serve as an example. outstanding products. dec. genres: the operas "Wozzeck" by Berg and "War and Peace" by Prokofiev, the oratorio "Joan of Arc at the stake" by Honegger, the ballets "Petrushka" by Stravinsky, "Romeo and Juliet" by Prokofiev, the 11th symphony by Shostakovich, etc.

The wealth of experience accumulated in the field of application of L. for almost two centuries, allows us to characterize its most important features. L. is preim. instr. means, although it can also sound in a wok. parts of operas and oratorios. In the latter case, L. is only a wok. melody, while in instr. (orchestral) form, the degree of its concreteness and figurative character increases due to harmony, polyphony, a wider register and dynamic. range, as well as specific. instr. timbre. Orc. L., supplementing and explaining what was said in words or not expressed at all, becomes especially effective. Such is the appearance of L. Siegfried in the finale of "Valkyrie" (when the hero was not yet born and not named by name) or the sound of L. Ivan the Terrible in that scene of the opera "Pskovityanka", where we are talking about Olga's unknown father. The significance of such L. in depicting the psychology of the hero is very great, for example. in the 4th scene of the opera" Queen of Spades"where L. Countess, interrupted by pauses,

reflects at the same time. Herman's desire to immediately know the fatal secret and his hesitation.

For the sake of the necessary correspondence between the music and the actions of L., they are often carried out in the conditions of a completely clear stage performance. situations. A reasonable combination of through and non-through images contributes to a more prominent selection of L.

Functions L., in principle, can perform decomp. music elements. languages, taken separately (leitharmonies, leittimbres, leittonality, leitrhythms), but their interaction is most typical under the dominance of melodic. beginning (cross-cutting theme, phrase, motive). Relates brevity - natural. a condition for the convenient involvement of L. in the general music. development. It is not uncommon for L., expressed by an initially completed theme, to be further divided into separate. elements that independently perform the functions of a through characteristic (this is typical of Wagner's leitmotif technique); a similar crushing of L. is also found in instr. music - in symphonies, in which main topic The 1st part in a shortened form plays the role of L. in the further parts of the cycle (Berlioz's Fantastic Symphony and Dvorak's 9th Symphony). There is also a reverse process, when a bright cross-cutting theme is gradually formed from a separate section. precursor elements (typical for the methods of Verdi and Rimsky-Korsakov). As a rule, L. requires a particularly concentrated expressiveness, a pointed characteristic, which ensures easy recognition throughout the work. The last condition limits the modifications of linearity, in contrast to the methods of monothematic. transformations of F. List and his followers.

In the music theater. prod. each L., as a rule, is introduced at the moment when its meaning immediately becomes clear thanks to the corresponding wok text. parties, the characteristics of the situation and the behavior of the characters. In symph. music clarification of the meaning of L. is the author's program or otd. author's instructions about the main intent. The absence of visual and verbal reference points in the course of music development severely limits the application of L.

The brevity and vivid character of L. usually determine its special position in the tradition. music forms, where he rarely plays the role of one of the indispensable components of the form (the rondo refrain, the main theme of the sonata Allegro), but more often it unexpectedly invades decomp. its sections. At the same time, in free compositions, recitative scenes and major works. theater. plan, taken as a whole, L. can play an important formative role, providing them with musical-thematic. unity.

