So, the texture of the fabric is the structure of its surface, which affects the relief, pattern of the front surface, shine, i.e. on the appearance of the fabric, as well as properties. According to the degree of expressiveness of the texture, fabrics can be divided into fabrics with a rich texture (textured) and fabrics with a poor texture (non-textured). The texture elements that create the beauty of fabrics are: stripes (longitudinal, transverse, oblique); ripple and cloque effects; grain; fleecy surface; weaving patterns, figured reliefs created by embossed threads; permanent embossing reliefs. According to the texture, fabrics are distinguished: with an open, closed and semi-closed weaving pattern. And speaking in a very simple language, the texture of the fabric is the appearance of the fabric. That is, how smooth or rough it seems to you, embossed, soft or hard, shiny or matte, transparent or opaque, etc.
Types of fabric texture
Soft fabrics drape well, falling in beautiful folds and tails, forming beautiful rounded lines. Such fabrics are good for all types of female figures, as they give softness to the full ones, and hide the angularity of the thin ones. These include crepes, crepe de chine, chiffon, silk, satin, etc.
Rigid fabrics give the effect of angular lines, clear folds on the product. Suitable for tight fitting clothes. They should be worn by petite and fragile women. This group of fabrics includes taffeta, moire, brocade, velveteen, denim, etc.
Transparent fabrics- chiffon, crepe-georgette, voile, etc. - are often used for finishing products in the form of inserts, various details. These fabrics are most often found in a style with small gatherings, pleats, draperies and puffy skirts. They are spectacular on young women and girls with a thin, graceful figure. They are able to make the ensemble lighter and more airy, which significantly “lighten” the silhouette. Not suitable for very full, elderly and women with a pronounced athletic figure.
Matte fabrics are good for all body types. They absorb light and make you look slimmer. Take a closer look at the varieties of crepe. It perfectly emphasizes the harmony of the figure.
Shiny fabrics - crepe satin, satin, varieties of silk, etc. - are not recommended for older and overweight women. Such fabrics reflect light, and therefore have an effect opposite to matte fabrics, revealing minor figure flaws. A shiny and embossed surface is often called a fantasy texture. Such fabrics, focusing light on their surface, make the owner of this outfit the center of attention. Fabrics with a relief and shiny texture include fabrics containing lurex, trimmed with beads, glass beads, sequins, etc., as well as brocade, taffeta, etc.
With an asthenic body type and rather thin facial features, thin weave fabrics, such as silk, chiffon, lace, etc., are suitable. Products from massive and heavy fabrics should not be chosen. Fine decorative stitching along the edges, small buttons, fine trim will greatly decorate.
The wide skeleton and large facial features suggest a choice of clothes from more "heavy" fabrics: dense silk and satin, knitwear, suede, leather. Finishing and details should correspond to the features of the figure: the larger the figure, the more massive the jewelry and accessories should be.
The texture of the fabric is of great importance in the visual perception of the volume and heaviness of the product. For example, rough and embossed textures increase the visual volume and heaviness, while a smooth texture, on the contrary, makes clothes lighter and visually reduces the volume.
The combination of textures of fabrics in clothes
So what does the notorious "fabric compatibility by texture" mean? Due to the fact that literally everything that happened to it during the production process affects the texture of the material, compatibility can be very different and varied. You can talk about what transparent fabrics are compatible with, or soft draping fabrics, or matte and heavy, or shiny and airy. And there are many, many similar variations on a given theme. This suggests that there is no correct, once established by someone, compatibility of things in terms of texture. There are only general trends, developed over the years and generally accepted sketches, obeying only one law - the law of harmony, when the texture of each of the combined fabrics should reveal, emphasize the external qualities of the other. Let's take a closer look at some combinations of textures of different fabrics in the wardrobe.
The beauty of the texture of dense matte crepes and veils is more pronounced when combined with a shiny fabric, such as satin, crepe satin, varnish:
The deep color of velvet in combination with matt taffeta, moiré, rep, intensifies and wins:
Boucle goes well with black shiny lacquer or smooth fur:
Suede goes well with knitwear, tweed and even fine wool!:
Consider transparent fabrics. You can combine dense and transparent (wool, jersey and chiffon). Another option: overlaying a transparent mesh on the main fabric.
Fabrics of a different texture are also used to enhance the effect of constructive lines: waist, armholes, necklines, hips. This is mainly achieved by using a contrasting fabric or braid.
EXPRESSIVE MEANS OF MUSIC
Texture
The “face” of any piece of music is formed from the main means of musical expression. But each face can have many expressions. And additional means “know” the “expression of the face”. Invoice is one of them.
Literally, “texture” means “processing”. We know that the texture is, for example, in the fabric. By touch, by texture, you can distinguish one fabric from another. Each piece of music also has its own "sonic fabric". When we hear a beautiful melody or unusual harmony, it seems to us that these means are expressive in themselves. However, in order for a melody or harmony to sound expressive, composers use different techniques and methods of processing musical material, different types of musical texture.
Texture is a way of processing musical material.
Perhaps because the texture most clearly expresses the field of musical art, combining lines, drawings, musical graphics, it has received many figurative definitions, perhaps more than all other means of musical expression.
