Analysis by means of musical expression. Means of Musical Expression, or How Music Is Born

16.06.2019

Characteristics of the hero from the comedy "Minor" D

Pyotr Andreevich Grinev, the main character of the story

The image and characteristics of svidrigailov in the novel crime and punishment dostoevsky composition

The image and characteristics of Mitrofanushka in Fonvizin's "The Minor": the description of Mitrofan Prostakov

EXPRESSIVE MUSIC

Melody

"The melody will always be the purest expression of human thought."
C. Gounod

The expressive means of music are rich and varied. If an artist in drawing and paints, a sculptor in wood or marble, and a writer and poet in words recreate pictures of the surrounding life, then composers do it with the help of musical instruments. Unlike non-musical sounds (noise, grinding, rustling). Musical sounds have a precise pitch and a specific duration. In addition, they can have different colors, sound loud or quiet, and be performed quickly or slowly. Meter rhythm, mode and harmony, register and timbre, dynamics and tempo are all expressive means of musical art.

The main means of musical expression is MELODY. She is the basis of any work. P.I.Tchaikovsky, this great creator of melodies, said: "Melody is the soul of music." For where, if not in her - now bright and joyful, now alarming and gloomy - we hear human hopes, sorrows, worries, reflections ... "

The word "melody" comes from two words - melos - song, and ode - singing. A melody is a musical thought expressed in one voice. In general, a melody is something that you and I can sing. Even if we have not memorized all of it, we hum some of its motives, phrases. Indeed, in musical speech, as well as in verbal speech, there are both sentences and phrases. Several sounds form a motive - a small particle of the melody. Several motives make up a phrase, and phrases form sentences.

Folk musical creativity is an inexhaustible treasure of wonderful melodies. The best songs of the peoples of the world are distinguished by their beauty and expressiveness.

For example, a Russian folk song "Ay, in the field there is sticky"... Her melody is light and graceful. A moving tempo, smooth movement, light major color help to express a joyful mood, a feeling of youth and happiness.

A different character of the melody in the song "Oh you little night"... The sad mood of the girl is compared here with a dark autumn night. A wide melody in a minor scale flows unhurriedly.

Serenade by F. Schubert- one of the most soulful lyrical melodies created for the voice. Like any other serenade, it is sung at night in honor of the beloved ...

In the melody of "Serenade" we guess all the feelings with which the beloved's heart lives at this hour of the night; and tender sadness, and longing, and the hope of a quick meeting. Probably Schubert's "serenade" is about happy love: the day will come, the lovers will meet, and yet her melody reveals a lot to us - that which is not in the words and which is generally very difficult to tell. Youth, beloved, a night song flying towards her - this is the content of the work, which lists everything except the most important. The main thing is in the melody, which tells us how much sadness even in the happiest love and how a person can be sad even in his joy.

There are a lot of funny melodies in the world, born in moments of joy or days of holidays. Even among the serenades - mostly sad and pensive - one can find cheerful and mobile melodies full of charm and optimism. Who does not know the charming and graceful "Little Night Serenade" by W. A. Mozart, the melody of which is full of light and charm of the festive night!

In Vienna in the 18th century, it was customary to arrange small night concerts under the windows of the person you want to pay attention to. Of course, the meaning of the music performed in his honor was not at all lyrical and not intimate, as in a love serenade, but rather amusing and slightly mischievous. Therefore, several people took part in such a night concert - after all, joy unites people! The performance of Mozart's serenade required a string orchestra - a collection of virtuoso and expressive instruments that sang so magically in the silence of the Viennese night.

The melody of "Little Night Serenade" captivates with subtlety and grace; listening to it, we do not think that this is just everyday music, written on order for a night concert. On the contrary, in its sounds lives for us the image of old Vienna, an unusually musical city, where day and night one could hear wonderful singing or violin playing, and even the lightest music was unusually beautiful - after all, Mozart wrote it!

