From the XII century. In art, it is reflected by the antithex, characteristic of the aesthetics of the Middle Ages, when sacral music - the "new song" is opposed to "old", that is, pagan music. At the same time, instrumental music both in the Western and Eastern Christian tradition was leaked less worthy phenomenon than singing.

"Maastricht class", Maastricht rite. The first quarter of the XIV century. Netherlands, Liege. British library. Stowe MS 17, F.160R / Detail of a Miniature from the Maastricht Hours, Netherlands (Liège), 1st Quarter of the 14th Century, Stowe MS 17, F.160R.

Music is inseparable from holidays. Watching actors are associated with holidays in the medieval society - Professional fun and entertainers. People of this craft that have gained nationwide love, in written monuments were called differently. Church authors used by traditional Ancient Roman names: Mime / Mimus, Pantomimism / Pantomimus, Gistrius / Histrio. The generally accepted was the Latin term Yokulator / Joculator - Joker, Funny, Balagen. Representatives of pleasures were called dancers / Saltator; jesters / balatro, scurra; Musicians / Musicus. Musicians distinguished by childbirth: Citharista, Cymbalista, etc .. Special distribution received the French name "Juggler" / jongleur; In Spain, he corresponded to the word "Hugar" / Junglar; In Germany - "Spielman" / Spielmann, in Russia - "Skomorok". All these names are practically synonyms.

About medieval musicians and music - briefly and fragmentary.

2.

Maastricht Character, BL Stowe MS 17, F.269V

Illustrations - from the Netherlands manuscript of the first quarter of the XIV century - the "Maastricht Character" of the British Library. Images of marginal borders allow you to judge the device of musical instruments and about the place of music in life.

From the XIII century, stray musicians are more actively striving in castles and cities. Together with the knights and representatives of the clergy, court minesters surround their crowned patrons. Musicians and singers are indispensable participants of the inhabitants of the inhabitants of knightly castles, satellites in love with cavaliers and ladies.

3.

f.192V.

There the pipes and thrombones thundered, as if thunder,
And flutes and swirls ringing silver,
The sound of the harp and violins accompanied the singing,
And many new dresses singers received for zeal.

["Kudruna", German epic poem of the XIII century.]

4.

f.61V.

Theoretical and practical music was included in the program of learning the perfect knight, it was honored with a noble sophisticated fun. Especially loved singer Viola with her gentle chords and melodic harp. The vocal solo was accompanied by the game on Viola and the harp not only Jugglers are professional performers, but also noble poets and singers:

"Tristrah was a very capable student and soon worked out the seven major arts and many languages. Then he studied seven types of music and became famous as a famous musician who was not equal. "

["Saga Tristrama and Isonda", 1226]

5.


f.173V.

Tristan and Isolde in all literary fixations of legends - skilled harvesters:

When he sang - she played
Then she replaced him ...
And if sang one - another
Harp hit his hand.
And singing full of longing,
And the sounds of strings from hand
Converged in the air and there
Take off together to heaven.

[Gottfried Strasbourg. Tristan. First quarter of the XIII century.]

6.


f.134R.

From the "biographies" of Provencal Troubadurov, it is known that some of them improvised on tools and then called "Violar".

7.


f.46R

The Emperor of the Sacred Roman Empire of the German Nation of Friedrich II Staufen (1194-1250) "played different tools and was trained in singing"

8.

f.103r.

On the harp, women and other tools were played by women, as a rule, jugglers, occasionally - girls from noble families and even the highest person.

So, the French court poet XII century. I felt the queen-wiseist: "The queen sings sweetly, the song is merged with the tool. Good songs, beautiful hands, voice is gentle, Sounds quiet "

9.


f.169V.

Musical instruments were distinguished by a variety and gradually improved. Related tools of one family formed a lot of varieties. There was no strict unification: their forms and dimensions were largely dependent on the desire of the manufacturer. In written sources, identical tools often worn various names or, on the contrary, various types were hiding under the same names.

Images of musical instruments with text are not connected - I am not a specialist in this matter.

10.


f.178V.

The group of string instruments was subdivided into the family of bow, lute and harp. Strings made from twisted breadcrumbs, horsepower or silk threads. From the XIII century. They were increasingly done from copper, steel and even silver.

String-bored tools that have the advantage of sliding sound with all halftons, fit the best to accompany the voices.

Paris Music Music of the XIII century John de Grorhaio / Groameio put Viola in the first place among the Strings: on it "all musical forms are tightly transmitted", including dance

11.

f.172R

Painting court festival in the epic "Wilhelm von Veden" (1290), German Poet Ulrich von Eschenbach highlighted the Vie:

Of all that I heard leaning,
Vila only praise dust;
It is useful to listen to all of her.
Since the heart is wounded yours,
Then this flour will be healed
From tender sweetness of sound.

Music encyclopedia [M.: Soviet Encyclopedia, Soviet composer. Ed. Yu. V. Keldysh. 1973-1982] Reports that the Vila is one of the general names of medieval string tools. And what meant Ulrich von Eshenbach - I do not know.

12.

f.219V. Click on the picture - the tool is larger

14.

f.216V.

In the views of the people of Middle Ages, instrumental music was verminated, possessed polar qualities and caused directly opposite emotions.

"She lies on empty greasiness, others - on pure dying joy, and often on holy tears" [Petrarch].

15.

f.211V.

It was believed that unborn and restrained music, softening morals, introduces the souls to the divine harmony, facilitates the comprehension of secrets of faith.

16.


f.236V.

On the contrary, exciting orgiastic melodies serve the corruption of the human race, lead to a violation of Christ Commandments and the final condemnation. Through the unbridled music in the heart, many vices penetrate.

17.


f.144V.

Church hierarchs followed the teachings of Plato and Boeation, clearly separated by the ideal, elevated "harmony of the sky" and the duty, obscene music.

18.


f.58R.

The monstrous musicians who are abounding the fields of gothic manuscripts, including the Maastricht Character - the embodiment of the sinfulness of the Crafts of the Gusters, formerly musicians, dancers, singers, animal trainers, narrator, etc. Gistriions were announced by the "servants of Satan."

19.


f.116R

Grotesque creatures play real or ridiculous tools. The irrational world of inspisitably musitizing hybrids frightening and funny simultaneously. "Surrealistic" evil, taking countless lichni, carries and fooling with fraudulent music.

20.


f.208V.

At the beginning of the XI century. Notker Hip, followed by Aristotle and Boeziem pointed to three qualities of a person: the creature is reasonable, mortal who knows how to laugh. Notker considered man and capable of laughter, and causing laughter.

21.


f.241R

On the holidays of viewers and listeners, among others, the musical eccentrics were entertained, which paroded and thus shaded the "serious" numbers.

In the hands of laughing doubles in the "world inside out", where the usual relationship is turned over, as the tools began to "sound" the most seemingly not suitable for mousizing items.

22.


f.92V. From under the clothes of a musician playing a rooster, looks out of a dragon torso

The use of items in the role unusual for them is one of the techniques of a buffon comedian comedian.

23.


f.145V.

Fantastic Muzitsia responded to the globility of the area festivities, when the usual face was erased between objects, everything became unstable, relative.

24.

f.105V.

In the views of intellectuals from the XII-XIII centuries. There was a certain harmony between the disembodied sacred spirit and revealing cheerfulness. Serene, enlightened "spiritual fun", the commandment of the incessant "jog of Christ" is characteristic of the followers of Francis of Assisi. Francis believed that the constant sadness was not the Lord, but the devil. In ancient poetry, joy is one of the highest court virtues. Its cult is generated by the life-affirming worldview of the troubadur. "In many-torque culture and serious tones, they sound differently: they fall on the reflexes of laughing tones, they lose their exception and uniqueness, they are complemented by a lading aspect."

25.

f.124V.

The need to legalize laughter and jokes did not exclude the struggle against them. Risards of faith branded jugglers as "members of the Devil Community." At the same time, they recognized that although jugglery - a sad craft, but since everyone needs to live, and it will be consistent with adherence to decency.

26.

f.220R

"Music has great strength and influence on the passion of soul and body; In accordance with this, singles or musical frets are distinguished. After all, some of them are such that they encourage their dimensions of honest, immaculate, humble and devout. "

[Nikolay Ore. Treatise on the configuration of qualities. XIV century.]

27.


f.249V.

"Tympana, lute, harp and kifara
They are hot, and couples walked
In the sinful dance.
I've ever night
Food and ventilation until morning.
So kerisili mammon in the form of a pig
And in the temples, the Satanian was jumping. "

[Choseer. The Canterbury Tales]

28.


f.245V.

