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The choir appeared. Modern explanatory dictionary ed.

The choir appeared. Modern explanatory dictionary ed.

17.07.2019

Hora— a unique practice focused on strengthening endurance in all manifestations: mental, intellectual and physical.

In our world, endurance is one of the key qualities enabling success. To meet the requirements of today's ever-changing society, not to be among the outsiders, a person must work efficiently and hard. But without stamina, this is often a path to burnout. Applying the Hora practice allows you to do the same amount of work, but at the same time be in active physical, intellectual and mental state, minimizing your fatigue. Special attention in Chora is given to mental and intellectual endurance, after all, in the modern world, most people are engaged in work that does not require the application of physical effort.

In the process, Hora allows for constant support, pumping and strengthening of the psychophysical and evolutionary natural potential.

The key principle of Hora practice is combination of pressure and resistance, like the harmony inherent in the eastern philosophical principle "yin-yang". This is manifested in every exercise - the interaction of male and female principles, strength and suppleness. This principle can also be justified from the point of view of the Western concept of evolution - species are forced to resist and adapt to the pressure of the natural environment, this is how life develops.

In terms of physical practice, pressure and resistance contribute to internal heating, which, with the right connection of breathing, improves harmonious energy metabolism in the body. At the same time, the spiritual and the physical are united together: having firmly fixed in an extremely supportive position or plunging into a forceful action, a person reaches wholeness.

Master a Hora on a level intelligence is impossible- practice plays a key role, and all work is in it fulfills instinct.

Classes on the Hora system are held in the training mode, each of which lasts from one and a half to two hours. At the same time, the development of sustainable changes and results takes place in at a comfortable and gradual pace. Hora can be practiced both in a group and individually - under the supervision of the leader, which can take into account the characteristics of the practitioner as much as possible and optimize the load. Work in the Chorus technique is produced in pairs. Exercise does not require special sports training, but they can be done only under the supervision of a specialist. You cannot practice Hora on your own.

Advantages Hora before other methods can be summarized as follows:

Adaptation to modern man;
Clarity and pragmatism;
Naturalness;
Unity of rest and action;
Uniqueness;
evolutionary potential.

back to basic principles Hora include:

Instinctively-evolutionary support;
Instinctive-evolutionary type of breathing;
Instinctively-evolutionary concentration of attention.

In addition to the general program of classes, Chora has modifications, in particular women's program oriented to sex appeal.

Hora allows not only to achieve an optimal mental state, but also to get rid of from a number of diseases. In particular, this practice has proven itself in the restoration of the spine, allowing the healing process to proceed naturally and holistically.

(vocal trio, quartet, quintet, etc.) the presence of at least two (according to P. Chesnokov, three) or more people performing the same part.

Most often, the choir includes four choral parts: soprano, alto, tenor, bass. But the number of parties is in principle not limited, since each of these main parties can be divided into several relatively independent parties (this phenomenon is called divisi by musicians): in Vasily Titov's partes concerts there are 12 or more choral parts; "Stabat Mater" by Krzysztof Penderecki was written for a triple choir of 4 voices each (a total of 12 choral parts).

The choir may sing with or without instruments. Singing without accompaniment is called a cappella singing. Instrumental accompaniment can include virtually any instrument, one or more, or an entire orchestra. As a rule, at choir rehearsals, in the process of learning a piece written for choir and orchestra, the orchestra is temporarily replaced by the piano; the piano is also used as an auxiliary instrument when learning a cappella choral works.

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✪ Turetsky Choir - Wandering Artists (Saturday Evening)

✪ Turetsky Choir - "Wandering Artists"

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Some of the earliest singing groups were the ancient Greek choirs used during tragedies. But unlike modern drama and theater, he himself was not a character, but played the role of public opinion, which determined the choice of other characters. The ancient Greek choir always sang in one voice, either unaccompanied or to the kithara, which also played in unison with the choir.

