Lectures on the discipline "Analysis of musical works" Module Aesthetic and methodological foundations of the analysis of a musical work Section Musical art as one of the forms of social consciousness. Cyclic Forms Examples of Composition Musical Cycles

The viability of the "Glinka" couplet-variation form is evidenced by its use by Soviet composers. At the same time, methods of development, expressive means (especially harmonic language) are being updated, but the type of form itself is preserved: the initial section of "Little Cantata" ("Maiden's Chastooshkas") from Shchedrin's opera "Not Only Love".

IN couplet-variant form the vocal part undergoes variation in the first place.

Distinctive features of variance: a variant involving melodic changes allows structural and large-scale changes, but retains figurative and genre unity. The consequence of this is the relative equality of variant and theme, while variation is a derivative, secondary phenomenon, subordinate to the theme.

The combination of clarity, structure clarity, the ability to varied changes, the ability to follow the text make the couplet-variant form one of the most common forms of vocal music. This form occupies an enormous place in the songwriting of Schubert and Mahler. Of the Soviet composers, G. Sviridov readily addresses her: the chorus "How the Song Was Born", "In That Land" from "Poem in Memory of S. Yesenin". Other examples are Schubert's Gretchen at the Spinning Wheel, Polina's Romance from Tchaikovsky's The Queen of Spades.

Through form

The transverse form arose from the need for the music to follow the development of the plot. More than in any other form, it uses the picturesque-vivid-writing capabilities of music and its ability to enhance the emotional side of the text. It is no coincidence that much attention was paid to this form by those composers who were especially sensitive to the subtlest nuances of text images and psychological implications - Schubert, Mussorgsky. Most of Liszt's songs are written in a continuous form. This form took a large place in the music of the late XIX - early XX centuries, especially in the genre of "poems with music", which became widespread in the work of Wolf, in Russian music - in Medtner, Prokofiev, Gnesin, Cherepnin, partly Rachmaninov and in vocal works on prose texts (The Ugly Duckling by Prokofiev).

Any end-to-end form is based on the principle of continuous updating of musical material in accordance with the content of the text. However, composers strive to introduce certain musical unifying factors into the end-to-end forms. For this purpose, the principles of reprisal, reprisal closure, end-to-end refraction are used (“leit chords” of death in “Lullaby” by Mussorgsky and the chorus “bayushka, bayu, bayu”), intonation-thematic connection of parts of the form, tonal organization.

Examples of the end-to-end form: "The Forest King" by Schubert, the choir "The Stars Fade" by Kalinikov

Theme 14. Cyclic forms: suite, sonata-symphonic cycle

Cyclic a form is called, consisting of several separate contrasting parts, independent in form, but connected by a single artistic concept.

The main features of cyclic forms:

♦ the presence of several parts (from 2 to 10),

♦ independence of the form of each part,

♦ separation of parts (a part can be performed separately),

♦ tempo contrast,

♦ contrast in nature,

♦ tonal community:

a) a single tonality of all parts,

b) creating a tonal reprise (sonata-symphonic cycle),

c) highlighting tonal centers (prevailing tonalities),

♦ general concept:

a) one cast of performers,

b) one genre area,

c) thematic community,

d) the program.

Cyclic forms are vocal, instrumental and scenic.

Vocal(vocal-instrumental) cycles are divided into cantata-ora-torial(cantata, oratorio, mass, requiem, passions) and chamber vocal(vocal cycles).

Stage cycles: opera and ballet.

Tool cycles

There are two main types of cyclical forms: the suite and the sonata-symphonic cycle. The independence of the parts of the cycle is determined by the fact that they can be performed separately (dances of suites, parts of sonatas or symphonies).

Suite (row, sequence) - a cyclical work consisting of independent parts of a dance or genre character, contrasting in character and tempo. The alternation of parts in the suite is not strict, and their number is not regulated. Often all parts are written in the same key.

The suite has several historically fixed types. The old (baroque) suite was finally formed by the middle of the 17th century. - the first half of the 18th century. in the work of composers of different national schools: Froberger, Handel, Corelli, Couperin, Rameau, etc. In different countries it was called differently: in Germany - partita, in England - lessons, in France - overture, in Italy - da camera sonata, ballet.

For suites of the 17th century. and earlier, a thematic community of dances was common, but in the 18th century. it has become relatively rare (not in Bach, it can be found in Handel). Dancing suites have been around since the middle of the 17th century. lost their applied character, and in the 18th century. their form became much more complex, although small forms prevailed (simple 2- and 3-part, composite, old sonata, concert and contrast-composite).

The basis of the old suite of the 17th-18th centuries. consisted of 4 dances: allemand, chime, saraband and gigue. In the cycle, calm-slow-lazy dances were twice opposed to lively-fast ones:

1) allemand - moderately slow pace,

2) chime - moderately fast,

3) sarabanda - very slow,

4) gigue - very fast.

Allemande - a two-beat (size 4/4) smooth round dance of a moderate tempo, of German origin. It starts from a bar (late 17th century) with one eighth or sixteenth duration. In terms of the number of votes, the allemand is more often 4-voiced, with an abundance of echoes, imitations. At the same time, the polyphonic development smoothes out the danceability of the rhythm. The form of the allemande is old two-part (part II - reverse version of part I).

Courant - a three-part (3/4 or 3/2) dance of French origin. Moderate or fast pace. Typical rhythm. Together with the allemand at the beginning. XVIII century The Courant went out of use and served as an object of stylization (Bach). In terms of the number of voices, the chime is usually two-voiced. The form is simple two-part (at the end - a kind of reprise).

Sarabande - a three-part (3/4 or 3/2) dance of Spanish origin. Deprived of the initial off-beat. Typical rhythmic patterns:

in cadences -. Changing harmonies emphasizes the basic rhythm type. In saraband, the chord warehouse (homophonic-harmonic texture) prevails. The form tends to be three-part (reprisal is more pronounced).

Gigue - fast three-piece (3/8, 6/8, 9/8, 12/8, 12/16) dance of English origin. Off-beats are not uncommon. Often underwent fugue development, including with the appeal of the topic in the second hour. By the number of votes - two or three voices. The form is a simple three-part.

