"Lighting a fire in the heart,

The drums are arguing again.
And the camp plays with the wave,
And love burns in the eyes.

Leila

Percussion instruments have always been an important part of any musical culture. Therefore, the number of musical and instrumental groups in which percussion instruments are needed can hardly be accurately determined. One of these musical groups is a modern symphony orchestra, which is impossible to imagine without a group of percussion instruments that convey such means of musical expression as rhythm, tempo and dynamics. The group of percussion instruments in a symphony orchestra has changed over time, thanks to the development and changes in music from different eras and directions. In a modern symphony orchestra, a lot of attention is paid to the percussion group; it can be diverse in terms of the composition of instruments, depending on the nature of the pieces being performed. Drums convey to the listener a certain message and thought of the composer. For the completeness of perception, it is very important to maintain a balance of the sonorities of the percussion group with the various groups of the symphony orchestra. Drums differ in shape and size, and the material from which they are made, and, finally, the nature of the sound from other groups of the symphony orchestra, so it is necessary to understand their peculiarity when interacting with other groups of the orchestra, the influence of their sound on the work and their influence on the perception of music by the listener .

The relevance of this research problem has existed since the creation of the symphony orchestra by J. Haydn to the present day. The essence of this problem at the present stage lies in the need to indicate the importance of the role of the percussion group of the symphony orchestra.

Based on the relevance of the problem, we formulatedresearch topic: "Percussion instruments of the symphony orchestra".

Based on the research topic, we formulated purpose of this essay - to show the role of a group of percussion instruments in a symphony orchestra.

Research objectives:

1. To study the history of the development of percussion instruments and analyze the development of percussion in the orchestra;
2. Present in the abstract a group of percussion instruments of a symphony orchestra;
3. Compare the level of percussion taking into account their development;
4. Systematize information on this problem, summarize information on the topic.

Research methods:

1. Selection, study and analysis of literature;
2. Systematization of the studied material;
3. Summarizing the received information.

1. Chapter I. Symphony Orchestra Percussion Instruments

1. 1.1. The concept of the orchestra, origin and composition

Orchestra (from the Greek orchestra) - a large team of instrumental musicians. Unlike chamber ensembles, in the orchestra some of its musicians form groups playing in unison, that is, they play the same parts.
The very idea of ​​simultaneous music-making by a group of instrumental performers goes back to ancient times: even in ancient Egypt, small groups of musicians played together at various holidays and funerals.
The word "orchestra" ("orchestra") comes from the name of the round platform in front of the stage in the ancient Greek theater, which housed the ancient Greek choir, a participant in any tragedy or comedy. During the Renaissance and further in the 17th century, the orchestra was transformed into an orchestra pit and, accordingly, gave the name to the group of musicians located in it.

There are many different types of orchestra: military brass and woodwind orchestras, folk instrument orchestras, string orchestras. The largest in composition and the richest in terms of its capabilities is the symphony orchestra.

Symphonic called an orchestra, composed of several heterogeneous groups of instruments - a family of strings, wind and percussion. The principle of such unification took shape in Europe in the 18th century. Initially, the symphony orchestra included groups of bowed instruments, woodwinds and brass instruments, which were joined by a few percussion instruments. Subsequently, the composition of each of these groups expanded and became more diverse. Currently, among a number of varieties of symphony orchestras, it is customary to distinguish between a small and a large symphony orchestra.Small Symphony Orchestra- this is an orchestra of predominantly classical composition (playing music of the late 18th - early 19th century, or modern stylizations). It consists of 2 flutes (rarely a small flute), 2 oboes, 2 clarinets, 2 bassoons, 2 (rarely 4) horns, sometimes 2 trumpets and timpani, a string group of no more than 20 instruments (5 first and 4 second violins, 4 violas, 3 cellos, 2 double basses).Grand Symphony Orchestraincludes obligatory trombones in the copper group and can have any composition. Often wooden instruments (flutes, oboes, clarinets and bassoons) reach up to 5 instruments of each family (sometimes more clarinets) and include varieties (pick and alto flutes, cupid oboe and English oboe, small, alto and bass clarinets, contrabassoon). The copper group can include up to 8 horns (including special Wagner tubas), 5 trumpets (including small, alto, bass), 3-5 trombones (tenor and tenorbass) and a tuba. Saxophones are often used (in a jazz orchestra, all 4 types). The string group reaches 60 or more instruments. Percussion instruments are numerous (although timpani, bells, small and large drums, triangle, cymbals and Indian tam-tom form their backbone), harp, piano, harpsichord are often used.

Symphony Orchestraformed over centuries. Its development for a long time took place in the depths of opera and church ensembles. Such groups in the XV-XVII centuries. were small and varied. They included lutes, viols, flutes with oboes, trombones, harps, and drums. Gradually, stringed bowed instruments won the dominant position. The viols were replaced by violins with their richer and more melodious sound. By the beginning of the XVIII century. they already reigned supreme in the orchestra. A separate group and wind instruments (flutes, oboes, bassoons) have united. From the church orchestra they switched to the symphony trumpets and timpani. The harpsichord was an indispensable member of instrumental ensembles.
Such a composition was characteristic of J. S. Bach, G. Handel, A. Vivaldi.
From the middle of the XVIII century. the genres of symphony and instrumental concerto begin to develop. The departure from the polyphonic style led the composers to strive for timbre diversity, the relief singling out of orchestral voices.
The functions of the new tools are changing. The harpsichord, with its weak sound, is gradually losing its leading role. Soon, composers completely abandoned it, relying mainly on the string and wind group. By the end of the 18th century eka the so-called classical composition of the orchestra was formed: about 30 strings, 2 flutes, 2 oboes, 2 bassoons, 2 pipes, 2-3 horns and timpani. The clarinet soon joined the brass. J. Haydn, W. Mozart wrote for such a composition. Such is the orchestra in the early compositions of L. Beethoven. In the 19th century
The development of the orchestra went mainly in two directions. On the one hand, increasing in composition, it was enriched with instruments of many types (the merit of romantic composers, primarily Berlioz, Liszt, Wagner, is great for this), on the other hand, the internal capabilities of the orchestra developed: sound colors became cleaner, texture clearer, expressive resources are more economical (such is the orchestra of Glinka, Tchaikovsky, Rimsky-Korsakov). Significantly enriched the orchestral palette and many composers of the late XIX - 1st half of the XX century. (R. Strauss, Mahler, Debussy, Ravel, Stravinsky, Bartok, Shostakovich and others).