Early Christianity adopted the ancient tradition, and until the 10th-12th centuries, choirs sang only in unison or octave. Then began the division of votes into low and high and the emergence of different parties for them. Until the 15th century (and in church singing - until the 17th century), only men were in the choir (with the exception of the choirs of nuns).

Types of choirs

under the name choir type understand the characteristics of the performing group by the constituent groups of singing voices. It is known that singing voices are divided into three groups - women's, men's and children's. Thus, a choir that unites the voices of one group is called homogeneous, and a choir that has combinations of female (or children's) and male voices or singing voices of all groups is called mixed. In performing practice, four types of choirs are common: women's, men's, children's, mixed.

mixed choir(the most common type of choir) - consists of female and male voices. The female voices are the soprano and alto parts, the male voices are the tenor and bass parts. Within each part, there is usually a division into first (higher) and second (lower) voices: sopranos I and II, altos I and II, tenors I and II, basses I and II;
boys and youths choir- consists of the same four main parts as the mixed one, but the soprano part is performed by boys called trebles, the alto part is performed by low boy voices; the parts of tenors and basses in such a choir, as well as in a mixed one, are performed by men;
male choir- consists of tenors and basses, with the subdivision of each part into two voices: first (high) and second (low) tenors and first and second basses. The part of the first tenors can be expanded with countertenor singers singing (in falsetto) an even higher part, which is outside the usual male vocal range in tessitura;
female choir- consists of sopranos and altos, with the subdivision of each part into two voices: first and second sopranos and first and second altos;
children's choir- consists of two parties: soprano (treble) and altos, sometimes from three - sopranos (treble) I and II, and altos; other options are also possible.

The minimum number of singers in one choral part is 3 people.

From the point of view of the manner of singing, there are:

academic choirs- singing in an academic manner. The academic style of singing is based on the principles and criteria of musical creativity and performance, developed by professional musical culture and the traditions of the centuries-old experience of opera and chamber genres;
folk choirs- singing in a folk manner. The genre features of Russian folk choirs are: reliance on the local or regional tradition of everyday folk singing; use of natural register sounding of voices; subvocal-polyphonic chant of the song as the basis of choral polyphony.

Types of choral singing

By the number of participants there are:

vocal and choral ensemble- from 12 to 20 participants;
chamber choirs- from 20 to 30-50 participants;
middle choirs- from 40 to 60-70 participants;
large choirs- from 70 to 120 participants;
combined choirs- up to 1000 participants, gather for a while from different teams. Such compositions have the status of "happing performance" and do not belong to the performing arts proper, as they are more of a propaganda and educational direction.

Choirs may have different status, such as professional, amateur (amateur), church and training choirs.

Notes

Literature

Anisimov A.I. Conductor-choirmaster. Creative and methodological notes. - L .: "Music", 1976. - 160 p.
Asafiev B. V. On choral art: Sat. articles / Comp. and comment. A. Pavlova-Arbenina.- L.: Music, 1980.- 216 p.
Vinogradov K. Work on diction in the choir. - M .: Muzyka, 1967.
Dmitrevskaya K. Russian Soviet choral music. Issue. 1.- M.: Soviet composer, 1974.
Dmitrevsky G. Choir studies and choir management. - Muzgiz, 1957.
Evgrafov, Yu. A. Elementary theory of manual control of the choir. - M.: Music, 1995
Egorov, A. A. Theory and practice of working with the choir / A. A. Egorov. - L.; Moscow: Gosmuzizdat, 1951.
Zhivov, V. L. Performing analysis choral work. - M.: Music, 1987.
Zhivov V. L. Choral Performance: Theory. Methodology. Practice.- M.: Vlados, 2003.
Ilyin V. Essays on the history of Russian choral culture. - M .: Soviet composer, 1985.
Kazachkov S. A. Choir conductor - artist and teacher / Kazan. state Conservatory. - Kazan, 1998. - 308 p.
Kazachkov S. A. From lesson to concert. - Kazan: Publishing House of Kazan University, 1990. - 343 p.
Krasnoshchekov V. Questions of choral studies. - M .: Muzyka, 1969.
Lokshin D. Remarkable Russian choirs and their conductors.- M.: Muzgiz, 1963.
Nikolskaya-Beregovskaya K.F. Russian vocal and choral school: From antiquity to the XXI century - M .: Vlados, 2003. ISBN 5-691-01077-8
In memory of A. V. Sveshnikov. Collection of articles, ed. S. Kalinina.- M.: Music, 1998.
Shamina L.V. Work with an amateur choir.- M .: Muzyka, 1981.- 174 p.]
Sadovnikov V. I. Orthoepy in singing. - M., 1958. - 80 s.
Riemann, Hugo. Musical Dictionary : CD-ROM / per. with him. B. P. Yurgenson, add. Russian department - M. : DirectMedia Publishing, 2008.

