The art of accompaniment
Introduction
Currently, the problem of versatile education of the child is very relevant. Music is the most universal means of aesthetic and moral education shaping the inner world of the child. He becomes sensitive to beauty, his thinking improves, his musical horizons expand.
The purpose of teaching children at a music school is to train not only future professional performers, but also amateur musicians who have the skills musical creativity can independently disassemble and learn musical composition any genre, to be fluent in an instrument, to accompany. For a significant number of graduates of the Children's School of Music, music, without becoming their main specialty, will remain their favorite hobby, and the practical skills they acquired in the process of learning accompaniment will help them freely play music with their families or other music lovers.
Accompaniment pushes the limits of the usual pedagogical process and comprehensively develops the creative abilities of students different abilities, instills playing skills in an ensemble, contributes to a more emotional attitude to music, arouses interest in the subject, develops the specific abilities of a musician (ear of music, memory, rhythmic feeling, motor skills), increases the level of performing skills.
The works learned in the specialty lessons will be forgotten quite quickly, and the ability to read freely from a sheet and accompany will help the student become a true lover and propagandist of musical culture.
Due to the improvement in the quality of primary music education, the adoption of new educational programs, the growth of scientific and methodological work, there is a need to create educational programs in additional disciplines that contribute to the development of students' musical abilities.
In this regard, the purpose of writing this work was the need to generalize work experience and expand knowledge and ideas about accompaniment, instill in children a love for music, understanding its language, developing not only performing, but also creative qualities in students. To achieve this goal, it is necessary to solve a number of tasks:
- analyze the historical development of accompaniment;
- learn different types of accompaniment;
- consider organization educational process.
The practical significance lies in the fact that this work contains a lot of useful information and practical recommendations for teachers of music schools involved in accompaniment.
1. A Brief History of the Development of Accompaniment
What is an accompaniment? In the dictionary of V. Dahl, accompaniment is defined as an echo, repetition, accompaniment, playing along.
In the middle of the 20th century, the word "accompaniment" acquires a clearer formulation - it is musical accompaniment that complements the main melody, serves as a harmonic and rhythmic support for the soloist (singer, instrumentalist) and deepens artistic content works.
The accompaniment is performed on the piano, guitar, button accordion, accordion, etc., as well as by the ensemble and the orchestra.
The nature and role of accompaniment depend on the era, nationality music and its style.
As the simplest forms of accompaniment, often accompanying the performance of a folk song, clapping hands or beating the rhythm with the foot can be considered.
In medieval music, there was a unison or octave doubling of a vocal melody by one or more instruments. In the 15th-16th centuries, accompaniment was an accompaniment to vocal polyphonic works, which was artistically secondary.
Speaking about the formation of accompaniment, one cannot but mention the type of polyphony - homophony, characterized by the division of voices into main and accompanying ones (unlike polyphony, where all voices are equivalent). In ancient cult music, this principle of homophony was widely used, where the upper voice was the main one, and the others performed the function of an accompaniment close to chordal.
With the development of the homophonic-harmonic warehouse at the end of the 16th and beginning of the 17th century, accompaniment is understood as the harmonic support of the melody. At that time, it was customary to write out only the lower voice of the accompaniment, outlining harmony with the help of digital notation (general bass or digital bass).
The general bass was the original type of homophonic writing in music. At the discretion of the performer, from whom fantasy was required, the gift of improvisation, a decoding of the digital bass in the form of chords, figurations, etc. was provided.
From the time of J. Haydn, W. Mozart, L. Beethoven, the accompaniment was written out by the authors in full. In music, there is a clarity of harmony and clarity of textured patterns.
2. Types of accompaniment
2.1. chord support
This simplest form harmonic support, is the support of the melody by sustained chords on the main steps of the tonality. Here, harmony emphasizes the tonal inclinations and helps the singer not to stray from the key, that is, it performs the function of a tuning fork.
This quality of harmonic supports is a transitional step from digital bass to the development of a homophonic-harmonic style. The role of chordal supports becomes more and more important. Together with saturation with content, they become a way of developing dramatic scenes in which emotional states change.
The role of such accompaniment is very great for the art of opera, given that in recitatives there is an active promotion of plot development. This accompaniment is found in chamber and romance music.
2.2. Alternating bass and chord
Many national dances have become so typical exponents of certain images and moods that they have outgrown the borders of the national and have become public property.
These are the Polish mazurka or polonaise, the French minuet or gavotte, the Austro-German waltz, the Spanish sarabande, etc.
There are two main principles of accompaniment invoices to be noted:
- Uniform emphasis on the same moments of movement (steps) within the measure. Such a movement can be: operto-heavy (sarabande), relatively light (minuet).
- Mapping a reference bass sound to lighter chords. Such is the texture of the gavotte, mazurka, waltz, polka.
The prevalence of this form of dance accompaniment corresponds to a step, a gait: the bass sound conveys a push from the ground, and chords convey lighter movements.
This is the most accessible type of home music accompaniment.
2.3. Chord pulsation
Departure from dance, turning to other themes and genres transforms the accompaniment, creates a huge variety of rhythmic figures that characterize the movement.
The revival of the harmonic support in homophonic music developed in two directions:
increased pulsation of chords;
decomposition of a chord in the form of a harmonic figuration.
These types of invoices are the most typical. They contain huge opportunities for emotional saturation due to tempo and dynamic activation.
Pulsating chords create a different emotional coloring: unhurried ones - peace, meditation, emphasized with the support of harmonic development - excitement, feelings, etc.
A common case of harmonic supports is the arpeggio chord. The technique is borrowed from the expressive possibilities of the harp, guitar, harp. It is typical for the genre of epic, fabulous, epic, lyrical. A wide amplitude harmonic wave is created, merging into chord harmony.
2.4. harmonic figuration
Figuration is a textural processing of chords, their “coloring”. Harmonic figuration, preserving the modal nature, forms a mobile background. Speaking about the merits of these figurations, it should be noted:
- a wide range, dynamic amplitude allow you to create emotionally rich, colorful pictures, activate the state of the character;
- brings melodic movement to harmonic voices, resulting in polyphonic accompaniment.
There are different types of presentation:
- filling in the intervals between chord sounds: singing, delays, the appearance of second sequences gives great tension;
- decomposition of a chord in the form of a harmonic figuration;
when changing harmony due to modal gravity, the undertones get more formality and expressiveness. There is a so-called hidden melody. An example is the melodic move in the bass. Great importance is attached to the weight of the accompaniment party. Such a melodic bass condenses the mass of sonority, pumps up the dynamic level.
2.5. Polyphonic combination with solo part
The polyphonic combination with the solo part is a further stage of the melodic movement accompanied by. Such melodic constructions have:
- the nature of the undertones;
- imitate the motives of the main party;
- are more independent and complete oppositions.
In working with students, this type of accompaniment is the most difficult to perform, requiring certain skills that are practiced in the lessons in the specialty when working on polyphony. It requires the presence of auditory capabilities, the ability to combine solo and accompaniment into a single musical fabric.
2.6. The accompaniment doubles the solo part
Here, playing skills are combined with the skills of singing melodies. Singing vocal works with words to accompaniment is one of the important forms of development of harmonic hearing. This is the link between solfeggio lessons and specialty classes. The fusion of these disciplines into a single learning process contributes to the development of musical thinking, figurative representation and imagination.
3. Organization of the educational process
The most important factor contributing to successful learning in the accompaniment class is the correct organization of the educational process, planning academic work and thoughtful selection of repertoire.
One of the forms of planning classes in the accompaniment class is the preparation of individual plans for each student, taking into account his abilities for each semester. IN individual plan includes works of Russian, foreign and contemporary music that are diverse in form and content. The main thing is that it is unacceptable to include in the individual plan works that exceed the student's musical and performing abilities and do not correspond to his age abilities.