Contemporary symphony orchestraconsists of 4 main groups. The foundation of the orchestra is a string group (violins, violas, cellos, double basses). In most cases, strings are the main carriers of the melodic beginning in the orchestra. The number of musicians playing strings is approximately 2/3 of the entire band. The group of woodwind instruments includes flutes, oboes, clarinets, bassoons. Each of them usually has an independent party. Yielding to bowed ones in timbre saturation, dynamic properties and a variety of playing techniques, wind instruments have great power, compact sound, bright colorful hues. The third group of orchestra instruments is brass (horn, trumpet, trombone, trumpet). They bring new bright colors to the orchestra, enriching its dynamic capabilities, giving power and brilliance to the sound, and also serve as a bass and rhythmic support.
Percussion instruments are becoming increasingly important in the symphony orchestra. Their main function is rhythmic. In addition, they create a special sound and noise background, complement and decorate the orchestral palette with color effects. Bysound characterdrums are divided into 2 types: some have a certain pitch (timpani, bells, xylophone, bells, etc.), others lack an exact pitch (triangle, tambourine, snare and bass drums, cymbals). Of the instruments that are not included in the main groups, the role of the harp is the most significant. Occasionally, composers include the celesta, piano, saxophone, organ and other instruments in the orchestra.

Orchestral writing by Haydn

The modern large symphony orchestra is based on the orchestral composition developed by Haydn and the composers of the Mannheim School.

Before Haydn, the instruments in the orchestra had a weak uneven sound. Lutes, theorbos, harpsichord were used, at which the bandmaster sat, filling in the missing harmonies, linking individual instruments into one whole.

Like all composers of the 18th century, Haydn wrote his symphonies to the composition of the orchestra, "which at the moment was at his fingertips." The first symphonies written for Count Morcin were performed by 12-16 musicians.

In July 1762, Prince Miklos Esterhazy approved an orchestra of 14 people (7 string players and 7 wind players). Later, the composition of the orchestra grew to 25 or more musicians (16 strings, flutes, oboe, bassoons, trumpets, horns and timpani).

In our time, the Academy of Early Music Orchestra, under the baton of the famous English conductor Christopher Hogwood, has performed Haydn's symphonies on instruments of that era. In the hall of Esterhaz Castle, where these symphonies were performed during the composer's lifetime, the musicians played them in the same composition, with a strange, at first glance, ratio of stringed, wooden and brass instruments. What was the composition of the Esterhazy orchestra during Haydn's time? It included: 4 first violins, 4 second violins, cello, double bass, viola, 2 oboes, 2 horns and timpani.

Then K. Hogwood tried to play symphonies in a different, modern ratio of strings, namely: 6 first violins, 4 second violins, 3 violas, 2 cellos, double bass.

It turned out that the Haydnian ratio of instruments in this hall was the most successful! It became obvious that Haydn was a great connoisseur of the orchestra.

Salomon's London Orchestra consisted of 40 musicians. For such a composition, Haydn wrote his 12 London Symphonies. True, the composer used clarinets only in symphonies 101, 103 and 104. It probably happened under the influence of Mozart. The introduction of clarinets to the orchestra expanded the woodwind group to a full pairing. Thus, the formation of a small or "classical" symphony orchestra was completed.

Interestingly, the clarinet, invented at the end of the seventeenth century, did not become a permanent "member" of the orchestra until 100 years later. Haydn tried to introduce the clarinet into Prince Esterhazy's orchestra in the eighteenth century, but as the instrument was still imperfect, clarinets were replaced by trumpets.

Many people think that playing the drum is easy. I want to give you an example: when Ravel's Bolero is performed, the snare drum is pushed forward and placed next to the conductor's stand, because in this work Ravel entrusted the drum with a very responsible role. A musician playing the snare drum must maintain the unified rhythm of the Spanish dance without slowing it down or speeding it up. The expression gradually grows, more and more new instruments are added, the drummer is drawn to play a little faster. But this will distort the composer's intention, and the listeners will get a different impression. You see what kind of skill is required from a musician playing such a simple instrument in our understanding. D. Shostakovich even introduced three snare drums into the first part of his Seventh Symphony: they sound ominously in the episode of the fascist invasion. The drum also once had sinister functions: under its measured fraction, revolutionaries were led to execution, soldiers were driven through the ranks. And now, to the sounds of drums and trumpets, they are marching to the parade. African drums were once a means of communication, like the telegraph. The sound of the drum carries far, it is noticed and used. Signal drummers lived within earshot of each other. As soon as one of them began to transmit the message encoded in the drumbeat, the other received and transmitted to the next. Thus, good or sad news spread over great distances. Over time, the telegraph and telephone made this type of communication unnecessary, but even now in some African countries there are people who know the language of the drum.

1. 1.2. Percussion group in an orchestra

The fourth association of the modern symphony orchestra is percussion instruments. They bear no resemblance to the human voice and do not speak to his inner sense in a language he understands. Their measured and more or less defined sounds, their tinkling and crackling, have rather a "rhythmic" meaning.

Their melodic duties are extremely limited, and their whole being is deeply rooted in the nature of dance in the broadest sense of this concept. It is as such that some of the percussion instruments were used in ancient times and were widely used not only by the peoples of the Mediterranean and Asian East, but also acted, apparently, among all the so-called "primitive peoples" in general. Some tinkling and ringing percussion instruments were used in Ancient Greece and Ancient Rome as instruments accompanying dances and dances, but not a single percussion instrument from the drum family was allowed by them into the field of military music. These tools had a particularly wide application in the life of the ancient Jews and Arabs, where they performed not only civil duties, but also military ones.

On the contrary, among the peoples of modern Europe, various types of percussion instruments have been adopted in military music, where they are of great importance. However, the melodic poverty of percussion instruments did not prevent them, however, from penetrating into the opera, ballet and symphony orchestras, where they occupy far from the last place. However, there was a time in the art music of European peoples when access to these instruments was almost closed to the orchestra and, with the exception of the timpani, they made their way into symphonic music through the orchestra of opera and ballet, or, as they would say now, through the orchestra of "dramatic music ".

