In the form of a developed and completed musical work, "opus", in contrast to the fluid variability of folk creativity -Process, from improvisation (in ancient, eastern, folk, jazz music, some types of music of the 20th century).

The composition involves: the presence of the author as a person (composer); his targeted creative activity; separable from the creator and further independently of it the existing work; The embodiment of the content in the exactly established objective sound structure; A complex apparatus of technical means systematized by the musical theory and described in a special area of \u200b\u200bknowledge (in the course of composition). Written fixation of the composition requires perfect musical notation. The consolidation category of the composition and status of the composer is associated with the development of the revival of the concept of a free human person - the Creator, the Creator (the indication of the composer's name has become the norm from the XIV century; the climax of personal and copyright began in the composition - in the XIX century).

Composition as a musical and artistic whole is stable. It overcomes continuous flow fluidity, there is always the same reproducible uniqueness of the main components of the music - high-quality, rhythm, location of the material, etc. Due to the stability of the composition, you can reproduce the sound of music through any arbitrarily large intervals after its creation. At the same time, the composition is always calculated on certain conditions of execution. Compared to applied folklore forms (songs, dances) and acts (ritual, religious, household), directly included in the work process, the composition is more important to the work of art.

From ancient times, the idea of \u200b\u200bthe compositionally single musical general was associated with a text (or dance-metric) basis. The Latin concept of the composition is historically preceded by the ancient concept of Melopaye. Verb componere and its derivatives (including compositor) There are found in many medieval treatises, ranging from Hokbald St. Amansky and his school (IX-X century). In the XI century, Guido Aretinsky in his "micrologist" (approx.) Under the composition (COMPONEENDA) understood, mainly the artistic compilation of the Choral. John de Grokeio ("On Music", OK.) Relevant this concept for multi-voice music ("Musica Composita", that is, complex, composite music) and used the word "compositor". In the era of the revival of John Tinktoris ("The determinant of musical terms",) allocated the creative moment in the last term (the composer - "writing some new cantus"); In the "book on the art of counterpoint" (), he clearly distinguished the counterpoint noted - "RES Facta" (equivalent to "Cantus Compositus" in the "Deterpete") and improvised ("Super Librum Cantare", letters sing over a book).

Study new methods of composition In the music of the second half of the twentieth, the beginning of the XXI centuries over the past 15 years has been stated in independent scientific and educational discipline - theory of the modern composition which includes the study of such new methods of composition and musical phenomena as

The musical work is the result of the composer's creative act.

The concept of composition, as the completed artistic whole there was not immediately. Its becoming closely associated with a decrease in the role of improvisational principle in musical art and improving a tank record, at a certain stage of development that has made possible accurate written fixation of essential features of musical works. As a result, the current sense, the composition acquires only in the 13th century, when the means of fixing not only the heights, but also the duration of sounds developed in the note record. In any composition, reflections are reflected both both general and individual features of the musical art of this era.

The history of music is largely a story of a musical composition in outstanding works of large musicians. The composition never happens absolutely complete - not within the boundaries of one artistic works, nor in the scale of the artistic direction, flow, style. The composition is not a state, but the process. By definition of S. Daniel, the composition thinks, is implemented and perceived as "the process that implements the deployment of the idea, a composite beginning, like a tree trunk, which organically links the roots and a crown of wood, branch, shoots of the visual form."

Each work of art is a reflection of not one historical moment, but is an alloy of a universal and actual, traditional and innovative, well-known and unknown joy of easily recognizable and surprise before unusual, new.

Music

Genuine skill, the ability to own expressive means of scenic art depends along with other factors and on the level of musical culture. After all, music is one of the most important elements of the theatrical representation of almost any genre. Music is an expressive art.

No book can replace the music itself. It can only send attention to help understand the features of music forms, to acquaint the composer's idea. But without listening to music, all knowledge acquired from the book will remain dead, scholastic. The more regularly and carefully Chelny listens to music, the more he begins to hear in it. And listen and hear - not the same thing. It happens that the musical work at first seems difficult, inaccessible perception. Do not hurry with conclusions. With repeated listening, its shaped content will be revealed, and will become a source of aesthetic pleasure.

But in order to emotionally survive the music, you need to perceive the son of the sound tissue. If a person is emotionally reacting to the music, but at the same time it can distinguish, differentiate, "hear", then only a small part of the expressive content will reach it.

According to the method of using music in action, it is divided into two main categories: scene and conditional.