"Musical fabric", "pattern", "ornament", "contour", "textural layers", "textural floors" - this series of metaphors reveals the visual, picturesque, spatial beginning inherent in the texture.
Like any other artistic phenomenon, the texture is unusually diverse. Its character is determined by the artistic content of the music, the circumstances of its performance, genre affiliation, timbre originality. It is natural to assume that music intended for sounding in a temple, for example, polyphonic music, also requires an appropriate texture range, expressing the idea of a temple space. A lyrical musical statement associated with the transfer of personal feelings, as a rule, is monophonic. Its sound is a kind of compression of the texture to a single voice singing its lonely song.
Sometimes a monophonic presentation of a melody is used by composers to express the beauty or originality of the timbre: for example, the shepherd's horn solo in the introduction to Lel's First Song from N. Rimsky-Korsakov's opera The Snow Maiden, introducing the listener into the atmosphere of a wonderful pagan fairy tale through the sound of a unique folk instrument.
However, an exclusively monophonic texture is a rather rare phenomenon. After all, any monophony is a kind of relief, emphasizing certain properties or states, therefore it is introduced, as a rule, in contrast to the previous or subsequent, more complex textural development. The world of music, like the world of human fantasy, is infinitely rich, so that in any section of a musical work there is usually a juxtaposition or interaction of various figurative principles.
So, one of the most common types of texture - a melody with accompaniment - contains not only a relief, but also a background, which not only combine with each other, but also in some cases contrast in rhythmic and register relations. This type of texture is typical for all kinds of dances and songs, romances and instrumental pieces. The figurative richness of this type of texture depends not only on the brightness of the melodic voice, but also on what role the nature of the accompaniment plays in relation to the content of the piece. Remember F. Schubert's song "Margarita at the Spinning Wheel": it contains not only the trembling melody of Margarita, but also the measured buzzing of the spindle, which simultaneously creates a vivid visual impression and figurative contrast with its dull monotony.
The versatility of the musical image has other ways of expressing it with texture techniques. So, in S. Rachmaninov's romance "Lilac", the accompaniment pattern has a purely visual resemblance to the shape of a lilac flower. At the same time, there is no artificiality, far-fetchedness in the nature of the music, it is bright and pure, like youth, like the flowering of a spring garden:
In the morning, at dawn, on the dewy grass
I'll go fresh in the morning to breathe;
And into the fragrant shadow, where the lilac crowds,
I'm going to look for my happiness...
In life, I am destined to find happiness alone,
And that happiness lives in lilacs;
On green branches, on fragrant brushes
My poor happiness blooms.
Writer Yuri Nagibin in the story "Lilac" writes about one summer, which was spent by seventeen-year-old Sergei Rachmaninov in the Ivanovka estate. In that strange summer, the lilac blossomed "all at once, in one night it boiled in the yard, and in the alleys, and in the park." In memory of that summer, one early morning, when the composer met his young first love, he wrote, perhaps, the most tender and agitated romance "Lilac".
What else, what feelings and moods make the texture either shrink, or take shape in space, or take the form of a lovely spring flower?
Probably, the answer to this question should be sought in the lively charm of the image, in its breath, colors, unique appearance, and most importantly, in the experience of the image that the composer himself brings into his music. A musician never addresses a topic that is not close to him and does not resonate in his soul. It is no coincidence that many composers admitted that they never wrote about what they did not experience, did not feel themselves. Therefore, when lilac blossoms or the earth is covered with snow, when the sun rises or jets of fast water begin to play with multi-colored highlights, the artist experiences the same feelings that millions of people have experienced at all times. He also rejoices, sad, admires and admires the boundless beauty of the world and its wonderful transformations. He embodies his feelings in the sounds, colors and drawings of music, filling it with the breath of life. And if his music excites people, it means that it not only vividly captures the images of lilacs, the morning sun or the river, but guesses those experiences that people have experienced in contact with beauty since time immemorial. Therefore, it would probably not be an exaggeration to say that each such work, no matter how intimate the feelings that inspired the author, is a monument to all the colors of the world, all its rivers and sunrises, all the boundless human admiration and love.
Listen to another romance by S. Rachmaninov - "Spring Waters". Written to the words of F. Tyutchev, it conveys the image of the poem, at the same time introducing new dynamics into it, swiftness, accessible only to musical expression.
Snow is still whitening in the fields,
And the waters are already rustling in the spring -
They run and wake up the sleepy shore,
They run and shine and say...
They say all over the place:
Spring is coming, spring is coming!
We are messengers of young spring,
She sent us ahead!”
Spring is coming, spring is coming!
And quiet, warm, May days
Ruddy, bright round dance
Crowds merrily after her.
A joyful foreboding of the imminent spring literally permeates the romance. The tonality of E-flat major sounds especially light and sunny, the movement of the musical texture is swift, seething, covering a huge space, like a powerful and cheerful stream of spring waters breaking all barriers. There is nothing more contrary in feeling and mood to the recent numbness of winter with its cold silence and intrepidity.