In the history of the "cultural life" of mankind, percussion instruments arose before all other musical instruments in general. Nevertheless, this did not prevent percussion instruments from being pushed into the background of the orchestra at the time of its inception and the first steps of its development. And this is all the more surprising since it is still impossible to deny the enormous “aesthetic” significance of percussion instruments in art music. The history of percussion instruments is not very exciting. All those "tools for the production of measured noise", which were used by all primitive peoples to accompany their warlike and religious dances, at the beginning did not go beyond simple planks and wretched drums. And only much later, many tribes of Central Africa and some peoples of the Far East acquired such instruments that served as worthy models for creating more modern European percussion instruments that are already accepted everywhere.

With regard to musical qualities, all percussion instruments are very simply and naturally divided into two kinds or kinds. Some emit a sound of a certain pitch and therefore quite naturally enter into the harmonic and melodic basis of the work, while others, capable of producing a more or less pleasant or characteristic noise, perform purely rhythmic and embellishing duties in the broadest sense of the word. In addition, various materials are involved in the device of percussion instruments and, in accordance with this feature, they can be divided into instruments “with skin” or “webbed”, and “self-sounding”, in the device of which various types and grades of metal, wood are involved. and lately - glass. Kurt Sachs, assigning them a definition that is not very successful and extremely ugly to the ear - idiophones, obviously loses sight of what it is. the concept in the meaning of "peculiar-sounding" can be, in essence, on equal grounds: applied to any musical instrument or their kind.

In an orchestral score, the commonwealth of percussion instruments is usually placed in the very middle of it, between brass and bowed ones. With the participation of the harp, piano, celesta and all other stringed-plucked or keyboard instruments, the percussion always retain their place and are then located immediately after the brass ones, giving way after themselves to all the "decorating" or "accidental" voices of the orchestra. The absurd way of writing percussion instruments below the bowed quintet must be strongly condemned as very inconvenient, unjustified and extremely ugly. It originally arose in ancient scores, then acquired a more isolated position in the bowels of the brass band and, having an insignificant justification, now, however, violated and completely overcome, was perceived by some composers who wished to attract attention to themselves with at least something and in whatever way. no matter what.

But the worst thing is that this strange innovation turned out to be all the more durable and dangerous because some publishing houses went towards such composers and printed their scores according to the “new model”. Fortunately, there were not so many such "publishing pearls" and they, like works that were predominantly weak in their artistic merits, were drowned in an abundance of truly excellent examples of the diverse creative heritage of all peoples. The only place where the indicated method of presenting percussion instruments now reigns - at the very bottom of the score - is a variety ensemble. But there, in general, it is customary to arrange all the instruments differently, guided only by the altitude sign of the participating instruments. In those distant times, when only one timpani still acted in the orchestra, it was customary to place them above all other instruments, obviously believing such a presentation to be more convenient. But in those years, the score was generally composed somewhat unusually, which now there is no need to recall. We must agree that the modern method of presentation-score is sufficiently simple and convenient, and therefore there is no point in engaging in all sorts of fabrications, which have just been mentioned in detail.

As already mentioned, all percussion instruments are divided into instruments with a certain pitch and instruments without a certain pitch. At present, such a distinction is sometimes disputed, although all the proposals made in this direction come down rather to confusing and deliberately emphasizing the essence of this extremely clear and simple proposition, in which there is not even a direct need to remember the self-evident concept of pitch every time. In the orchestra, instruments “with a certain sound” mean, first of all, a five-line stave or staff, and instruments “with an indefinite sound” - a conditional method of musical notation - “hook” or “thread”, that is, one single line on which note heads represent only the required rhythmic pattern. Such a transformation, done very opportunely, was intended to gain a place, and, with a significant number of percussion instruments, to simplify their presentation. However, not so long ago, for all percussion instruments “without a definite sound”, ordinary staves with the keys of Sol and Fa were adopted, and with a conditional placement of note heads between spaces. The inconvenience of such a notation was not long in affecting as soon as the number of percussive-noise instruments increased to "astronomical limits", and the composers themselves, who used this method of presentation, were lost in the insufficiently developed order of their outline.

But what brought to life the combination of keys and threads is very difficult to say. Most likely, the matter began with a misprint, which then attracted some composers who began to set the treble clef on a string, Intended for relatively high percussion instruments, and the Fa key for relatively low ones. Is it necessary to speak here of the absurdity and complete inconsistency of such a presentation? As far as we know, for the first time the keys on the thread were found in the scores of Anton Rubinstein, printed in Germany, and representing undoubted typos, and much later revived in the scores of the Flemish composer Arthur Meulemans (1884-?), who made it a rule to supply the middle thread with the key Sol, and the most low - key Fa. Such a presentation looks especially wild in those cases when, between two threads not marked with keys, one appears with the key Fa. In this sense, the Belgian composer Francis de Bourguignon (1890-?) turned out to be more consistent, supplying the key to each thread participating in the score.

French publishing houses adopted a special "key" for percussion instruments in the form of two vertical bold bars resembling the Latin letter "H" and crossing out the thread at the chord itself. There is nothing to object to such an event, as long as it ultimately leads to some external completeness of the orchestral score in general.

However, it would be quite fair to recognize all these eccentricities as equal to zero in the face of the "unsettledness" that still exists - to this day in the presentation of percussion instruments. Rimsky-Korsakov also suggested that all self-sounding instruments, or, as he calls them, “percussion and ringing without a definite sound,” can be considered as high ones - a triangle, castanets, bells, medium ones - a tambourine, rods, a snare drum, cymbals, and as low-bass drum and tam-tam, "meaning by this their ability to be combined with the corresponding areas of the orchestral scale in instruments with sounds of a certain pitch." Leaving aside some details, due to which “rods” should be excluded from the list of percussion instruments, as an “accessory of percussion instruments”, but not a percussion instrument in its own right, Rimsky-Korsakov’s observation remains to this day in full force. Based on this assumption, and supplementing it with all the latest percussion instruments, it would be most reasonable to arrange all percussion instruments in the order of their pitch and write "high" above "medium" and "medium" above "low". However, there is no unanimity among composers and the presentation of percussion instruments is carried out more than arbitrarily.

This situation can be explained to a lesser extent only by the accidental participation of percussion instruments, and to a greater extent by a complete disregard for the composers themselves and their bad habits or erroneous assumptions. The only justification for such an “instrumental hodgepodge” can be the desire to present the entire composition of the percussion instruments operating in this case, in the order of parties, when strictly defined instruments are assigned to each performer. Finding fault with words, such an exposition makes more sense in the parts of the drummers themselves, and in the score it is useful only when it is sustained with "pedantic precision".