Scene music in the performance carries a wide variety of features. In some cases, it gives only an emotional or semantic characteristic of a separate scene, without invoking directly into dramaturgy. In other cases, plot music can rise to the most important dramaturgical factor.

Scene music can:

· Characterize actors;

· Point into place and time of action;

· Create an atmosphere, mood of stage action;

· Talk about action, invisible for the viewer.

The listed functions, of course, do not exhaust all the variety of techniques for the use of scene music in dramatic performances.

Enter conditional music into the performance is more difficult than the story. Its conventional can be included in a contradiction with the reality of life shown on the scene. Therefore, conditional music always requires convincing internal justification. At the same time, the expressive possibilities of such music are very wide, various orchestral, as well as vocal choirs can be attracted for it.

Conditional music can:

· Emotionally strengthen dialogue and monologue,

· Characterize actors,

· Understand the design and composite construction of the performance,

· Exceit conflict.

One of the general functions of music in the performance is illustrative. Under illustrative, a direct connection of music with a stage action is understood: the character received joyful news - the funny song refers to a cheerful song or dances under the sounds of the radio; Music behind the scene depicts a picture of a storm, a storm; Dramatically sounding music expresses the dramatic situation on stage, etc. Examples of such use of music can be found in almost every performance. By virtue of its pronounced emotionality, the music actively affects the emotional atmosphere of presentation when performing any dramaturgical functions.

Music increasingly becomes active emotional start, it is practically connected with the action, atmosphere of the performance and is designed to disclose and supplement the essence of the drama. Thus, the ability of the actor and the director to feel the emotional and rhythmic system of the musical work, the ability and ability to build a miserance, to act and move in music and with music are very important.

Melody is the most important element of musical art. When the singer sings without accompaniment, we hear the melody - "one-headed expressed musical thought." This melody can be an independent artistic work. Music to performances is selected mainly conditional, since the plot is predetermined by the playwright in his remarks to the play.

Selection of musical material - the process is complex. Using fragments of musical creativity of one or different authors, the director seems to "re-create" a qualitatively new, holistic work that meets the nature and all of the scenic presentation. If these melodies are in one genre, style, the view will be more holistic, completed. Therefore, it is desirable to select music from the works of one or more close on the creative individuality of composers.

Remembering that the music is one of the expressive means of the performance, it should be remembered that art will know life in the logic of natural surprises, so the director must be a counterpoint in the organization of light, sounds, "the rhythms of the play, all its components, only then the play sprouts As a symphony, it will be overflowing "pearl colors".

(in ancient, eastern, folk, jazz music, some types of music of the 20th century).

The composition involves the auto-person (composer), its targeted creative activity, separated from the Creator and further independently of it, the existing work, the embodiment of the content in the precisely established objectified sound structure, a complex apparatus of technical means systematized by the musical theory and described in a special area of \u200b\u200bknowledge (in course composition). Written fixation of the composition requires perfect musical notation. The consolidation category of the composition and status of the composer is associated with the development of the revival of the concept of a free human person - the Creator, the Creator (the indication of the composer's name has become the norm from the XIV century; the climax of personal and copyright began in the composition - in the XIX century).

Composition as a musical and artistic whole is stable. It overcomes continuous flow fluidity, there is always the same reproducible uniqueness of the main components of the music - high-quality, rhythm, location of the material, etc. Due to the stability of the composition, you can reproduce the sound of music through any arbitrarily large intervals after its creation. At the same time, the composition, always designed for certain conditions of execution and function in musical life, inevitably turns out to capture historically and socially deterministic aesthetic attitude of musical art to reality, in its way. Compared to applied folklore forms (songs, dances) and acts (ritual, religious, domestic), directly included in the work process, the composition is greaterly as an artistic reflection of reality.

Since ancient times, the idea of \u200b\u200bthe compositional-unified musical general was associated with a text (or dance-metric) basis. The Latin concept of the composition is historically preceded by the Greek concept of Melopenia. In the Epoch of the Middle Ages, the term "Componere" was introduced by Guido d'Israzzo in the "microloine" (approx.). Under the composition was understood by the deep-shaped skill processing (Cantus Firmus). Johanes de Relcheo ("On Music", OK.) Related this concept to polyphonic music ("Musica Composita") and used the term "compositor". In the era of the revival of John Tinktoris ("Music determinant",) "allocated the creative moment in the last term (the composer -" writing some new cantus "); in the" book on the art of counterpoint "() he clearly distinguished the counterpoint yotatated -" Res Facta "(equivalent to" Cantus Compositus "in" Deterpetent ", and improvised (" Super Librim Cantare ").