CHORUS, -A, pl. choirs And choirs, m.

1. East An obligatory collective participant in ancient Greek tragedy and comedy.

2. Singing group performing vocal works. Gypsy choir. Conduct the choir. □ The theater had an exemplary choir and first-class soloists. Yuriev, Notes. || A piece of music intended to be performed by a group of singers. I did not write a cantata for the school anniversary, but simply a choir, which the pupils should sing at the celebration. Tchaikovsky, Letter to N. F. Meck, 27 Sept. 1885. || what. The totality of any sounds emitted, sounding at the same time. The birds flopped heavily into the water, and soon their contented quacking joined the numerous chorus of duck voices. Korolenko, In desert places. For a moment there was silence of deep charm, which was immediately replaced by a chorus of enthusiastic exclamations. L. Andreev, Angel.

3. whom or Which. Obsolete A group of musicians who play the same instruments (as part of an orchestra or separately). And unanimously thundered from the balcony, Amid the consoling ringing of Plates, spoons and knives, The whole choir of Uhlan trumpeters. Lermontov, Tambov Treasurer. || what. A set of identical musical instruments performing a piece of music, sounding simultaneously. Chorus of violins. □ The Bacchantes, with cries and laughter, Made a grape feast, And the chorus of tympans, flutes and lyres Merged noisily with the distant echo. A. K. Tolstoy, Crimean essays.

4. trans.; whom. A set, a group of people, according to expressing some kind of judgment, opinion, etc. About one estate of the Heirs, an angry chorus Starts an obscene argument. Pushkin, Eugene Onegin. || what. A lot of the same opinions, judgments, etc., expressed at the same time. Chorus of ridicule. □ Killed! .. Why sobs now, Empty praises an unnecessary choir. Lermontov, Death of a Poet.

5. what. Trad.-poet. Cluster, multitude (celestial bodies). Frosty night, the whole sky is clear; The marvelous choir of heavenly luminaries Flows so quietly, so in harmony. Pushkin, Eugene Onegin. Choirs of slender luminaries float quietly in the fog. Lermontov, Demon.

6. in meaning adv. chorus. a) All together, in several voices (about singing). My neighbor sang a mournful burlatskaya song in a thin voice, and everyone picked it up in unison. Pushkin, The Captain's Daughter; b) all at once, simultaneously, together (about some kind of statement). The rest of the grooms thanked Kapiton Averyanych in chorus. Ertel, Gardenins.

7. Muses. In stringed musical instruments - paired, tripled, etc. strings.

[Greek. χορός]

Source (printed version): Dictionary of the Russian language: In 4 volumes / RAS, Institute of Linguistics. research; Ed. A. P. Evgenieva. - 4th ed., erased. - M.: Rus. lang.; Polygraphic resources, 1999; (electronic version):

Women in identical beautiful dresses stand in orderly rows on the stage. Behind them, rising to small elevations, are men in strict black suits.