In "Spring Waters" - the feeling is bright, open, enthusiastic, captivating listeners from the very first bars. The music of the romance seems to be deliberately constructed in such a way as to avoid everything soothing, lulling; there are almost no melodic repetitions in it, with the exception of those phrases that are emphasized by the whole meaning of musical and poetic development: "Spring is coming, spring is coming!" The endings of almost all melodic phrases are ascending; they contain even more exclamations than the poem. It is also important to note that the piano accompaniment in this work is not just an accompaniment, but an independent participant in the action, sometimes surpassing even the solo voice in terms of expressiveness and pictorial power!
Spirit of life, strength and freedom
Raises, envelops us! ..
And joy flooded into my soul
As a response to the triumph of nature,
Like God's life-giving voice!
These lines from another poem by F. Tyutchev - "Spring" sound like an epigraph to a romance - perhaps the most joyful and exultant in the history of Russian vocal lyrics.
Unusual expressiveness is achieved by the texture in the works addressed to fabulous-fantastic images. After all, the field of musical fantasy is the world of fairy tales and fabulous nature, a bizarre interweaving of the lyrical and mysterious, this is the world of supernatural beauty - the beauty of fairy forests and mountains, underground caves and underwater kingdoms. Everything that the composer's poetic imagination could create was embodied in sounds, their modulations and combinations, in the movement of texture - now numbly motionless, then endlessly changing.
N. Rimsky-Korsakov's "Procession of the Wonders of the Sea" from Act VI of the opera "Sadko" is one of the examples of unusual textural expressiveness. Drawing the magical world of the underwater kingdom, mysterious, invisible to people, the composer chooses such musical means that emphasize the atmosphere of mystery, romance, fabulous beauty. The fragment is called "Procession ...", that is, indicates the moment of movement, but how different this movement is in the romance "Spring Waters" and the opera "Sadko"!
Rachmaninov has the living power of living water, rushing, bubbling, unstoppable. With Rimsky-Korsakov, in the whole vast underwater kingdom, you will not find even a drop of water “charged” with such a joyful, warm human feeling. On the contrary, "The Procession..." is unusually static, even the very movement of "miracles" is flexible, fluid, slow. This is not the open element of the sea, these are its unknown depths, not warmed by the human gaze.
Smoothly gliding before the eyes of their master, the "wonders of the sea" seem to add up a colorful musical mosaic, consisting of many leitmotifs. By the end of the "Procession ..." even this movement stops, melodic figurations calm down, as if carrying away the last splashes of water - and for a short time the music freezes in the picture of boundless fabulous beauty created by it.
So, we see that the texture certainly captures everything that is connected with the expressiveness of musical sound. A lone voice or a powerful choir, a poignant outburst of an experienced feeling or a drawing of a spring flower, rapid movement or extreme numbness - all this, like many other things that inspire and live music, gives rise to its own musical fabric, this “patterned cover” of texture, always new , unique, deeply original.
Questions and tasks:
1. Name the different types of texture.
2. Recall the musical works known to you, in which the texture would be distinguished by vivid depiction.
3. In what musical genres is the textural space of a significant range used? What do you think it is connected with?
4. Why does the word texture have such synonyms as fabric, pattern, pattern?
5. Compare the different types of invoices given at the beginning of this section.
Presentation
Included:
1. Presentation - 15 slides, ppsx;
2. Sounds of music:
Rakhmaninov. Spring waters. Use D. Hvorostovsky, mp3;
Rakhmaninov. Lilac (performed by T. Sinyavskaya), mp3;
Rimsky-Korsakov. Lel's first song (fragment), mp3;
Rimsky-Korsakov. Procession of sea wonders, mp3;
Schubert. Margarita behind the spinning wheel, mp3;
3. Accompanying article, docx.
lat. factura - manufacturing, processing, structure, from facio - I do, I carry out, I form; German Faktur, Satz - warehouse, Satzweise, Schreibweise - writing style; French facture, structure, conformation - device, addition; English texture, texture, structure, build-up; ital. structure
In a broad sense - one of the sides of the musical form, is included in the aesthetic and philosophical concept of the musical form in unity with all means of expression; in a narrower and more common sense - a specific design of the musical fabric, a musical presentation.
The term "texture" is revealed in connection with the concept of "musical warehouse". Monodic. the warehouse assumes only a "horizontal dimension" without any vertical relationship. In strictly unison monodich. samples (Gregorian chant, Znamenny chant) single-headed. music fabric and F. are identical. Rich monodic. F. distinguishes, for example, the music of the East. peoples who did not know polyphony: in Uzbek. and taj. Makome singing dubbed instr. ensemble with the participation of drums performing usul. Monodic. Warehouse and F. easily pass into a phenomenon intermediate between monody and polyphony - into a heterophonic presentation, where unison singing in the process of performance becomes more complicated decomp. melodic-textural options.