Piece melodies, which, "tickling hearing and deceiving mind, Uvo-Give us from good" [John Zlatoust], were regarded as a degeneration of sinful physicity, the ingenious creation of the devil. With their decomposing influence, it is necessary to fight with hard restrictions and prohibitions. Self-chaotic music of hellish elements - part of the world "liturgy inside out", "Idolskoe worship".

29.


f.209R

Kuzma Petrov-Vodkin (1878-1939) is evidenced about the survivability of such views (1878-1939), remembering the Cathedral Archpriest Khlynovsk, the small town of Saratov province.

"We, graduates, he did an excursion to the field of art, in particular to music: - But she will play, - and beams under their feet and wipe off ... And if the songs sing Nach-Nete, - so from the throat of Besky's tails and Get climb, and climb. "

30.


f.129R

And on another pole. What is happening from the Holy Spirit exciting music of a high ideal, the music of spheres was mentioned as the embodiment of the unearthly harmony of the universe created by the Creator, hence the eight tones of Gregorian Choral, and as an image of consent in the Christian Church. A reasonable and proportionate combination of various sounds testified to the unity of the comfortable hail of God. Slender consistency of consonance symbolized the well-coordinated relationships of elements, seasons, etc.

The correct melody delays and improves the Spirit, this "call for an exalted lifestyle, instructing those who are devoted to the virtue, not allow anything of non-oxic, non-stroke, intolerable" [Gregory Nissky, IV century.]

Footnotes / Literature:
Kudrun / ed. Premium. R. V. Frenkel. M., 1983. P. 12.
Legend of Tristan and Isolde / Ed. Premium. A. D. Mikhailov. M., 1976. P. 223; C.197, 217.
Song of Nibelungha / Per. Yu. B. Korneeva. L., 1972. P. 212. The "sweet nailers" minesters sounded in the gardens and castle draws.
Musical aesthetics of the Western European Middle Ages and Renaissance / Sost. Texts V. P. Shestakov. M., 1966. P. 242
Struve B. A. The process of forming a viola and violins. M., 1959, p. 48.
Cülkep. Mönche, Bürger, Minnesänger. Leipzig, 1975. S. 131
Darkevich V. P. People's culture of Middle Ages: secular holiday life in the art of the IX-XVI centuries. - M.: Science, 1988. P. 217; 218; 223.
Esthetics of Renaissance / Sost. V. P. Shestakov. M., 1981. T. 1. P. 28.
Gurevich A. Ya. Problems of medieval folk culture. P. 281.
Bakhtin M. Aesthetics of verbal creativity. M., 1979. P. 339.
Petrov-Vodkin K. S. Khlyovsk. EUKLIDE space. SAMARKAND. L., 1970. P. 41.
Averintsev S. S. Poetics of the Runnevizante literature. M., 1977. P. 24, 25.

Sources for text:
Darkevich Vladislav Petrovich. The secular festive life of the Middle Ages is the IX-XVI centuries. Edition Second, supplemented; M.: Publisher "Indrik", 2006.
Darkevich Vladislav Petrovich. Folk culture Middle Ages: secular festive life in the art of the IX-XVI centuries. - M.: Science, 1988.
V.P. Darkevich. Parody musicians in miniatures of gothic manuscripts // "Art language of the Middle Ages", M., "Science", 1982.
Boethations. Guidance to music (passages) // "Musical aesthetics of the Western European Middle Ages and Renaissance" M.: "Music", 1966
+ links inside text

Other entries With illustrations from Maastricht Character:

P.S. Marginals - drawings on the fields. Some illustrations will probably be more accurate to call the miniature to a part of the page.

Music art Middle Ages. Figy-semantic filling. Personality.

Middle Ages - Long, covering more than a thousand years of the development of mankind.

If we turn to the figurative and emotional environment of the period of "gloomy medieval", as they are often called, we will see that it was filled with an intense spiritual life, creative ecstasy and the search for truth. The Christian church had a powerful impact on the minds and hearts. Threads, stories and images of the Holy Scriptures understood how the story that unfolds from the creation of the world through the coming of Christ and until the day of the terrible court. The earthly life was perceived as the continuous struggle of dark and light forces, and the soul of a man was the suspend of this struggle. The restoration of the end of the world is permeated by the globility of medieval people, it paints the art of this period into dramatic tones. Under these conditions, the musical culture has developed two powerful formations. On the one hand, professional church music, which has passed throughout the medieval period, a huge way of development; On the other hand, folk musical creativity, which was persecuted by representatives of the "official" church, and secular music, existing as amateur, throughout almost the entire medieval period. Despite the antagonism of these two directions, they have undergone mutual influence, and by the end of this period the results of the interpenetration of secular and church music have become particularly tangible. From the side of the emotional-semantic content, the most characteristic for medieval music is the predominance of the perfect, spiritual and didactic principle - both in secular and church genres.

The emotional and semantic content of the music of the Christian church was directed to the praise of divinity, the denial of earthly goods for the sake of reward after death, the preaching of asceticism. Music concentrated in itself what was associated with the expression of the "pure", devoid of any "bodily", the material form of the desire for the ideal. The impact of music intensified by acoustics of churches with their high vaults reflecting the sound and creating the effect of the divine presence. Especially brightly merging music with architecture manifested with the emergence of the Gothic style. The multi-voice music created by this time created the aspirated swell, free wiping of votes, repeating the architectural lines of the Gothic temple, creating a feeling of the infinity of space. The most vivid samples of musical gothic created composers of the Notre Dame Cathedral - Magister Leonin and Magister Peroths, called Great.

Music art Middle Ages. Genres. Features of the music language.

The formation of secular genres during this period was prepared by the work of stray musicians - juggler, minstrelles and spieswhich were singers, actors, circus and instrumentalists in one person. To juggles, spiers and minstrels also joined vagant and Goliada - Unfortunate students and escaped monks entitled to the "artistic" medium literacy and a certain erudition. People songs sounded not only on emerging national languages \u200b\u200b(French, German, English and others), but also in Latin. The wandering students and Scholas (Vagatants) often had great skill in the Latin resentment, which attached a special sharpness to their accusatory songs directed against the secular feudalists and the Catholic Church. Gradually, stray artists began to form goals, settle in cities.

In the same period, a peculiar "intelligent" interlayer is nominated - chivalry, in whose environment (in periods of truce) also flares up interest in art. Castles turn into centers of knightly culture. The arch of the rules of the knightly behavior required "courti" (exquisite, polite) behavior. In the 12th century in Provence with the courts of feudal seenors, art is born troubadurov, representing the characteristic expression of the new Sivo knightly culture proclaiming the cult of earthly love, enjoying nature, earthly joy. In the circle of images, the musical and poetic art of Trubadurov knew quite a few species associated mainly with love lyrics or military, official songs, reflecting the attitude of the Vassal to his suzerane. Often, the love lyrics of Trubadurov was chosen in the form of feudal ministry: the singer recognized himself with the Vassal of Ladies, which was usually the wife of his senory. He chased her dignity, beauty and nobility, glorified her domination and "languished" at an unfavorable goal. Of course, this was a lot of conditional dictated by the court-lathe of the time. However, often behind the conditional forms of the Knight's ministry was laid a genuine feeling, bright and impressive in poetic and musical images. The art of Trubadurov was largely advanced for their time. Attention to the personal experiences of the artist, the emphasis on the inner world of a loving and suffering personality suggest that the pipelists openly opposed themselves asset tendencies of medieval ideology. Troubadour glorifies real earthly love. It sees the "source and origin of all benefits."

Under the influence of the Poetry of Troubadur, creativity troversThat was more democratic (most of the drivers are from citizens) here the same topics were developed here, and the artistic style of songs was developed. In Germany, a century later (13th century) was formed minnezingerIn which the songs of moral and edifying content were developed more often than that of the pipelists and the pipes, the love motives were often acquired by religious painting, they were associated with the cult of the Virgin Mary. Emotional system songs were distinguished by greater seriousness, grooves. Minnesinger for the most part served as the courtyards, where they satisfied their contests. Known names of tungsten von Eshenbach, Walter Background der Foelweid, Tangayizer - Hero of the famous legend. In Wagner Opera based on this legend, the central picture is the singers' competition scene, where the hero to universal indignation glorifies earthly feelings and pleasures. Libretto "Tangayizer" Wagner written by Wagner - a sample of remarkable penetration into the worldview of the era, chanting moral ideals, ghostly love and in constant dramatic struggle with sinful passions.