In addition to the main dances, additional pieces are often introduced into the suite:

1) some dances had a double (variant), a kind of ornamental variation;

2) before the allemand there is a prelude (preamble, overture, toccata, fantasy, sinfonia); such a piece may be a small two- or three-part cycle;

3) other dances are placed inside the suite (usually between sarabanda and gigue) - minuet, gavotte, burré, paspier, rondo, burlesque, scherzo, capriccio or plays (aria).

Of the other cyclical forms, sonata and concertos became widespread in the Baroque era.

Section 2 Genres of choral music

Topics 11 -12 CYCLES IN VOCAL-CHORAL MUSIC

Vocal, choral and instrumental works are often combined by composers into cycles. Let us recall Camille Saint-Saens's instrumental cycle "Carnival of Animals". The music of this work is full of humor, voices of animals are inherited in it.

The most favorite play of many fans of K, Saint-Saens is "The Swan". The main theme of this piece, which is performed by a cello, depicts the graceful movement of a swan on the water.

A vocal cycle is a cycle of romances or songs united by one idea.

Remember what plays from the cycle of C. Saint-Saens "Carnival of the Animals" you listened to in previous classes. What unites the works of this cycle?

Russian composer Modest Petrovich Mussorgsky has created an unsurpassed vocal cycle "Children's", consisting of seven musical miniatures for one or two vocalists to perform with piano accompaniment. The poems for each of these small scenes were written by the composer himself.

A miniature is a small piece of music, most often an instrumental piece.

In the first play, With the Nanny, the child persuades his nanny to tell different stories. The peculiarity of this work is that the composer conveys the boy's emotional appeal by recitative. In this case, stressed syllables in the words ah coincide with a melodic jump. Thanks to these musical means, the impression of a child's living speech is created.

The second work of the cycle - "In the corner" begins with a "high" emotional note of the nanny, who is angry with her pet Mihasik. Continuous eighth notes are a kind of accompaniment to the vigukuvan: "Oh, you prankster! Unwound the ball, lost the rods! Ahti! I lowered all the loops! The stocking was splattered all over with ink! " 3 angles to hear the boy's sentimental response, embodied in minor intonations with a falling end. The kid explains to the nanny that the kitten did the harm, not him.

Cover of printed sheet music for the "Children's" cycle. Mussorgsky

Mikhas's speech is gradually developing - the dynamics are changing, the pace is accelerating, the uncertain intonations of excuses develop into the screams of an offended child. In the last four bars, the tempo of the music slows down a little - the boy "threatens" the nanny that he will not love her in the future, since she offended him.

The cycle includes the plays "Beetle", "With a Doll", "Coming to sleep", "Cat Sailor", "On a stick". Others, which the composer played to his friends, did not survive in musical form.

In each part, children show their character traits in different life situations. For this, the author harmoniously combines words and music. Thanks to this interaction, each of the musical and poetic pieces creates the impression of a holistic and complete work, which has the right to life outside the cycle.

Modest Mussorgsky, "With the nanny", "In the corner" from the vocal cycle "Children's".

What was your favorite vocal scene? By what musical means does the composer reveal the child's world? Pay attention to the expressiveness of the vocal melody, its connection with the text. What is the role of instrumental accompaniment in the creation of musical and poetic images?

PORTRAIT OF THE COMPOSER

Modest Petrovich Mussorgsky:

"If the sound expression of human thought and feeling in simple speech is correctly reflected in my music, and such reproduction is musical and artistic, then everything is in order!"

Modest Petrovich Mussorgsky (1839-1881) - Russian innovative composer, author of opera masterpieces "Boris Godunov" and "Khovanshchina", whose music has deep national roots. He is also the author of orchestral and chamber instrumental works, romances, in the creation of which he relied on folk art. The artist's works are distinguished by depth, drama and truthfulness of images.

Born in the village. Karevo of the Pskov province. He studied and worked in St. Petersburg, served in the military. The composer did not receive a professional musical education and began to create music as an amateur (amateur).

However, he later decided to devote his life to art, leaving the service.

He began his active creative activity in the ranks of the famous national-patriotic circle of Russian composers "The Mighty Handful". Material need, however, forced him to work again as an official in various institutions, which distracted him from creativity.

In 1879, together with the opera singer Daria Leonova, he made a concert tour to the cities of Ukraine. Ukrainian motives are reflected in his unfinished opera Sorochinskaya Yarmarka based on the work of the same name by Nikolai Gogol.

Monument to N. Mussorgsky near the music school in Krivoy Rog (Ukraine)

1. What works are combined into musical cycles? What is the basis of the vocal cycle?

2. Give examples of musical ones in the work: instrumental, vocal, written in the form of a cycle.

Musical project. Enter the "Music for Children" section of the school library. Pick up pictures of children that can serve as epigraph illustrations for each cycle from your music library. The task is optional. Create a cycle of several famous songs on a specific topic, give it a name. Think over the construction of a vocal cycle, the development of music according to the chosen plot of the work and the content of the surrounding songs.

In musical cycles, collections of songs or plays belong to them, they were created according to a specific theme or fragments of their own operas, ballets, symphonies concluded with the authors.

One of the most beloved themes that has always inspired composers to create "magic" music is the holiday of Christmas. So, the piano cycle of miniatures on the melodies of carols, common in the life of Ukrainians, belongs to the work of Vasyl Barvinsky.

Foreign artists also did not stand aside, many of whom presented the listeners with joyful moments of Christmas music. For example, British composer Benjamin Britten created a choral cycle of carols that can be heard during the Christmas holidays in concert halls around the world.

I am in the world of music: I perceive, I understand

Benjamin Britten, "Wreath of Christmas Carols" or "Wreath of Christmas Songs" for choir, treble soloists and harp (no. 2, 5, 10).

Describe the general mood of the piece and individual choral miniatures. What timbre colors does the harp sound bring?

PORTRAIT OF THE COMPOSER

Benjamin Britten:

"Do not give up when you first listen to a new work and do not understand it ... Remember that music is not entertainment, although this is the purpose of easy music."

Benjamin Britten (1913-1976) - British pianist, conductor, one of the greatest composers of the 20th century, in whose work almost all musical genres are represented.

Born in Suffolk County, the son of a doctor. As a child, he discovered musical talent and began to study music under the guidance of his mother, an amateur pianist and an active member of the local choir circle. The first small plays, inspired by the impressions of family life, appeared early - at the age of 8. At 12, Benjamin wrote A Simple Symphony for string orchestra, and at 16 he entered the Royal College of Music (Conservatory). During his studies, he wrote many choral, symphonic and chamber works, including several children's songs. Since then, the author has constantly turned to music for children.