Fascinated by the light Mozart melodies, the Russian singer F. Chaliapin expressed his attitude to the great Viennese classic: “You go into the house, simple, without unnecessary decorations, cozy, large windows, a sea of light, greenery all around, everything is friendly, and a hospitable host meets you, makes you sit down, and you feel so good that you don’t want to leave. This is Mozart. "

These sincere words reflect only one side of Mozart's music - that which is associated with the brightest images and moods. But, perhaps, in the entire centuries-old history of music, you will not find a composer whose melodies would only be joyful and harmonious. And this is natural: after all, life is never only bright, only clear, losses and disappointments, mistakes and delusions are inevitable in it.

It is in art that those feelings and reflections with which a person lives are most clearly manifested.

And therefore, one should not be surprised when the same Mozart who wrote The Little Night Serenade, the same Mozart whom the composer A. Rubinstein called Helios - the god of the sun of music, about whom he exclaimed: "Eternal sunshine in music - your name is Mozart!"- creates one of the most mournful compositions in all world art - his Requiem.

The dying composer, who devoted the last months of his life to this work, wrote about it in one of his letters: “Before me is my funeral song. I can't leave it unfinished. "

The Requiem was commissioned to Mozart by a certain stranger, dressed in all black, who once knocked on the composer's house and handed this order over as an order of a very important person. Mozart enthusiastically set to work, while illness was already undermining his strength.

The state of mind of Mozart during the period over the Requiem was conveyed with tremendous dramatic force by Alexander Pushkin in a small tragedy "Mozart and Salieri".

My black man haunts me day and night.
He chases me everywhere like a shadow.
And now it seems to me that he is with us himself - the third is sitting.

Mozart did not have time to complete his Requiem. After the death of the composer, the unfinished sections were completed by his student F. Süsmayr, who was thoroughly devoted by Mozart to the idea of the entire work.

Mozart stopped at the beginning of "Lacrimosa", then he could no longer continue. In this part, which enters the culmination zone of the composition, after the anger, horror, darkness of the preceding parts, a state of sublime lyrical sorrow sets in. Melody "Lacrimosa" ("Tearful day") based on the intonation of sighing and crying, at the same time showing an example of deep sincerity and noble restraint of feeling.

Tchaikovsky's Christmas musical tale is full of beautiful bright melodies: sometimes intensely dramatic, sometimes quiet and gentle, sometimes song or dance. One can even say that the music in this ballet has reached its utmost expressiveness - so convincingly and reliably it narrates the events of the sublime and touching fairy tale of Hoffmann.

Despite the appeal to a fairy tale plot from German literature, the music of The Nutcracker is deeply Russian, like Tchaikovsky's music in general. Both New Year's dances and magical pictures of winter nature - all this in the ballet is imbued with intonations that are close and understandable to every person who grew up in Russia, in the atmosphere of its culture, music and customs. It is no coincidence that P. Tchaikovsky himself admitted: "I have not yet met a person who is more in love with Mother Russia ... I passionately love the Russian person, the Russian speech, the Russian mindset, the Russian beauty of faces, Russian customs."

Listening to the melody Pas de deux from the ballet The Nutcracker, you are surprised how much of the lively expressiveness of human speech in music! Probably, in this property of it, the origin of the melody from the intonation of the human voice reveals itself again and again. The slightest shades are available to her - a question, an exclamation, and even an ellipsis ...

Listen to the intonational development of the music of this fragment - and you will be convinced that all the variety of emotional expression is present in it. But it also contains what the great romantic Heine Heine said: "Where words end, music begins." Perhaps the correctness of these words is especially obvious when it comes to melody: after all, it is the melody that is closest to the intonation of living speech. And yet - is it possible to convey the content of a melody in words? Remember how touching, how unusually expressive "Melody" ("Complaint of Eurydice") from opera K. Gluck "Orpheus and Eurydice" and how much can she say without resorting to words.

In this fragment, the composer turned to a pure melody - and this melody by itself managed to conquer the whole world!

Doesn't it follow from what has been said that melody is a language that is close and understandable to everyone - people who lived at different times, speaking different languages, children and adults? Indeed, for any person, joy is expressed in the same way, and human sadness is the same everywhere, and gentle intonations can never be confused with rude and imperative, no matter what language they sound. And if we carry in ourselves images and hopes that are dear to us, then in the moments when the melody that excites us sounds, they become brighter, lively, tangible.