In the accompaniment class, tasks such as:
- development of playing skills in the ensemble;
- expansion of musical horizons: acquaintance with the repertoire of domestic and foreign composers;
- development of creative abilities of students with different levels abilities.
The giftedness of the student and his ability to sensitively accompany do not always coincide. It can be difficult for students who like to perform solo to adapt to the role of an accompanist, and vice versa, students with increased stage excitement, with average data, can reveal themselves from the best side, thanks to sensitive accompaniment.
The accompanist is a support for the soloist, his harmonic basis and textural richness. In the process of working on accompaniment, a little musician develops such qualities as:
- the ability to hear a partner;
- coordinate all your actions with his actions;
- hear the fusion of the entire sound fabric.
For the successful formation of accompaniment skills, it is necessary to plan the work in the lessons. This work includes the following points:
- Analysis of the literary text, the part of the soloist.
- Independent or with the help of a teacher analysis of the work.
- Learning the accompaniment part. Sound work.
- Creation of musical artistic image in an ensemble with a vocalist or instrumentalist.
- Public speaking.
In the classroom, it is also necessary to constantly develop the skills of reading musical text from a sheet. The main thing in sight reading is the ability to cover the play as a whole. Often the teacher is faced with shortcomings:
- the student voices pauses;
- does not listen to long notes;
- does not pay attention to the change of key characters;
- chords are read from top to bottom;
- think for a long time when reading notes on additional rulers;
- both volts play in a row, etc.
- the teacher plays - the student checks, then vice versa;
- the student is instructed to turn the music sheets over to his friend. This draws attention to the text and listening to music.
And now let's take a closer look at some aspects of working on the accompaniment.
It is necessary to familiarize yourself with who the author of the music is, if it is vocal work who is the author of the poems; his style, the genres in which he worked.
It is necessary to start work with an analysis of the part of the soloist (if a romance, then from poetry). Its melodic line, the dynamics of development, the accuracy of phrasing are being studied. Be sure to learn the part of the soloist with bass.
- Preliminary visual reading of musical text: size, tempo, texture of presentation, tonal plan.
- Reproduction of musical text on the piano. It is necessary to play the work in full either by the student himself or by the teacher, this will allow you to understand the nature of the music, identify stylistic features, technical difficulties and set certain goals for yourself. At this stage, elements of the phrasing and culmination of the work are outlined, ideas about dynamics and tempo are created (everything must be linked with the soloist's part).
- Learning the accompaniment part separately with each hand. At this time, a convenient fingering is planned, right choice which will allow you to play the accompaniment part smoothly and coherently. Pay attention to the sound of the bass voice - the foundation of harmony and fret support. The bass is very important for the soloist, as he feels the harmonic coloring of his melodic line, being a rhythmic guide for him.
- Working out episodes with various elements of difficulty. It can be:
- various passages with fine technique, arpeggios. To learn them correctly, the student needs to find a convenient arrangement of the fingers, which will help to accurately hit the keys, and then learn each passage in separate fragments;
- difficult moments with chord technique. It is advisable to play 2-3 chords separately, connecting them one by one. It is important to aim the student at holding the top voice in the chords;
- significant difficulty in playing at various intervals;
- long distance jumps, etc.
When learning a piano part, a big mistake is to play the part mechanically from beginning to end. This leads to a loss of control over melodic development. The melody has enormous possibilities of intonational expressiveness. Therefore, from the very beginning, in a small musician, it is necessary to cultivate a careful attitude to the reproduction of a melody.
It is very important to follow all the author's instructions regarding dynamic shades (in relation to the soloist's part). Dynamics plays a huge role in the performing arts, since the expressive performance of a work is the main task, the violation of which can distort the content of the music. The amplitude of the dynamics is wide (from pianissimo to fortissimo), i.e. corresponds to the whole range of emotional states.
The intonational expressiveness of music will lose all meaning if you do not adhere to the rules of agogics. When performing a work, it is impossible to avoid tempo slowdowns and accelerations. When applied to phrases, sentences, and larger structures, the terms of agogics (accelerando, ritardando, ritenuto, etc.) are clear enough; the smallest agogic deviations are hardly accessible to precise designations, here everything depends on individual sensations, taste and sensitivity - the most important ability of an accompanist. A common form of agogic deviation is the climax. The natural attraction to it, its relative length and the subsequent restoration of the main tempo is a flexible and mobile form of live speech.
The main task of the teacher is to teach the student:
- coordinate the strength of sound in relation to the soloist, do not overload the accompaniment;
- skillfully distribute the gradual increase or decrease in the strength of sound, feel the beginning and end of these nuances.
We should not forget about the expressive meaning of caesuras, because breathing is important for a soloist in his performing skills. Compliance with pauses will allow the soloist to take a free breath and begin the next episode together in the ensemble. The basic law of the ensemble is to breathe simultaneously with the soloist. The nature and duration of the piano caesura is entirely dictated by the content of the work.
Speaking of performance, one cannot but mention the strokes that are defined by such terms: leqato, non leqato, staccato, pizzicato, pezante, marcato, etc. They are very important for depicting an artistic image. Leqato - plastic, flexible line, often supplemented by the definition of cantabile, this is the main type of melodic articulation. The departure from legato - marcato, is associated with the underlining of each syllable (recitative recitation). A large palette of articulation in dances: from heavy pezante steps, calm non leqato steps to light staccato jumps, leqqiero. It should be noted that in vocal music, verses suggest the exact measure of strokes, and in instrumental music - an arbitrary, individual reading of the author's text by the performer.
When working on a piano part, you need to pay great attention to pedaling. Skillful use of the pedal emphasizes the peculiarities of the timbre coloring of the accompaniment part. It is necessary to avoid "dirt", roar, which is an obstacle for the soloist.
In the process of working on a work, the creation of an artistic image is formed. G. Neuhaus wrote: “All the work taking place in the classroom is all possible work on music and its embodiment in piano playing, in other words, on the “artistic image”. The main goal of the student - accompanist should be the artistic performance of the work. And here we must not forget about two important things - the age of the student and his individual abilities. This is where the ability of the teacher to select a program is manifested. It is up to the student to play such a work that will be characteristic of his age. The creative process of creating an artistic image is associated with feelings and emotions. “A lifeless game, not warmed by the warmth of a real feeling, does not captivate the listener,” said L. Tolstoy. Therefore, it is necessary that the performer not only carefully study the work, but also experience it inwardly.
It is not uncommon for a student, knowing his part well, to get lost at the first performance with a soloist, his attention splits, he is disturbed by new timbre colors, a different rhythmic pattern in the solo part, fear of making a mistake, etc. The student wants to stop, repeat. In order for this tension to disappear, at first do not prevent stops, but then set the task - to finish playing to the end, so that it does not happen. Therefore, work must be started with an illustrator, even if the student does not succeed.
The piano, as an accompanying instrument, should sound slightly weaker than the soloist's part. Whatever the dynamic scale in the work, this ratio must be observed. The two most common mistakes are:
- the solo part overlaps;
- playing with a gray, colorless sound.
It is imperative to work with the student to ensure that the accompaniment sounds clear, even, so that not a single note is “pushed out” and disappears. A student can accompany well only when all his attention is directed to the soloist and sings “to himself” with him every sound, every word.
Particular attention should be paid to the piano introduction. The student immediately determines the overall pace. He must mentally sing the first measures of the solo part within the phrase, at the pace agreed with the soloist. The introduction is played expressively, figuratively. If there is no introduction, then you need to look at the soloist and catch a prearranged gesture, a wave of the bow, etc. and join with him.