The young composer got his first job in a documentary film company, where there was a small instrumental ensemble. Thanks to his work in films, Britten learned to write music quickly, even when there was no inspiration, and on various, often completely non-poetic subjects (for example, about unloading a ship).

In 1939 p., When the Second World War began, Britten left for America. As a response to the tragic events that took place in Europe, the cantata "Ballad of Heroes" arose - dedicated to the struggle against fascism in Spain. For three years, the composer returned to his homeland and settled in the seaside town of Oldbor. There the world saw several operas, in particular "Peter Grimes".

The artist has also written many pieces of music for children and young people. Young viewers themselves take part in the play “Let's Create an Opera”.

OH PAUL'S PLUZHOK ORE

Oh, the field has a plow ore.

Generous evening, good evening,

Good health to good people!

(Repeats after each line.)

There Vasilko walks with a plow.

His mother carries him to eat.

Ori, sonny, tough nyvka.

Yes, and we'll sow some wheat.

1. Name the vocal-choral cycles known to you and their authors.

2. Remember and explain when Christmas carols are performed and when they are generous during the Christmas and New Year holidays.

Musical project. Ask what carols and carols are common in your area. Write down the titles and words of your favorite songs. Record tunes if possible. Create, together with parents or adults, a "Christmas wreath of carols and blessings for my family" or "A Christmas wreath of songs of my land."

Cyclic forms are called forms that consist of several parts, usually independent in thematic and shaping, separated by unregulated pauses that interrupt the flow of musical time (double bar with a "bold" right line). All cyclical forms embody more diverse and multifaceted content, united by artistic intent.

Some cyclical forms in the most generalized form embody the worldview concept, the Mass, for example, the theocentric, later - the sonata-symphonic cycle - anthropocentric.

The basic principle of organizing cyclic forms is CONTRAST, THE EXPRESSION OF WHICH IS HISTORICALLY CHANGING AND AFFECTING DIFFERENT MEANS OF MUSICAL EXPRESSION.

Cyclic forms became widespread in the Baroque era (late 16th - first half of the 18th centuries). They are very diverse: two-part cycles with a fugue, concerti grossi, concertos for a solo instrument with an orchestra, suites, partitas, solo and ensemble sonatas.

The roots of many cyclical forms lie in two types of 17th century opera overtures, the so-called French (Lully) and Italian (A. Stradella, A. Scarlatti), using typed tempo contrasts. In the French overture, the most significant was the ratio of the first slow section (solemnly pathetic) and the fast polyphonic second (usually fugue), sometimes ending with a short Adagio (sometimes based on the first section). This type of tempo ratio, repeating itself, becomes quite typical for ensemble sonatas and Concerti grossi, usually consisting of 4 parts. In the concerti grossi of Corelli, Vivaldi, Handel, the opening function is quite definitely expressed in the first movements. It develops not only due to a slow pace, relatively short length, but also due to the sometimes encountered harmonic openness.

The 6 Brandenburg concerts of I.S. Bach (1721), in which all the first parts are not only written at a fast pace, but are the most developed, extended, determining the further development of the cycles. This function of the first movements (with a difference in internal shaping) anticipates the function of the first movement in the later sonata-symphonic cycle.

The influence of this type of tempo relationships in suites and partitas close to them is somewhat less noticeable. In the ratio of "obligatory" dances - a repetitive and increasing tempo-rhythmic contrast: a moderately slow two-beat allemand is replaced by a moderately fast three-beat chime, a very slow three-beat sarabanda - a very fast gig (usually in six, twelve-beat sizes, combining two and three-beat). These cycles, however, are fairly free in the number of parts. Often there are introductory parts (prelude, prelude and fugue, fantasy, synphony), and between the sarabanda and the gigue were placed the so-called "plug-in", more modern dances (gavotte, minuet, burré, rigodon, lure, musette) and arias. Often there were two insert dances (especially typical for minuets and gavottes), at the end of the second there was an instruction to repeat the first. Bach kept all the "obligatory" dances in his suites, other composers dealt with them more freely, including only one or two of them.

In partitas, where all the "obligatory" dances are often preserved, the genre circle of inserted numbers is much wider, for example, rondo, capriccio, burlesque.

In principle, in a suite (row) dances are equal, there is no functional variety. However, certain functions are beginning to take shape. Thus, the sarabanda becomes the lyrical center of the suite. It differs greatly from the restrained-austere, heavy-solemn household prototype with sublime tenderness, sophistication, textured grace, sounding in a medium-high register. Often, it is the sarabands that have ornamental doubles, which enhances its function as a lyrical center. In the jig (the most "common" in origin - the dance of English sailors), the fastest in pace, thanks to the energy, mass, active polyphony, the function of the finale is formed.

The tempo ratios of the ITALIAN OVERTURE, which included three sections (extreme - fast, polyphonic, middle - slow, melodious), go into three-part cycles of concerts for a solo instrument (less often, for two or three soloists) with an orchestra. Despite the changes in form, the three-part concert cycle in general outlines remained stable from the 17th century to the romantic era. The active, competitive character of the first movements is undoubtedly very close to the classic sonata allegro.

A special place is occupied by two-part cycles with a fugue, where the fundamental contrast is in different types of musical thinking: more free, improvisational, sometimes more homophonic in the first movements (prelude, toccata, fantasies) and more strictly logically organized in fugues. Tempo ratios are very diverse and defy typification.

The formation of the sonata-symphonic cycle was significantly influenced by the first parts of the concertos for solo instrument and orchestra (future sonata Allegri symphonies), lyrical suites suites (prototypes of symphonic Andanti), active, energetic gigi (prototype of the finals). To a certain extent, the symphonies also show the influence of Concerti grossi with their slow opening parts. Many symphonies by Viennese classics begin with slow introductions of varying lengths (especially Haydn's). The influence of the suites is also evident in the presence of a minuet before the finale. But the conceptual concept and functional definition of the parts in the sonata-symphonic cycle is different. The content of the suite, which has been defined as the DIVERSITY of UNITY, in the sonata-symphonic cycle can be formulated as the UNITY of the DIVERSITY. The parts of the sonata-symphonic cycle are much more rigidly functionally coordinated. The genre-semantic roles of the parts reflect the main facets of human existence: action (Homo agens), contemplation, thinking (Homo sapiens), rest, play (Homo ludens), a person in society (Homo communis).