The essence of polyphony. warehouse - correlation at the same time. sounding melodies. lines are relatively independent. the development of which (more or less independent of the consonances arising along the vertical) constitutes the logic of the muses. forms. In polyphonic music The tissues of the voice show a tendency towards functional equality, but they can also be multifunctional. Among the qualities of polyphonic F. creatures. density and rarefaction ("viscosity" and "transparency") are important, to-rye are regulated by the number of polyphonic. voices (masters of a strict style willingly wrote for 8-12 voices, preserving one type of F. without a sharp change in sonority; however, in masses it was customary to set off magnificent polyphony with light two- or three-voices, for example, Crucifixus in the masses of Palestrina). Palestrina only outlines, and in free writing, polyphonic techniques are widely used. thickening, thickening (especially at the end of the piece) with the help of increase and decrease, strettas (fugue in C-dur from the 1st volume of Bach's Well-Tempered Clavier), combinations of different themes (the code of the finale of Taneyev's symphony in c-moll). In the example below, the textural thickening due to the rapid pulse of the introductions and the textural growth of the 1st (thirty-second) and 2nd (chords) elements of the theme are characteristic:
J. S. Bach. Fugue in D-dur from the 1st volume of the Well-Tempered Clavier (bars 23-27).
For polyphonic F. is typical of the unity of the pattern, the absence of sharp contrasts in sonority, and a constant number of voices. One of the notable properties of polyphonic P. - fluidity; polyphony. F. is distinguished by constant updating, the absence of literal repetitions while maintaining the full thematic. unity. Defining value for polyphonic. F. has rhythmic. and thematic ratio of votes. With the same durations, a choral F. appears in all voices. This F. is not identical to chord-harmonic, since the movement here is determined by the deployment of melodic. lines in each of the voices, and not by the functional relationships of the harmonics. verticals, for example:
F. d "Ana. An excerpt from a motet.
The opposite case is polyphonic. F., based on the full metrorhythm. independence of voices, as in the mensural canons (see the example in v. Canon, column 692); the most common type of complementary polyphonic. F. is determined thematically. and rhythmic. like themselves. voices (in imitations, canons, fugues, etc.). Polyphonic F. does not exclude a sharp rhythmic. stratification and an unequal ratio of voices: contrapuntal voices moving in relatively short durations form the background for the dominant cantus firmus (in masses and motets of the 15th-16th centuries, in Bach's organ choral arrangements). In the music of later times (19th and 20th centuries), polyphony of different themes developed, creating unusually picturesque F. (for example, the textured interweaving of the leitmotifs of fire, fate, and Brunhilde's dream at the conclusion of Wagner's opera The Valkyrie). Among the new phenomena of music of the 20th century. should be noted: F. linear polyphony (the movement of harmonically and rhythmically uncorrelated voices, see Milhaud's Chamber Symphonies); P., associated with complex dissonant duplication of polyphonic. voices and turning into polyphony of layers (often in the work of O. Messiaen); "dematerialized" pointillistic. F. in op. A. Webern and the opposite polygon. severity orc. counterpoint by A. Berg and A. Schoenberg; polyphonic F. aleatory (in V. Lutoslavsky) and sonoristic. effects (by K. Penderecki).
O. Messiaen. Epouvante (Rhythmic canon. Example No 50 from his book "The Technique of My Musical Language").
Most often the term "F." applied to harmonica music. warehouse. In an immeasurable variety of harmonic types. F. The first and simplest is its division into homophonic-harmonic and proper chordal (which is considered as a special case of homophonic-harmonic). Chordal F. is monorhythmic: all voices are set out in sounds of the same duration (the beginning of Tchaikovsky's overture-fantasy Romeo and Juliet). In homophonic harmonic. F. drawings of melody, bass and complementary voices are clearly separated (the beginning of Chopin's c-moll nocturne). The following are distinguished. harmonic presentation types. consonances (Tyulin, 1976, ch. 3rd, 4th): a) harmonic. a figuration of a chord-figurative type, representing one or another form of sequential presentation of chord sounds (prelude C-dur from the 1st volume of Bach's Well-Tempered Clavier); b) rhythmic. figuration - the repetition of a sound or chord (poem D-dur op. 32 No 2 by Scriabin); c) diff. duplicates, eg. in an octave with orc. presentation (a minuet from Mozart's symphony in g-moll) or a long doubling into a third, sixth, etc., forming a "tape movement" ("Musical Moment" op. 16 No 3 by Rachmaninov); d) various types of melodic. figurations, the essence of which is in the introduction of melodic. movements in harmony. voices - complication of chord figuration by passing and auxiliary. sounds (Etude in c-moll op. 10 No 12 by Chopin), melodicization (choir and orchestra presentation of the main theme at the beginning of the 4th painting "Sadko" by Rimsky-Korsakov) and polyphonization of voices (introduction to Wagner's "Lohengrin"), melodic-rhythmic "revival" org. point (4th painting "Sadko", number 151). The given systematization of harmonic types. F. is the most common. In music, there are many specific textural techniques, the appearance of which and the methods of use are determined by stylistic. the norms of this music-historical. eras; therefore, the history of F. is inseparable from the history of harmony, orchestration (more broadly, instrumentalism), and performance.