Doesn't this mean that the melody guesses ourselves - our hidden feelings, our unspoken thoughts? It is no coincidence that they say: "the strings of the soul" when they want to designate what gives us the opportunity to perceive and love the boundless beauty of the world around us.

Let's summarize:
1. What is a melody and what is it like?
2. In what genres of music is the melody most often dominant?
3. Think of several melodies in which different intonations would be expressed: sad, affectionate, cheerful, etc.
4. How do you understand the words of P. Tchaikovsky: “melody is the soul of music”?
5. How does the content of the music affect the character of the melody?

Presentation

Included:
1. Presentation: 17 slides, ppsx;
2. Sounds of music:
"Oh, you little night", Russian folk song (performed by Dmitry Hvorostovsky), mp3;
"Oh, you little night", Russian folk song (performed by the male choir of the St. Petersburg courtyard of the Optina Pustyn monastery), mp3;
"Oh, you little night", Russian folk song (performed by Fyodor Chaliapin), mp3;
Glitch. "Melody" from the opera "Orpheus and Eurydice", mp3;
“Ay, in the field a liponka”, Russian folk song (performed by Sergei Lemeshev), mp3;
Mozart. Little night serenade, mp3;
Mozart. Requiem "Lacrimosa" ("A Tearful Day"), mp3;
Tchaikovsky. Pas de deux from the ballet "Nutcracker", mp3;
Schubert. Serenade, mp3;
3. Article, docx.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http: //www.site/

Means of Musical Expression

Music originated in ancient times. This is evidenced by the many objects found with images of musical instruments, performers, although the musical works of distant eras themselves have not reached us.

For a long time, music has been recognized as an important and irreplaceable means of shaping the personal qualities of a person, his spiritual world. In ancient Greece, there was even a teaching in which the influence of music on human emotions was substantiated. It has been proven that some melodies strengthen courage and resilience, while others, on the contrary, pamper.

What is the originality of music as art? Let's compare it with painting, sculpture, literature.

Music cannot, with the same degree of concreteness, as these types of art, depict or describe life phenomena (although it has some possibilities of depiction).

Can sounds convey specific content? What do we call music content?

Prominent psychologist B.M. Teplov wrote: "In the most direct and immediate sense, the content of music is feelings, emotions, moods." (Psychology of musical abilities - M .; L., 1947. - S. 7.)

A feature of music is that it can convey the emotional state of a person with great spontaneity and power, all the richness of feelings and shades that exist in real life.

Due to the fact that music is a temporary form of art (as opposed to painting, sculpture), it has the ability to convey changes in moods, experiences, the dynamics of emotional and psychological states. Thus, each piece of music has a kind of "sensory program" (the term of the psychologist VG Razhnikov), which unfolds in time.

Music can and depict any specific phenomena of reality - the sound of waves, the howling of the wind, the splash of a brook, the singing of birds through onomatopoeia.

There is so-called program music, in which the composer either indicates the title of the work, that is, implies the presence of some generalized program, or writes music for a specific literary text. In program music, various kinds of pictorial moments are more common, but it is important to note that even brightly pictorial works always have an emotional connotation: the chirping of a bird can be friendly, cheerful, and can be alarmed; the sound of the waves - pacified or menacing.

Therefore, expressiveness is always inherent in music, and depiction has an auxiliary meaning. Figurativeness is not present in every work, but even brightly pictorial music always expresses moods, emotional and psychological states.

Music, including music that is not related to the word, expresses certain thoughts and evokes generalizations. But they arise through the emotional perception of sounds, melodies, when the listener traces the development, the clash of characters, themes, compares various images in parts of the work.

Another feature of music in comparison with painting, sculpture is the need for an intermediary for its reproduction.

A prominent scientist and musicologist, composer B.V. Asafiev noted that music exists in the trinity of processes of its creation by the composer, reproduction by the performer and perception by the listener.