Church genres

Grigorian choral. There were many options for church tunes and Latin texts in the early Christian Church. There was a need to create a single cult ritual and the corresponding liturgical music. This process was completed by 6 and 7VV. Pope Gregory I. Church tunes, selected, canonized, distributed within the church year, amounted to the official arch - antifoneary. The choral melodies included in it became the basis of the liturgical singing of the Catholic Church and got the name of the Gregorian Choral. He was performed by a one-haired chorus or an ensemble of male voices. The development of the humor is leisurely and is based on varying the initial speaker. The free rhythm of the melody is subordinate to the rhythm of words. Texts - prosaic in Latin, whose sound itself created extension from all worldly. Melodic movement smooth if small jumps appear, they immediately compensate for the movement in the opposite direction. The melodies of the Gregorian chants are disintegrated into three groups: a recitation, where each syllast of the text corresponds to one sound of the pit, Psalmody, where some syllables and the anniversary is allowed, when the syllables were shed in complex melodic patterns, most often "alleluia" ("praise God"). Of great importance, as in other art types, has a spatial symbolism (in this case, "top" and "bottom"). The whole style of this one-haired singing, the absence of a "second plan" in it, the "sound perspective" resembles the principle of a plane image in medieval painting.
Anthem . Gym flourishing is 6 V. The hymns, distinguished by greater emotional immediacy, carried the spirit of worldly art. They were based on the melodies of a song warehouse close to folk. At the end of the V century, they were expelled from the Church, but for centuries they existed as extra-worked music. The return of them to church source (9B.) Was a kind of concession to the worldly feelings of believers. Unlike choralov, the hymns relied on the poetic texts, and specially composed (and not borrowed from the sacred books). This determined the clearer structure of the tunes, as well as greater freedom of the melody, not subordinate to each word of the text.
Mesa.. The Ritual Mass was folded for many centuries. The sequence of its parts in the main features was determined by 9V., The final look of the Mesa acquired only by the XI century. Durable was the process of forming her music. The most ancient type of liturgical singing - Psalmody; Directly associated with the liturgical action itself, it sounded throughout the service and was performed by priests and church singers. The introduction of hymns enriched music style Mass. Highlighted haymaker sounded in certain moments of the ritual, expressing the collective feelings of believers. At first they sang their parishioners themselves, later - a professional church choir. The emotional impact of the hymns was so strong that they gradually began to oust the Psalmody, taking the place in the music of Mascia. It was in the form of hymns, five main parts of the Mass (the so-called ordinarium) took shape.
I. "KYRIE ELEISON"("Lord, Pomemui") - Molver for forgiveness and pardon;
II. "Gloria"("Glory") - the grateful anthem of the Creator;
III. "Credo"("I believe") - the central part of the liturgy, which sets out the main dogmas of Christian creed;
IV. "Sanctus" ("Holy") - a three-year-repeated solemn-bright exclamation, which replaced by the welcoming exclamation of "Osanna", which framed the central episode "Benedictus" ("Blessed one who is coming");
V. "AGNUS DEI" ("Lamb of God") - another plenty of pardon, faithful to the sacrifice of Christ; The last part is completed with the words: "DONA NOBIS PACEM" ("Give us the world").
Silent genres

Vocal music
Medieval musical and poetic art was mostly amateur. It assumed sufficient universalism: the same man was both a composer, a poet, and a singer, and an instrumentalist, since the song was often performed accompanied by Lute or Viola. The poetic texts of songs, especially the samples of knight art, are of great interest. As for the music, she experienced the influence of Grigorian chants, the music of stray musicians, as well as the music of the eastern peoples. Often by performers, and sometimes the authors of the music of Troubadur songs were juggles who were watched with knights, accompanying their singing and performing the functions of servants and assistants. Thanks to this cooperation, the boundaries were erasing between people and knightly musical creativity.
Dance music The area in which the importance of instrumental music manifested itself especially strongly was the music dance. Since the end of the XI century, a number of musical and dance genres arise, designed exclusively for execution on instruments. No harvest holiday, no wedding or other family celebration cost without dances. Dances often performed under singing themselves dancing or under the horn, in some countries - under the orchestra consisting of a pipe, drum, call, plates.
Branle French folk dance. In the Middle Ages was the most popular in cities and villages. Soon after his appearance, the attention of the aristocracy and became a ballroom dance. Thanks to the simple movements, Branley could dance everything. His participants are holding hands, forming a closed circle that can be broken down on the line, turning into zigzag moves. There were many types of Branle: Simple, double, funny, horse, Branle Prachk, Branle with torches, etc. Based on the Beran movements, Gavot, Paspie and Burre were built, from Branle gradually arises.
Stella The dance performed pilgrims who came to the monastery to worship the statue of the Virgin Mary. She stood on the top of the mountain illuminated by the sun, and it seemed that unearthly light flows from her. Hence the name of the dance (Stella - from the lat. Star). People danced in a single impulse, shocked by the magnificence and purity of God's Mother.
Karol It was popular in 12V. Karol - open circle. During the execution of Karol dancing sang, holding hands. Ahead of the dancing was walked. Chorus performed all participants. The rhythm of the dance was smooth and slow, then diminished and switched to run.
Dancing death In the period of late Middle Ages in European culture the theme of death has become quite popular. The plague epidemic, carrying a huge number of lives affected the attitude towards death. If earlier it was delivered from earthly suffering, then in the XIII century. She was perceived with horror. Death was depicted in drawings and engravings in the form of frightening images, discussed in the lyrics of songs. Dance is performed in a circle. Dancing begins to move, as if their unknown force entails them. Gradually, they master the music that the death of death is playing, they begin to dance and fall out at the end.
Basan owes Promenade dancing marches. They wore a solemn character and were technically uncomplicated. Having gathered on the singer in their best outfits passed before the owner, as if demonstrating themselves and their costume - this was the meaning of dance. Dancing processions are firmly entered into the court life, without them there was no festival.
Estampi. (ethampidi) Paired dances, accompanied by instrumental music. Sometimes the "ethambi" was completed by three: one man led two women. Music played a big role. It consisted of several parts and caused the nature of the movements and the number of clocks on each part.

Trubadras:

Giraut Ricier 1254-1292.

Guiraut Riquier - Provencal Poet, which is often called the "last pipe". The prolific and skillful master (48 of his melodies preserved), but not alien to spiritual theme and significantly complicated its vocal letter, removing from the song. For many years he was at the court in Barcelona. Participated in a cross campaign. Of interest is also its position in relation to art. His correspondence with the famous patron of the arts of Alphonse wise, King Castile and Leon. In it, he complained that dishonest people, the "degrading title of juggler", often mixed with knowledgeable troubadras. It is "shamefully and harmful" for representatives of the "high art of poetry and music that can compose poems and create instructive and incredit works." Under the guise of the Answer, King Ricier suggested its systematization: 1) "Doctors of Poetic Art" - the best of the Trubadurov, "covering the way to society", the authors of "exemplary verses and canson, graceful novel and didactic works" in spoken language; 2) Trubadras who compose songs and music to them create dance melodies, ballads, alba and sirvents; 3) Jugglers catering to taste noble: they play different tools, they tell the story and fairy tales, they have other people's poems and cansons; 4) Buffons (jesters) "His low art on the streets and squares shows and behave unworthy." They remove trained monkeys, dogs and goats, demonstrate puppets, imitate the peny of birds. Buffon is playing for small handoffs on the tools or whines before the fortune ... Traveling from the courtyard to the court, without shame, patiently transfers all sorts of humiliation and despises pleasant and noble classes.

Rikiera, as many troubadurov, disturbed the question of knightly virtues. He considered the highest advantage. "In no way I do not say, I'm bad about the valor and mind, but the generosity is all exceeding."

The feelings of bitterness and annoyance are sharply enhanced by the end of the XIII century, when the collapse of the crusades turned into an inescanic reality, with which it was impossible not to be considered over which it was impossible not to think. "It's time for me to end!" - In these verses (they already have 1292) expressed its disappointment by the disappointment of crusading enterprises Giraut Ricier:
"It came to us an hour - to ruin the ruin - to leave the holy land!" The poem "It's time for me with the songs of Kind" (1292) is considered the last troubadur song.

Composers, musicians

Guillaume de Masho Ok. 1300 - 1377.

Machaut is a French poet, a musician and composer. He served at the court of the Czech king, with 1337 he was the canonon of the Reimary Cathedral. One of the most prominent musicians of the late Middle Ages, the largest figure of the French ARS NOVA. Known as a multi-headed composer: It has reached its motges, ballads, viros, le, rondo, canons and other songs (song-dance) forms. His music is distinguished by sophisticated expressiveness, refined sensuality. In addition, Masha created the first in history of the author's Mass (for the coronation of King Charles V in Reims in 1364g .. She is the first in the history of music by the author's mesca - the one-piece and completed work of the famous composer. In his art, as it were, important lines passing, with One side, from the musical and poetic culture of the pipelists and the pipes in its long-standing, the basis, on the other, from the French schools of a polyphony of 12-13 centuries.