Literature: Rimsky-Korsakov N.A., "The Snow Maiden" - a spring tale (1905), "RMG", 1908, No 39/40; him, Wagner and Dargomyzhsky (1892), in his book: Musical articles and notes, 1869-1907, St. Petersburg, 1911 ( full text both articles, Full. coll. cit., vols. 2 and 4, Moscow, 1960-63); Asafiev B. V., musical form as a process, M., 1930, (together with book 2), L., 1963; Druskin M. S., Questions of the musical dramaturgy of the opera, L., 1952; Yarustovsky B. M., Dramaturgy of Russian opera classics, M., 1952, 1953; Sokolov O., Leitmotifs of the opera "Pskovityanka", in collection: Proceedings of the Department of Music Theory, Moscow. conservatory, vol. 1, Moscow, 1960; Protopopov Vl., "Ivan Susanin" Glinka, M., 1961, p. 242-83; Bogdanov-Berezovsky V. M., Articles about ballet, L., 1962, p. 48, 73-74; Wagner R., Oper und Drama, Lpz., 1852; the same, Sämtliche Schriften und Dichtung (Volksausgabe), Bd 3-4, Lpz., (o. j.) (Russian translation - Opera and Drama, M., 1906); his, Eine Mitteilung an meine Freunde (1851), ibid., Bd 4, Lpz., (o. j.); his own, bber die Anwendung der Musik auf das Drama, ibid., Bd 10, Lpz., (o. j.) (in Russian translation - On the application of music to drama, in his collection: Selected articles, M., 1935 ); Federlein G., Bber "Rheingold" von R. Wagner. Versuch einer musikalischen Interpretation, "Musikalisches Wochenblatt", 1871, (Bd) 2; Jdhns Fr. W., C. M. Weber in seinen Werken, B., 1871; Wolzogen H. von, Motive in R. Wagners "Siegfried", "Musikalisches Wochenblatt", 1876, (Bd) 7; his, Thematischer Leitfaden durch die Musik zu R. Wagners Festspiel "Der Ring der Nibelungen", Lpz., 1876; his, Motive in Wagners "Götterdämmerung", "Musikalisches Wochenblatt", 1877-1879, (Bd) 8-10; Haraszti E., Le problime du Leitmotiv, "RM", 1923, (v.) 4; Abraham G., The Leitmotiv since Wagner, "ML", 1925, (v.) 6; Bernet-Kempers K. Th., Herinneringsmotieven leitmotieven, grondthemas, Amst. - P., 1929; Wörner K., Beiträge zur Geschichte des Leitmotivs in der Oper, "ZfMw", 1931, Jahrg. 14, H. 3; Engländer R., Zur Geschichte des Leitmotivs, "ZfMw", 1932, Jahrg. 14, H. 7; Matter J., La fonction psychologique du leitmotiv wagnerien, "SMz", 1961, (Jahrg.) 101; Mainka J., Sonatenform, Leitmotiv und Charakterbegleitung, "Beiträge zur Musikwissenschaft", 1963, Jahrg. 5, H. 1.

G. V. Krauklis

keynote

keynote

LEITMOTIV (German: Leitmotiv - “leading motive”) is a term introduced into music theory by Richard Wagner (see) and sometimes used in literary criticism, mainly by representatives of psychological and formal trends. The meaning of the term "leitmotif" in literary criticism is extremely vague and indefinite. The term "L." it is used, firstly, to designate the dominant (see), the work or even the work of the writer as a whole: in this sense, one can say, for example: “The idea of ​​​​the unjustified and inexorable evil of the world order passes L. through all the work of A. de Vigny”; or: "The pessimistic and the one who is worse wins, becomes the L. of the whole Romanzero Heine." The term "L." it is used, secondly, to refer to a group of thematic elements or expressive means, constant, "canonical" for a particular genre and style; in this meaning, for example. about abduction, attack by sea robbers, separation of lovers, their wanderings and final connection, loss of children and recognition by their parents as L. Greek novel or about a gloomy dull landscape - a cemetery, ruins, a conflagration - as one of the L. English "cemetery poetry" of the 18th century. Finally, the term "L." that complex of thematic and expressive means is indicated, which is constantly repeated throughout a given artistic whole - a literary work; in this usage the term "L." approaching its original musical meaning. So, german romantics in their search for syncretic art, they willingly introduce a series of lyric poems, thematically unrelated to it, but forming the emotional lyricism of the entire work (a lyrical insert by Eichendorff and others). The rhetorical pathos of Hugo's novels is also reflected in the introduction and choice of symbolic L., in the clarity of its ideological significance, often approaching allegory (L. towers and guillotines in "93"). IN realistic novel 19th century meets so-called. portrait L. (cf. L. by Dickens and L. Tolstoy), thanks to Krom, the corresponding details become integral parts of the image (the upturned sponge of Princess Bolkonskaya with a mustache, the radiant eyes and heavy feet of Princess Marya, the iron hook and the hard wired hat of Captain Kuttle , the grin of Mr. Carker's teeth, etc.).
As is clear from the above examples, which can be infinitely multiplied, the main drawback of the concept of "L." How literary category- in addition to its vagueness and uncertainty - is its metaphysical; the introduction of the concept of "L." suggests an essentially idealistic and formalistic conception of a literary work as a self-sufficient structure, to be described in its parts by methods and terms borrowed from other areas of art (the principle of mutual illumination of the arts, which separates art from its public base). For Marxist literary criticism, which studies concrete historical class art in all the diversity of its aspects, contradictions, and leading tendencies, the category of leitmotif as a formalistic category is unsuitable, and the term "leitmotif" can only be used in the sense of a conventional designation of the leading trend, etc. (see Motive ).