The performer, being the mediator of the composer, must revive, sound a piece of music, creatively comprehend it and express the thoughts and feelings that the author sought to convey.

In general, the expressive possibilities of music have sufficient constancy. So, for example, mourning music is perceived by all people as mourning, and gentle - as gentle. Listening to music is a creative process, since the same work gives rise to different musical and non-musical performances in different people, depending on life experience, experience of perceiving music.

What is the expressiveness of the language of music based on? What are the means of musical expression?

These include tempo, dynamics, register, timbre, rhythm, harmony, mode, melody, intonation, etc.

The musical image is created by a certain combination! means of musical expression. For example, a formidable character can be conveyed by rather loud dynamics, a low register combined with a restrained tempo. Gentle character - calm pace, soft dynamics and measured rhythm. The role of individual musical means in creating an image; is not the same. Each musical image is dominated by certain means of expression.

The expressiveness of the language of music is in many ways similar to the expressiveness of speech. There is a hypothesis about the origin of music from speech intonations, always emotionally colored.

There are many similarities between music and speech. Musical sounds ^, like speech, are perceived by the ear. With the help of the voice, the emotional states of a person are transmitted: laughter, crying, anxiety, joy, tenderness, etc. The intonation coloring in speech is conveyed using timbre, pitch, voice strength, speech tempo, accents, pauses. Musical intonation has the same expressive capabilities.

BV Asafiev scientifically substantiated the view of musical art as an intonation art, the specificity of which is that it embodies the emotional and semantic content of music, just as the inner state of a person is embodied in the intonation of speech. Speech intonation primarily expresses feelings, moods, thoughts of the speaker, just like musical intonation. So, an agitated speech of a person is characterized by a fast pace, i continuity or the presence of small pauses, an increase in height, the presence of accents. Music that conveys confusion usually has the same characteristics. A person's mournful speech, like mournful music (quiet, slow), is interrupted by pauses, exclamations. I

BV Asafiev used the term intonation in two meanings. The first is the smallest expressive-semantic particle, "grain-intonation", "cell" of the image. For example, the intonation of two descending sounds with an emphasis on the first (an interval of a small second) usually expresses pain, sigh, crying, and an upward jump in a melody by four sounds (per fourth) with an emphasis on the second sound is an active beginning.

The second meaning of the term is applied in a broad sense: as intonation equal to the length of a piece of music. In this sense, music does not exist outside the intonation process. Musical form is the process of changing intonations.

A musical form in a broad sense is the totality of all musical means that express content. In a narrower one, the structure of a musical work, the relationship between its individual parts and sections within a part, that is, the structure of the work.

The temporal nature of music makes it possible to convey the processes of development, all kinds of changes. To understand the meaning of a work, to feel it, it is necessary to follow the development of musical images.

Three principles are important in creating a form: repetition, contrast, development (variation).

The repetition can be different. A musical phrase repeated twice in a row replaces a stop, this helps to listen deeper, to remember the melody. In another case, a contrasting theme sounds between repetitions. The role of such repetitions is very great: they form the basis of musical drama, since they allow to affirm the primacy of the image.

If there is a contrasting episode between the repeating sections, a simple three-part form is formed. It can be shown schematically as follows: ABA.

The expressive significance of the repetition of a theme increases if it itself changes after the appearance of a new image (B). Conventionally, her “second appearance is designated as A1. In this case, the three-part form can be represented by the ABA1 diagram.

Repetition is associated with another principle - contrast, which allows you to set off repetition. Contrast helps to express mood changes in music, it can sound like an opposition. So, for example, if the first part was full of carelessness, fun, the middle part introduces a contrasting image (anxiety, evil, etc.). In the third part, depending on whether the repetition is exact or changed, one can follow the development of the image, the musical drama.

Contrast is associated with another principle of shaping - development. If the theme itself consists of two (or more) contrasting elements or a section of the form consists of several themes, this gives rise to conflict, the possibility of their collision, development. This principle has a variety - variational development, which originates from folk improvisations.