Leonin (mid XII century)

Leonin is an outstanding composer, along with a peroth belonging to the Notre-Lady School. The story kept us the name of this famous creator of the "big book of organs", designed for the annual circle of church singing. Leonin organum replaced choral singing to unison with two-voice singing soloists. Its two-voice organs were distinguished by such a thorough development, a harmonious "coherence" of the sound, which was impossible without prior thinking and recording: in the art of Leonin, it was not a singer-improviser, but a composer. The main innovation of Leonin was a rhythmic record, which allowed to establish a clear rhythm mainly by the moving top voice. The very nature of the top votes was distinguished by melodic generosity.

Peroten

Perotin, Perotinus - French composer of the end of 12 - 1st third of 13 centuries. In the modern treatises, "Master Peroth Great" (who was meant, is definitely unknown, because there were several musicians to whom this name can be attributed). Peroths developed the genus of a multi-voice singing, which established in the work of his predecessor Leonin, also belonged to the so-called Parisian, or Notre Dame, school. Peroths created high samples of a melmamatic organum. He wrote not only 2 votes (as Leonin), but also 3, 4-eyed essays, and apparently complicated and enriched multifucy rhythmically and textured. Its 4 votional organs have not yet obeyed the existing laws of polyphony (imitation, canon, etc.). In the work of Perothsum there was a tradition of multi-voice chants of the Catholic Church.

Zokene de Ok. 1440-1524

Franco Flemish composer. From the young age church singing. He served in various cities of Italy (in 1486-99 singer papal chapels in Rome) and France (Cambone, Paris). Was a court musician of Louis XII; He received recognition as a master of not only cult music, but also secular songs, anticipating French chanson. The last years of life is the abbot of the cathedral in Konde-sur-ESCO. Zoskien Dew - one of the greatest composers of the Renaissance, which had a versatile influence on the subsequent development of Western European art. Creatively summarizing the achievement of the Netherlands school, he created the innovative essays of spiritual and secular genres (Mass, Motettes, Psalms, Frottols), subordinating high polyphonic technique with new artistic, tasks. The melody of its works associated with genre sources is richer and multifaceted than the earlier Netherlands masters. "Clearing" Polyphonic Style Zoshen Dew, free from counterpunctic complication, was a turning point in the history of choral writing.

Vocal genres

For the entire era, in general, the obvious predominance of vocal genres, and particular vocal polyphonies. The unusually complex skill of the strict style polyphony, genuine scholarship, the virtuoso technique was adjacent to the bright and fresh art of domestic distribution. Instrumental music acquires some independence, but its immediate dependence on vocal forms and from domestic sources (dance, song) will be overcome only slightly later. Large musical genres remain associated with verbal text. The essence of Renaissance humanism was reflected in the composition of the chorus songs in the style of Fottol and Vilall.
Dance genres

In the era of the revival of household dance acquires great importance. In Italy, France, England, Spain there are many new dance forms. Various strata of society have their dances, produce their execution, rules for behavior during balls, evenings, festivities. The dancing of the Renaissance is more complex than the unpaired Branles of the late Middle Ages. Dance (duet) dances, built on complex movements and figures come to replace dancing with dance and linear-horned composition.
Volta - Pair dance of Italian origin. Its name comes from the Italian word Voltare, which means "rotate". The size is three-toned, the tempo moderately fast. The main drawing of the dance is that the cavalier is promptly and sharply turns the lady in the air. This rise is usually done very high. It requires a large force and dextercy from the cavalier, since, despite the sharpness and some impurity of movements, the rise must be performed clearly and beautifully.
Gallarda - Ancient dance of Italian origin, common in Italy, England, France, Spain, Germany. The tempo of the early Gallurgard moderately fast, the size of the three-tonol. Galjard was often performed after the fellow, with which it was sometimes related thematically. Gallard 16 V. It is sustained in a melody-harmonic texture with a melody in the upper voice. Gallard melodies were popular in wide layers of French society. During the execution, Serenad Orleans students playing shard melodies at lutes and guitars. Like the chimes, Galharda wore the character of a kind of dance dialogue. Kavaler moved around the hall with his lady. When a man performed solo, the lady remained in place. Male solo consisted of a variety of complex movements. After that, he again approached the lady and continued the dance.
Pavana - Enclose dance of 16-17 centuries. The pace is moderately slow, size 4/4 or 2/4. In different sources there is no consensus on its origin (Italy, Spain, France). The most popular version is a Spanish dance that imitracts the movements of the peacock marking with a beautifully flushed tail. He was close to Babdança. Various ceremonial marches took place to the music of the Pavana: the entrances of the authorities in the city, the visible brides in the church. In France and Italy, Pavan is approved as a court dance. The solemn character of the Pavana allowed the court society to shine to the grace and the grace of his manner and movements. People and bourgeoisie This dance did not perform. Pavana, like Menuet, was strictly in ranks. The dance of the king and the queen began, then the dofin was introduced into it with a notable lady, then the princes, etc. Cavalers performed with a wig in the sword and in Pellery. The ladies were in the front dresses with heavy long tps, which needed to be skillfully own during movements, without raising them from the floor. The movement of the trench made the moves beautiful, giving the pawan a pomp and solemnity. For the queen of approximate ladies carried the loop. Before the beginning of the dance, it was assumed to bypass the hall. At the end of the dance, the pair with bows and reversals again went around the hall. But before putting on a hat, the cavalier was supposed to put the right hand back on the shoulder of the lady, the left (holding hat) - on her waist and kiss her on the cheek. During the dance, the lady was lowered; Only from time to time she looked at her cavalor. The most long pavan was preserved in England, where it was very popular.
Allemanda - Slow dance of German origin in a 4-dollar size. It belongs to the massive "low", nepral dance. The performers became pairs with each other. The number of steam is not limited. Kavaler kept a lady by his arms. The column was moving around the hall, and when it reached the end, the participants did a turn on the spot (not separating the hands) and continued the dance in the opposite direction.
Kuranta - Court dance of Italian origin. The quarant was simple and complicated. The first consisted of simple, glissing steps that performed mainly ahead. The complex chimes was a pantomimical character: Three cavaliers were invited to three ladies to participate in the dance. The ladies were assigned to the opposite corner of the hall and asked to dance. Ladies refused. Cavalers, having received a refusal, went, but then returned again and became before ladies on her knees. Only after the pantomimen scene began the dance. The chimes of the Italian and French types differ. Italian quarant - a revived dance of 3/4 or 3/8 with a simple rhythm in a melody harmonic texture. French - solemn dance ("dance of manners"), smooth predominal procession. Size 3/2, moderate pace, fairly developed polyphonic texture.
Sarabanda - Popular dance 16 - 17 centuries. Happened from the Spanish female dance with kastagnets. Originally accompanied by singing. The famous balletmaster and teacher Karlo Blazis in one of their works gives a brief description of Sarabanda: "In this dance, everyone chooses a lady to which he is not indifferent. Music gives a signal, and two lovers perform the dance, noble, measured, however, the importance of this dance It does not interfere with pleasure, and modesty gives him even more gracefulness; the views of everyone are happy to be followed by the dancing who perform various figures, express all the phases of love with their movement. " Initially, the pace of Sarabanda was moderately fast, later (from the 17th century) there was a slow French Saraband with a characteristic rhythmic pattern: ...... at his homeland Sarabanda got into the category of obscene dances and in 1630. It was banned by the Castilian Council.
Zhiga - Dance of English origin, the fastest, three-tel, turning into triolity. Initially, the album was a pair dance, among the sailors spread as a solo very rapid dance of a comic nature. Later it is in instrumental music as the final part of the ancient dance suite.

Vocal genres

The most obvious baroque features were manifested in those genres where music intertwined with other arts. These were, first of all, Opera, Oratoria, and such genres of spiritual music, like Passonese and cantata. Music in conjunction with the word, and in the opera - with costumes and decorations, that is, with elements of painting, applied art and architecture, they were called upon to express the complex spiritual world of man, experienced by the complex and diverse events. Neighborhood of heroes, gods, real and irremal action, all sorts of magic were natural to the baroque taste, were the highest expression of variability, dynamism, transformation, miracles were not external, purely decorative elements, but were an indispensable part of the artistic system.

Opera.

Opera genre received the greatest popularity in Italy. A large number of opera theaters have been opened, which was an amazing, unique phenomenon. Countless, draped by heavy velvet lodges, fenced with a barrier Paryter (where at that time stood, and not sat) they collected during the 3-opera seasons almost all population of the city. The lodges were purchased for the whole season by Patrician last names, a simple person was crowded in the parter, sometimes viscorated for free - but everyone felt at ease, in the atmosphere of a continuous festival. There were buffets, couches, lonely tables for playing "Pharaoh"; Each of them connected with special premises, where food was preparing. The audience went to the neighboring lodges as a visit; Dating, love intrigues began here, the latest news was exchanged, a card game was exchanged for large money, etc. And on the stage, a luxurious, extraimary spectacle was deployed, designed to influence the mind and feelings of the audience, to chant eyesight and hearing. The courage and the valor of the heroes of antiquity, the fabulous adventures of mythological characters appeared before admiring listeners in all the magnificence of musical and decorative design, achieved for almost a countercake existence of the Opera Theater.