The symphonic cycle has a closed tempo profile, based on the principle of JUMP AND FILL. The semantic opposition between the Allegri of the first movements and the Andanti is emphasized not only by a sharp tempo ratio, but also, as a rule, by a palatonal contrast.

Symphonic and chamber cycles before Beethoven differed markedly from each other. By virtue of the performing means (orchestra), the symphony has always assumed a kind of "publicity" akin to theatrical performance. Chamber works are distinguished by a great variety and freedom, which brings them closer to narrative literary genres (conventionally, of course), to greater personal "intimacy" and lyricism. Quartets are closest to symphony, other ensembles (trios, quintets of different compositions) are not so numerous and, often, closer to a freer suite, as well as divertissements, serenades and other genres of orchestral music.

In piano and ensemble sonatas, as a rule, there are 2-3 movements. In the first movements, the most common is the sonata form (always in symphonies), but there are also other forms (complex three-part, variations, rondo by Haydn and Mozart, variations by Beethoven, for example).

The main sections of the first movements of the symphonies are always in Allegro tempo. In chamber sonatas, the designation of tempo Allegro is also quite frequent, but there are also more unhurried tempo designations. In solo and chamber sonatas, it is not uncommon to combine functional genre roles within one movement (lyric and dance, dance and finale, for example). In terms of content, these cycles are more diverse, they become, as it were, a "laboratory" for the further development of the cycles. For example, the scherzo genre appears for the first time in Haydn's piano sonatas. Later scherzo will become a full-fledged part of the sonata-symphonic cycle, almost supplanting the minuet. The scherzo embodies the broader semantic element of play (from everyday playfulness to the play of cosmic forces, as in Beethoven's Ninth Symphony, for example). If Haydn and Mozart do not have four-movement sonatas, then already Beethoven's early piano sonatas use the tempo and genre relationships typical of symphonies.

In the further historical development of the sonata-symphonic cycle (starting with Beethoven), there is a “branching” (with common “roots”) into a “traditional” branch, renewing the content from within and more radical, “innovative”. In the "traditional" there is an increase in lyrical, epic images, genre detailing is often introduced (romance, waltz, elegy, etc.), but the traditional number of parts and semantic roles are preserved. In connection with the new content (lyrical, epic), the first parts lose their swiftness of pace, while retaining the intensity of the procedural deployment and the meaning of the part that determines the entire cycle. Therefore, the scherzo becomes the second part, shifting the general contrast deeper into the cycle, between the slow part (the most personal) and the fast mass finale, which gives the development of the cycle a greater aspiration (the ratio of the minuet and the finale, often also danceable, more one-sided, reducing the attention of listeners).

In classical symphonies, the first movements are the most typified in terms of form (the sonata form and its varieties, the greater variety of forms of the first movements of chamber sonatas was mentioned above). In minuets and scherzos, a complex three-part form decisively predominates (of course, not without exceptions). The slowest parts (simple and complex forms, variations, rondo, sonata in all varieties) and finals (sonata with varieties, variations, rondo, rondo sonata, sometimes a complex three-part) are distinguished by the greatest variety of form formation.

In French music of the 19th century, a type of three-part symphony developed, where the second movements combine the functions of the slow (extreme sections) and dance-scherzous (middle) ones. Such are the symphonies of David, Lalo, Franck, Bizet.

In the “innovative” branch (once again it is necessary to recall the commonality of the “roots”), the changes are outwardly more noticeable. Often they occur under the influence of programmaticness (Beethoven's Sixth Symphony, Fantastic, Harold in Italy, Berlioz's Funeral Triumphal Symphony), unusual performing compositions and designs (Beethoven's Ninth Symphony, Mahler's Second, Third, Fourth Symphonies). There may be "doubling" of parts, successively or symmetrically (some of Mahler's symphonies, Tchaikovsky's Third Symphony, Scriabin's Second Symphony, some Shostakovich's symphonies), a synthesis of different genres (symphony-cantata, symphony-concert).

By the middle of the 19th century, the sonata-symphonic cycle acquires the significance of the most conceptual genre, evoking a reverent attitude towards itself, which leads to a certain quantitative decrease in the sonata-symphonic cycles. But there is another reason associated with romantic aesthetics, which sought to capture the uniqueness of each moment. However, the versatility of being can only be embodied in a cyclical form. This function is successfully performed by the new suite, which is distinguished by extraordinary flexibility and freedom (but not anarchy), capturing contrasts in all the variety of their manifestations. Quite often, suites are created on the basis of music of other genres (for dramatic performances, opera and ballet, later on the basis of music for films). The new suites are diverse in terms of performing compositions (orchestral, solo, ensemble), can be programmed and non-programmed. The new suite became widespread in the music of the 19th and 20th centuries. The word "suite" may not be used in the title ("Butterflies", "Carnival", Kreislerian, Fantastic Pieces, Vienna Carnival, Album for Youth and other works by Schumann, Tchaikovsky's Seasons, Pictures at an Exhibition by Mussorgsky). Many opuses of miniatures (preludes, mazurkas, nocturnes, etudes) are essentially analogous to the new suite.

The new suite gravitates towards two poles - a cycle of miniatures and a symphony (both of Grieg's suites from the music for Ibsen's drama Peer Gynt, Scheherazade and Antar by Rimsky-Korsakov, for example).

Organizationally close to the new suite are vocal cycles, both "plot" ("The Beautiful Miller" by Schubert, "Love and the Life of a Woman" by Schumann) and generalized ("Winter Way" by Schubert, "Love of a Poet" by Schumann), as well as choral cycles and some cantatas.

Often in baroque music, as well as in classical and later music, it is not always possible to determine the number of parts, since the attacca remark, which occurs quite often, does not interrupt the flow of perceptual musical time. Also, it often happens that music, independent in thematic and, to a large extent, in form, is divided by two subtle bar features (Sinphony from Bach's Partita in C minor, Mozart's Sonata for violin and piano in A minor / K-402 /, Fantasy in C minor / K -457 /, Beethoven's Sonatas for cello and piano op. 69, op. 102 No. 1 and many other works by different authors), which leads to the formation of individual (free) forms. They can be called contrast-composite (V.V. Protopopov's term) or continuous-cyclic.