Returning to the issue of presentation of percussion instruments, the desire of many composers, including quite prominent ones, to place cymbals and a bass drum immediately after the timpani, and the triangle, bells and xylophone - below these latter, must be recognized as unconditionally unsuccessful. There are, of course, no sufficient grounds for such a solution to the problem, and all this can be attributed to an unjustified desire to be “original”. The most simple and natural, and in the light of the exorbitant number of percussion instruments operating in a modern orchestra, the most reasonable can be considered the placement of all percussion instruments using a staff, higher than those using a thread.

In each individual association it would, of course, be desirable to adhere to the views of Rimsky-Korsakov and place the votes in accordance with their relative pitch. For these reasons, after the timpani, which retain their primacy according to the "original tradition", one could place bells, vibraphone and tubaphone above the xylophone and marimba. In instruments without a specific sound, such a distribution will be somewhat more difficult due to the large number of participants, but even in this case, nothing will prevent the composer from adhering to the well-known rules, which have already been said a lot about above.

One must think that the determination of the relative pitch of a self-sounding instrument, in the main, does not cause rumors, and if this is so, then it does not cause any; difficulties for its implementation. Only bells are usually placed below all percussion instruments, since their party is most often content with the conventional outline of notes and their rhythmic duration, and not with a full “ring”, as is usually done in the corresponding recordings. Part of the "Italian" or "Japanese" bells, which look like long metal pipes, requires the usual five-line staff, placed below all other instruments "with a certain sound." Consequently, the bells here also serve as a frame for the staves, united by one common feature of "definiteness" and "uncertainty", sound. Otherwise, there are no peculiarities in the recording of percussion instruments, and if for some reason they appear, they will be mentioned in the proper place.

In a modern symphony orchestra, percussion instruments serve only two purposes - rhythmic, to maintain clarity and sharpness of movement, and decorating in the broadest sense, when the author, through the use of percussion instruments, contributes to the creation of enchanting sound pictures or “moods”, full of excitement, ardor or impetuosity. From what has been said, of course, it is clear that percussion instruments have to be used with great care, taste and moderation. The varied sonority of percussion instruments can quickly tire the attention of listeners, and therefore the author must always remember what his percussion instruments are doing. Only the timpani enjoy certain advantages, but even these can be nullified by excessive excesses.

The classics paid a lot of attention to percussion instruments, but they never raised them to the level of the only members of the orchestra. If something like this happened, then the performance of the drums was most often limited to only a few beats of a bar or was content with an extremely insignificant duration of the entire construction. Of the Russian musicians, Rimsky-Korsakov used one of the percussion instruments as an introduction to very rich and expressive music in the Spanish Capriccio, but most often solo percussion instruments are found in “dramatic music” or in ballet, when the author wants to create a particularly sharp, extraordinary or “ an incredible feeling." This is exactly what Sergei Prokofiev did in the musical performance Egyptian Nights. Here, the sonority of percussion instruments accompanies the scene of commotion in the house of Cleopatra's father, to which the author prefixes the title "Alarm". Did not refuse the services of percussion instruments and Victor Oransky (1899-1953). He had the opportunity to use this amazing sonority in the ballet Three Fat Men, where he entrusted one percussion accompaniment to the sharp rhythmic canvas of the "eccentric dance". Finally, quite recently, the services of some percussion instruments used in an intricate sequence of "dynamic

The French, laughing at such an “artistic revelation”, rather venomously ask if the new French word bruisme originated from here, as a derivative of brui- “noise”. There is no equivalent concept in the Russian language, but the Orchestrators themselves have already taken care of a new name for such music, which they quite evilly dubbed the definition of “percussive thresher”. In one of his early symphonic works, Alexander Cherepnin devoted a whole part to such an "ensemble". There was already a chance to talk a little about this work about the connection with the use of the bow quintet as percussion instruments, and therefore there is no urgent need to return to it again. Shostakovich also paid tribute to the unfortunate "shock" delusion in those days when his creative worldview was not yet sufficiently stable and mature.

The “onomatopoeic” side of the matter stands completely aside, when the author, with the smallest number of percussion instruments actually used, has a desire or, more precisely, an artistic need to create only a “percussive feeling” of all music intended mainly for string and woodwind instruments. One such example, extremely witty, amusing and excellent-sounding “in an orchestra,” if the composition of the instruments participating in it can be defined precisely by this concept, is found in Oransky’s ballet Three Fat Men and is called Patrol.

But the most outrageous example of musical formalism remains the work written by Edgard Varèse (1885-?). It is designed for thirteen performers, is intended for two combinations of percussion instruments and is called by the author lonisation, which means "Saturation". This "work" involves only sharp-sounding percussion instruments with piano. However, this latter is also used as a “percussion instrument” and the performer acts on it according to the latest “American method” of Henry Cauel (1897-?), who, as you know, suggested playing with only one elbow, outstretched across the entire width of the keyboard. According to the reviews of the then press - and this happened in the thirties of the current century - the Parisian listeners, brought by this work to a state of wild frenzy, urgently demanded its repetition, which was immediately carried out. Without saying a bad word, the history of the modern orchestra does not yet know the second such out of the line "case".

1. Bibliography

1. "Musical Encyclopedia", Yu.V. Keldysh, volume 2, publishing houses "Soviet Encyclopedia" and "Soviet Composer", 1974

2. "Musical Encyclopedia", Yu.V. Keldysh, volume 5, publishing houses "Soviet Encyclopedia" and "Soviet Composer", 1981

3. "Conversations about the orchestra", Dm. Rogal-Levitsky, State Musical Publishing House, Moscow, 1961

4. “Cello, double bass and other musical instruments”, H. Tserashi, Music Publishing House, 1979

5. "Percussion instruments in modern orchestras", A.N. Panayotov, 1973

6. A group of percussion instruments in an orchestra

7. Percussion instruments: names and types

Interesting but true...

The physicist Albert Einstein, puzzling over the most difficult questions, used to play the violin until a solution came up. Then he got up and announced: “Well, I finally understood what was the matter!”

Structure of a symphony orchestra

Orchestra in Ancient Greece called place, intended for choir(Greek orheomai - I dance). At present, an orchestra is called a certain composition of musical instruments that form an organic whole based on a deep internal interconnection of timbres with each other. Musical practice has developed various types of orchestras. Each has a certain composition of tools and a different number of them. Main types: opera and symphony, brass, folk instruments orchestra, jazz orchestra.