harmonic warehouse and F. originate in polyphony; for example, Palestrina, who perfectly felt the beauty of sobriety, could use the figuration of emerging chords over many measures with the help of complex polyphonic (canons) and the chorus proper. means (crossings, duplications), admiring the harmony, like a jeweler with a stone (Kyrie from the Mass of Pope Marcello, bars 9-11, 12-15 - five counterpoint). For a long time in instr. prod. composers of the 17th century chorus addiction. The style of strict writing was obvious (for example, in the organ. op. by J. Sweelinka), and composers were content with relatively uncomplicated techniques and drawings of mixed harmonica. and polyphonic. F. (for example, J. Frescobaldi). The expressive role of F. is enhanced in the production. 2nd floor. 17th century (in particular, spatial-textural juxtapositions of solo and tutti in A. Corelli's works). The music of J. S. Bach is marked by the highest development of F. (chaconne d-moll for solo violin, "Goldberg Variations", "Brandenburg Concertos"), and in some virtuoso op. ("Chromatic Fantasy and Fugue"; Fantasy G-dur for organ, BWV 572) Bach makes textural discoveries, subsequently widely used by romantics. The music of the Viennese classics is characterized by the clarity of harmony and, accordingly, the clarity of textured patterns. The composers used comparatively uncomplicated textural means and based themselves on general forms of movement (for example, figures such as passages or arpeggios), which did not conflict with the attitude to phrasing as a thematically significant element (see, for example, the middle in the 4th variation from the 1st movement of Mozart's sonata No 11 A-dur, K.-V. 331); in the presentation and development of the themes from Allegri sonatas, motivic development occurs in parallel with textural development (for example, in the main and connecting parts of the 1st movement of Beethoven's Sonata No 1). In the music of the 19th century, primarily among the Romantic composers, exceptions are observed. a variety of types of F. - sometimes lush and multi-layered, sometimes cozy at home, sometimes fantastically bizarre; strong textural and stylistic differences arise even in the work of one master (cf. the diverse and powerful F. sonatas in h-moll for piano and the impressionistically refined drawing of the pianoforte of Liszt's play "Grey Clouds"). One of the most important trends in music of the 19th century. - individualization of textured drawings: the interest in the extraordinary, inimitable, inherent in the art of romanticism, made it natural to reject typical figures in F. Special methods were found for the multi-octave selection of a melody (Liszt); The musicians found opportunities for updating F. primarily in the melody of a wide harmonica. figurations (including in such an unusual form as in the finale of the piano sonata b-moll by Chopin), sometimes turning almost into polyphonic. narration (the theme of a side part in the exposition of the 1st ballad for FP Chopin). Textured variety supported the interest of the listener in the wok. and instr. cycles of miniatures, it to a certain extent stimulated the composition of music in genres directly dependent on F. - etudes, variations, rhapsodies. On the other hand, there was a polyphonization of F. in general (the finale of Frank's violin sonata) and harmonica. figurations in particular (an 8-head canon in the introduction to Wagner's "Gold of the Rhine"). Rus. musicians discovered a source of new sonorities in the textural techniques of the East. music (see, in particular, "Islamei" by Balakirev). One of the most important. achievements of the 19th century in the field of F. - strengthening its motive richness, thematic. concentration (R. Wagner, I. Brahms): in some Op. in fact, there is not a single measure of non-thematic. material (e.g. symphony in c-moll, piano quintet by Taneyev, late operas by Rimsky-Korsakov). The extreme point in the development of individualized Ph. was the emergence of P.-harmony and F.-timbre. The essence of this phenomenon is that at a certain Under conditions, harmony, as it were, passes into F., expressiveness is determined not so much by the sound composition as by the picturesque arrangement: the correlation of the "floors" of the chord with each other, with the registers of the piano, with the orchestra takes precedence. groups; more important is not the pitch, but the texture filling of the chord, that is, how it is taken. Examples of F.-harmony are contained in Op. M. P. Mussorgsky (for example, "Clock with Chimes" from the 2nd act of the opera "Boris Godunov"). But in general, this phenomenon is more typical of the music of the 20th century: F.-harmony is often found in the production of. A. N. Scriabin (the beginning of the reprise of the 1st part of the 4th piano sonata; the culmination of the 7th piano sonata; the last chord of the piano poem "To the Flame"), C. Debussy, S. V. Rachmaninov. In other cases, the merger of F. and harmony determines the timbre (fp. play "Skarbo" by Ravel), which is especially pronounced in orc. the technique of "combining similar figures", when the sound arises from the combination of rhythmic. variants of one textured figure (a technique known for a long time, but brilliantly developed in the scores of I. F. Stravinsky; see the beginning of the ballet "Petrushka").
In the claim of the 20th century. different ways of updating the F. coexist. As the most general trends are noted: the strengthening of the role of F. in general, including polyphonic. F., in connection with the predominance of polyphony in the music of the 20th century. (in particular, as a restoration of F. of past eras in the production of the neoclassical direction); further individualization of textural techniques (film is essentially "composed" for each new product, just as an individual form and harmony are created for them); discovery - in connection with the new harmonics. norms - dissonant duplications (3 etudes, op. 65 by Scriabin), the contrast of especially complex and "refinedly simple" F. (1st part of Prokofiev's 5th piano concerto), improvisational drawings. type (No 24 "Horizontal and Vertical" from Shchedrin's "Polyphonic Notebook"); combination of original textural features of nat. music with the latest harmony. and orc. technique prof. art-va (brightly colorful "Symphonic Dances" Mold. Comp. P. Rivilis and other works); continuous thematization of F. c) in particular, in serial and serial works), leading to the identity of thematism and F.