At home, instead of a soloist, a tape recording can be used. But this requires precise tuning of the piano and the soloist's instrument. The piece is recorded twice at a slow tempo and at the tempo indicated in the piece. Before the beginning of the piece, the voice announces the title of the piece, and rhythmic signals are given. The disadvantage of this method of practice is that there is no direct communication with the soloist, a mechanical soloist will not come to the rescue in critical moment. The student gets the greatest pleasure when playing with the student illustrator. Often there are duets, children willingly meet additionally, they prepare with great responsibility for performances in concerts.
The final stage of the educational process in the work on the accompaniment is a public performance. As experience shows, this stage is the most difficult. Mastering a piece of music does not at all guarantee that everything will go smoothly during a concert. Therefore, one can speak of successful performance only if the program is correctly chosen and the entire rehearsal process is observed, when all stages of work on the accompaniment are carefully thought out and practiced. At the time of the concert performance, the student needs emotional uplift, will and artistry.
List of used literature:
1. E. I. Kubantseva. Concertmaster class. M., Music, 1995
2. A. I. Lyublinskii. Theory and practice of accompaniment. M., Music, 1976
3. Reader in Russian musical literature. M. Music, 1977
4. Reader of vocal and pedagogical repertoire. M., Music. 1972
Ivashchenko Galina Anatolyevna,
Omsk
Until now, not as much literature has been devoted to the art of accompaniment as we would like. Even less is written about the method of teaching this academic subject.
Meanwhile, it is children's music schools that are the first and most massive link in the system of musical
education, a necessary stepping stone to home music-making, to amateur artistic creativity. And the task of the music school is to instill the necessary skills collective music making, the ability to accompany a singer or oneself, a soloist, to cultivate a taste and interest in joint creativity.
The presented methodological development is a generalization of the experience of working as an accompanist and teaching accompaniment at a music school and is dictated by the desire to help colleagues systematize educational material, to determine the sequence of its complication, based on the needs of a future music lover who received general musical ideas at a music school and did not continue his musical education. Students of musical educational institutions of the middle and higher levels will deepen their knowledge in the process of further education.
The art of accompaniment is such an ensemble (the word "ensemble" in French means "unity") in which the piano plays a huge, by no means auxiliary role, far from being exhausted by the purely auxiliary functions of the partner's harmonic and rhythmic support. Both musicians, both the soloist and pianist, in artistic sense become equal members of a single, integral musical organism.
The skill of an accompanist is deeply specific. In addition to mastering his instrument, it requires the pianist to get acquainted with various singing voices, with the peculiarities of playing various instruments. An accompanist is not only a pianist, he is, as it were, a singer, violinist, trumpeter, guitarist, etc. The pianist must not only KNOW the solo part in addition to his own. He can accompany well only when all his attention is directed to the soloist, when he repeats with him every sound, every word, anticipates, “prehears” in advance what the partner will do. Feel like a solo performer - necessary condition in the process of working on a work with a singer or instrumentalist.
The author examines the basic principles of working with high school students of the piano department, dwelling on the issues of choosing a program, features of accompaniment for vocalists and instrumentalists, developing sight-reading skills, selection by ear and transposition, methods of textured accompaniment facilitation, etc. Approximate programs are also given here - works are proposed that can be performed at academic concerts and an approximate repertoire list is given.
It is not easy to instill such a volume of skills in the time allotted for the accompaniment of curriculum in the 5th, 6th, 7th grades of the music school. However, one of the main areas of work of the children's music school is the task of giving students a general musical development, to form their aesthetic tastes on the best examples of classical Russian and foreign music
Many long-familiar objects do not have a clear definition of their meaning in our minds. The word "accompaniment" also belongs to such concepts.
Translated from French, it means "accompany, echo, play along." Even simply beating the rhythm with your foot or clapping your hands has long been considered a kind of "accompaniment". However, in the twentieth century, a clear formulation of this term arose.
What is the nature of the accompaniment?
Today, accompaniment is the addition of a melody with musical accompaniment in the form of a harmonic and rhythmic support for the soloist. The soloist can be a singer or a musician-instrumentalist who plays the lead part.
Almost all music is based on melody as the main means of expression. She is the queen, running like a red thread through the entire musical texture and dictating to the rest of the voices the ways of their manifestation.
This type of musical texture is called "homophonic-harmonic". Because it has one main voice and its accompaniment in the form of harmony.
Most instruments are not able to reproduce harmony, they can be played, even very expressively, with just one voice. At the same time, soloing to the accompaniment of an orchestra is quite expensive.
That is why the most common instrument in this role is the piano. It successfully imitates the sound of an orchestra with its rich harmonic possibilities and colorful timbres.
Accompaniment as sounding texture
Accompaniment is not only what we hear in real sound. This word is also called the notes written for the instruments that perform the accompaniment part. The third meaning of the word lies in the action itself. This is the name of the maintenance process.
The main task of an accompanist, or, in other words, an accompanist, is to complement the soloist, helping him to create an artistic image. This assistance is provided mainly in the following areas:
- the addition of various registers and timbres that the soloist does not have in his arsenal, that is, a colorful enrichment of the sound;
- addition of a monophonic melody with a chordal harmonic texture, creating the effect of volume and conveying a certain emotional overtone;
- metro-rhythmic support, maintaining the stability of the tempo and musical form.
Moreover, the accompaniment is always a minor part of the texture, so it should sound quieter than the solo part.
The work of an accompanist
If you see an instrumental soloist playing the piano on stage, this does not mean that the pianist is accompanying him.
There are a number of works written for such a duet with an expanded equal part of the piano, where both instruments are soloists and act as a duet. This form of music-making is called a chamber ensemble.
Only in the case when the piano part has a clearly accompanying character, supporting the main instrument, we can say that this is an accompaniment.
Notes for an accompanist, however, can contain many complex and virtuoso episodes in the introduction, conclusion and losses, as if "finishing" what the soloist did not say, logically developing his line.
Outstanding Accompaniment Masters
A truly masterful accompaniment is a great art, which has its own notable figures. Among the outstanding concertmasters who have gone down in history are the following:
- Vazha Chachava - professor, head of the accompanist department of the leading Russian conservatory, performed with E. Obraztsova, Z. Sotkilava, I. Arkhipova (D. Matsuev is one of his students);
- an outstanding accompanist, D. who worked with S. Lemeshev, E. Shumskaya, went on stage until the last days of his life and gave 50-60 one and a half hour free concerts a year at the age of 102;
- Professor M. N. Ber, who worked as an accompanist in a vocal class for 50 years Russian Academy music, prepared more than 20 laureates and 30 soloists of opera houses;
- S. T. Richter showed himself to be a brilliant concertmaster in his work on the songs of F. Schubert with D. F. Diskau and many others.
Being present at a concert of an outstanding soloist, one should not underestimate the work of an accompanist. It is difficult to overestimate his contribution to the successful joint performance.
Here is an example that is probably familiar to everyone. At the singing lesson, the teacher is learning a new song. First she plays a melody, the students repeat it. Then, when the melody is well remembered, the class sings it in chorus, and the teacher plays the piano. She accompanies, that is, she accompanies the singing with her playing. The word "accompagner" is French and means "accompany". With accompaniment in music one has to meet very often. Singers sing to the accompaniment of a grand piano or piano, an instrumental ensemble or an orchestra, or even an accordion or a guitar. Violinists, cellists and wind instruments performers play with piano accompaniment. But not every combination of a piano with another instrument turns out to be an accompaniment. Sometimes the sheet music is written, for example: "Sonata for Violin and Piano". Or "Piece for Flute and Piano". This means that the piano in this case does not play a secondary, accompanying role, but acts as a full partner. It is no coincidence that in musical educational institutions There are two different academic disciplines: accompaniment and ensemble.