The performance of individual parts from cyclic works is allowed, but the cycles as a whole are united by an ARTISTIC DESIGN, THE IMPLEMENTATION OF WHICH IS CARRIED OUT BY MUSICAL MEANS.

Unity can be manifested in a generalized way: through tempo, figurative calls of parts, similar harmonic principles, tonal plan, structure, metro-rhythmic organization, intonational connections in all parts and, especially, in extreme ones. This type of unity is GENERAL. IT HAS BEEN DEPENDED IN THE CYCLIC FORMS OF THE BAROQUE and is a necessary condition for the artistic value of the cyclic forms of any era.

But the unity of the cycle can be carried out more vividly and concretely: with the help of cross-cutting musical themes, reminiscences, or, much less often, precursors. This type of unity took shape in the process of development and complication of the forms of instrumental music, first appearing in Beethoven (in the Fifth and Ninth Symphonies, some sonatas and quartets). On the one hand, the THEMATIC principle of unity (considered in detail by M.K. Mikhailov in the article "On Thematic Unification of the Sonata-Symphonic Cycle" // Questions of Theory and Aesthetics of Music: Issue 2. - Moscow: S.K., 1963) appears as " thickening ”, concentration of intonation connections, on the other hand, one can detect the impact of program music and, in part, leitmotif of operatic drama.

The thematic principle of unity, to some extent, violates such a feature of cyclical forms as the independence of the thematic of parts, without affecting the independence of form-making (the transfer of themes, as a rule, occurs in unregulated sections of forms - in introductions and codes, mainly). In further historical development, the thematic principle of unity grew into DEDUCTIVE, in which the formation of individual parts more directly depends on the general figurative-content and compositional design of the cycle. The thematicism of the previous parts actively influences the shaping of the subsequent ones, participating in their main sections (in developments, for example), or causes modulation in the form, the transformation of the stereotype.

Main literature:

1. Berkov V.S. Sonata form and structure of the sonata-symphonic cycle. M .: Soviet composer, 1961.

2. Bobrovsky V.P. The functional foundations of the musical form. Moscow: Music, 1978.

3. Mazel L.A. The structure of musical works. Moscow: Music, 1979.

4. Mazel L.A., Zukkerman V.A. Analysis of musical works. Moscow: Music, 1967.

5. Sokolov O.V. The morphological system of music and its artistic genres. Nizhny Novgorod, 1994.

6. Sposobin I.V. Musical form. Moscow: GMI, 1956.

7. Kholopova V.N. Forms of musical works. Saint Petersburg: Lan, 1999.

Additional literature:

1. Asafiev B.V. Musical form as a process. L .: Music, 1971.

2. Aranovsky M.G. Symphonic quest. L .: Soviet composer, 1979.

3. Katz B.A. On the delimitation of the variation cycle // Soviet music. - 1974. No. 2.

4. Kogoutek C. Technique of composition in the music of the twentieth century. M., 1976.

5. Medushevsky V.V. On the patterns and means of artistic influence of music. Moscow: Music, 1976.

6. Medushevsky V.V. About musical universals. Composition and drama / S.S. Skrebkov: Articles and memoirs. M .: Soviet composer, 1979.

7. Mikhailov M.K. On the thematic unification of the sonata-symphonic cycle // Questions of the theory and aesthetics of music. Issue 2.M .: Soviet composer, 1963.

8. Nazaikinsky E.V. The logic of musical composition. Moscow: Music, 1982.

9. Protopopov V.V. Variational processes in musical form. Moscow: Music, 1967.

10. Rhythm. Space and time in literature and art: Sat. articles - L .: Nauka, 1974.

11. Sokolov O.V. About two basic principles of shaping in music. // About music. Analysis problems. - M .: Soviet composer, 1974.

12. Feinberg E.L. Art and Cognition // Questions of Philosophy. 1967. No. 7.

13. Kholopova V.N. Issues of rhythm in the works of 20th century composers. Moscow: Music, 1980.

14. Kholopova V.N. Russian national rhythm. M .: Soviet composer, 1982.

15. Khristov D. Theoretical foundations of melody. Moscow: Music, 1980.

16. Tsuckerman V.A. Analysis of musical works. General principles of shaping. Simple shapes. Moscow: Music, 1980.

17. Zuckerman V.A. Analysis of musical works. Complex shapes. M .: Music, 1983.

18. Tsuckerman V.A. Analysis of musical works. Variational form. Moscow: Music, 1974.

19. Tsuckerman V.A. Analysis of musical works. Rondo in its historical development. Part 1, 2.M .: Music, 1988.

The sonata form with the episode is used in different genres: individual pieces, finals of cyclical forms, slow movements.

An episode can have one or another complete form.

In some cases, a ligament appears from episode to reprise.

In addition, there are combined mids in sonata form that use development with an episode or vice versa.

Sonata form dramaturgy. The essence of sonata drama (sonata) lies not in the structure of the sonata form, but in the very process of development. This process is expressed in the special relationships and functions of the thematic material. Unlike juxtaposition or cross-cutting development, typical of a complex three-part form or rondo, the sonata form is distinguished by a dynamic combination, which is expressed in the intensive preparation of the following topics or sections.

Even more important for sonata drama is the role and interaction of the functions of the material in the exhibition, of which there are three:

1. the main material that plays the main role in the work and focuses on itself the attention of the listener (main topics);

2. preparatory material, which evokes the expectation of the subsequent (introduction, ligaments, predicts);

3. final material of an assertive nature (final topics, codes).

In the ratio of the main and secondary parties, there is always an imbalance in favor of P.P. This is facilitated by the large size of the latter and especially its tonal strengthening by means of material of an affirming character and cadance.

The sonata form is used in the sonata-symphonic cycle (first movement, finale, slow movement), individual works of an independent character, overtures, less often vocal music and opera scenes. 41. Connections of parts of an instrumental cyclic work.

Cyclic forms in music are musical forms of a work, presupposing the presence of separate parts, independent in structure, but connected by the unity of design. In the history of academic music, the "prelude-fugue" cycles, suite cycles, sonata-symphonic cycles are known. A cycle can also be called a series of interconnected works (each of which may or may not have a cyclical form) or concert programs. In non-academic music (jazz, rock), conceptual albums and individual major works can gravitate towards cyclical forms.

The two-part cycle "Prelude-Fugue" has been known since the Baroque times. It assumes the functionalization of the prelude as an improvisational introduction to the fugue.