Arriving on the outcome of the 16th century in Florence, in the circle ("Camerata") of humanists, poets and composers, Opera soon becomes the leading musical genre of Italy. A particularly important role in the development of the opera played by K. Monteverdi, who worked in Mantu and Venice. The two of his most famous stage works, "Orpheus" and "coronation of poppai" are marked by the striking perfection of musical dramaturgy. In the life of Monteverdi in Venice there was a new opera school led by F. Kawalli and M. Honor. With the opening in 1637 in Venice of the first public theater of San Cassiano, there was an opportunity to get to the opera anyone who bought a ticket. Gradually, the meaning of spectacular, externally spectacular moments increases to the detriment of antique ideals of simplicity and naturalness, inspired by the open-retardants of the opera genre. Huge development receives a producer technique, which allows the most fantastic adventures of heroes on stage - up to shipwrecks, flights by air, etc. Grandous, colorful scenery, creating the illusion of perspectives (the scene in Italian theaters was an oval form), transferred the viewer to fabulous palaces And on maritime expanses, in mysterious dungeons and magic gardens.

At the same time, in the music opera, an increasing emphasis was made at the solo vocal beginning, submitted to himself the remaining elements of expressiveness; This in the future inevitably led to the enthusiasm of self-sufficient vocal virtuosity and a decrease in dramatic effects, which often became just a reason for the demonstration of phenomenal voice data of singers. In accordance with custom, singers-castrates performed as solts who performed and men's and women's parties. Their execution combined the power and glitter of men's voices with ease and mobility of women. This use of high votes in the parties of the courageous-heroic warehouse was traditional and not perceived as unnatural; It is widespread not only in Papal Rome, where women officially forbidden to perform in Opera, but also in other cities of Italy.

From the second half of the 17th century The leading role in the history of the Italian musical theater proceeds to the Neapolitan opera. The principles developed by Neapolitan composers are the principles of opera dramptures become universal, and the Neapolitan opera is identified with the nationwide type of the Italian opera Seria. A huge role in the development of the Neapolitan Opera School was played by the conservatory, grew from shelters for orphans to special musical educational institutions. They paid special attention to classes with singers, which included training in air, on water, in noisy crowded places and where the echo, as it were, controlled the singer. The long strip of brilliant virtuoso vocalists - the pets of the conservatorium - spread the fame of Italian music and "excellent singing" to the whole world (Bel Canto). For the Neapolitan opera, the Conservatory constituted a constant reserve of professional personnel, were the key to its creative update. Among the numerous Italian opera composers of the Baroque era, the most outstanding phenomenon was Claudio Monteverdi. In his later works, the basic principles of opera playwork and various forms of opera solo singing, which should have followed most of the Italian composers of the 17th century.

Genry Pörswell was genuine and the only Creator of the National British Opera. He drove a large number of theatrical works, including the only opera - Didona and Eney. "Didona and Eney" - almost the only English opera without spoken inserts and dialogues, in which a dramatic action from beginning to end is put on music. All other musical and theatrical productions of Peresella contain conversational dialogues (in our time such works are called "musical").

"Opera - her delightful location of it is a country of transformations; in the blink of an eye, people become gods, and the gods become people. There is no way to travel around the countries, for the country is traveling in front of him. You are bored in a terrible desert? Instantly sound whistle tolerate you in the gardens Idylli; the other of you from hell in the dwelling of the gods leads: another other - and you are in the village of Fay, the opera fairies are fascinated as the faces of our fairy tales, but their art is more natural ... "(Dufrena).

"Opera - the performance is as strange, how magnificently, where the eyes and ears are more satisfied than the mind; where the survival of music is funny absurdity, where, when the city is destroyed, the arias sing, and around the grave dancing; where the Pluton and the Sun palaces can be seen, as well as Gods, demons, wizards, mandes, witchcraft, palaces are built and destroyed in the blink of an eye. These oddities suffer and even admire, for Opera - Country Fay "(Voltaire, 1712).

Oratorio

Ocaker, including spiritual, contemporaries were often perceived as a opera without costumes and scenery. However, the cult orators and Passiona sounded in the temples, where the temple itself, and the versions of the priests served and scenery and suit.

Oratoria and was primarily a spiritual genre. The word oratoria itself (IT. Oratorio) comes from the Latelatinsky Oratorium - "Mellery", and Latin-wow - "I say, pray." Oratorion was born at the same time as opera and canta, but in the temple. Her predecessor was the liturgical drama. The development of this church action went in two directions. On the one hand, an increasingly acquiring is commonplace, it gradually turned into a comic representation. On the other hand, the desire to preserve the seriousness of prayer communication with God all the time pushed to the staticness of the performance, even with the most developed and dramatic plot. This led, ultimately, to the emergence of an oratorio as an independent, first purely temple, and then a concert genre.

Music culture of antiquity, Middle Ages, Renaissance

ANTIQUITY

The musical culture of ancient Greece forms the first historical stage in the development of the musical culture of Europe. At the same time, he is the highest expression of the culture of the ancient world and discovers undoubted relations with more ancient cultures of the Middle East - Egypt, Syria, Palestine. In all the historical links of this kind, the musical culture of ancient Greece does not repeat the ways passed by other countries: it has its own unique appearance, with their undisputed achievements, which I am partly the European Middle Ages and then - to a greater degree of revival era.

Unlike other types of art, the music of the ancient world did not leave any equivalent creative heritage in the story. At the vast historical trap in the eight centuries - from the V century BC. by 111 century n. E.-scattered only eleven samples of ancient Greek music, which are preserved in the notation of that time. True, this is the first to record the melodies in Europe that reached us.

The most important property of the culture of ancient Greece, beyond which they almost did not perceive contemporaries and, accordingly, we will not be able to understand, is the existence of music in syncretic union with other arts - in the early steps or in synthesis with them - in the heyday era. Music in an inseparable connection of poetry (from here - lyrics), music as an indispensable participant of tragedy, music and dance - Takov, characteristic phenomena of ancient Greek artistic life. Plato, for example, quite critically responded to instrumental music, independent of dance and singing, arguing that it is only suitable for the ambulance, without a walking walk and for the image of the animal scream:

"Application of a separate playing on the flute and the kifare contains something in a high degree tasteless and worthy of only the magician." The origins of the Greek tragedy, high and sophisticated art, go from mythology, from magical acts, from the beliefs of the people. The origins of the ancient Greek myths about the great musicians - ORFEE, 0limpe, Marci, are also among the oldest times.

Important information about early musical culture in Greece gives us Homerovsky epos, self-associated with musical performance: "Iliad", Odyssey.

Along with the solo execution of epic works in the U11-VI centuries, special choral genres are also known. Songs on the island of Crete combined with plastic movements, from the dance (Gorphanham); Choral genres from the VII century were widely cultivated in Sparta. It is known that the Spartans gave music a large state, educational significance. Training with musical art did not care their professional nature, but simply entered into the system of general education of the youth. Hence the theory of ethos, justified by Greek thinkers, has grown.

A new direction in the musical and poetic art of ancient Greece, who has nominated actually lyrical themes and images, is overwhelmed with the names of the Ionian archite (VII century) and the largest "representatives of the Lesbian School of Alkey and Safo (Lights I and VI centuries). You can think that with the strengthening of actually The lyrical start and the role of the melody in their works is the word "lyrics" itself leads its origin from the Lyra.

Lyrical poetry of the VI century is represented by several genre varieties: elegions, hymns, wedding songs.

The classic age of the tragedy was the V century BC. Eh: Creativity of the greatest tragic of Eschila (approx. 525-456), Sofokla (approx. 496-, Euripid (approx. 480-406). It was the time of the highest flourishing of Greek artistic culture, a centiy and a policlet, such monuments of classical architecture, As Parfenon in Athens, the best century in the art of the whole ancient world. Setting tragedies was considered public festivals and wore, within the borders of a slave-owned society, a relatively wide democratic nature: the theater was attended by all citizens who even received a state benefit for this. Choir - a common morality expressant - Represented the people on the tragic scene and spoke of his name.

The playwright was both a poet and a musician; He did everything himself. Eschil, for example, he himself participated in the performance of his plays. Later the poet function, the musician, the actor of the director were increasingly divided. The actors were also singers. The singing of the choir connected with plastic movements.