Watch value Accompaniment in other dictionaries
Accompaniment— accompaniment
Synonym dictionary
Accompaniment M. — 1. Musical accompaniment solo vocal or instrumental part, main theme or melody of a piece of music. 2. trans. Action, phenomenon, accompanying ........
Explanatory Dictionary of Efremova
Accompaniment- -A; m. [ital. accompagnamento].
1. Musical accompaniment to the solo part of a voice or instrument, as well as to the main theme, melody of a musical work. Write a.........
Explanatory Dictionary of Kuznetsov
Accompaniment- (French accompagnement - from accompagner - to accompany), 1) harmonic and rhythmic accompaniment of the main melodic voice. 2) Accompaniment by one or more instruments, ........
Big encyclopedic Dictionary
Accompaniment- (French accompagnement, from accompagner - to accompany; Italian accompagnamento; English accompaniment; German Begleitung). 1) An instrument part (e.g., piano, guitar, etc.) or an ensemble instrument part (singer..........
Music Encyclopedia
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BRIEF GLOSSARY OF MUSICAL TERMS
Accompaniment(French accompagnement - accompaniment) - music background to the main melodies, which is of secondary importance in the work.
Chord(it. accordo, fr. accord - agreement) - consonance, the sound of several (at least three) musical tones, taken, as a rule, simultaneously. A. are divided into consonant and dissonant (see. consonance And dissonance).
Act(lat. actus - action) - a relatively completed part theatrical performance (operas, ballet etc.), separated from another of the same part by a break - intermission. Sometimes A. is divided into paintings.
Ensemble(fr. ensemble - together) - 1. The name of a relatively independent musical episodes V opera, representing the simultaneous singing of two or more singers, vocal parts which are not identical; according to the number of participants A. are divided into duets, trio or tercetes, quartets, quintets, sextets etc. 2. Play, intended for joint performance by several musicians, most often instrumentalists. 3. The quality of joint performance, the degree of coherence, unity of the overall sound.
Intermission(French entr'acte - letters, interaction) - 1. Break between acts theatrical performance or branches concert. 2. Orchestral introduction to one of the acts, except for the first (cf. overture)
Arietta(it. arietta) - small aria.
Arioso(it. arioso - like an aria) - a variety arias, characterized by a freer construction, more closely connected with the previous and subsequent musical episodes.
Aria(it. aria - song) - developed vocal episode in opera, oratorios or cantata sung by one singer accompanied by orchestra, which has a wide range melody and completeness of the musical forms. Sometimes A. consists of several contrasting(see) sections. Varieties A. - arietta, arioso, cavatina, cabaletta, canzone, monologue etc.
Ballet(fr. ballet from it. ballo - dance, dance) - a major musical choreographic(cm.) genre, in which the main artistic means is dance, as well as pantomime, presented on the theater stage in a picturesque decorative design accompanied by orchestral music. B. in the form of independent dance scenes is sometimes part of operas.
Ballad(French ballade, Italian ballare - to dance) - originally the name of the Provencal (France) dance songs; then - literary and poetic genre connected with folk legends or telling about the events of the past. From the beginning of the XIX century. - designation vocal and instrumental plays narrative warehouse.
Baritone(Greek barytono - heavy-sounding) - male voice of the middle between bass And register tenor; Another name is high bass.
Barcarolle(from it. barca - boat, barcaruola - song of the boatman) - genus songs, common in Venice, and also the name vocal and instrumental plays contemplative melodious character with a smooth, swaying accompaniment; size 6/8. Another name for B. is a gondolier (from the Italian gondola, a Venetian boat).
Bass(it. basso - low, Greek basis - basis) - 1. The lowest male voice. 2. Common name for low register of orchestral instruments (cello, double bass, bassoon, etc.).
Bolero(Spanish bolero) - Spanish dance, known since the end of the 18th century, moderately fast movement, accompanied by castanets; size 3/4.
Bylina- a work of Russian folk epic, a story about the old days, about the exploits of folk heroes-bogatyrs. B. has the character of a leisurely smooth recitative like a sung speech; sometimes accompanied by playing the harp and other musical instruments.
Waltz(French valse, German Walzer) is a dance that originated from Austrian, German and Czech folk dances. V. is danced in pairs in a smooth circular motion; size 3/4 or 3/8, pace varying from very slow to very fast. Thanks to its special figurative and expressive possibilities, dance became widespread from the middle of the 19th century not only as a dance and concert(cm.) genre but also as an important component of music operas, ballet, symphonies and even chamber — solo And ensemble(see) works.
Variations(lat. variatio - change) - a piece of music based on a gradual change set out at the beginning Topics, during which the original image is developed and enriched without losing its essential features.
Virtuoso(it. virtuoso - lit. valiant, courageous) - a performing musician who is fluent in his instrument or voice, easily, brilliantly overcoming any technical difficulties. Virtuosity is the skill and technical perfection of musical performance. Virtuoso music is music replete with technical difficulties, requiring brilliant, spectacular performance.
Vocal music(from it. vocale - voice) - music for singing - solo, ensemble or choral(see) with accompaniment or without it.
Introduction- the initial section, directly introducing into any vocal or an instrumental piece, painting or Act musical and theatrical performance.
Gavotte(fr. gavotte) - an old French dance of folk origin; subsequently, from the 17th century, it entered into court use, in the 18th century it took its place in the dance suite. G.'s music is energetic, moderately fast movement, meter 4/4 with a characteristic two-quarter upbeat.
Harmony(Greek harmonia - proportionality, consistency) - 1. One of the expressive means of musical art, associated with chordal(see) combinations of tones and their sequences accompanying the main melody. 2. The science of chords, their movement and connections. 3. The name of individual chord sound combinations when characterizing their expressiveness (“hard harmony”, “light harmony”, etc.). 4. The general designation of the range of chordal means characteristic of a particular work, composer, musical style(“Mussorgsky's harmony”, “romantic harmony”, etc.).
Hymn(Greek hymnos) - a solemn laudatory chant.
Grotesque(French grotesque - bizarre, ugly, strange) - an artistic device associated with a deliberate exaggeration or distortion of the real features of the image, which gives it a bizarre, fantastic, often caricature-humorous, sometimes frightening character.
Gusli(from Old Russian gusel - string) - an old Russian folk instrument, which is a hollow flat box on which metal strings are stretched. Playing the G. was usually accompanied by the performance of epics. The performer in G. is a harpist.
Declamation- artistic reading of poetry or prose in an emotionally elevated manner. D. musical - correct reproduction in recitative characteristic intonations - rises, falls, accents, etc. - expressive human speech.
woodwind instruments— common name a group of instruments that includes a flute (with varieties of flute-piccolo and alto flute), oboe (with varieties of alto oboe, or English horn), clarinet (with varieties of clarinet-piccolo and bass clarinet), bassoon (with a variety of contrabassoon) . D. d. i. are also used in brass bands, various chamber ensembles And How soloists(see) tools. In the orchestral score group D. d. and. occupies the top lines, placed in the above order.
Decimet(from lat. decimus - tenth) - operatic or chamber ensemble ten participants.
Dialogue(Greek dialogos - a conversation between two) - scene- a conversation between two characters operas; roll call of alternating short musical phrases as if responding to each other.
Divertissement(French divertissement - entertainment, entertainment) - a piece of music built like suites, consisting of several diverse, mainly dance, rooms. D. is also called a separate instrumental play entertaining character.
Dynamics(from the Greek dynamikos - power) - 1. Strength, loudness of sound. 2. Designation of the degree of tension, the effective aspiration of the musical narrative (“the dynamics of development”).
Dramaturgy- Literature that involves the stage incarnation; the science of the laws of the construction of a dramatic play. In the 20th century, the term D. began to be applied also to the musical and theatrical art, and then to large instrumental and symphonic works that were not connected with the stage. D. musical - a set of principles for the construction and development of music operas, ballet, symphonies etc. with the aim of the most logical, consistent and effective embodiment of the chosen plot, ideological concept.