Literary Encyclopedia. - In 11 tons; M .: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .

Leitmotif

(German Leitmotiv - leading motive), regularly reproduced in a separate essay, in a cycle of works or in the work of the author, a semantic motive. A repeating element of the structure of the work can be represented by a detail - a speech one (“Not bad ...” in Turkin’s speech from the story of A.P. Chekhov“Ionych”), portrait (“golden” details in the portraits of rich characters in “The Gentleman from San Francisco” by I. A. Bunin) or landscape (azure sky and clouds in the lyrics of M. Yu. Lermontov). The leitmotif in various works of one author can be a standard plot twist for him (a rendezvous and duel in the prose of I.S. Turgenev), a special point of view of the narrator in its "spatial" expression ("above-world" angle of view lyrical hero in some poems by V.V. Mayakovsky), a typical plot function of a character (“demonic” figures in novels and short stories by M.A. Bulgakov). Any semantic motive can undergo a change in those cases when it is reproduced by the author in combination with new motives.

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .

See what "Leitmotif" is in other dictionaries:

Keynote... Spelling Dictionary

- (German). 1) music. The guiding motive in the orchestra, in the opera, which serves to characterize famous person or mood and constantly accompanying it. 2) guiding thought. Dictionary foreign words included in the Russian language. Chudinov A.N., 1910 ... Dictionary of foreign words of the Russian language

keynote- Keynote, this is borrowed from German language(leitmotiv) the word means (in figuratively) the main idea of ​​the work, the idea that the author repeatedly repeats and emphasizes. We also emphasize: the main idea is called the leitmotif! But… … Dictionary of Russian language mistakes

LEITMOTIV, leitmotif, husband. (German Leitmotiv, lit. guiding motive) (book). 1. Harmonic or melodic turnover, constant sound image (mainly in opera), use. composer to characterize some hero or some ... ... Dictionary Ushakov

Idea, thought, theme, motive, main motive Dictionary of Russian synonyms. leitmotif main motive Dictionary of synonyms of the Russian language. Practical guide. M.: Russian language. Z. E. Alexandrova. 2011 ... Synonym dictionary

- (German leitmotiv letters. Leading motive), a musical turnover that is repeated in a piece of music as a characteristic or symbol of a character, object, phenomenon, idea, emotion. Used with con. 18th century in opera, from the 19th century. in ballet... Big Encyclopedic Dictionary

Keynote, a, husband. 1. The main motive that is repeated in a piece of music. 2. trans. Recurring in what the main idea of ​​the work. 3. trans. The main idea, what goes through what n. red thread. L. speeches report. |… … Explanatory dictionary of Ozhegov

keynote- (German Leitmotiv, literally a leading motive), a musical turnover that is repeated in a piece of music as a characteristic or symbol of a character, object, phenomenon, idea, emotion. Used since the end of the 18th century. in the opera, from the 19th century ... Illustrated Encyclopedic Dictionary

keynote- a, m. 1) A musical turnover, the main motive, repeated in a piece of music as a characteristic or symbol of a character, object, phenomenon, idea, emotion. Opera theme. 2) trans. The main position, repeatedly ... ... Popular dictionary of the Russian language

- (German Leitmotiv, lit. leading motive) relatively short music. turnover (b. h. melody, sometimes a melody with harmonization assigned to a certain instrument, etc.; in some cases, a separate harmony or sequence of harmonies, rhythmic ... ... Music Encyclopedia

Books

• History of Catherine II. Part One (The Path to the Throne). Part Two (Internal Troubles), Alexander Gustavovich Brikner. keynote historical writings Professor of Dorpat University A. Brikner, the process of Europeanization of Russia, the penetration of Western European concepts and interests into it. This approach is…