These three principles of shaping are often found in combination. More complex musical forms are formed using the same principles.

Let's characterize some types of music - musical genres. music expressiveness form

Broadly speaking, music can be divided into vocal and instrumental. Vocal music is associated with a word, a poetic text. Its varieties are solo, ensemble and choral music. In instrumental music, content is expressed more generally. Its varieties include solo, ensemble and orchestral music.

But the division of music only into vocal and instrumental music is very arbitrary. There is a wide variety of genres of folk and classical music.

Posted on the site

Melody

This is the basis of any piece of music, its thought, its soul. Music is unthinkable without melody. The melody can be different - smooth and abrupt, funny and sad.

Register

Distinguish:

- high register (light, airy, transparent sound),
- middle register (associations with a human voice),
- low register (serious, dark or humorous sounding).

Rhythm

In any music, in any song, except for the melody, the rhythm is very important. Everything in the world has a rhythm. Our heart is heart rate; there are brain rhythms, there is a circadian rhythm - morning, day, evening and night. The change of seasons is the rhythm of the planet.

Rhythm in translation from Greek means "dimension" - it is a uniform alternation, repetition of short and long sounds. The rhythm in different dances is well understood. Everyone understands what rhythm they are talking about when they say: in the rhythm of a waltz, march, tango.

Music without rhythm is perceived as a set of sounds, not a melody. It influences one or another character of the music. A smooth rhythm gives a piece of music lyricism. An intermittent rhythm creates a feeling of anxiety, agitation.

Thus, a rhythm is a sequence of sounds of the same or different duration.

Sounds of different duration are combined into rhythmic groups, from which the rhythmic pattern of the work is formed.

Types of rhythmic patterns

Repetition of equal lengths in pieces of slow or moderate tempo creates a calm, balanced image.

In works of a fast tempo - etudes, toccata, preludes - the repetition of the same durations (sixteenth durations are often found) gives the music an energetic, active character.

Rhythmic groups, united by notes of different lengths, are more common. They form a variety of rhythmic patterns.

The following rhythmic figures are less common:

Dotted rhythm (typical for march, dance) - sharpens, activates movement.
Syncope - shifting the emphasis from a strong beat to a weak beat. Syncope creates the effect of surprise.
Triplet - dividing the duration into three equal parts. Triplets add lightness to movement.
Ostinato is a multiple repetition of one rhythmic figure.

The size

To record the rhythm on paper, a so-called time signature is used. With its help, musicians understand with what rhythm and tempo it is necessary to play music. Musical sizes are different and are written in fractions: two quarters, three quarters, etc. To keep the rhythm exactly, a musician, when learning a new melody, must count: one and, two and ... And so on, depending on the size.

Pace

This is the speed at which a piece of music is played. The pace is fast, slow and moderate. To indicate tempo, Italian words are used, which are understandable to all musicians in the world. For example, fast paced - allegro, presto; moderate pace - andante; slow - adagio.

Some musical genres have their own constant, definite sizes, and therefore they are easily recognizable by ear: for a waltz - three quarters, for a fast march - two quarters.

Lad

There are two contrasting modes in music - major and minor. Major music is perceived by listeners as light, clear, joyful, and minor music is perceived as sad and dreamy.

Timbre

High - soprano, tenor.
Middle - mezzo-soprano, baritone.
Low - alto, bass.

The choir is a large group of singers (no less than 12 people), similar to an orchestra in instrumental music.

Choir types:

masculine (dense, bright tone),
feminine (warm, transparent tone),
mixed (full-bodied, rich, bright timbre),
children's choir (light, light timbre).

Symphony orchestra instrument groups

The instruments in the orchestra are distributed among their families - the musicians call them orchestral bands. There are four of them in the orchestra:
- Stringed instruments
- Woodwind instruments
- Brass instruments
- Percussion instruments

Dynamics

Dynamics is the degree to which a piece of music is played.

Muffled dynamics is associated with calm, light, or nagging sad moods. Strong dynamics expresses energetic, active or tense images.