Thought, thought— narrative Ukrainian folk song free recitative-improvisational warehouse with tool support. Usually D. is devoted to a story about historical events, but sometimes it acquires the features of a sincere, sad song of a purely lyrical content.
Brass band— orchestra, consisting of copper And woodwinds And percussion tools. Before. has a powerful, bright sonority.
Wind instruments- instruments, different in shape, size and material, which are a tube or a set of tubes that sound due to the vibrations of the air column enclosed in them. According to the material and method of sound extraction D. and. divided into copper And wooden. Among D. and. belongs also organ.
Duet(from lat. duo - two) - operatic or chamber ensemble two participants.
duetino(it. duettino) - small duet.
Genre(French genre - type, manner) - 1. The type of musical work, determined by various criteria: by the nature of the subject (for example, J. epic, comic), the nature of the plot (for example, J. historical, mythological), the composition of the performers (e.g., F - operatic, ballet, symphonic, vocal(see), instrumental), the circumstances of the performance (for example, J. concert, chamber(see), household), features of the form (for example, Zh. romance, songs, instrumental or orchestral miniatures), etc. 2. Genre (in music) - associated with the characteristic features of folk everyday musical genres. 3. genre scene- home scene.
Chorus- Start choral song, performed by one singer - the lead singer.
Singspiel(German Singspiel from singen - to sing and Spiel - game) - kind comic opera, which combined colloquial dialogues with singing and dancing; Z. received the greatest development in Germany and Austria in the 2nd half of the 18th and early. XIX centuries.
Improvisation(from lat. improvisus - unforeseen, unexpected) - creativity in the process of execution, without prior preparation, by inspiration; also a characteristic of a certain kind of musical works or their individual episodes, characterized by whimsical freedom of presentation.
Instrumentation- the same as orchestration.
Sideshow(lat. intermedia - located in the middle) - 1. A small musical play, placed between the more important parts of a large work. 2. Plug-in episode or scene in a major theatrical work, suspending the development of the action and not directly related to it. 3. Binder episode between two Topics V fugue, a passing episode in an instrumental piece in general.
Intermezzo(it. intermezzo - pause, intermission) - play linking more important sections; also the name of separate, mainly instrumental, pieces of various nature and content.
Introduction(lat. introductio - introduction) - 1. Small size opera overture, directly put into action. 2. The initial section of any plays, which has its own pace and the nature of the music.
cabaletta(from it. cabalare - fantasize) - a small opera aria, often of a heroically upbeat nature.
Cavatina(it. cavatina) - a kind of opera arias, characterized by a freer construction, lyrical melody, lack of tempo(see) contrasts.
Chamber music(from it. camera - room) - music for soloists(see solo) instruments or voices, small ensembles designed for performance in small concert halls.
Canon(Greek kanon - rule, pattern) - a kind of polyphonic music based on the alternate entry of voices from the same melody.
Kant(from lat. cantus - singing) - in Russian, Ukrainian and Polish music of the 17th-18th centuries, lyrical songs for a three-part choir without accompaniment; in the era of Peter I, greetings to K. vigorous marching(cm. march) character, performed on the occasion of official celebrations.
Cantata(from it. cantare - to sing) - a great work for singers - soloists, chora And orchestra, consisting of a number of numbers - aria, recitatives, ensembles, choirs. K. differs from the oratorio in the absence of a detailed and consistently embodied plot.
Cantilena(lat. cantilena - chanting) - wide melodious melody.
Canzona(it. canzone - song) - the old name of the Italian lyric songs with instrumental accompaniment; later - the name of the instrumental plays melodious lyric.
canzonetta(it. canzonetta - song) - small canzone, melodious vocal or instrumental play small size.
Painting- 1. In a musical and theatrical work, a part act, separable not intermission, but a brief pause during which the curtain falls briefly. 2. The designation of instrumental-symphonic works, which are characterized by special concreteness, visualization of musical images; sometimes such works belong to genre of program music.
Quartet(from lat. quartus - fourth) - opera-vocal or instrumental (most often string) ensemble four participants.
Quintet(from lat. quintus - fifth) - opera-vocal or instrumental ensemble five participants.
Clavier(abbr. German Klavierauszug - piano extract) - processing, arrangement for piano work written for orchestra or ensemble, and operas, cantatas or oratorios(with preservation vocal parties).
Koda(it. coda - tail, end) - the final section of a musical work, usually of an energetic, impetuous nature, asserting its main idea, the dominant image.
Coloratura(it. coloratura - coloring, decoration) - coloring, variation vocal melodies in a variety of flexible, moving passages, virtuosic decorations.
Coloring(from lat. color - color) in music - the predominant emotional coloring of an episode, achieved using various registers, timbres, harmonic(see) and other expressive means.
Carol- the general name of the Slavic folk ritual songs pagan origin associated with the celebration of Christmas (new year's eve).
Composer(Latin compositor - composer, compiler, creator) - the author of a musical work.
Composition(lat. compositio - composition, arrangement) - 1. Musical creativity, the process of creating a musical work. 2. The internal structure of a musical work, the same as musical form. 3. A separate piece of music.
Contralto(it. contralto) - the lowest female voice, the same as in choir viola.
Counterpoint(from Latin punctumcontrapunctum - point against point, that is, note against note) - 1. The simultaneous combination of two or more melodically independent voices. 2. The science of the laws of the combination of simultaneously sounding melodies, the same as polyphony.
Contrast(fr. contraste - opposite) - bright means of expression music, which consists in the rapprochement and direct opposition of dissimilar, sharply differing in the nature of musical episodes. Musical figurative-emotional K. is carried out with the help of tempo, dynamic, tonal, register, timbre(see) and other oppositions.
Concert(from lat. concertare - to compete, it. concerto - consent) - 1. Public performance of musical works. 2. A large, usually three-part, work for soloist(see) tool with orchestra, brilliant, spectacular, with developed elements virtuosity, in some cases approaching in richness and significance of the ideological and artistic content to symphonies.
climax(from lat. culmen - top, top) - the moment of highest tension in the musical development.
Couplet(fr. couplet - stanza) - repeated part songs.
banknote(fr. coupure - clipping, reduction) - reduction of a piece of music by removing, skipping any episode, V opera — scenes, paintings or act.
Lezginka- a dance common among the peoples of the Caucasus, temperamental, impetuous; size 2/4 or 6/8.
Leitmotif(German Leitmotiv - leading motive) - musical thought, melody associated in opera with a certain character, memory, experience, phenomenon or abstract concept that arises in music when it appears or is mentioned in the course of a stage action.
Landler(German: Ländler) is a German and Austrian dance of folk origin, the predecessor of waltz, lively, but not fast movement; size 3/4.
Libretto(it. libretto - notebook, little book) - complete literary text operas, operettas; verbal presentation of content ballet. The author L. is a librettist.
Madrigal(it. madrigale) - a European polyphonic secular song of the 16th century, of an exquisite nature, usually of love content.
Mazurka(from Polish mazur - a resident of Mazovia) - a Polish dance of folk origin, lively, with a sharp, sometimes syncopated(cm.) rhythm; size 3/4.
March(fr. marche - walking, procession) - genre, Related to rhythm walking, characterized by a clear, measured, energetic movement. M. is marching, solemn, mourning; size 2/4 or 4/4.
Brass instruments— wind instruments, made of copper and other metals, forming a special group in the symphony orchestra, which includes horns, trumpets (sometimes partially replaced by cornets), trombones and tuba. M. d. and. are the basis brass band. In the symphony score group M. d. and. written under the group woodwind instruments, placed in the above order.