Emergence in the new music of the 20th century. non-traditional warehouse, not related to either harmonic or polyphonic, determines the corresponding varieties of Ph.: the following fragment of the product. shows the discontinuity characteristic of this music, the incoherence of F. - register stratification (independence), dynamic. and articulation. differentiation:
P. Boulez. Piano Sonata No 1, beginning of the 1st movement.
The value of F. in the art of music. avant-garde is brought to logic. limit, when F. becomes almost the only one (in a number of works by K. Penderetsky) or unities. the goal of the actual composer's work (vocal. Stockhausen's "Stimmungen" sextet is a texture-timbre variation of one B-dur triad). F. improvisation in given pitch or rhythmic. within - main. reception of controlled aleatorics (op. V. Lutoslavsky); the field of F. includes an uncountable set of sonoristic. inventions (collection of sonoristic techniques - "Coloristic fantasy" for the opera Slonimsky). To electronic and concrete music created without tradition. tools and means of execution, the concept of F., apparently, is not applicable.
F. disposes means. shaping possibilities (Mazel, Zuckerman, 1967, pp. 331-342). The connection between the form and the form is expressed in the fact that the preservation of this pattern of the form contributes to the fusion of the construction, its change - dismemberment. F. has long served as the most important transformative tool in sec. ostinato and neostinatny variational forms, revealing in some cases large dynamic. possibilities ("Bolero" by Ravel). F. is able to decisively change the appearance and essence of the muses. image (carrying out the leitmotif in the 1st part, in the development and code of the 2nd part of the 4th piano sonata by Scriabin); textural changes are often used in reprises of three-movement forms (2nd part of the 16th piano sonata of Beethoven; nocturne c-moll op. 48 by Chopin), in the refrain in the rondo (finale of the piano sonata No. 25 of Beethoven). The formative role of F. is significant in the development of sonata forms (especially orc. compositions), in which the boundaries of sections are determined by a change in the method of processing and, consequently, F. thematic. material. F.'s change becomes one of the main. means of dividing the form in the works of the 20th century. ("Pacific 231" by Honegger). In some new compositions, the form turns out to be decisive for the construction of the form (for example, in the so-called repetitive forms based on the variable return of one construction).
F.'s types are quite often connected with def. genres (eg, dance music), which is the basis for combining in production. different genre features that give the music an artistically effective ambiguity (expressive examples of this kind in Chopin's music: for example, Prelude No. 20 c-moll - a mixture of the features of a chorale, a funeral march and a passacaglia). F. retains signs of one or another historical or individual muses. style (and, by association, era): so-called. guitar accompaniment enables S.I. Taneev to create a subtle stylization of early Russian. elegies in the romance "When, whirling, autumn leaves"; G. Berlioz in the 3rd part of the symphony "Romeo and Julia" to create nat. and historical color skillfully reproduces the sound of the madrigal a cappella of the 16th century; R. Schumann in "Carnival" writes authentic music. portraits of F. Chopin and N. Paganini. F. - the main source of music. descriptiveness, especially convincing in cases where k.-l. movement. With the help of F. visual clarity of music is achieved (introduction to Wagner's "Gold of the Rhine"), at the same time. full of mystery and beauty ("Praise of the Desert" from "The Tale of the Invisible City of Kitezh and the Maiden Fevronia" by Rimsky-Korsakov), and sometimes of amazing trembling ("the heart beats in rapture" in M. I. Glinka's romance "I remember a wonderful moment" ).
Literature: Sposobin I., Evseev S., Dubovsky I., Practical course of harmony, part 2, M., 1935; Skrebkov S. S., Textbook of polyphony, parts 1-2, M.-L., 1951, 1965; his own, Analysis of musical works, M., 1958; Milstein Ya., F. List, part 2, M., 1956, 1971; Grigoriev S. S., On the melody of Rimsky-Korsakov, M., 1961; Grigoriev S., Muller T., Textbook of polyphony, M., 1961, 1977; Mazel L. A., Zukkerman V. A., Analysis of musical works, M., 1967; Shchurov V., Features of the polyphonic texture of the songs of South Russia, in collection: From the history of Russian and Soviet music, M., 1971; Zukkerman V.A., Analysis of musical works. Variation form, M., 1974; Zavgorodnyaya G., Some features of texture in the works of A. Onegger, "SM", 1975, No 6; Shaltuper Yu., On the style of Lutoslavsky in the 60s, in: Problems of Musical Science, vol. 3, M., 1975; Tyulin Yu., The doctrine of musical texture and melodic figuration. Musical texture, M., 1976; Pankratov S., On the melodic basis of the texture of Scriabin's piano compositions, in: Issues of polyphony and analysis of musical works (Proceedings of the Gnesins State Musical and Pedagogical Institute, issue 20), M., 1976; his, Principles of textured dramaturgy of Scriabin's piano compositions, ibid.; Bershadskaya T., Lectures on harmony, L., 1978; Kholopova V., Faktura, M., 1979.