Cycles "prelude-fugue" can be combined into larger cycles based on some formal or thematic principle. The most famous example is the “Well-Tempered Clavier” by JS Bach, built according to the principle of a certain alternation of Ladotone correspondences. An example from the music of the XX century - "24 Preludes and Fugues" by D. D. Shostakovich.

The suite, known since the 16th century, is characterized by:

the connection of individual parts of the work with traditional applied (song, dance) genres, the simplicity of the structure of the parts;

contrasting comparison of parts;

tendency towards unity or close relationship of tonality of parts.

The heights of the genre in baroque music are the suites by J.S.Bach and G.F.Handel, in the classical period - W.A.Mozart and J. Haydn. In the 19th century, major composers turned to the suite genre mainly for stylization purposes (E. Grieg, M. Ravel, and others).

In the 20th century, the genre of the suite was significantly rethought, new techniques were applied to it (such are, for example, the dodecaphonic orchestral suites of A. Schoenberg and A. Berg), new material was covered (for example, in P. Hindemith's suite "1922" fashionable dances of the corresponding time: shimmy, boston, ragtime).

Some works of non-academic music (mostly progressive rock) also gravitate towards the suite form. Examples include "Lizard" from the album of the same name by the rock band King Crimson and "Atom Heart Mother" from the album of the same name by Pink Floyd. However, "rock suites" are often called compositions that tend to rather free and mixed forms (in traditional musical-theoretical terminology).

The sonata-symphonic cycle includes the most abstract genres of academic music, such as symphony, sonata, quartet, and concert. It is characterized by:

abstraction from the applied nature of music (even if applied material is used as the material of any part);

the possibility of figurative and semantic contrasts between individual parts (up to their direct opposition);

complex tonal development;

established functions and forms of individual parts (characteristic of certain genres of sonata-symphonic music).

The classical sonata took shape during the 18th century, reached its peak in the Viennese classics and remains, with some reservations, a living genre. The symphony as a genre took shape in the middle of the 18th century; it also reached its peak in the Viennese classics and remains a living genre of academic music. (The symphonic form should not be confused with the symphony, which may also be characteristic of works that do not belong to this form). The quartet took the form of a sonata cycle in the work of J. Haydn and further developed in the work of the Viennese classics. In the second half of the 20th century, leitmotif and monothematic principles became characteristic of many works of this genre. The concert as a kind of sonata-symphonic cyclic work, which is characterized by the opposition of the sound of the entire ensemble and individual groups or soloists, took shape in its now known form by the end of the 18th century.

A piece of music may consist of parts, combined according to a principle different from that in the listed genres, and still have a cyclical character to one degree or another. These are many genres of applied sacred music (mass, sacred concert, all-night vigil), cantatas, vocal and vocal-choral cycles (plot and lyric).

Whole works can also be combined into a cycle (each of which, in turn, may or may not have a cyclical nature). These are the above-mentioned cycles of preludes and fugues, R. Wagner's tetralogy Der Ring des Nibelungen, conceptual albums in non-academic music, as well as some major works of jazz and rock music. 42. Musical language.

Musical language is, like other linguistic systems, an organization of this kind, the representation of which in the form of a hierarchical system has more explanatory power than a simple taxonomic description. As a result, it is assumed that the musical texts we observe constitute "musical speech", which is a realization, a product of some ideal (not directly observable) system - musical "language". ... Clarification requires, first, the very concept of "musical language" (and, accordingly, "musical speech"). The first is understood as a system that is realized not only in literary texts, which reduce some of the patterns of construction. Speaking. for example, "the language of Beethoven's works," we mean a system that generates not only these works, but all sorts of texts that preserve the laws that are characteristic of Beethoven's works. ... ... ... Musical speech with this understanding turns out to be open, that is, it consists of an infinite number of texts. ...

Further, the concept of style turns out to be important for us. This concept can be defined as a set of texts, in relation to which it is postulated that they represent the implementation of one system. On the other hand. For different styles, it is assumed that they implement different systems. ...

The structure of the musical system is presented in the form of a hierarchy of levels. So, apparently, it is possible to distinguish the level of individual sounds, the level of sound combinations, the harmonic level (the level of chords), the level (or a number of levels) of formal division. Within one level, there are units of the same order - sounds, combinations of sounds, chords, various sections of the form. The model of each level, apparently, should generate texts that are correct from the point of view of this level. "43. Musical-lexical structures

Along with purely terminological vocabulary, the dictionary includes an extensive layer of general literary vocabulary used in musical literature to evaluate and describe works of music, as well as to describe their impact on the inner world of a person, on the aesthetic perception of the listener. In the preparation of the dictionary, English and American explanatory dictionaries on music, a musical encyclopedia, as well as original texts from books on music topics were used. Human life cannot be imagined without sound artistic images that arise in the mental space when perceiving music. This monograph examines the content structure of "musical" fragments of the picture of the world, represented by the means of modern English. The article analyzes the cognitive structures that underlie the perception of musical vocabulary by both a professional and an amateur. Metaphorical models are presented as a cognitive basis for the formation of musical terms and common musical vocabulary of the English language. The functioning of the language of music in texts with a different ratio of the verbal and visual parts is considered. This book is another step in the study of the relationship between the two worlds - linguistic and musical. The book is intended for everyone who is interested in the issues of mental structuring of linguistic perception of the surrounding reality. 44. Simple musical means and their semantics

The work consists of separate musical phrases - small integral musical fragments. Musical phrases are combined into periods. Periods that sound similar are combined into parts. Fragments (phrases, periods, parts) of a musical work are indicated by Latin letters: A, B, C, etc. Various combinations of fragments form different musical forms. So, a common form in classical music is ABA (song form), which means that the original part A disappears when it is replaced by part B, and is repeated at the end of the piece.

There is also a more complex structuring: a motive (the smallest element of a musical form; 1-2 bars), a phrase (a complete musical thought; 2-4 bars), a sentence (the smallest part of a melody, completed by any cadence; 4-8 bars), period (element of musical form; 8-16 measures; 2 sentences)

Different ways of developing and juxtaposing the elements of melody have led to the formation of different types of musical forms:

Single part form (A)

It is also called the ballad form or air. Most primitive form. The melody can be repeated with minor changes (form AA1A2 ...). Examples: ditties.