Meistersingers(German Meistersinger - master of singing) - in medieval Germany (XIV-XVII centuries) guild musicians.
Melodeclamation(from Greek melos - song and Latin declamatio - recitation) - expressive reading (most often poetry), accompanied by music.
Melody(Greek melodia - singing a song from melos - song and ode - singing) - the main idea of a musical work, expressed in a monophonic chant, the most important means musical expressiveness.
Melodrama(from the Greek melos - song and drama - action) - 1. Part dramatic work accompanied by music. 2. A negative characterization of works or episodes, characterized by exaggerated sensitivity, sentimentality, bad taste.
Minuet(fr. menuet) - an old French dance, originally of folk origin, in the 17th century - a court dance, at the end of the 18th century it was introduced into the symphony cycle(cm. symphony). M. is distinguished by smooth and graceful movements; size 3/4.
Mass(fr. messe, lat. missa) - a large multi-part work for chora with instrumental accompaniment, sometimes with the participation of singers- soloists written in religious latin text. M. - the same as the Catholic mass, liturgy.
mezzo-soprano(from it. mezzo - median and soprano) - a female voice, in register occupying an intermediate position between soprano And contralto. mezzo soprano in chore- the same as alt.
Miniature(it. miniatura) - small orchestral, vocal(see) or an instrumental piece.
Monologue(from the Greek monos - one, speech uttered by one person) in music - one of the most effective solo vocal forms V opera, which usually captures the process of intense experience or reflection, leading to a decision. M., as a rule, is built from several non-identical, contrasting episodes.
Motive(from it. motivo - reason, motivation, and lat. motus - movement) - 1. Part melodies, which has an independent expressive meaning; a group of sounds is a melody united around one accent - stress. 2. In the common sense - a melody, a melody.
musical drama- originally the same as opera. In common sense, one of genres opera, which is characterized by the leading role of intense dramatic action that unfolds on the stage and determines the principles of musical embodiment.
Musical comedy- cm. operetta.
Nocturne(fr. nocturne - night) - the name of relatively small instrumental instruments that spread in the 19th century (rarely - vocal) plays lyrical-contemplative character with expressive melodious melody.
Number- the smallest, relatively complete, allowing separate, independent execution opera episode, ballet or operettas.
But no(from lat. nonus - ninth) - a relatively rare type of opera or chamber ensemble for nine participants.
Oh yeah(Greek ode) - the name of a piece of music borrowed from literature (more often - vocal) solemn laudatory character.
Octet(from lat. octo - eight) - ensemble eight participants.
Opera(it. opera - action, work, from lat. opus - labor, creation) - synthetic genre musical art, including dramatic action, singing and dancing, accompanied by orchestral music, as well as pictorial and decorative design. The opera is made up of solo episodes — aria, recitatives, and ensembles, choirs, ballet scenes, independent orchestral numbers (see overture, intermission, introduction). O. is divided into acts and paintings. How independent genre O. spread in Europe in the 17th century, in Russia from the middle of the 18th century. Further development led to the formation of various national styles and ideological and artistic types of opera (see. O. big french, O.-buffa, O. comic, O. lyrical-dramatic, O. lyrical French, O. beggars, O.-series, O. epic, singspiel, musical drama, operetta). As a result of its diverse historical development, music became the most democratic genre among the complex monumental genres of musical art.
Grand Opera French(French grandopéra) - a variety that became widespread in the middle of the 19th century, which is characterized by the embodiment of historical themes in a monumental, colorful performance rich in effective moments.
opera buffa(it. opera-buffa) - Italian comic opera that emerged in the first half of the 18th century. About. based on everyday stories, often acquiring a satirical coloring. Developed from the Italian folk "comedy of masks" (comediadelarte), O.-b. reflected the progressive democratic tendencies of the end of the 18th and the first half of the 19th century.
Opera comic- the general specific name of the opera genre that arose in Europe from the middle of the 18th century under the influence of democratic ideas as opposed to courtly aristocratic art. O. to. in various countries had various names: in Italy - opera buffa, in Germany and Austria singspiel, in Spain - tonadilla, in England - beggar's opera, or ballad song opera. O. c. is the generally accepted name for the proper French variety of this genre, which is characterized by the inclusion of colloquial dialogues.
Opera lyrical-dramatic- a variety that developed in the operatic art of the second half of the 19th century. For O. l.-d. characteristic is the foreground of dramatic, often tragic personal destinies and human relationships, shown against a realistically truthful life background, in-depth attention composer to the mental life of the characters, their feelings, psychological contradictions and conflicts.
French lyric opera- own name French lyric-dramatic opera.
Beggar's Opera(English beggarsopera) - English variety comic opera, in which folk songs were widely used - ballads.
Opera series(it. operaseria - serious opera, as opposed to comic) - Italian opera XVIII century, associated with the court-aristocratic environment. Based, as a rule, on mythological and historical-legendary subjects, O.-s. distinguished by the splendor of the production, masterly glitter vocal parts, but in its development was constrained by the conventions of plots, situations and characters.
Opera epic- a kind of classical opera, predominantly developed in Russia, characterized by the use of plots from the folk epos - legends, legends and examples of folk songwriting. Stage action and music of O. e. maintained in the spirit of a majestic, unhurried narrative. TO genre O. e. adjoins also an opera-fairy tale.
Operetta(it. operetta - small opera) - a theatrical performance that combines singing and dancing, accompanied by orchestra with conversational scenes, deriving from comic opera XVIII century. European O. of the 19th century is characterized by an abundance of comedic situations of a satirical or purely entertaining nature. In Soviet musical and theatrical art, O. is more often referred to as musical comedy.
Oratorio(from lat. oratoria - eloquence) - a large vocal and symphonic genre musical art, the works of which are intended to be performed chorus, soloists-singers and orchestra. O. is based on a certain plot that generally tells about historical or legendary events. folk life, usually possessing an exalted, heroic coloring. The plot of O. is embodied in a number of completed solo, choral And orchestral(see) numbers sometimes shared recitatives.
Organ(from the Greek organon - instrument, instrument) - the largest of modern musical instruments that has existed and improved over many centuries. O, is a system of pipes that sound due to the blowing of a jet of air into them, produced mechanically. The presence of pipes of various sizes and shapes allows you to extract sounds various heights And timbre. O. control is carried out using keyboards, manual (up to three manuals) and foot (pedal), as well as numerous switches registers. In terms of power and colorful richness of sound, the O. competes with the symphonic orchestra.
Orchestra(from the Greek. orchestra - in the ancient Greek theater, the place in front of the stage, which housed the choir) - a large group of musicians-performers, intended for the joint performance of musical works. Unlike ensemble, some parties in O. are performed simultaneously by several musicians like a monophonic chora. According to the composition of instruments, orchestras are divided into symphonic, brass, folk instruments, pop, jazz, etc. Opera opera, as well as symphony, consists of four main groups of instruments - groups woodwinds, brass, percussion, strings bowed, and also includes some single instruments that are not included in any of the groups (harp, occasionally piano, guitar, etc.).
Orchestration- creating an orchestral scores, the embodiment of musical thought by means of orchestral expressiveness. O. - the same as instrumentation.
Parody(Greek parodià, from para - against and ode - song, singing, letters, singing vice versa) - imitation for the purpose of distortion, ridicule.
Score(it. partitura - division, distribution) - musical notation ensemble, orchestral, operatic, oratorio-cantata(see) and other music that requires many performers. The number of P. lines is determined by the number of parties included in it - instrumental, solo vocal And choral, which are in a certain order.
The consignment(from lat. pars - part) - part of the music ensemble, operas etc. performed by one or a group of musicians or singers.