A wave of the conductor's hand, and choral singing began. The word "choir", which comes from the Greek choros and Latin chorus , What means crowd, assembly, are called groups of people performing vocal music and works composed for this group.

Of course, not every group can be called a choir. There are vocal ensembles consisting of several, sometimes more than ten, people. The choir differs from them in a significantly larger number of performers.

All members of the choir are divided into several groups, most often into four. In the children's choir, voices are divided into high and low; high voices are sopranos, low voices are altos.

Adult choirs can be of different composition: male, female and mixed. In a mixed choir, all the main voices are present: soprano (high female), alto (low female), tenor (high male) and bass (low male). Sometimes, if the composition being performed has more than four different parts, each of the groups is divided into first and second voices: first and second sopranos, first and second altos, and so on.

For choral singing, composers compose special works: songs, choirs, choral poems. D. D. Shostakovich wrote 10 choral poems to the words of revolutionary poets.

The choir is one of the main "characters" of many operas. Not a single mass scene can do without it. Let us recall, for example, "The Scene under Kromy" from Mussorgsky's opera "Boris Godunov", which shows a picture of popular unrest. The image of the insurgent people is conveyed through the choral song "Dispersed, cleared up ...".

M. Mussorgsky. Choir "Gaida! Dispersed, cleared"
(opera "Boris Godunov" act 4, scene 3)

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The majestic choir "Glory" sounds in the final scene of Glinka's opera "Ivan Susanin".

M. I. Glinka. Chorus "Glory"
(from the epilogue of the opera "Ivan Susanin")

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The choir is an indispensable participant in the performance of oratorios and cantatas, where he is given a very large place.

Some choral works are written without accompaniment. This performance is called a cappella.

The choir resembles a perfect polyphonic instrument. All means of musical expression are available to him: transparent pianissimo and majestic fortissimo, colossal rises and instantaneous falls in sonority, slowing down or speeding up the tempo. Choral sound can convey the subtlest shades of feelings embodied in music, it can draw picturesque musical pictures. No wonder choral singing is one of the most beloved forms of amateur art in our country.

In their manner of singing, choirs differ from each other. Choirs performing classical music and contemporary works sing with a "covered", "round" sound. These are the Glinka Leningrad Academic Chapel, the A. A. Yurlov Republican Chapel, the Big Children's Choir of the Central Television and All-Union Radio, the boys' choir of the A. V. Sveshnikov Moscow Choir School. Folk choirs sing in a special manner, the so-called open sound. Remember, for example, the sound of the Pyatnitsky Choir, the Northern Folk Choir and other similar musical groups.

This article about the choir as a singing group. See also other meanings of this word.

Gregorian Church Choir

Choir of the Perm College of Music

Most often, the choir includes four choral parts: soprano, alto, tenor, bass. But the number of parties is not limited in principle, since each of these main parties can be divided into several relatively independent parties (this phenomenon is called divisi among musicians): Vasily Titov's part concerts have 12 or more choral parts; "Stabat Mater" by Krzysztof Penderecki was written for a triple choir of 16 voices each (48 choral parts in total).

The choir may sing with or without instruments. Singing unaccompanied is called singing a cappella. Instrumental accompaniment can include virtually any instrument, one or more, or an entire orchestra. As a rule, at choir rehearsals, in the process of learning a piece written for choir and orchestra, the orchestra is temporarily replaced by the piano; the piano is also used as an auxiliary instrument when learning choral works a cappella.

Types of choirs

Depending on the gender and age of the singers, choirs can be classified as follows:

mixed choir(the most common type of choir) - consists of female and male voices. The female voices are the soprano and alto parts, the male voices are the tenor and bass parts. Within each part, there is usually a division into first (higher) and second (lower) voices: sopranos I and II, altos I and II, tenors I and II, basses I and II;
boys and youths choir- consists of the same four main parts as the mixed one, but the soprano part is performed by boys - trebles, the part of altos - countertenor - by young men singing falsetto; the parts of tenors and basses in such a choir, as well as in a mixed one, are performed by men;
male choir- consists of tenors and basses, with the subdivision of each part into two voices: first (high) and second (low) tenors and first and second basses. The part of the first tenors can be expanded with countertenor singers singing (in falsetto) an even higher part, tessitura outside the usual male vocal range;
female choir- consists of sopranos and altos, with the subdivision of each part into two voices: first and second sopranos and first and second altos;
children's choir- consists of two parties: soprano (treble) and altos, sometimes from three - sopranos (treble) I and II, and altos; other options are also possible.