In the Hellenistic Epoch, art does not grow from the artistic activities of citizens: it is entirely professionalized.

Everything that was written in ancient Greece about music art and what can be judged by many preserved materials about many preserved materials, was based on the ideas about the melody (by the advantage of a poetic word related). This is obvious not only from the content of special theoretical works, but also from the more general ethical and aesthetic statements of the largest Greek thinkers. Thus, the principle of one-satelline is fully confirmed, entirely characteristic of ancient Greek musical art.

The so-called doctrine of ethos, extended by Plato, developed and in-depth Aristotle, is the greatest interest from the ancient judgments about musical art. A combination of policy and music issues An antique tradition connects with the name of the Domon of Athens, a Socrates teacher and a friend of Pericla. From him as if Plato took the idea of \u200b\u200bthe benefactor's impact of music on the education of decent citizens developed by him in the books "State" and "laws". Plato takes in its ideal state the first (among other arts) the role of music in education from the young men of a courageous, wise, virtuous and balanced person, that is, an ideal citizen. At the same time, Plato, on the one hand, connects the impact of music with the impact of gymnastics ("Beautiful television"), and on the other, it claims that the melody and rhythm are most excited by the soul and encourage people to imitate the samples of the beautiful, which gives him musical art.

"Viewing then what is perfect in the song, Plato finds that it is necessary to judge this, in words, Lada and rhythm. In accordance with the presentations of his time, he will mark all the freaks that have a plaintive and relaxing nature, and calls only Dorian and Frigian unique Decent high goals of the young man's military education. Similarly, the philosopher recognizes among musical instruments only kifaru and LIRA, denying ethical qualities of all others. Thus, the carrier of the ethos, from the point of view of Plato, is not a work of art, not its imagery and not even the system. Expressive tools, but only the way or the timbre of the instrument, followed by a certain ethical quality.

Aristotle judges the appointment of music much more wider, arguing that it should serve not one, but to several goals and benefits: i) for the sake of education, 2) for the sake of purification, 3) for the sake of intellectual entertainment, that is, the sake of soothing and resting from tense activities ... From here, it is clear - continues Aristotle, - which although you can use all the frets, but they should not be applied in the same way "0 The nature of the impact of music on the psyche he judges it in such a way:

"Rhythm and melody contain the closer to the most approaching the real validity of the mapping of anger and meekness, courage and temperatics and all the opposite properties, as well as other moral qualities. This is clear from experience: when we perceive with our ear rhythm and melody, we change and the mental mood. The habit of testing the sorrowful or joyful mood when perceiving what imitates reality, leads to the fact that we begin to experience the same feelings and in a collision with [Letyani] true "3. And finally, Aristotle. Comes to the following conclusion: "... Music is capable of providing a well-known impact on the ethical side of the soul; And once the music has such properties, it is obviously, it must be included in the number of itezh raising items. "

Behind the philosopher and mathematician Pythagorasis (VI century BC) for a long time, the meaning of the first of the Greek thinkers who wrote about music are fixed. He is attributed to the initial development of the teachings on musical intervals (consonances and dissonances) on the basis of the pure matter of the schematical relations obtained by the division of the string. In general, the numbers and proportions of the Pythagoreans - according to the sample of the ancient eastern cultures (most of all Egypt) - gave magic meanings, deriving from them, in particular, the magic and healing properties of music. Finally, by abstract-speculative constructions, the Pythagoreans came to the idea of \u200b\u200bthe so-called "harmony of spheres", believing that heavenly luminaries, each other in certain numeric ("harmonic") ratios, should sound when driving and producing "heavenly harmony".

As for the teachings on the ethos, then in the future neoplatonists, especially the dam (III century), rethought him in a religious and mystical spirit, depriving the civilian pathos, which was inherent in Greece. From here, straight threads are already drawn to the aesthetic views of the Middle Ages. The decline of ancient culture in the Epoch of the decomposition of a slave-owner building is just contributing to the successful development of Christian art, in many ways opposing the aesthetics and musical practice of Rome of the previous centuries. It is impossible to deny some links between the heritage of antiquity and the development of aesthetic thought of subsequent time on the turn of two eras.

Music culture Middle Ages

In the development of the musical culture of Western Europe, a long and wide historical strip of middle ages is difficult to consider as a single period, even as a large era with a common chronological framework. The first, the original line of the Middle Ages - after the fall of the Western Roman Empire in 476 - it is customary to mark the VI century. Meanwhile, the only region of musical art, which left writing monuments was until the XII century, only the music of the Christian church. The whole peculiar set of relevant phenomena has developed on the basis of long historical training, starting with the II century, and included distant origins going beyond Western Europe to the East to Palestine, Syria, Alexandria. In addition to the church musical culture of the Middle Ages, one way or another did not pass the heritage of the ancient Greece and ancient Rome, although the "Fathers of the Church", and in the future theorists who wrote about music, largely opposed the art of the Christian Church to the pagan artistic world of antiquity.

The second most important line, the signing of the transition from the Middle Ages to the revival, is not at the same time in Western Europe: in Italy - in the XV century, in France - in XVI; In other countries, the struggle of medieval and renaissance trends takes place at different times. To the era of the Renaissance, they are all approaching with various heritage of the Middle Ages, with outlined their own conclusions from a huge historical experience. It was largely a significant fracture in the development of the artistic culture of the Middle Ages, which occurred in the XI-XII centuries and due to new socio-historical processes (the growth of cities, crusades, the nomination of new social layers, the first strong foci of secular culture, etc.).

However, with all the relativity or mobility of chronological faces, with the inevitable genetic links with the past and uneven transition to the future, for the musical culture of the Western European Middle Ages, meaningful phenomena and processes that are peculiar only to it and inconceivable in other conditions are characterized. This, firstly, the movement and existence in Western Europe many tribes and peoples located at different stages of historical development, multiplicity of styles and various political buildings and, with all this, the persistent desire of the Catholic Church to the unification of the whole huge, turbulent, long-fashioned world is not only General ideological doctrine, but also the general principles of musical culture. This, secondly, is the inevitable duality of musical culture throughout the Middle Ages: church art invariably opposed its canons with the diversity of folk music everywhere in Europe. In the I-XIII centuries, new forms of secular musical and poetic creativity have already been originated and church music was transformed. But these new processes occurred in conditions of developed feudalism.

As is well known, the special character of medieval culture, medieval education, medieval art is largely determined by the dependence on the Christian church.

The music of the Christian church was evident in its original forms in the historical conditions of the high power of the Roman Empire. Belief in the afterlife, to the highest reward for everything perfect on Earth, as well as the idea of \u200b\u200bthe redemption of sins of humanity, the victim of the crucifier on the Cross of Christ was able to captivate the masses.

The historical preparation of the Gregorianskopooy Choral as a ritual singing of the dominant Christian church was long and versatile.

At the end of the IV century, it happened, as you know, the separation of the Roman Empire on Western (Rome) and Eastern (Byzantium), whose historical destinies are then different. Thus, the Western and Eastern Church was ordered, since the Christian religion was by that time became state.

With the division of the Roman Empire and the formation of two centers of the Christian church of the path of church art, which was in the process of final formation, largely also aligned in the West and East.

Rome processed everything in his own way than the Christian Church had placed, and created on this basis the canonized art - Grigorian Choral.

As a result, the church tunes, selected, canonized, distributed within the church year amounted to Pape Gregory (at least on his initiative). Official arch - - antifoneary. Incoming chorodies in it got a name grigorian chorala And became the basis of the liturgical singing of the Catholic Church. Arch of Gregorian jerseys are huge ..

The arch of Gregorian singing from the XI-XII centuries, and then in the era of Renaissance served as the initial basis for the creation of multi-voice essays, in which the religious tunes received the most diverse development.

The more expanded the sphere of its influence the Roman church in Europe, the more the Gregorian choral from Rome north and west extended.

The reform of the music record was carried out by an Italian musician, theorist and teacher Guido D "Arezzo in the second quarter of the XI century.

The reform of the Guido was strong in its simplicity and organicity of the initial thought: he spent four lines and, placing the never on them or between them, gave them to all the exact high-altitude meaning. Another innovation of Guido from Arezzo, essentially his invention, was the choice of a certain six-track sound (Pre-re-Mi-Fa-Sol-la).

From the end of the XI century, in the XII and especially in the XIII centuries in the musical life and the musical work of a number of Western European countries, they first are less noticeable, then more and more noticeably - signs of a new movement. From the initial medieval forms of musical culture, the development of artistic tastes and creative thought goes to other, more progressive types of musication, to other principles of musical creativity.