Pastoral(from lat. pastoralis - shepherd) - music, musical play or theatrical scene, expressed in gentle, lyrically soft contemplative tones, painting calm pictures of nature and an idealized serene rural life (cf. idyll).
Song- basic vocal genre folk musical creativity and related genre of vocal music in general. P. is characterized by the presence of a clear, convex, expressive and slender melodies, which has a generalized figurative and emotional content, embodying the feelings and thoughts of not an individual, but a people. The combination of these features is included in the concept of songwriting as a special means of musical expression, a special warehouse of musical thinking. Folk music, reflecting the most diverse aspects of the life of the people in an innumerable variety of varieties and genres, is the main source of musical art. In the development of folk P. and its highly artistic refraction national characteristics the greatest merit belongs to the Russians classical composers. P. is widely represented in their works as a genre of everyday life, at the same time song, the song beginning was for them the leading artistic device. In the narrow sense, P. is a small vocal piece with or without accompaniment, distinguished by its simplicity and melodically expressive melodiousness, usually in couplet form, as well as an instrumental piece of similar size and character.
subvoice- more or less independent melody accompanying the main tune in polyphonic music. The presence of developed P. is a characteristic feature of the Russian folk choral(see) music.
Polyphony(from Greek poly - many and phone - voice, letters, polyphony) - 1. Simultaneous combination of two or more independent melodies having independent expressive meaning. 2. The science of polyphonic music, the same as counterpoint.
prelude, prelude(from lat. prae - before and ludus - game) - 1. Introduction, introduction to the play or completed musical episode, opera stage, ballet etc. 2. A common name for small instrumental pieces of various content, character and structure.
Premiere- first show operas, ballet, operettas at the theater stage; the first public performance of a musical work (applies to major works only).
Chorus- Part songs, invariably, together with the same verbal text, repeated after each of its couplet.
Lamentations, lamentations— song- crying, one of the most common in pre-revolutionary Russia genres folk songs; usually has the character of a mournfully agitated recitative.
Prologue(from lat. prae - before and Greek. logos - word, speech) - introductory part in drama, novel, opera etc., introducing into the story; sometimes P. introduces the events that preceded the depicted.
musical development- the movement of musical images, their changes, collisions, mutual transitions, reflecting the processes that take place in the mental life of a person or the hero of a musical and theatrical performance, as well as in the surrounding reality. R. m. is an important factor in the musical dramaturgy directing the listener's attention to the most important parts of the story. R. m. is carried out using a variety of compositional and expressive techniques; all means of musical expression are involved in it.
Requiem(from lat. requiem - peace) - a monumental work for chora, soloists-singers and orchestra. Initially, R. is a mourning Catholic mass. Subsequently, in the works of Mozart, Berlioz, Verdi, R. lost its ritual and religious character, turning into a dramatic, philosophically significant musical genre animated by deep universal human feelings and great thoughts.
Recitative(from lat. recitare - read, recite) - musical speech, the most flexible solo form singing in opera, characterized by a large rhythmic(see) diversity and freedom of construction. Usually R. introduces into aria, emphasizing its melodious melody. R. often reproduces the characteristic intonations of living human speech, making it an indispensable tool in creating a musical portrait of the character. The main varieties of R. - R.-secco ("dry", accompanied by rare jerky orchestra chords or chembalo), R.-accompagnato ("accompanied", sounding against the background of a coherent chord accompaniment) and R.-obligato ("mandatory", which indicates the need for an independent melodic thought in the orchestral accompaniment).
Rigaudon(fr. rigodon, rigaudon) - an old Provencal (France) dance of the 17th-18th centuries, a lively, vigorous movement; time signature 4/4 or 2/3 with one-quarter advance.
Rhythm(from the Greek rythmos - dimensional flow) - the organization of musical movement in time, periodic alternation and the ratio of strong and weak parts. A periodically repeating group of strong and weak beats is called a measure. The number of beats in a measure is called the time signature. R. is an important expressive means of musical art, reaching a special richness and variety in dance music associated with the plasticity of the movement of the human body.
Romance(fr. romance) - solo lyrical song with instrumental accompaniment, characterized by an intimate structure of feelings, individualized content, special subtlety and expressive variety accompaniment. Vocal melody R. often includes elements recitative.
Rondo(French rondeau from ronde - round, the name of an old French choral song) - form building a musical plays, consisting of several (at least three) contrasting episodes, separated by a periodically returning first episode (refrain).
Sarabande(Spanish zarabanda) - an old Spanish dance in the nature of a slow majestic procession; size 3/4. Genre S. was often used to create images of deep mournful reflection, a funeral procession.
Seguidilla(Spanish seguidilla) - fast Spanish dance, accompanied by whimsical rhythm castanets; size 3/4 or 3/8.
Sextet(from lat. sextus - sixth) - operatic-vocal or instrumental ensemble seven participants.
Serenade(from Italian sera - evening, letters, "evening song") - originally in Spain and Italy, a love song sung with accompaniment guitars or mandolins under the sweetheart's window. Then - works of a welcoming nature for instrumental ensembles And orchestra. Subsequently, S. is the name of lyrical solo songs with instrumental accompaniment, stylized in the spirit of a guitar accompaniment, as well as the name of the lyrical instrumental or orchestral cycle.
Symphony(from the Greek symphonia - consonance) - a monumental work for the orchestra, genre which took shape in the second half of the 18th century. S., as a rule, consists of four large diverse, contrasting parts, in which a wide range of life phenomena is reflected, a wealth of moods and conflicts is embodied. The first part of S. usually has a conflict-dramatic character and is sustained in fast movement; sometimes it is preceded by a slow introduction. The second is a lyrical chant, imbued with moods of reflection. Third - minuet, scherzo or waltz— in a lively dance move. Fourth - the final, the fastest, often festive, upbeat character. However, there are other principles of construction. The set of parts, united by a common poetic idea, forms a symphonic cycle.
Scherzo(it. scherzo - joke) - a small instrumental or orchestral work of a lively, perky character, which has a sharp, clear rhythm, sometimes acquiring a dramatic coloring. From the beginning of the 19th century, S. entered the symphony cycle, taking place in it minuet.
buffoons- Russian speakers folk art in the XI-XVII centuries, itinerant actors, musicians and dancers.
Solo(it. solo - one, only) - an independent performance of one performer with a whole play or in a separate episode if the play is written for ensemble or orchestra. Performer S. - soloist.
Sonata(from it. sonare - to sound) - 1. In the 17th century - the name of any instrumental work, in contrast to the vocal one. 2. Since the 18th century - the name of a work for one or two instruments, consisting of three or four parts of a certain nature, which form a sonata cycle, in general terms similar to the symphonic one (cf. symphony).
Sonata Allegro- the form in which the first parts are written sonatas And symphonies, - sustained in fast (allegro) tempe. S.'s form and. consists of three large sections: exposition, development and reprise. The exposition is a presentation of two central, contrasting musical images created in the main and secondary parties; development - development topics the main and side parties, the clash and struggle of their images; reprise - a repetition of the exposition with a new ratio of images of the main and secondary parties, achieved as a result of their struggle in development. S.'s form and. the most effective, dynamic, it creates ample opportunities for a realistic reflection of the phenomena of objective reality and the spiritual life of a person in their internal inconsistency and ongoing development. S.'s form and. developed by the middle of the 18th century and soon became widespread not only in the first parts symphonies, sonatas, quartets, instrumental concerts, but also in one-part symphonic poems, concert and opera overtures, and in some cases in extended opera arias (for example, Ruslan's aria in Glinka's opera Ruslan and Lyudmila).
Soprano(from it. sopra - above, above) - the highest female voice. S. is subdivided into coloratura, lyrical and dramatic.
Style(in music) - a set of features that characterize the work of composers of a certain country, historical period, individual composer.