Two-part form (AB)

Consists of two contrasting fragments - an argument and a counterargument (for example, the play “The organ-grinder sings” from PI Tchaikovsky's “Children's Album”). However, if the fragments are not contrasting, that is, the second fragment is built on the material of the first, then the two-part form turns into a variation of the one-part. Nevertheless, such works (for example, the play "Remembrance" from "Album for Youth" by R. Schumann) are sometimes referred to as two-part.

Three-part form (ABA)

It is also called song or ternary. There are 2 types of three-part forms - simple and complex; in a simple one, each section is a period, the middle one can be a short transition; in complex - each section is, as a rule, a two-part or a simple three-part form.

Concentric shape

The concentric form consists of three or more parts, repeating after the central one in reverse order, for example: A B C B A 45. Semantics of musical and compositional forms

The musical-compositional system has such a detailed set of concepts, which allows it to "see" musical works to the smallest detail. No other science about music - the history of music, theory of performance, musical ethnography, musical aesthetics, and so on - has such a sharpness and accuracy of "vision". At the same time, musical-compositional concepts tend to “grow over” with semantics, which is formed in the long-term experience of musicians' communication with the conceptual system explaining music. The musical compositions themselves are also semantic - their types, varieties, individual cases. Musical forms capture the nature of musical thinking, moreover, multilayer thinking, reflecting the ideas of the era, the national art school, the composer's style, etc. Thus, both the object of consideration - the forms, compositions of musical works - and the methods of analysis should be associated with the expressive-semantic sphere of music.

Theoretical musicology deals with two types of languages ​​- the artistic language of music and the scientific language of theoretical concepts about music. There is a categorical difference between these languages, but there is also a similarity - the presence of established semantic meanings. In the musical language, semantics is associative-expressive, with an admixture of the associative-conceptual, in the scientific language, on the contrary, the associative-conceptual with the admixture of the associative-expressive; in music, the unit of language is intonation; in music theory, a word-term. In terms of the methodology of music analysis, it is important that between musical intonations and musicological concepts (words), connections are constantly being formed, saturating the language of music with increased significance, conceptuality and imagery, expressiveness - the language of the science of music. Take "sonata development" as an example. On the one hand, in terms of music and art, the performer is obliged to play this section of the sonata form so unstably, fantastically that a conceptual sign should be hovering “in the air” of the concert hall: “this is a development”. On the other hand, in terms of theoretical science, the sign, the concept of "sonata development" should evoke the idea of ​​some kind of musical instability, fantasy and be surrounded by some imaginary intonational sounds of sonata development. The action of the "mechanism" of such a connection between the elements of musical-artistic and musical-theoretical languages ​​is a guarantee that the operations of musical analysis (with the proper skill, art) can serve to reveal the expressive-semantic logic of a musical work.

"The doctrine of musical form" (musikalische Formenlehre) historically originated in Germany at the end of the 18th century. and had as its purpose to determine the norms of compositional structure for works of various genres - motet, opera aria, sonata, etc. The fundamental major work on musical form, "The Teaching of Musical Composition" by AB Marx (1837-1847), considered "forms" in systemic unity with genres and all aspects of musical composition - spacing, harmony, polyphony, instrumentation, etc. Its title was not the word "form", but - "composition". The word "form" had a long, philosophical tradition and, among other things, corresponded with the category of beauty - starting from Plotinus, his "Metaphysics of Beauty" (III century), revived in the XVIII-XIX centuries. Shaftesbury and Winckelmann. And Glinka said: "Form means the ratio of parts and the whole, form means beauty."

At the same time, the concept of "musical form" is not identical with the concept of "form" in philosophy and aesthetics. "Musical form" is a monocategory that is not linked in a dyad or triad with any other categories. It is not opposed to "content", but has content, that is, the expressive-semantic, intonational essence of a musical work. In the philosophical tradition, "form" is not independent and is understood only in connection with complementary categories: matter and "eidos" (that is, "form" - in Plato), matter, form, content (in Hegel), form and content (in Schiller , in Marxist-Leninist philosophy and aesthetics). In view of the non-identity of the philosophical and musical "form", and also, in the author's opinion, the obsolescence of the philosophical dyad "content-form", in musicology it is advisable to use a newer, semiotic opposition: "the plane of content - the plane of expression."

I. musical form as a phenomenon;

II. musical form as a historically typed composition;

III. musical form as an individual composition of a piece.

The content of the musical form as a phenomenon (I) corresponds to the content concept of music and art in general. In art as a whole, layers are fused that can be called "special" and "non-special". The “non-special” layer reflects the real world, including its negative sides. "Special" is the ideal world of beauty, which carries the ethical idea of ​​goodness to man, the aesthetic idea of ​​the harmony of the universe, and psychologically - the emotion of joy. The musical form is primarily associated with the "special" content of art. And the whole system of musical-compositional theories teaches the achievement of euphony, not cacophony, coherence of voices, and not their separation, rhythmic organization, not disorganization, in the end - shaping, building form, and not shapelessness. And she seeks to develop the rules of composition that are universal, which do not change depending on the specific concept of a particular work. Accordingly, the science of musical form is the science of the musically beautiful, the ideal, "special" layer of the content of music.

The content, the semantics of the musical form as a historically typed composition (II) is formed on the basis of the same linguistic mechanism as the semantics of the musical genre. Forms-genres are the Gregorian mass, medieval-Renaissance rondo, viirele, ballata, le and others, classical two- and three-part "song forms", "adagio form" and others have genre coloring. The semantics of musical forms is largely influenced by the aesthetic, artistic ideas of the era that influenced the emergence or led to the flowering of one form or another. For example, the mixed forms of the 19th century, which appeared in the era of the figurative and constructive influence on the music of the poetic genres of ballads, poems, contain the semantics of narrating unusual events, with miraculous transformations (transformations), with a stormy, culminating ending. The establishment of the semantics of typical, historically selected musical forms is the methodological feature of this textbook.

The musical form as an individual composition of a work (III) appears in the form of two main cases: 1) the concretization of a historically typed form, 2) an individual, untyped form. In both cases, the meaningful meaning of the form is dictated by the brightly original concept of the composition. Thus, Chopin's Nocturne in c-moll, written in a typed complex three-part form, has a rare feature - a transformed reprise, which was reflected in the romantic plot poem thinking of the 19th century. And the untyped form, for example, of Gubaidulina's Third Quartet, comes from the unique idea of ​​the interaction of types of sound expression when playing pizzicato and bowing.