In Russia, the first teaching about the composition was the Musician Grammar Nikolai Diletsky (M., 1679, Dr. Red.- 1681); Among other authors of the Guides: I. L. Fuchs (Rus. Pen. - "Practice. Guide to the composition of music", SPb, 1830), I. K. Gunke ("Guide to the Composition of Music", Dep. I-3, St. Petersburg , 1859-63), M. F. Gnesin ("Initial course of practical. Compositions", M.-L., 1941).

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Watch what is "Music Composition" in other dictionaries:

- ... Wikipedia

Modern encyclopedia

Composition - (from Latin compositio Addition, compilation), 1) Construction of a artistic work (literary, musical, picturesque, etc.), due to its content, character, appointment and largely determining his perception. ... ... Illustrated Encyclopedic Dictionary

- (from Lat. Compositio Composition Binding), 1) Construction of a artistic work due to its content, character, appointment and largely determining his perception. The composition is the most important, organizing an element of art ... ... Big Encyclopedic Dictionary

AND; g. [from Lat. Compositio Composition] 1. Building, location and ratio of component parts of literature, art. K. Roman. K. Opera. K. Pictures. Skill composition. 2. Work (music, painting, etc.), having ... ... encyclopedic Dictionary

composition - And, g. 1) (What) the structure of the work of literature and art, the location and the ratio of its parts. Composition of the word about the regiment of Igor. Composition pattern. Synonyms: Architecto / Nika, Build / Nie, Structure / RA 2) Work (music, painting, etc. Popular Dictionary of the Russian Language

This term has other meanings, see the composition. Composition (lat. Composito compilation, essay) category of musicology and musical aesthetics, characterizing the subject embodiment of music in the form of developed and ... ... Wikipedia

Composition (from lat. Compositio ≈ Drawing up, essay), 1) Construction of an artistic work due to its content, character and appointment and in many respects defining its perception. K. ≈ The most important organizing component ... ... Great Soviet Encyclopedia

- (ITAL. IMPROVISAZIONE, from lat. Improvisus Unexpected, sudden) historically the most ancient type of muscy, in which the process of writing music occurs directly during its execution. Originally ... ... Wikipedia

Objectives lesson:

Music material lesson:

Ø L. Beethoven.

Ø M. Ravel. Water game. Fragment (hearing).

Ø L. Dubravin, poems M. Danzkovsky.Snowflake (singing).

Additional material:

Portraits of composers.

During the classes:

I. Organizational moment.

II. Message Topics lesson.

Theme of the lesson: "Musical composition. What is the musical composition ".

III. Work on the lesson.

Trying to understand and explain any musical work, we are convinced that its content is inseparable from the form that the whole system of images, characters and moods detects itself in the composition (structure of the writings). By complexity or simplicity of the composition, by its scale, we judge the complexity and scale of content, which is also very different, then turning to small problems of life, then putting global, universal tasks.

I remind you:

"We call an artistic way of a phenomenon in music, literature or visual art that displays some important event in life." D. Kabalevsky.

1. In the image embodied some life phenomena, but the personality is always connected with the atmosphere of the era in which he lives.

2. The image is always reflected by the personality of the artist and the epoch, in which he lives.

Big art, the art of great thoughts and deep feelings can awaken in man his best qualities.

"Music should carve fire from human soul" - said Beethoven himself. His motto - "Through the struggle - to the victory!" - Very clearly expressed in the fifth symphony. In it - the paintings of the tense battles in the name of the bright life, the dream of which always lives in people and which they themselves want to create.

Ludwig Van Beethoven (1770 - 1827)

"People themselves build their fate!" - argued Beethoven.

Faith Beethoven to life, in victory is amazing. It is difficult to find a person who will cause fate so much blows: insufficient childhood (drunken orgy of father, illness and death of his beloved mother, full service from eleven years), constant troubles, loss of friends and finally the most terrible blow - deafness. To understand the whole of the measure of unhappiness of a deaf composer, it is enough to imagine a blind artist. But Beethoven did not give up. He composed music. And what! "Appassionate", the fifth, ninth symphonies, etc. In the most difficult hour, he wrote: "I want to cling to fate in a throat, to completely bother me to the earth, it will definitely fail." Life confirmed the motto of the composer. He fought and won. Won because they fought.

Romain Rollan wrote: "He is the best, the most combat friend of everyone who suffers and fights."

Ø L. Beethoven. Symphony number 5. I part. Fragment (hearing).

Vocal choral work.