Basic symbols for dynamic shades:

Piano pianissimo - ppp - extremely quiet
Pianissimo - pp - very quiet
Piano - p - quiet
Mezzo piano - mp - not very quiet
Mecco forte - mf - not very loud
Forte - f - loud
Fortissimo - ff - very loud
Forte fortissimo - fff - extremely loud

Signs for changing the strength of the sound:

Crescendo - cresc. - enhancing
Sforzando - sforc., Sfc., Sf.- suddenly increasing
Subito forte - sub.f. - suddenly loud
Diminuendo - dim. - decreasing, attenuating the sound
Decrescendo -decresc. - weakening
Smorzando - smorc. - freezing
Morendo - morendo - freezing

The increase in dynamics is associated with increased tension, preparation of the climax. The dynamic climax is the peak of the growth of dynamics, the highest point of tension in the work. The weakening of the dynamics gives rise to a feeling of relaxation, calming.

Meter

Meter is a uniform alternation of strong and weak beats of a beat (pulsation).

In musical notation, a meter is expressed in size (the upper number of the size indicates how many beats in a measure, and the lower one - how long the fraction of a meter is expressed in a given measure), and measures (so t is the period of time from one strong beat to the next beat of equal strength), separated from each other by bar lines.

Basic meter types

Strict meter - strong and weak beats of the measure alternate evenly
Free meter - accents are distributed unevenly, in modern music the time signature may not be indicated or division into measures may be absent.
Two-beat meter - one strong and one weak beat (/ -) eg polka or march.
Three-beat meter - one strong and two weak beats (/ -), eg waltz.
Polymetry is a simultaneous combination of two-beat and three-beat meters.
Variable meter - varies throughout the piece.

Depending on the number of strong beats, meters are:

Simple - having only one strong beat (two-beat, eg 24 or triple, eg 34 or 38).
Complex - a combination of simple identical meters (only two-beat, eg 44 = 24 + 24 or only three-beat, eg 68 = 38 + 38).
Mixed - a combination of meters of different (two-beat and three-beat) type (for example, 54 = 24 + 34, or 34 + 24, or 74 = 24 + 24 +34, etc.).

Typical metro-rhythmic features of some dances:

Polka - 24, 16-note rhythm groups.
Waltz - 34, accompaniment with emphasis on the first beat.
March - 44, dotted rhythm.

Harmony

Translated from the Greek harmonia means consonance.

Harmony- this is the unification of sounds in various consonances (chords) and their sequences.

The main element of harmony is a chord - a simultaneous combination of three or more sounds of different heights.

Chord types:

By the number of sounds:
- Triads - chords of three sounds. Types of triads: major, minor, decreased, increased.
- Seventh chords - chords of four sounds, etc.

By interval structure:
- chords of the second structure (clusters)
- chords of tertz structure (triad, seventh chord)
- chords of a quarter structure (quarter chords)
- chords of a fifth structure (fifth chords).

In classical music, harmony is euphonic (based on consonances), chords of the tertz structure are mainly used.

In modern music, harmony can sound harsh (such sharp consonances are called dissonances), it can be very complex, unusual consonances are widely used - a simultaneous combination of seconds, quarts, fifths and other intervals.

Texture

Faktura is a warehouse, a type of presentation of a musical work (lat. Fakturo - processing).
The main elements of the texture: melody, accompaniment (accompaniment), bass (lower voice), middle voices.
The texture is transparent (two-, three-part), causing a feeling of lightness, transparency. Dense (polyphonic, chordal) texture creates the impression of strength, power.

A polyphonic music warehouse, in which one voice is the main one (melody), and the rest (accompaniment) accompany it. A kind of homophonic texture is the chord store of music, in which the melody is rhythmically combined with the accompaniment.
Polyphony (Greek poly-a lot, phone-sound) is a simultaneous combination of several independent voices (melodies).