The symphony orchestra, in turn, has varieties. Chamber Orchestra (10 - 12 people) is created for the performance of early music by the composition for which it was written (Bach's Brandenburg Concertos, Concerto grosso by Vivaldi, Corelli, Handel). The core of the chamber orchestra is a string group with the addition of harpsichord, flute, oboe, bassoon and horns. Appeal to the chamber orchestra in modern music is associated either with the search for new expressive possibilities (Shostakovich. Opera "The Nose", 14th symphony, A. Schnittke. Concerto grosso for two violins and chamber orchestra, 1977), or is explained by practical considerations. Such circumstances turned out to be decisive when I. Stravinsky created The Story of a Soldier in 1918: “... our staging facilities were very meager ... I saw no other way but to stop at such a composition that would include the most characteristic instruments of high and low registers. From strings - violin and double bass, from wood - clarinet and bassoon, from copper - trumpet and trombone, and, finally, percussion, which is controlled by one musician.

string orchestra consists of the bow group of the orchestra (Tchaikovsky. Serenade for string orchestra, Onneger. Second Symphony).

By the end of the 18th century, when the creative path of Haydn and Mozart ended and the first Beethoven symphonies appeared, there was a small (classical) orchestra. Its composition:

string group woodwinds brass drums

violins I flutes 2 horns 2 – 4 timpani 2 – 3

violins II oboes 2 trumpets 2

alto clarinets 2

cello bassoons 2

double basses

J. Haydn. Symphony "Hours", part II

In the second half of the 19th century, the large symphony orchestra. The main distinguishing feature of a large orchestra from a small one is the presence of three trombones and a tuba ( heavy copper quartet ). To create a dynamic balance, the number of performers in the string group increases.

small orchestra large orchestra

violins I 4 consoles 8 – 10 consoles

violins II 3 consoles 7 – 9 consoles

violas 2 remotes 6 remotes

cellos 2 remotes 5 remotes

double basses 1 console 4 – 5 consoles

Depending on the number of woodwind instruments, there are several compositions of a large symphony orchestra.

Double or double composition , in which there are 2 instruments of each family

Schubert. Symphony h-moll.

Glinka. Waltz fantasy.

Chaikovsky. Symphony No. 1.

triple composition, in which there are 3 instruments of each family:

Lyadov. Baba is a yaga.

Rimsky-Korsakov. Operas The Golden Cockerel, The Tale of Tsar Saltan.

Quadruple composition : 4 flutes, 4 oboes, 4 clarinets, 4 bassoons.

How the exception is encountered single composition:

Prokofiev. Symphonic fairy tale "Peter and the wolf".

Rimsky-Korsakov. Opera Mozart and Salieri.

Available intermediate composition:

Rimsky-Korsakov. "Scheherazade".

Shostakovich. Symphonies 7, 8, 10.

Chaikovsky. Symphony No. 5. Overtures "Francesca da Rimini", Romeo and Juliet.

The organization of a symphony orchestra is to combine related instruments into groups. There are five of them:

String instruments - archi

Woodwinds - fiati (legno)

Brass Instruments - ottoni

Percussion instruments - percussi

Keyboard-plucked instruments.

3. Find information about the composition of the orchestra in Monteverdi's opera "Orpheus"

Musical instruments of the symphony orchestra

The best way to listen to music is, of course, in a concert hall. Because no modern equipment can convey all the richness of the sound of musical instruments in an orchestra. For example, in the symphony. The very word "orchestra" came to us from Ancient Greece. This was the name of the area in front of the stage in the ancient theater. This site housed the ancient Greek choir. On the stage, the actors acted out a comedy or tragedy, and the choir created the musical accompaniment. Today, by the word "orchestra" we mean a group of musicians who play various musical instruments. And the word "symphonic" indicates that this orchestra is the largest and richest in terms of its capabilities. Because it includes strings, and wind, and percussion instruments. From 60 to 120 musicians can participate in such an orchestra. And even more. The orchestra consists of 4 main groups of musical instruments: bowed strings, woodwinds, brass and percussion. The composition of the bowed strings includes: violins, violas, cellos, double basses. Woodwinds include: flutes, oboes, clarinets, bassoons. Brass instruments are horns, trumpets, trombones, tubas. Percussion instruments include timpani, snare drums, xylophones, bass drums, cymbals, triangles, castanets and many others.

The role of the conductor

Can an orchestra play without a conductor? To answer this question, you need to know about the role of a conductor in an orchestra. It is necessary, first of all, to ensure that all musicians play at the same pace. Previously, the role of the conductor was performed by a person who beat the rhythm with a special rod. Then he became the first violinist. He stood in front of the orchestra, playing the violin, and with the movements of his head and the body of the bow, he showed the musicians the tempo and rhythm of the piece. Over time, more and more musical instruments appeared in the orchestra, so a person was needed to act as a conductor. The conductor stands on a dais so that all the musicians can see his gestures. In his right hand he holds a stick with which he shows the rhythm and tempo of the music. The left hand conveys the character and subtle nuances of performance. The role of the conductor is very important. What qualities should a person in this profession have? First of all, he must be a professional musician with the appropriate education. In conducting, a musician uses his body, not just his hands, to convey his thoughts and feelings to other musicians. Although the conductor plays the main role in the orchestra, there was still an independent orchestra in history. More specifically, the ensemble. It was called "Persimfans". It consisted of very famous musicians of that time. They played there harmoniously, which could well do without a conductor.

Fedorov Anzhelika, Gibadullina Xenia

The presentations were made within the framework of the project "In the world of musical instruments".

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Musical instruments Fedorov Anzhelika Grade 5 A

Balalaikas

Balalaika is a Russian folk three-stringed plucked musical instrument, from 600-700 mm (prima balalaika) to 1.7 meters (double bass balalaika) in length, with a triangular slightly curved (also oval in the 18th-19th centuries) wooden case. The balalaika is one of the instruments that have become (along with the accordion and, to a lesser extent, the pity) the musical symbol of the Russian people.

Description: The body is glued together from separate (6-7) segments, the head of the long neck is slightly bent back. Metal strings (In the 18th century, two of them were veined; modern balalaikas have nylon or carbon strings). On the neck of a modern balalaika there are 16-31 metal frets (until the end of the 19th century - 5-7 forced frets).

Sound: loud but soft. The most common techniques for extracting sound: rattling, pizzicato, double pizzicato, single pizzicato, vibrato, tremolo, fractions, guitar tricks.