Ø L. Dubravin, poems M. Danzkovsky.Snowflake (singing).

IV. The outcome of the lesson.

"The music of symphonies is so might and so strong that it turned out to be able to embody the struggle of all mankind with all the injustices that were inserted on his way. And not just the struggle, but also the image of the coming victory! "

D. Kabalevsky.

V. Homework.

Learn a song and prepare for the answer.

Lesson 21.

Topic: Music masterpiece in sixteen tackah (period).

Objectives lesson:

Ø Learn to perceive music as an integral part of the life of every person.

Ø Develop a careful and friendly attitude towards the environment.

Ø Rip emotional responsiveness to musical phenomena, need for musical experiences.

Ø Develop interest in music through creative self-expression, manifested in reflections on music, their own creativity.

Ø Formation of listener culture based on admission to vertex achievements of musical art.

Ø Significant perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and form in music).

Music material lesson:

Ø F. Chopin.

Ø L. Dubravin, poems M. Danzkovsky.Snowflake (singing).

Additional material:

Portrait of F. Chopin.

During the classes:

I. Organizational moment.

"Polonaiz" F. Sopen.

II. Message Topics lesson.

The subject of the lesson: a musical masterpiece in sixteen tacks (period).

III. Work on the lesson.

Recording on the board:

Today we will have another meeting with art: the world of feelings and pondering, revelations and discoveries.

Did you pay attention to that today's lesson started immediately from music? Does she know you? What is this work? Who is his author?

D: - Yes, this music is familiar to us. This is "polonais" of the Polish composer Freedar Chopin.

U: - True, really, it is "polona", and you know what it is?

D: - This is a welcome dance procession born in Poland and discovered balls in different countries in the 19th century.

D: - This is the first half of the 19th century composer, a brilliant pianist. His music is distinguished by large virtuosity, grace, dance and dreametime.

At: - Well done, indeed, Chopin was called the most poetic composer. But I would like to remind you that the fate of this person has developed tragically, because Most of his short (about 40 years old!) Life and the last days he spent on a foreign land, away from the hot beloved Motherland, which he loved very much, immeasieled about her and devoted all his music to her.

"Chopin in the distance from his rated edge,

In love with his beautiful Poland,

I remember about it, said Diya:

"Warsaw I give my heart!"

Try to remember what works Chopin "gave your heart", what works composed? Posters on a blackboard can help you, choose from them the desired (on the board several posters with the names of music genres):

D: - Friderik Chopin composed wals, Mazurki, Polona, \u200b\u200bPrelude, Nocturren.

At: - Well done, you wonderfully coped with the task, rightly called all genres.

At: - Today, the amazing music of Fritrik Chopin will help us understand another mystery of music - the mystery of the musical form, which we continue the conversation for several lessons. Now we turn to one of the most simplest forms of music. Take a look at the board and read the name of the topic of today's lesson - "Music masterpiece in 16 Tack" (write).

The artistic pedagogical idea of \u200b\u200btoday's lesson is taken by the words of the French Writer of the beginning of the 20th century Romen Rollan, read them, think and tell me how you understand them in connection with the form of music, with which we have to get to know today?

D: - Probably the form of music that will be very small and simple.

U: - The work that we heard, is called "Prelude No. 7". Remember what "Prelude" is?

D: - Prelude is a small work that performs the role of entry, or an independent miniature.

U: - True. So the work of F.Sopen, which will sound today, is really very small, it fits on a small fragment of an ordinary page (showing in the textbook p.78).

Now you will hear this work, and you will perform a small creative task, divided into 3 groups (you can by rows).

It will find and record the definitions from the vocabulary of aesthetic emotions, reflecting the feelings and experiences of this work.

I will think and determine, one musical thought here or several of them. Find the climax of this work, mark it up with a hand.

Suppose that this music could tell the composer to the listener.

So, listen and work.

The execution of the "Preludes" and the survey and analysis of the answers of the guys.

At: - Well done, you really defined the grace and leisureness of trusting intonation, the chord warehouse of the sound, noble and bright calm of the music. In this small product, the noble historical traditions of European music, combining and elevated spiritual and gentle-dance origins merged, merged.

We seemed to hear the musical message of the composer. This is a message, as we have convinced, very concise: in music it got a name - period.

The period is one of the elements of the musical form, in the construction of which one musical thought is expressed. The period is divided into 2 equal suggestions. (Show them, write down the definition of the period in the notebook.)

Let's listen to this work again, but now with the message of the author himself.

Against the background of music reading a fragment of the letter F.Shopen:

"... my dear, distant, only!