In the XII -XIII centuries, historical prerequisites gradually occurred not only for the addition of new creative currents, but also for the well-known distribution of them in Western Europe. Thus, medieval novel or the story that existed on French soil in the XII - XIII centuries did not remain only French phenomena. Along with the novel about Tristan and Isolde and the story about Okasen and Nicette, "Parsifal" and "Poor Heinrich" entered the history of literature. New, Gothic style in architecture, presented by classic samples in France (Cathedrals in Paris, Chartres, Reims), found his expression also in German and Czech cities, in England, etc.

The first flourishing of the secular musical and poetic lyricist, who comes in Provence from the XII century, then captured North France, responded in Spain, found an expression later in German Minnezang. With all the identity of each of these trends and they showed a new pattern characteristic of the era in its broad scale. In the same way, the origin and development of a polyphony in his professional forms - almost the most important side of the musical evolution - occurred with the participation of the French creative school, and the more than one group of musicians from the Cathedral of Notre Dame, no matter how great them merit.

Unfortunately, we judge the paths of medieval music to a certain extent selectively. As a state of sources, it is impossible to trace specific links, for example, in the development of polyphony between its sources in the British Islands and its forms on the continent, in particular, in the early stages.

Medieval cities with time have become important centers of culture. Universities (Bologna, Paris) were founded in Europe. Urban construction was expanded, rich cathedrals were erected, and in them, with great magnificent, worship was committed with the participation of the best choral singers (they were preparing in special schools - metrics - with large churches). The scholarship (and musical scholarship, particularly characteristic of the middle ages, in particular), was no longer focused only in monasteries. New forms, the new style of church music is undoubtedly connected with the culture of the medieval city. If they were partly prepared by the previous activities of scientists of monk musicians (such as Hokbald from Saint-Amanda and Guido from Arezzo), if early polyphony samples proceed from the monastic schools of France, in particular from the Chartra and Limoges monasteries, - all the same consistent The development of new forms of polyphony begins in Paris XII - XIII centuries.

Other, also a very essential reservoir of medieval musical culture is attached to at first with activities, the circle of interests and the peculiar ideology of the European knighthood. Cross trips to the east, huge movements for distant distances, battles, siege of cities, civil strife, bold, risky adventures, conquering other people's lands, contact with the various peoples of the East, their customs, lifestyle, culture, completely unusual impressions - all this imposed her mark On the new world-seeming knight crusaders. When a part of the knighthood was able to exist in favorable peaceful conditions, the earlier idea of \u200b\u200bthe knightly honor (of course, socially limited) was connected with the cult of excellent ladies and the Knight's service, with the ideal of the court love and related norms of behavior. Then, the musical and poetic art of Trubadurov received its earlier development, which gave the first in Europe samples of writtenly recorded secular vocal lyrics.

Other layers of musical culture of Middle Ages continued to exist, conjugate with people's life, with the activities of stray musicians, with the upcoming changes in their environment and lifestyle.

Information about the stray folk musicians Middle Ages becomes from IX to the XIV century are becoming more abundant and defined. These juggles, minstrels, spiers - as they were called at different times and in different parts - for a long time were the only representatives of the secular musical culture of their time and thereby carried out an important historical role. . In a large measure based on their musical practice, their song traditions were the early forms of secular lyrics of the XII - XIII centuries. They, these wandering musicians, did not part with musical instruments, while the church or rejected their participation, or took it with great difficulty. In addition to the various windows (pipes, horns, swirls, Pan flutes, bagpipes), over time, the musical life includes harp (from the ancients), CLORT (Celtic tool), varieties of brook tools, ancestors of the future violin - Rebab, Vila, Fidel (maybe from the east).

In all likelihood, these medieval actors, musicians, dancers, acrobats (often in one person), called jonglers or other similar names, had their cultural and historical traditions, leaving for distant times. They could be adopted - through a number of generations - the legacy of the syncretic art of the ancient Roman actors, whose descendants, called the historians and mimes, were wandering for a long time, running on medieval Europe. The oldest six-grade representatives of the Celtic (Barda) and the German epic could also be somehow able to convey their traditions to jugglers, which, although they were not able to preserve them loyalty, but nevertheless, they were learned from them for themselves. In any case, to the IX century, when the former mentions about the historons and Mimes are already replaced by messages about juggles, these latter are known for those and as an epic performers. Turning from place to place, juggles perform at the celebrations at the courtyards (where they flock to certain dates), in the castles, in the villages, and even allowed to church. In the poems, novels and songs of the Middle Ages more than once mentioned on the participation of juggler in festive fun, in the device of all kinds of spectacles outdoors. As long as these ideas, suitable on large holidays in the temples or cemeteries, were performed only by Latin, students of monastic schools and young clerics could participate in performances. But by the XIII century, Latin was replaced by local folk languages \u200b\u200b- and then stray musicians applying for the fulfillment of comic roles and episodes in spiritual ideas, managed somehow to get into the number of actors, and then conquer success with their jokes in the audience and listeners. So it was, for example, in the cathedrals of Strasbourg, Rouen, Reims, Cambre. Among the "stories", which were presented on holidays, there were Christmas and Easter "Denits", "Crying Mary", "History about the devices of reasonable and devows of unreasonable", etc. Almost everywhere on ideas, in favor of their visitors, inserted those or Other comic episodes associated with the participation of evil forces or adventure and replicas of servants. Here and open space for the acting musical abilities of juggler with their traditional junning.

In a special role, many of the minstrels were opposed, when they began to cooperate with the troubadras, accompanying their cartridges-knights everywhere, participating in the performance of their songs, communicating towards new art forms.

As a result, the medium of "stray people", jugglers, spiers, minstrels, experiencing significant transformations with time, did not remain united in its composition. There was also a tide of new forces - competent, but lost a steady position in society, that is, essentially declassed losers from a small clergy, weird Scholyarov, runaway monks. Appearing in the ranks of the stray actors and musicians in the XI - XII centuries in France (and then in other countries), they received the names of Vagatants and Goliadov. With them in layers of jongs, new life ideas and habits, literacy, sometimes even famous erudition have come.

From the end of the XIII century, shop unions of spiers, jugglers, minstrels are formed in various European centers - in order to protect their rights, determine the place in society, the preservation of professional traditions and the transfer of their students. In 1288, TU in Vienna was founded by the "Brotherhood of St. Nicholas ", united by musicians, in 1321" Brotherhood of St. Julien "in Paris was a workshop organization of local minesters. Subsequently, the Royal Mensters Guild formed in England. This transition to the workshop will essentially ended the history of medieval jugglery. But stray musicians are far from being dreamed of their brotherhoods, guilds, shops. Their wanderings continued in the XIV, XV, XVI centuries, covering a huge territory and creating as a result of new musical and household connections between the distant regions.

Trubadras, Trumpets, Minnezinger

The art of Trubadurov, originated in Provence of the XII century, was essentially only the beginning of a special creative movement, characteristic of its time and almost entirely related to the development of new, secular forms of artistic creativity. Much favored then in Provence the early flourishing of secular artistic culture: relatively smaller ruin and disaster in the past, during the resettlement of peoples, old handicraft traditions and preserved long-stayed trading ties. In such historical conditions, knightly culture was evolved.

A peculiar process of the development of early secular art, which arises through the artistic initiative of Provencal knighthood, is largely powered by melodic sources of population songs and is distributed in a wider range of citizens, respectively, evolving in the sense of the subject of figurative content.

The art of troubadurov is developing within the limits of a short two centuries from the end of the XI century. In the second half of the XII century, the names of the pipes as poet musicians in the north of France, in Champagne, in Arras are known. In the XIII century, the operation of the pipes becomes more intense, while the art of Provencal Troubadur completes its history.

The trumpets to a certain extent were inherited by the creative tradition of troubadurov, but at the same time their works were clearly connected with knightly, but with the city culture of their time. However, there were representatives of various public circles in the troubadur environment. So, the first troubadras were: Guillaume VII, Count Poitiers, Duke Akvitan (1071 - 1127) - and Gasconian-poor Markabryun.

Provencal troubadours, as you know, usually collaborated with juggles, who wandered with them, performed their songs or accompanied their singing, as if connecting at the same time the responsibilities of servants and assistants. Trubadur performed as a cartridge, the author of the musical work, and Jonggler - artist.

In the musical and poetic art of Trubadurov, several characteristic genre varieties of the song poem were distinguished: Alba (Song of Dawn), Pasturel, Sirvent, Songs of the Crusaders, Dialogue Songs, Crying, Dance Songs. This listing is not a strict classification. Love Lyrics is embodied in Albach, and in Pasteurians, and in dance songs.

Sirvent - the designation is not too clear. In any case, it is not a lyrical song. Sounding from the face of the knight, warrior, courageous troubadour, it can be a satirical, accusatory, aimed at a variety, on certain contemporaries or events. Later, genres of ballads and Rondo arise.