Stringed instruments- instruments in which sound occurs as a result of vibration (vibration) of stretched strings. According to the method of sound extraction S. and. are divided into bowed (violin, viola, cello, double bass), keyboard ( piano and his predecessors, cf. chembalo) and plucked (harp, mandolin, guitar, balalaika, etc.).
Scene(Latin scena from Greek skene - tent, tent). - 1. Theatrical stage on which the performance takes place. 2. Part of theatrical performance, separate episode act or paintings.
Scenario(it. scenario) - a more or less detailed presentation of the course of action unfolding on stage in opera, ballet And operetta, a schematic retelling of their plot. On the basis of S. is created libretto operas.
Suite(French suite - series, sequence) - the name of a multi-part cyclic work in which parts are compared according to the principle contrast and have a less close internal ideological and artistic connection than in the symphonic cycle (cf. symphony). Usually S. is a series of dances or descriptive and illustrative pieces of a program nature, and sometimes an extract from a major musical and dramatic work ( operas, ballet, operettas, motion picture).
Tarantella(it. tarantella) - very fast, temperamental Italian folk dance; size 6/8.
The theme is musical(Greek thema - the subject of the story) - the main, subject development a musical thought expressed in a relatively small, complete, embossed, vividly expressive and memorable melody (see also keynote).
Timbre(fr. timbre) - specific quality, the characteristic coloration of the sound of a voice or instrument.
Pace(from it. tempo - time) - the speed of performance and the nature of the movement in a piece of music. T. is indicated by the words: very slowly - largo (largo), slowly - adagio (adagio), calmly, smoothly - andante (andante), moderately fast - moderato (moderato), quickly - allegro (allegro), very quickly - presto (presto ). Sometimes T. is determined by reference to the well-known nature of the movement: “at the pace waltz"," at the pace march". From the middle of the 19th century, t. was also designated by the metronome, where the number corresponds to the number of indicated durations per minute. The verbal designation T. often serves as the name of a play or its individual parts that do not have a title (for example, the names of parts in a sonata cycle- allegro, andante, etc., ballet adagio, etc.).
Tenor(from lat. tenere - to hold, direct) - a high male voice. T is subdivided into lyrical and dramatic.
Tercet(from lat. tertius - third) - operatic and vocal ensemble three participants. Another name for T. - trio, also used to denote instrumental ensembles with the same number of performers.
Trio(it. trio from tre - three) - 1. In vocal music, the same as tercet. 2. Instrumental ensemble of three performers. 3. Middle section in march, waltz, minuet, scherzo smoother and more melodious character; this meaning of the term originated in the ancient instrumental music, in whose works the middle section was performed by three instruments.
Troubadours, trouvers- knights-poets and singers in medieval France.
Overture(French ouverture - opening, beginning) - 1. Orchestral piece performed before the start operas or ballet, usually based on the themes of the work to which it precedes, and concisely embodying its main idea. 2. The name of an independent single-movement orchestral work, often related to program music.
Percussion instruments- musical instruments from which sound is extracted by striking. U. and. there are: 1) with a certain pitch - timpani, bells and bells, celesta, xylophone and 2) with a sound of indefinite pitch - tam-tom, big and snare drums, tambourine, cymbals, triangle, castanets, etc.
Texture(lat. factura - lit. division, processing) - the structure of the sound fabric of a musical work, including melody accompanying her echoes or polyphonic vote, accompaniment etc.
Fandango(Spanish fandango - Spanish folk dance of moderate movement, accompanied by playing the castanets; size 3/4.
Fantasy(Greek phantasia - imagination, fiction in general, fiction) - masterly free forms. 1. In the 17th century improvisational nature of the introduction to fugue or sonata. 2. Virtuoso composition on Topics any operas, the same as transcription (Latin transcriptio - rewriting) or paraphrase (from Greek paraphrasis - description, retelling, paraphrase). 3. instrumental piece, characterized by a bizarre, fantastic character of music.
Fanfare(it. fanfara) - a trumpet signal, usually of a festive solemn nature.
The final(it. finale - final) - the final part of a multi-part work, operas or ballet.
Folklore(from English folk - people and lore - teaching, science) - a collection of works of oral literary and musical folk art.
Musical form(Latin forma— appearance, outlines) - 1. Means of embodying the ideological and figurative content, including melody, harmony, polyphony, rhythm, dynamics, timbre, invoice, as well as compositional principles of construction or F. in a narrow sense. 2. F. in the narrow sense - the historically established and developed patterns of the structure of musical works, the layout and relationships of parts and sections that determine the general contours of a musical work. The most common are F. tripartite, couplet, variational, rondo, sonata, as well as F. construction suite, sonata And symphonic(cm.) cycles.
piano(from it. forte-piano - loud-quietly) - the general name of the keyboard string instrument (piano, piano), which allows, unlike its predecessors - the harpsichord, chembalo, clavichord, receive sounds of various strengths. sound range and speakers, expressiveness and colorful variety of sound, great virtuosic and technical capabilities made F. predominantly solo and concert performers (cf. concert) an instrument, as well as a participant in many chamber-instrumental ensembles.
Fragment(from lat. fragmentum - fragment, piece) - a fragment of something.
Phrase(Greek phrasis - turn of speech, expression) - in music, a short relatively complete passage, part melodies, framed by pauses (caesuras).
Fugue(it. and lat. fuga - running) - a one-part work, which is polyphonic(see) exposition and subsequent development one melodies, Topics.
Fugato(from fuga) - polyphonic episode in an instrumental or vocal play, built like fugues, but not finished and turning into music of the usual, non-polyphonic warehouse.
fugetta(it. fugetta - small fugue) - fugue small sizes, with a reduced development section.
Furiant(Czech, lit. - proud, arrogant) - impetuous temperamental Czech folk dance; variable size - 2/4, 3/4.
Habanera(Spanish habanera - letters, Havana, from Havana) - Spanish folk song-dance, characterized by restrained clear rhythm; size 2/4.
choir(from Greek choros) - 1. A large singing group, consisting of several groups, each of which performs its own party. 2. Works for the choir, independent or included in opera, in which they are one of the most important forms, often used in the creation of mass folk scenes.
Chorale(from Greek choros) - 1. Church choral singing to a religious text, common in the Middle Ages. 2. A choral or other work or episode based on a uniform, unhurried movement chords, characterized by a sublimely contemplative character.
Hota(Spanish jota) - Spanish folk dance of temperamental live movement, accompanied by a song; size 3/4.
Music cycle(from the Greek. kyklos - circle, circuit) - a set of parts of a multi-part work, following one after another in a certain order. C. is based on the principle of contrast. The main varieties are the sonata-symphony ts., suite ts. (see. symphony, suite); cyclic also include the forms masses And requiem.
Chembalo(it. cembalo, claviecembalo) is the Italian name for the harpsichord, the forerunner of the modern piano. In the 17th and 18th centuries Ch. was part of operatic or oratorio orchestra accompanying the performance recitatives.
Ecossaise(fr. écossaise - "Scottish") - Scottish folk dance of fast movement; size 2/4.
Expression(from lat. expressio - expression) in music - increased expressiveness.
Elegy(Greek elegia from elegos - complaint) - play sad, thoughtful character.
Epigraph(Greek epigraphe - letters. inscription on the monument) - a figurative name of the initial musical phrase borrowed from literature, Topics or a passage that defines the predominant character, the leading thought of the entire work.
Episode(Greek epeisodion - incident, event) - a small part of the musical and theatrical action; sometimes a section introduced into a piece of music that has the character of a digression.
Epilogue(Greek epilogos from epi - after and logos - word, speech) - the final part of the work, summing up the events, sometimes talking about events that occurred after some time.
Epitaph(Greek epitaphios) - grave word.
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