Of the three meaningful levels of musical form, the first, meta-level, is universal and is present in all musical works. The second, close to the category of the genre in the semiotic sense, the clearest semantically, is historically local. The third level is indispensable, but its gradations range from a minimum deviation from the standard of a typical form to a unique, unique musical composition. 46. ​​Texture as an element of musical language.

Facture (lat. Factura - device, structure) is a typical way of designing a polyphonic musical composition in one of the (polyphonic) musical storehouses. In Russian musicology, the (metaphorical) term "musical fabric" is often used as a synonym for texture. For example, the phrase “choral texture” describes the typical composition of the musical fabric in mono-rhythmic treatments of church songs (“chorales”) by I.S. Bach and other Baroque composers, "arpeggiated texture" - in D. Scarlatti's clavier sonatas, pointillism - a texture consisting of "isolated" tones distributed between individual voices or instruments in the music of A. Webern, etc.

The concept of texture is closely related to the concept of a musical make-up, which is expressed in typical phrases, for example, "old homophonic texture", "polyphonic texture", "heterophonic texture", etc. 47. Melody as an element of the musical language.

In order to understand music, three things are necessary, two of them are obvious, the third is not.

The first such necessary thing is the ability to distinguish by ear the elements of the musical language - dynamic, timbre, rhythmic, melodic, harmonic, polyphonic, structural. Do not be intimidated by these special words - everything is not so difficult.

The dynamic elements are the most obvious. Music may sound soft or loud, and the sound may fade in or out.

Timbre elements are what, for example, distinguish the sounds of various musical instruments from each other. With minimal musical experience, we will unmistakably distinguish the sound of the violin from the sound of the piano. Let us agree as a first approximation that timbre is what makes us recognize different sources of sound - the voice of the flute and the voice of the harp, the voice of the mother and the voice of the father.

Rhythmic elements are, in their simplest form, the ratio of the durations of sounds. Music exists in time, and some sounds last longer than others. In fact, everything is much more complicated, but for a start we will restrict ourselves to such a definition.

Melodic elements are the ratio of sounds in pitch. In this case, the sounds should be played not simultaneously, but in turn. In fact, again, everything is more complicated, but for now such a definition is sufficient. If it is not entirely clear to you what "pitch" is, then here is an accessible definition: in order for sound to take place, there must be a sounding body - a bell, a string, a column of air in a tube (flute, organ pipe, etc.) ). A sounding body vibrates at one speed or another (for example, 100 or 500 vibrations per second). The more vibrations occur per second, the more, as they say, the higher the sound generated. Even the so-called "non-musical" people (although there are practically no such in nature, but they say so) distinguish between sounds "thick" and "thin", "dark" and "light" - this is the fundamental distinction of sounds in pitch.

Harmonic elements are also the ratio of sounds in pitch, but now the sounds should be played not in turn, but simultaneously. In this case, such simultaneously reproduced sounds are, as a rule, more than two. And again, in fact, everything is more complicated, but for now this is enough to somehow understand the word "harmony".

Polyphonic elements are also simultaneous playback, but not separate sounds, but two or more different melodies.

Structural elements are what music especially resembles language and literature. In a piece of music, you can hear individual musical "words", "phrases", "paragraphs", "chapters". But this does not mean that musical "words" are translated into a normal language in the same way as we translate, say, from Spanish into Russian. And, nevertheless, the flow of music is not continuous, but divided into parts - both small and large - and this division can be perceived by ear.

Now, when I suddenly start talking about dynamics, timbre, rhythm, melody, harmony, polyphony and structure, we will already know what we are talking about.

Let us recall that, as mentioned above, three things are needed to understand music, and so far we have talked only about the first of them - the ability to distinguish elements of the musical language by ear.

Contemporary musicology uses the basic principles of a semiotic approach to music and its language. The language of music can be considered as a set of musical means (elements) formed in the process of historical development, having a complex structure, considered as a common heritage of culture, all elements of which are interconnected.

The world around us is filled with sounds of various kinds: here are the sounds pronounced by the person himself and with the help of musical instruments to express his thoughts, experiences, as well as sounds that exist directly in nature. Any object can emit sound (both animate and inanimate) of various qualities. Sounds are heard from everywhere, they can be heard anywhere: at home, at work, on the seashore, in the forest, etc. Sometimes ordinary sounds are transferred by the composer into a piece of music, then they acquire the status of musical ones, which leads to the idea that screaming, the sounds of affects can be called musical if they are included in the flow of a musical message and a musical meaning is given to them.

Traditionally, the elements of the language of music as a special sign system include sounds characterized by pitch, loudness, duration and timbre, which make up a melody, harmony (individual consonances, chords). Musical sounds interacting with each other form metro-rhythmic patterns, are formed into a work that contains a certain musical image.

A characteristic feature of the language of music is the presence in it of different sign levels that interact with each other. There are the following levels of means of musical expression (musical language), which form a system of levels: pitch (mode, harmony, timbres, registers, tonality, melody); rhythmic (rhythmic patterns); compositional side (musical process as a whole): all the means that create the composition; performing interpretation (agogy, articulation, strokes and performing intonation). The language of music is a heterogeneous system containing elements both highly organized (the harmonic side) and less organized (dynamics).

So, the language of music is a complex hierarchical, multilevel system, which is characterized by a tendency towards development, consistency and the possibility of updating the parts that make up it. 48. Harmony as an element of the musical language.

Harmony (ancient Greek ἁρμονία - connection, order; structure, harmony; coherence, proportionality, harmony) is a complex of concepts of the theory of music. Harmonious is called (including in everyday speech) the harmony of sounds pleasant to the ear and comprehended by the mind (a musical and aesthetic concept). From a scientific perspective, this idea leads to the compositional and technical concept of harmony as the unification of sounds in consonance and their natural succession. Harmony as a scientific and educational-practical discipline studies the pitch organization of music.

The concept of harmony is used to characterize a logically organized pitch system: the type of fret (modal harmony, tonal harmony), musical style (for example, "baroque harmony"), an individually specific embodiment of pitch ("Prokofiev's harmony"), characteristic chordics (harmony as a synonym for the words " chord "," consonance ").

The concept of harmony, however, should not be confused with the concepts of "accompaniment", homophony (for example, in the expression "melody and harmony" instead of "melody and accompaniment" or instead of "melody and chordic"; "polyphony and harmony" instead of "polyphony and homophony" ).