The main types of polyphony

Imitation item - (Latin Imitatio - imitation) repetition in another voice or another instrument of a melody (theme) just sounded. E.g. canon, fugue or invention
Contrast p. - simultaneous sounding of different types of melodies. For example, in the Middle Ages three different melodies with different lyrics were combined. The main types of texture:
Simulation polyphony forms:
Canon is a musical form in which all voices perform the same melody, entering in turn.
Invention is a two- or three-part instrumental work of a small volume, written in imitation technique.
Fugue is a polyphonic polyphonic composition based on the imitating repetition of the theme in all voices. The highest, most complex form of imitation polyphony. The greatest master of fugue was J.S.Bach.
Fughetta (Italian fughetta - small fugue) is a simple, smaller fugue for organ or piano.

Strokes

A very important means of musical expression is strokes. They indicate the manner of sound science and depend on the nature of the work.

Legato - (legato) assumes a coherent, smooth sound production.
Staccato - (staccato) - abrupt extraction of sounds. The staccato is indicated by a dot above or below the notes. The sounds when played in staccato are short, with little jolts, light accents and caesuraes between sounds.
Non legato - (non legato) - incoherent, non-smooth performance. Sound science with a slight emphasis on each sound of the melody. In this case, the sounds should be filled as when performing legato, the caesura between the sounds should be shortened. Sounds are emphasized, but not as sharp as in staccato. Every sound sounds distinct.

The ideological emotional content of the composer's musical work is conveyed using the means of musical expression: melody, tempo, rhythm, harmony. The combination of all these means creates musical images that the choreographer uses.

the main task- the unity of the image of the audible and visible.

Melody(from Greek singing, chanting) is a monophonic expression of musical thought, it is the basis of music and in it, first of all, the intention of the composer is expressed. It is a monophonic sequence of musical sounds that are in a certain ratio in pitch and have a certain tempo and rhythm.

The melody itself is independent, unlike other means of expression, capable of embodying certain thoughts and emotions, and conveying mood. The melody always carries an artistic image. The melody has its own laws, the main of them is the undulation, the melodic line has bends of rise and fall. The combination of the movement of a melody up, down and in place is called a melodic pattern.

Important types of melodic pattern

1. Upward movement in melody, i.e. transition to higher sounds.

2. Downward movement in melody, i.e. transition to lower sounds.

3. The wave-like movement of the melody, i.e. sequence of ascending and descending transitions.

Every melody exists in time, it lasts with the temporal nature of music and is closely related to it. One of her most notable expressive means is TEMP.

Pace Is the speed at which the music is played. The tempo is indicated at the beginning of the piece.

Basic terminology:

Adagio - slow

Andante - Moderate

Allegro - fast

For greater expressiveness of a piece of music, gradually accelerate or slow down the tempo.

Ashelerando - acceleration

Ritardando - slowdown

The tempo largely determines the appearance of the mood of the music. A slow pace expresses a state of calm, immobility, contemplation. The average tempo is quite neutral and is found in music in different moods. A fast pace is found in the transmission of continuous aspiration of movements, it can express a feeling of seething energy, joy, and a light festive mood. Or it can express drama.

You cannot arbitrarily change the speed of the music of a piece.

Where does the sense of tempo in the melody come from?

Not all sounds are important for feeling the tempo, but only a few, stronger and heavier ones. Usually, in a melody, accents periodically appear on individual sounds, and between them the following sounds, weaker.

The feeling of tempo depends on how much time passes between them with adjacent accented sounds, i.e. how long a beat takes in music. The tempo of a piece of music is measured by the number of measures per unit of time (for example, per minute). Viennese Waltz - 60 beats per minute.

The organization in music is based on a certain alternation of accents, percussive beats, this is the metro-rhythmic organization of music (meter - measure) - this is an alternation of strong and weak beats in a measure, even. The digital designation of the meter is called the size and is placed at the beginning of the musical notation. The upper number (or the first) shows the number of beats in a measure, the lower or second number of which length is expressed in a given beat. Sizes are two-beat (even) alternation of one beat beat and one non-beat beat; three-beat (odd) alternation of one beat and two unstressed beats. And also from combinations of simple sizes complex sizes are formed, for example, four-lobe (strong lobe, weak, relatively strong and weak).