Musical thought can be expressed in various ways. Music, like a fabric, is made up of various components, such as melody, accompanying voices, sustained sounds, etc. This whole complex of means is called an invoice.Texture is a way of expressing musical fabric.
In artistic practice, the texture is different in density. It depends on the number of votes composing it (from one to several dozen).
Often the word texture is replaced by the word warehouse, which is similar in meaning. Currently, two main types of texture are known: homophony and polyphony. Mixed
type appears when the first two interact.
Monody (unison) (from the Greek “mono” - one) is the oldest monophonic texture, which is a monophonic melody, or holding a melody by several voices in unison, or in octave doubling.
heterophony- also an ancient type of texture (originated in the 9th century).
homophony- (from the Greek "homo" - a person, "background" - sound, voice). Homophony or homophonic-harmonic texture is one and the same.
Homophonic - harmonic texture consists of melody and accompaniment. It established itself in the music of the Viennese classics (second half of the 18
century) and is the most common texture to this day.
chord texture- is a chord presentation without a pronounced melody. Examples are church hymns - chorales
(quite often such a texture is called choral), it includes instrumental and choral works of a chordal warehouse.
Polyphony(from the Greek "poly" - a lot and "background" - sound, voice) - older than homophonic, it flourished in the Baroque era (XVII century -
first half of the 18th century). This is a type of polyphony in which two or more voices have an independent melodic meaning (“equality” of all voices).
V).
polyphonic texture There are three varieties: contrast, imitation, subvocal.
Contrasting (different-dark) polyphony o It is formed if the themes (melodies) in polyphony are different, contrasting.
Imitation (from lat. - imitation)- is formed in that case. When the melodies of a polyphonic warehouse are the same or similar, they enter into a relationship with a shift in time. Imitative polyphony reached its peak in the work of J.-S. Bach.
heterophony- also an ancient type of texture (it appeared in the 9th century), it is the most primitive kind of polyphony. In it, the voices move parallel to each other (tape movement - in fourths, fifths, thirds, sixths).
mixed invoice- arose as a result of the interaction of textures of different types, it can be polyphonic-harmonic, heterophonic-harmonic
1. Full name Aleksashkina Oksana Viktorovna
2. Place of work MBOU secondary school 47
3. Job title Teacher
4. Item music
5. Class 6a
6. Lesson topic: MUSICAL VOICE AND ITS TYPES (23)
7. Basic Tutorial T. I. Naumenko, V. V. Aleev
8. The purpose of the lesson: acquaintance with the concept of "musical texture" and its types.
9. Tasks:
9.1. Give an idea of texture as a means of musical expression.
9.3. Learn to compare and analyze musical works.
9.4. Check students' knowledge on the topic "polyphony".
9.5. Develop students' musical skills.
9.6. Cultivate interest and love for music.
10. Lesson type: OZN.
11. Forms of work Individual, group, collective.
12. TO: Musical and demonstration material: portraits of N. Paganini and F. Schubert, samples of various textile fabrics, musical examples, handouts, music center.
STRUCTURE AND PROCESS OF THE LESSON
MUSICAL INVOICE AND ITS TYPES
Organizing time.
Hello guys! Sit down.
The epigraph of our lesson will be the words of the great Russian composer Sergei Vasilyevich Rachmaninov, who said:
"The main goal of my work has always been the search for an original musical language. I hate imitation and hackneyed tricks."
What do you think musical language is?
Children: These are means of musical expression (melody, rhythm, tempo, harmony, dynamics, harmony).
Teacher. Well done. Would you like to expand your knowledge in this area?
Teacher: I will continue the lesson with verses:
We start a new day in the morning
It's time for us to wake up.
We are at the music lesson
We make it right on time
After all, the magical world of art
Awakens our senses!
With a song we live more cheerfully,
Good morning, new day!
Smiled at each other, wished good luck,
Smiled at the guests.
I wish you good luck too!
We will start the lesson with a test of knowledge on the topic "Polyphony".
2. Testing. (Appendix 1) Work in pairs.
1. Literally translated, "polyphony" means:
2. Polyphony took its origins:
A) from folk music
b) church music
c) secular music
3. How many centuries has polyphony dominated?
A) 5 centuries
c) 10 centuries
Check answers with the board, check in pairs.
What word can combine the techniques used in the test?
Children: Polyphony.
Name polyphonic genres. Choose the correct answers on the board (Appendix 2).
concert, canon, toccata, etude, invention, waltz, mass.
And the highest form of polyphonic music is...
Children: fugue.
And which of you can list the ways of changing the theme in a fugue?
Children list.
Do you think this knowledge will be useful to us today in the lesson?
Work in groups of 4 people. There are fabric samples on the table (Appendix 3)
Questions. And what is it?
What is the fabric made of?
Children. From threads.
Teacher. Why is the fabric different?