System Until the balalaika was turned into a concert instrument at the end of the 19th century by Vasily Andreev, it did not have a permanent, ubiquitous system. Each performer tuned the instrument according to his own style of performance, the general mood of the pieces played, and local traditions. The system introduced by Andreev (two strings in unison - the note "mi", one - a quart higher - the note "la" (both "mi" and "la" of the first octave) was widely used by concert balalaika players and began to be called "academic". There is also a "folk" system - the first string is "sol", the second - "mi", the third - "do". In this system, triads are taken easier, the disadvantage of it is the difficulty of playing on open strings. In addition to the above, there are also regional traditions of tuning the instrument The number of rare local settings reaches two dozen.

Varieties: Double-bass balalaika In the modern orchestra of Russian folk instruments, five varieties of balalaikas are used: prima, second, viola, bass and double bass. Of these, only the prima is a solo, virtuoso instrument, while the rest are assigned purely orchestral functions: the second and viola implement chord accompaniment, while the bass and double bass perform the bass function.

Origin: Tar - one of the forerunners of the guitar The earliest surviving evidence of stringed instruments with a resonating body and neck, the ancestors of the modern guitar, dates back to the 2nd millennium BC. e. Images of kinnor (Sumero - Babylonian string instrument, mentioned in biblical legends) were found on clay bas-reliefs during archaeological excavations in Mesopotamia. In ancient Egypt and India, similar instruments were also known: nabla, nefer, zither in Egypt, wine and sitar in India. In ancient Greece and Rome, the cithara instrument was popular. The predecessors of the guitar had an elongated round hollow resonating body and a long neck with strings stretched on it. The body was made in one piece - from a dried pumpkin, tortoise shell, or hollowed out from a single piece of wood. In the III - IV centuries AD. e. in China, ruan (or yuan) and yueqin instruments appear, in which the wooden body was assembled from the upper and lower soundboards and the sides connecting them. In Europe, this caused the introduction of the Latin and Moorish guitars around the 6th century. Later, in the 15th - 16th centuries, the vihuela instrument appeared, which also influenced the formation of the design of the modern guitar.

Origin of the name: The word "guitar" comes from the fusion of two words: the Sanskrit word "sangeeta" which means "music" and the Old Persian "tar" which means "string". According to another version, the word "guitar" comes from the Sanskrit word "kutur", meaning "four-stringed" (cf. setar - three-stringed). As the guitar spread from Central Asia through Greece to Western Europe, the word “guitar” underwent changes: “cithara (ϰιθάϱα)” in ancient Greece, Latin “cithara”, “guitarra” in Spain, “chitarra” in Italy, “guitare” in France, "guitar" in England and finally, "guitar" in Russia. The name "guitar" first appeared in European medieval literature in the 13th century.

Guitar Devices Main parts: The guitar is a body with a long neck, called the "neck". The front, working side of the neck is flat or slightly convex. Strings are stretched along it, fixed at one end on the body, with the other on the peg box at the end of the neck. On the body, the strings are fixed motionlessly by means of a stand, on the headstock by means of a peg mechanism, which allows adjusting the tension of the strings. The string lies on two saddles, lower and upper, the distance between them, which determines the length of the working part of the string, is the scale of the guitar. The nut is located at the top of the neck, near the head. The lower one is mounted on a stand on the body of the guitar. As the saddle can be used so-called. "saddles" are simple mechanisms that allow you to adjust the length of each string.

Flute is a common name for a number of instruments from the woodwind group, but now metal ones have also been created. It is one of the oldest musical instruments in origin. Unlike other wind instruments, flute sounds are formed as a result of cutting the air stream on the edge, instead of using the reed. A musician who plays the flute is commonly referred to as a flutist.

The history of the development of the flute Bone flute of the Paleolithic era (Aurignacian culture). The oldest form of the flute seems to be the whistle. Gradually, finger holes began to be cut in the whistle tubes, turning a simple whistle into a whistle flute, on which it was already possible to perform musical works. The first archaeological finds of the flute date back to 35 - 40 thousand years BC, so the flute is one of the oldest musical instruments. The longitudinal flute was known in Egypt five thousand years ago, and it remains the main wind instrument throughout the Middle East. In Europe it was widespread in the XV - XVII centuries. The longitudinal flute, which has 5-6 finger holes and is capable of octave blowing, provides a complete musical scale, individual intervals within which can change, forming different frets by crossing the fingers, closing the holes halfway, as well as changing the direction and strength of breathing. Now occasionally used in the performance of early music.

Piccolo flute in terms of sound, it is an instrument among wind instruments. It has a brilliant, in the forte - a piercing and whistling timbre. A small flute is half as long as an ordinary one and sounds an octave higher, and it is impossible to extract a number of low sounds on it. The piccolo range is from d ² to c 5 (re of the second octave - up to the fifth octave), there are also instruments that have the ability to take c ² and cis ². Notes for ease of reading are written an octave lower.

Panflute, "Pan's flute" Main article: Pan's flute Pan's flute (panflute) is a class of woodwind instruments, a multi-barreled flute consisting of several (2 or more) hollow tubes of various lengths. The lower ends of the tubes are closed, the upper ones are open.

Irish flute Main article: Irish flute The Irish flute is a transverse flute used to play Irish (as well as Scottish, Breton, etc.) folk music. It is a transverse flute of the so-called. a simple system - its main 6 holes are not closed by valves; when playing, they are closed directly by the performer's fingers. The Irish flute is found in versions with valves (from 1 to 10), and without. And also there are 6 more types of flute.

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The composition of the symphony orchestra Performed by a student of grade 6 B Gibadullina Ksenia

What does a symphony orchestra consist of? A modern symphony orchestra consists of 4 main groups. The foundation of the orchestra is a string group (violins, violas, cellos, double basses). The group of woodwind instruments includes flutes, oboes, clarinets, bassoons. The third group of orchestra instruments is brass (horn, trumpet, trombone, trumpet). Percussion instruments (timpani, triangle, snare and bass drums, cymbals) are becoming increasingly important in the symphony orchestra.

The violin is a high-pitched stringed musical instrument. It has a folk origin, acquired a modern look in the 16th century, and became widespread in the 17th century. It has four strings tuned in fifths: g, d1, a1, e² (salt of a small octave, re, la of the first octave, mi of the second octave), range from g (salt of a small octave) to a4 (la of the fourth octave) and higher. The timbre of the violin is thick in the low register, soft in the middle and brilliant in the high. Violin

The origin of the violin The progenitors of the violin were the Arabic rebab, the Spanish fidel, the British crotta, the merger of which formed the viola. Violin forms were established by the 16th century; famous manufacturers of violins - the Amati family - belong to this century and the beginning of the 17th century. Their instruments are of excellent shape and excellent material. In general, Italy was famous for the production of violins, among which the Stradivari and Guarneri violins are currently highly valued. Fidel. Detail of the altar of the Church of St. Zacharias, Venice, Giovanni Bellini, 1505.