The minimum number of singers in one choral part is 3 people.

From the point of view of the manner of singing, there are:

academic choirs- singing in an academic manner based on the standard of the European academic (opera-concert) singing tone;
folk choirs- singing in a folk manner.

Types of choirs

By the number of participants there are:

small choirs- from 12 to 20 participants;
chamber choirs- from 12 to 30-50 participants;
middle choirs- from 40 to 60-70 participants;
large choirs- from 70 to 120 participants;
combined choirs- up to 1000 participants, gather for a while from different teams. Such compositions have the status of "happing performance" and do not belong to the performing arts proper, as they are more of a propaganda and educational direction.

Choirs may have different status, such as professional, amateur, church and training choirs.

Notes

Literature

Anisimov A.I. Conductor-choirmaster. Creative and methodological notes. - L .: "Music", 1976. - 160 p.
Asafiev B.V. On choral art: Sat. articles / Comp. and comment. A. Pavlova-Arbenina.- L.: Music, 1980.- 216 p.
Vinogradov K. Work on diction in the choir. - M .: Muzyka, 1967.
Dmitrevskaya K. Russian Soviet choral music. Issue. 1.- M.: Soviet composer, 1974.
Dmitrevsky G. Choir studies and choir management. - Muzgiz, 1957.
Evgrafov, Yu.A. Elementary theory of manual control of the choir. - M.: Music, 1995
Egorov, A. A. Theory and practice of working with the choir / A. A. Egorov. - L.; Moscow: Gosmuzizdat, 1951.
Zhivov, V. L. Performing analysis of the choral work. - M.: Music, 1987.
Zhivov V. L. Choral Performance: Theory. Methodology. Practice.- M.: Vlados, 2003.
Ilyin V. Essays on the history of Russian choral culture. - M .: Soviet composer, 1985.
Kazachkov S. A. Choir conductor - artist and teacher / Kazan. state Conservatory. - Kazan, 1998. - 308 p.
Kazachkov S. A. From lesson to concert. - Kazan: Publishing House of Kazan University, 1990. - 343 p.
Lokshin D. Remarkable Russian choirs and their conductors.- M.: Muzgiz, 1963.
Nikolskaya-Beregovskaya K.F. Russian vocal and choral school: From antiquity to the XXI century - M .: Vlados, 2003. ISBN 5-691-01077-8
In memory of A. V. Sveshnikov. Collection of articles, ed. S. Kalinina.- M.: Music, 1998.
In memory of N. M. Danilin. Letters, memoirs, documents. - M .: Soviet composer, 1987.
Bird K. Masters of choral art at the Moscow Conservatory. - M .: Muzyka, 1970.
Sivizyanov A. The problem of muscular freedom of a choir conductor.- M.: Muzyka, 1983.- 55 p.
Romanovsky N.V. Choral dictionary. - L .: Music, 1980
Samarin W. Choir studies. - M.: Music, 2011.
Sokolov V. Work with the choir. - M .: Music, 1967.
Teneta-Barteneva L.B. Lebedev Konstantin Mikhailovich (Essay on the life and career of an outstanding choral conductor and teacher). - M .: 4 branch of the Military Publishing House, 2002
Chesnokov P. G. Chorus and management. Manual for choir conductors. Ed. 3rd - M., 1961.
Shamina L.V. Work with an amateur choir.- M .: Muzyka, 1981.- 174 p.