Why is our life so arranged that I should be away from you, be in separation with you? I remember the rustle of each leaf, every of your blades, I see my dear face, I feel you, my dear homeland ...

Every night you come to me the unclear melody is not the song, not the favorite dance - Mazuriki, and so I want this dream to never end ... "

At: - So, what thought is in the musical masterpiece from 16-tales from Chopin?

D: - Love and memory of the Motherland, Poland.

U: - You probably remember, guys, from our previous conversations about the work of Frederic Chopin, that the love of the homeland of this talented person was so great that after his death, at the request of F.Sopen, his heart was taken out of his chest and, as a sacred relic , I am transferred to your homeland, in Warsaw. Today it is molded in the wall of one of the main churches (temples) Warsaw and this is evidenced by such poetic lines:

"It stands in Warsaw Church,

There Wall hides the shrine mankind -

Chopin Heart -

Silence is full of hearts of this thing today! "

... Here is such a short life, but bright, whole, in the name of love for the Motherland. Life is a moment, a moment.

Today, the lesson will give another work, which will confirm the thought of the guise of life.

Ø F. Chopin. Prelude in la major, op. 28 No. 7 (hearing).

This prelude is so small that all its entirely can be fit on a small fragment of an ordinary page.

The period, a small completed musical narration, may enter into all sorts of deviations, expansion, additions, but there is nothing in the foreplay of Chopin. Its form is distinguished by a repeated structure: that is, the melody in the second sentence begins with the same motive as in the first one, equal to the duration of proposals consisting of eight clocks (in music it is called quadacity), simplicity of textual statement.

Music composition (Lat. Compositio - compilation, essay) - category of musicology and musical aesthetics, characterizing the subject embodiment of music in the form of a completed musical work, in contrast to the variability of folk art and improvisation of some types of music.

The term "composition" is currently widely used in various fields of human activity: in visual art (sculpture and graphics) and literature (motivated location of the components of the work), construction (composite materials), etc. In art, this term is often identifiable with both the plot and the system of images and the structure of the artistic work. For this purpose, explain terms are applied - architectonics, construction, design. Finally, this term refers to works that include various types of arts (literary and musical composition) or composed of the compositions of different genres composed of fragments.

The musical composition involves:

• the composer and its targeted creative activity;
• separable from the creator and the work that exists independently of it;
• the embodiment of the content in the objectivated sound structure;
• a complex apparatus of technical means systematized by the musical theory.

Each type of art is characterized by a certain complex of technical techniques, the assimilation of which is necessary for creative work. Music is one of the most time-consuming types of art. Therefore, the creator of music is a composer - especially needs technical equipment. "Without skill in art," says D. Kabalevsky, - Do not make a step. " Moreover, he believes that in the body of the composer, creativity actually takes no more than ten percent, and the rest is the technique - knowledge and ability to apply technical techniques.

The term "creative method" is used to characterize the method of writing music peculiar to one or another composer. All outstanding composers that wrote orchestral music possessed a developed internal timbre hearing, i.e. Internal ideas about real sound. "Musical thought is not different to me, as in the external form corresponding to it; ... I am inventing the most musical thought at one time with the instrumentation, "so wrote about his creative method P.I. Tchaikovsky. The internal ideas about the real sound allowed V. A. Mozart to fill the orchestral essay score to such an extent that it remained only to record musical text.

The composition, therefore, is the doctrine of the interaction of all means of muzkal expressiveness in the musical form (composite structure). Likewise, which acts as organizing the beginning of the artistic space, the form-scheme becomes a party to the musical integer associated with the laws of the temporary deployment of the work.

Of course, the creative method of the composer is formed in the process of its own intense labor. A composer can create and improve its essay by the help of internal views of the real sound, use the workbook (sketch), as well as a piano or computer.
The beginning of work on the writing should be considered the formation of a common plan in which three stages can be distinguished:

• determination of the musical genre and clarification of the image (plot);
• justification of the classic form schema;
• choosing a creative method: an essay (according to preliminary preparations or gradual "buildup") of a shaped melody that corresponds to this image of harmony, textures, polypical advanced additional votes.

For the music work, this aspect is extremely important as accessibility for perception. The ability of the composer to take into account the regularities of the auditory perception of B. Asafyev calls the "mideos of the form on the listener." It is to cover the attention of the listener to the most important points of the work, to provide a timely rest of hearing after a large tension, cause certain expectations, to justify them or disrupt the inertia of the auditory perception, to send perception through the necessary paths, etc.