Cello Cello (Italian violoncello, abbr. cello, German Violoncello, French violoncelle, English cello) is a bow stringed musical instrument of the bass and tenor register, known from the first half of the 16th century, of the same structure as the violin or viola, however, much larger. The cello has wide expressive possibilities and carefully developed performance technique, it is used as a solo, ensemble and orchestral instrument.

The origin of the cello The appearance of the cello dates back to the beginning of the 16th century. Initially, it was used as a bass instrument to accompany singing or playing an instrument of a higher register. There were numerous varieties of the cello, which differed from each other in size, number of strings, and tuning (the most common tuning was a tone lower than the modern one). In the 17th-18th centuries, the efforts of the outstanding musical masters of the Italian schools (Nicolo Amati, Giuseppe Guarneri, Antonio Stradivari, Carlo Bergonzi, Domenico Montagnana, etc.) created a classical cello model with a firmly established body size.

Flute is a common name for a number of woodwind instruments. Unlike other wind instruments, flute sounds are formed as a result of cutting the air stream on the edge, instead of using the reed. A musician who plays the flute is commonly referred to as a flutist. Flute

The origin of the flute The oldest form of the flute seems to be the whistle. Gradually, finger holes began to be cut in the whistle tubes, turning a simple whistle into a whistle flute, on which it was already possible to perform musical works. The first archaeological finds of the flute date back to 35 - 40 thousand years BC, so the flute is one of the oldest musical instruments. The longitudinal flute was known in Egypt five thousand years ago, and it remains the main wind instrument throughout the Middle East. The longitudinal flute, which has 5-6 finger holes and is capable of octave blowing, provides a complete musical scale, individual intervals within which can change, forming different frets by crossing the fingers, closing the holes halfway, as well as changing the direction and strength of breathing.

Oboe Oboe (from French hautbois, literally "tall tree", English, German and Italian oboe) is a soprano woodwind musical instrument, which is a conical tube with a valve system and a double reed (tongue). The oboe acquired its modern look in the first half of the 18th century. The instrument has a melodious, but somewhat nasal, and in the upper register - a sharp timbre.

The origin of the oboe In the second quarter of the 19th century, the design of woodwind instruments experienced a real revolution: Theobald Böhm invented a system of special annular valves for closing several holes at once and applied it on his instrument - the flute, later this system was adapted for the clarinet and other instruments. The size and location of the holes no longer depended on the length of the musician's fingers. This made it possible to improve intonation, make the timbre clearer and purer, and expand the range of instruments. For the oboe, this system in its original form was not suitable. After some time, Guillaume Triber and his sons Charles-Louis (professor at the Paris Conservatory) and Frederic proposed an improved mechanism adapted for the oboe, at the same time slightly changing the design of the instrument itself. Their successors, François and Lucien Lauret, created a new oboe model called the "Flat Valve Conservator Model", which was quickly adopted by all oboists.

Trombone Trombone (Italian trombone, lit. "big pipe", English and French trombone, German Posaune) is a brass wind musical instrument of the bass-tenor register. The trombone has been known since the 15th century. It differs from other brass instruments by the presence of a backstage - a special movable U-shaped tube, with the help of which the musician changes the volume of air contained in the instrument, thus achieving the ability to play the sounds of a chromatic scale (valves serve this purpose on the trumpet, horn and tuba).

The appearance of the trombone dates back to the 15th century. It is generally accepted that the direct predecessors of this instrument were rocker pipes, when playing on which the musician had the opportunity to move the pipe of the instrument, thus obtaining a chromatic scale. During its existence, the trombone has practically not undergone radical changes in its design. Origin of the trombone

Horn (from German Waldhorn - "forest horn", Italian corno, English French horn, French cor) is a brass wind musical instrument of the bass-tenor register.

The origin of the French horn Derived from a hunting signal horn, it entered the orchestra in the middle of the 17th century. Until the 1830s, like other brass instruments, it did not have valves and was a natural instrument with a limited scale (the so-called “natural horn”, which was used by Beethoven). The horn is used in symphony and brass bands, as well as an ensemble and solo instrument.

Timpani Timpani (Italian timpani, French timbales, German Pauken, English kettle drums) is a percussion musical instrument with a certain pitch. They are a system of two or more (up to seven) metal cauldron-shaped bowls, the open side of which is covered with leather or plastic, and the lower part may have a hole.

The origin of the timpani The timpani is an instrument of very ancient origin. In Europe, timpani, close in form to modern ones, but with a constant system, became known already in the 15th century, and since the 17th century, timpani have been part of orchestras. Subsequently, a tension screw mechanism appeared, which made it possible to rebuild the timpani. In military affairs, they were used in heavy cavalry, where they were used as a transmission of combat control signals.

Cymbals Cymbals are a percussion musical instrument with an indefinite pitch. Plates have been known since ancient times, meeting in China, India, later in Greece and Turkey. They are a convex-shaped disk made of special alloys by casting and subsequent forging. There is a hole in the center of the cymbal for attaching the instrument to a special stand or for attaching a strap.

The history of cymbals Cymbals, together with the increase in the percussion group in the orchestra, probably first appeared in Gluck's scores. At the end of the 18th century, during the period of Haydn and Mozart, cymbals (together with a bass drum and a triangle) were rarely found in opera scores, only to reflect the barbarian or Turkish flavor

Target: to form in students an idea of ​​\u200b\u200ba symphony orchestra and its musical instruments; develop research skills, the ability to determine the sound of various instruments by ear, analyze musical works; cultivate a love for classical and folk music.

Lesson type: combined.

Equipment: TCO; cards with the image of musical instruments; layout of musical instruments of a symphony orchestra; audio recordings with the sound of instruments.

Music material: G. Verdi. March from the opera "Aida"; P. Tchaikovsky. Dance of the Dragee Fairy from the ballet "The Nutcracker"; N. Rimsky-Korsakov "Flight of the Bumblebee" from the opera "The Tale of Tsar Saltan"; J. Bizet-R. Shchedrin. Carmen Suite "Dance"; J. Gershwin. Clara's Lullaby from the opera "Porgy and Bess".