Children. Because threads of various thicknesses, qualities, and origins are involved in its creation. When creating a fabric, various methods of spinning and weaving were used.
Teacher ( draws attention to the texture samples laid out on the students' desks) (Appendix 5)
Now look at the way music is presented, what does that remind you of?
Children. "Musical fabric", "patterns", "ornament".
Teacher. What is it all made of?
Children. All this is created with the help of lines, musical notation, rhythmic and melodic pattern.
Teacher. And in fact, what is presented, set out in front of you?
Children. Before us are musical works presented in different ways (the children are presented with 3 types of musical texture: monophonic, melody with accompaniment and polyphony).
Guys, now we will listen to three musical fragments, and then you will say what kind of texture sounded in each of them?
Record answers on the board.
You can see that we got different answers. Let's stop and think
1) what task did we perform?
2) where did the difficulty arise?
3) why we could not answer these questions?
Children. We do not know what is the difference between these three musical textures.
Teacher: What is the purpose of our lesson?
4. Purpose: (children should name) learn to find differences in different types of musical textures, get an idea about texture as a means of musical expression. The teacher summarizes the goal. What will be the theme of our lesson?
Topic: MUSICAL VOICE AND ITS TYPES
Children choose a way out of the difficulty - clarification. Build a plan
goal achievement. To do this, the teacher asks questions:
What shall we do first?
1. Let's listen to 3 pieces of music
2. Let's analyze each piece of music
3. Find out what are the main differences between the textures of each fragment.
4. What material will we need in the lesson to answer the questions that have arisen?
Children. Samples of musical works (notes, handouts, music for listening), samples of textile fabric.
5. Texture is a way of presenting musical material. It may be different. Look at samples. And today we will get acquainted with some of its species.
1. Caprice No. 24 by N. Paganini sounds.
Teacher: What did you hear? Tell us about your impressions.
Children. The work impresses with its beauty of sound, flight of sound, and is distinguished by the originality of its timbre.
Teacher: What instrument was involved in the performance?
Children. There was a violin solo.
Teacher. It is used to convey personal feelings, as well as to express the beauty and originality of the instrument's timbre. However, an exclusively monophonic work is a rather rare phenomenon. Usually in musical works there is a comparison and interaction of various figurative principles.
The work of F. Schubert "Margarita at the spinning wheel" sounds
Teacher. What new did you hear in this work?
Children. Here you can hear the trembling melody of Margarita, which reveals to us her innermost thoughts.
Teacher. What genre of music does this piece belong to?
Children. Vocal - instrumental genre.
Teacher. What is the meaning of accompaniment?
Children. The accompaniment conveys the measured buzz of the spindle. This creates a simultaneous vivid visual impression and figurative contrast with its dull monotony.
Teacher. Conclude what type this type of texture belongs to? Children: This type of texture is called a melody with accompaniment.
Writing on the board and in notebooks: melody with accompaniment in the work of F. Schubert "Margarita at the Spinning Wheel".
3. Children listen to a fragment of the organ prelude in C minor by I. Bach
and determine the polyphonic features of the work (polyphony, independence of each voice)
Can you now name the main features of different textures?
6 ... Children organize the assimilation of a new mode of action by pronouncing in external speech.
Teacher: What are the features of the musical texture in each of the listened works?
In a monophonic work, the role of melody is decisive. It is the main source of information.
In a two-voice work, the melody is clearly heard and the accompaniment has a pictorial function.
The polyphonic texture assumes the independence of each voice and the interconnection of all voices.
Determine the type of texture in S. Rachmaninov's romance "Lilac".
Children. Children determine the texture of a piece of music using three cards that graphically depict three types of texture (Appendix 5). Carry out self-test, step by step comparing their work with the standard.
Guys, look carefully at the accompaniment. What does he remind you of? (Hint: On the board, next to the score, there is an illustration of a lilac twig).
Children. The accompaniment is similar to lilac branches.
Teacher. Quite right. And returning to the epigraph of our lesson, did S. Rachmaninov manage to find an original way of presenting the musical language in this work?
Children. Yes, of course, we managed to find the original accompaniment.
8. Teacher. In what types of tasks can the new knowledge gained in the lesson be used?
Children: In all types of tasks that use the analysis of a piece of music.
Teacher: Did we manage to achieve the goal of our lesson today?
Children: Yes, we did.
9. Teacher: What means of musical expression did we meet today?
Children. Today we got acquainted with such a means of musical expression as texture.
Teacher. What is an invoice?
Texture is a way of presenting musical material.
Teacher.
What types of invoices do you know?
Teacher.
And what pieces of music helped us to understand this?
The work of N. Paganini Caprice No. 24; F. Schubert "Margarita at the spinning wheel"; I. Bach Fugue in C minor, S. Rachmaninov "Lilac"
Guys, now try to evaluate your work in the lesson with the help of multi-colored notes. Yellow ones - I didn’t understand, orange ones - everything is clear, red ones - it was difficult, but I did it. (They place their notes on the stave on the board). See what an interesting, original texture we got in the lesson from your knowledge.
Homework.
1. Draw those characters or illustrations that you remember from the lesson.