The sound on which the emphasis falls (beat) together with subsequent beats, unstressed form tact Is the length of time from one strong beat to another. In notes, measures are defined from each other by vertical lines.

Rhythm- one of the main expressive means of music. This is a sequential combination of musical sounds of different duration, i.e. the ratio of long and short sounds.

Relatively from each other, there are not so many sizes 2 \ 4; 3 \ 4; 4 \ 4; 6 \ 8.

And the ratio of musical durations is innumerable, sounds are recorded by signs (i.e. notes that have different durations in sound). To indicate the duration of sounds, sticks, calms, tails are added to the circles.

Whole note " 1U2U3U4U»

Half " 1 and 2 and»

Quarter " 1and»

Eighth " and»

Sixteenth to " and"- two blows

The alternation of sounds of different durations form the rhythmic pattern of the melody. He alone can characterize some genres of music.

Dynamic shades- this is a change in the sound volume when playing a piece of music.

Dynamic shades are very important for the transfer of images in music (for example, a lullaby is played softly, the content of such music contradicts the loud sound, and the quiet sound contradicts the festive march).

Dynamic shades are associated with a melodic pattern; accordingly, the upward movement of the melody is accompanied by an increase in sound, and a downward movement of weakening. Depending on the dynamism of the shades of a piece of music, movements can be strong and energetic or soft and gentle, sharply accented or continuous or smooth.

Dynamic shades of music include:

1.changing the strength of the sound

2. gradual deceleration or acceleration of the pace

3.smooth or intermittent sounding of the melody

The listed shades are designated by the Italian term:

Forte - loud

Piano - quiet

Crescendo - gain

Diminuendo - weakening

There are also such concepts: "Major" music is solemn, festive, joyful, cheerful or calm. "Minor" music is dramatic, sad.

Music and dance

1.Music has a metric organization, this makes it possible to also organize a choreographic work in certain choreographic segments.

2. Music carries imagery that we can reveal by means of choreography.

3. A piece of music has its own drama. Choreography follows and focuses on musical drama.

4. Music determines the genre of a choreographic work, its language, form.

National flavor (originality of something) is based on the metro-rhythmic organization of music.

The tempo in the choreographic piece follows the tempo of the music, but it may not coincide. It is necessary to achieve the image of the visible and audible idea of the composer and ballet master, the combination of words and action.

The relationship between music and dance.

1.Dancing around music is when the music has its own content, and the choreography has its own. Incorrect use of musical material.

2. Dance to music. The music is simple in terms of drama, and the choreography is of high quality. Choreography above music.

3. Dance to music. The music is pithy and the choreography is poor. Music above choreography.

4. Dance to music is when the content and quality of the music matches the content and quality of the choreography. This is something to strive for.

Analysis by means of musical expression. Means of Musical Expression, or How Music Is Born

Read also

Send your good work in the knowledge base is simple. Use the form below

Similar documents

Music, according to the ancient Greek philosopher Plato, gives life and fun to everything that exists in the world, is the embodiment of that beautiful and sublime that is on earth.

Each art form has a language characteristic only for it. In music, the language of sounds acts as such a language.

So, what are the main means of musical expression that reveal the secret of how music is born?

The basis of any piece of music, its leading beginning is melody. A melody is a developed and complete musical thought expressed in a monophonic voice. It can be very different - both smooth and abrupt, calm and fun, etc.

Equally important harmony as a means of expression. There are two types of it: major and minor. Their differences from each other are that the major music evokes clear, joyful feelings in the listeners, and the minor one - a little sad and dreamy.

Pace - expresses the speed with which this or that piece of music is performed. It can be fast (allegro), slow (adagio), or moderate (andante).

A special means of musical expression is timbre. It represents the coloration of sound characteristic of any voice and instrument. It is thanks to the timbre that a human voice or the "voice" of a musical instrument can be distinguished.

Additional means of musical expression include texture - the way a certain material is processed, strokes or ways to extract sounds, dynamics - the power of sound.

Thanks to the harmonious combination of all of the above expressive means or their part, music appears that accompanies us in life almost everywhere.