During the classes

Class organization

Updating of basic knowledge

What is sonata form?

What sections make it up?

How many components are in a classical sonata?

The piece of sonata form that we studied in the previous lesson?

What is the difference between sonata and variation forms?

3. Message of the topic of the lesson. Motivation for learning activities

Teacher. Today we will learn what an orchestra is, a symphony orchestra, in particular, the musical instruments that make it up. The teacher attaches to the board the layout of the musical instruments of the symphony orchestra.

1. Studying new material

Pupils make presentations prepared in advance.

Student reports

Historical reference

The word "orchestra" comes from the Greek "orchestra" - in the days of ancient Greece, this was the name of the area in front of the theater stage, where the choir went out. Subsequently, this place housed a group of musicians - "orchestra". Over time, the term took on a broader meaning; they began to designate a large group of musicians-instrumentalists. Symphony orchestras arose at the beginning of the 17th century. Their appearance is associated with the emergence of opera and instrumental concert, which require a significant number of performers. The large symphony orchestra was formed in the middle of the 19th century. Today, 50-75 performers play in a large symphony orchestra.

Classification of symphony orchestra instruments

The reports are accompanied by a diagram.

Even in ancient times, with an increase in the number of musical instruments, it became necessary to classify them. In ancient China, musical instruments were distributed according to the material from which they were made. Today, the most common classification by Erich von Hornbostel and Kurt Sachs, according to which the instruments are divided according to the source of the sound. In a symphony orchestra, musical instruments are distributed according to the method of sound production. The most numerous is the group of bowed string instruments, including first and second violins, violas, cellos and double basses.

The group of woodwind instruments includes flutes, oboes, clarinets, bassoons.

A group of brass instruments - trumpets, horns, trombones, tubas.

The group of percussion instruments consists of timpani, triangle, tambourine, snare drum, cymbals, bass drum, tam tam, orchestral bells, bells, xylophone, vibraphone.

The symphony orchestra also includes keyboard and plucked instruments: harp, piano, celesta.

Sometimes saxophones, electric guitars, synthesizers and the like are introduced into the symphony orchestra.

Work in pairs

The teacher distributes 3 cards with the image of musical instruments to each desk.

Exercise:

- Determine the names of the instruments shown and the group to which they belong.

- Do all the tools shown on the cards belong to the indicated four groups?

— What groups of instruments include tambourine, kobza, bandura, guitar, accordion?

What orchestra use them?

- Make a conclusion: which instruments make up an orchestra of folk instruments, and which ones - a symphony.

Group work

Teacher. Imagine that we are in a concert hall. You will unite in 5 groups and must complete two tasks.

Group task #1

1. Choose among the cards with the image of musical instruments belonging to the string-bow group.
2. Choose among 5 musical fragments offered for listening, a fragment where

instruments of string-bow groups sound. Determine the name of the composer and the title of the work.

Group task #2

1. Choose among the cards with the image of musical instruments belonging to the group of woodwind instruments.
2. Choose among 5 pieces of music to be listened to, a piece with woodwinds. Determine the name of the composer and the title of the work.

Group task #3

1. Choose among the cards with the image of musical instruments belonging to the group of brass instruments.
2. Choose among 5 pieces of music presented for listening, a piece where brass instruments sound. Determine the name of the composer and the title of the work.

Group task #4

1. Choose among the cards with the image of musical instruments belonging to the group of percussion instruments.
2. Choose among 5 musical fragments presented for listening, a fragment where percussion instruments sound. Determine the name of the composer and the title of the work.

Group task #5

1. Choose among the cards with the image of musical instruments belonging to the group of keyboard instruments.
2. Choose among 5 musical fragments presented for listening, a fragment where keyboard instruments sound. Determine the name of the composer and the title of the work.

Listening pieces: 1. G. Verdi. March from the opera "Aida" (trumpet); 2. P. Tchaikovsky. Dance of the Pellet Fairy from the ballet The Nutcracker (celesta) 3. N. Rimsky-Korsakov "Flight of the Bumblebee" from the opera "The Tale of Tsar Saltan" (a group of bowed string instruments); 4. J. Bizet-R. Shchedrin. Carmen- suite "Dance" (drums) 5. J. Gershwin Clara's lullaby from the opera "Porgy and Bess" (saxophone).

The teacher invites students to make a conclusion about the belonging of musical instruments to a certain group and their expressive possibilities.

Teacher's story:

Today we have the opportunity to listen to and analyze a very interesting piece of music by Benjamin Britten "Guide to the Orchestra for Youth". In 1945, the outstanding English composer B. Britten received an order from the British Ministry of Education to write music for the educational film "Orchestra Instruments". Thus, one of the most famous works of the composer was created.

The work is built in the form of variations on a theme by G. Purcell (drama "Abdelazer"). Here, in addition to the characteristics of musical instruments, we learn more about the outstanding composer of the 17th century, we feel the relationship between the past and the present.

Listening to the piece.

The work begins with the sound of Purcell's solemn joyful theme performed by the entire orchestra. Gradually, it acquires the features of modern music. Then the variations begin, each of which is performed by one instrument or a small group. The theme begins with the sound of the piccolo flute, an instrument of the woodwind group. Further, the theme is picked up by the rest of the instruments of the woodwind group, then by the brass ones. The string group conveys it with a solo sound to harps, then - percussion. The final variation is written in the form of a fugue played together by all the instruments of the orchestra. This sound of the orchestra is called tutti. Gradually, the main theme acquires its original character, and the finale of the work sounds majestic and solemn.

Reflection

What piece of music did we meet?

What musical instruments did the composer use in his work?

Who leads the symphony orchestra? (Conductor)

What is this control?

In what form is the "Guidebook ..." written?

What new musical form have we learned about?

What groups of instruments are used in this piece?

collective conclusion. The multifaceted timbre possibilities of various groups of musical instruments of a symphony orchestra help the composer realize his creative ideas, the performer - to prove his artistic skills, and the listener - to get aesthetic pleasure from listening and perceiving musical works.

Homework

For students with an average and sufficient level of knowledge: to process the material of the textbook and additional literature on the musical instruments of the symphony orchestra; learn about the features of each group of musical instruments of a symphony orchestra.

For students with a high level of knowledge: find out from the reference literature what other types of orchestras (except for the symphony) exist in musical performing practice. What instruments belong to electronic musical instruments and what are their features?