As can be judged on the basis of the material of special research, the art of the troubadurov ultimately is not isolated from the traditions of the past, nor from other modern forms of musical and poetic creativity.

The art of Trubadurov served as an important connecting link between the first in Western Europe forms of music and poetic lyrics, between the musical and household tradition and highly professional directions of musical creativity in the XIII -. XIV centuries. Late representatives of this art themselves already for musical professionalization, mastered the basics of new musical skills.

Takov Adam de la Al (1237-1238 - 1287), one of the last drovers, a native Arras, the French poet, composer, the playwright of the second half of the XIII century. Since 1271, he consisted of service at the court of Count Robert D "Artoi, together with which in 1282 he went to Karl Anzhuy, the King of Sicily, in Naples. During his stay in Naples," The game about Robin and Marion "was created and significant and significant The work of the poet composer.

Such works are the prehistory of the birth of the French music comedy Hu111 in. and operetta x1x in.

Trubadur art samples fall in the XII-XIII centuries to Germany, interested attention on themselves; The lyrics are translated into German, even tunes are sometimes capable of new words. Development from the second half of the XII century (up to the very beginning of the XV) of German Minnenzang as an artistic incarnation of local knightly culture makes this interest in the musical and poetic art of French troubadur - especially in early minnesing agents.

The art of Minnesingers developed almost a century later than the art of Troubadurov, in a somewhat different historical setting, in the country where he had not at first there were still such strong foundations for the addition of a new, purely secular worldview.

The largest representatives of Minnezang was Walter von der Fogelweed, the poet, the author of ParsiFhala Wolfram von Eschenbach. Thus, the legend based on the Wagner "Tangeizer" is based on historical facts.

However, the service and speeches at the courtyards did not significantly be limited to the activities of German Minnesingers: it was the most outstanding of them carried out a significant part of life in distant wanders.

So, the art of Minnezang is not so unintelligible: various trends are combined in it, and the melodic side as a whole is more progressive than poetic. Genre variety of songs from Minnesinger is in many ways similar to those who were cultivated by Provencal pipes: songs of the Crusaders, loving-lyrical songs of various species, dance jerseys.

The spiritual music of the late Middle Ages continues its development. Received a wide development of a multi-voice musical statement.

The development of a multi-voice writing, characteristic at first for church art, led to the addition of new musical genres as spiritual and secular content. The most common genome of polyphony becomes motet.

Motet, who had a very big future, developed very intensively in the XIII century. Its incorrect is still to the previous century, when it arose in connection with the Creative Activity of the Notre Dame School and had at first a liturgical appointment.

The XIII century motet is a multi-voiced (more often three-voice) work of a small or medium size. The genre feature of the mott was the initial support on the finished melodic pattern (from church jerseys, from secular songs) on which other voices of various character layered and even sometimes of various origin. It turned out the combination of different melodies with different texts.

The instruments (Villai, Psalterium, Organ) could participate performed by certain motels. Finally, in the XIII century, the peculiar form of domestic polyphony, which received the names of Rondel, Rota, Ru (Wheel) has gained popularity. This is a comic canon, which was known and medieval spiels.

By the end of the XIII century, the musical art of France largely set tone in Western Europe. The musical and poetic culture of the pipelists and drovers, as well as important stages in the development of polyphony, partly influenced the musical art of other countries. In the history of music of the XIII century (approximately from the 1230s), the designation "Ags Antiqua" ("Old Art") was evaluated.

ARS NOVA in France. Guyom Masha

At about 1320, Philip de Viterse called "Ags Nova" was created in Paris. These words - "New Art" - turned out to be covered: they were the definition of "Ags Nova's era", which is accepted by the French music of the XIV century. The expressions "New Art", "New School", "new singers" were often met during the times of Philip de Vitrate not only in theoretical work. Whether theoreticals supported new currents or cried them, whether their Pope condemned them, "there was me that new in the development of musical art, which was not before the emergence of developed multi-beam forms.

The largest representative of AGS NOVA in France was Guillaume de Masho-Corrected poet and composer of his time, whose creative heritage is also studied in the history of literature.

No matter how complicated in the XIV century, the further development of multi-voice forms, the line of musical and poetic art, coming from the pipelists and the pipes, was not fully lost in the atmosphere of the French ARS Nova. If Philippe de Vitrate was primarily a scientist musician, and Guillaume de Masho became mother of French poetsAll the same, both of them were poets-musicians, that is, in this sense, as it were, the traditions of the pipes of the XIII century continued. In the end, it is not so long time separately separates the creative activity of Philippe de Vitrate, which began to compose music around 1313-1314, and even the activities of Masha (from 1320-1330) - from the last years of the creative life of Adam de la Al (Mind, in 1286 or 1287).

The historical role of Guillaume DS Masha is much more significant. Without him, in France there would be no ARS Nova. It is his musical and poetic creativity, abundant, original, multilateral, and focused in itself the most important features of this era. In his art, as it were, the lines passing, on the one hand, from the musical and poetic culture of the pipelists and the pipes in its long-standing song, on the other and from the French Schools of the Manyphony of the X11111 centuries.

About the life path of Masho until 1323 we, unfortunately, is not known anything. It is only known that he was born around 1300 in Masha. He was a very educated poet of broad erudition and a genuine master of his case as a composer. With undoubtedly high giftedness, he should, of course, to get a thorough preparation for literary and musical activities The first date, with which the fact of the biography of Masha is connected, - 1322 - 1323, when his service began at the courtyard of the King. Hymanie Yana Luxembourg (first in position Clerk, then the Royal Secretary). For more than twenty years, Masha was at the courtyard of King Bohemia, then in Prague, then by constantly participating in his campaigns, travels, festivities, hunting, etc. In the Speat Yana Luxembourg, he had a chance to visit major centers in Germany in Poland. In all likelihood, all this gave Guillaume de Masho many impressions and fully enriched his life experience. After the death of King Bohemia in 1346, he was in the service of the French kings of John Good and Karl V, and also received a canonikat in the Cathedral of Notre Dame in Reims. This contributed to his fame as a poet. Masha was highly appreciated during his lifetime, and after death in 1377 glorified by contemporaries in lush epitaphs. Masha had a significant impact on French poetry, created a whole school for which the poetic lyrics developed by them were characterized.

The scale of the musical and poetic creativity of Masha with the multilateral development of genres, the independence of his position, which had the strongest impact on French poets, the high mastery of the musician - all this makes him the first such a major person in the history of musical art.

The creative heritage of Masha is extensively and diverse. They created motges, ballads, rondo, canons, etc.

After Masha, when his name was highly honored by poets and musicians, and the influence could somehow felt like others, he had no truly large successors among the French composers. They learned a lot on his experience of a polyphonist, mastered its technique, continued to cultivate the same genres as he, but somewhat crushed, experiling details, their art.

RENAISSANCE

The incredit value of the Renaissance era for the culture and art of Western Europe has long been realized by historians and has become well known. The Music of the Renaissance is represented by a number of new and influential creative schools, the glorious names of Francesco Landini in Florence of the XIV century, Guillaume Dufai and Johannes Okhemema in the XV century, Joskene Dere at the beginning of the XVI century and Pleiadrian classics of a strict style in the end of the Renaissance - Palestrina, Orlando Lasso.

In Italy, the beginning of the new era has come for musical art in the XIV century. The Netherlands school has emerged and reached the first vertices to XV, after which its development has been launched, and the impact of one way or another also seized the masters of other national schools. Signs of revival clearly manifested themselves in France in the XVI century, although her creative achievements were great and indisputable in previous centuries. By the XVI century, the rise of art in Germany, England and some other countries belonging to the Renaissance orbit are.

So, in the musical art of the Western European countries, obvious features of the revival are, although with some unevenness, within the XIV XVI centuries. Artistic culture of Renaissance, in particular, musical culture, no doubt turned away from the best creative achievements of the late Middle Ages. The historical complexity of the Renaissance spoke was rooted in the fact that the feudal stroke still remained almost everywhere in Europe, and substantial shifts took place in the development of society, the versatile prepared the offensive of the new era. This was expressed in the social and promotional sphere, political life, in expanding the horizons of contemporaries - geographical, scientific, artistic in overcoming the spiritual dictatorship of the Church, in the rise of humanism, the growth of the self-consciousness of a significant person. With a special brightness, signs of new world worldly seeked and established themselves in artistic work, in the translational movement of various arts, for which the "revolution of the minds" was extremely important, which caused Renaissance.

There is no doubt that humanism in his "revive" understanding poured huge fresh forces in the art of his time, inspired artists in search of new topics, largely determined the nature of the images and the content of their works. For musical art, humanism meant first of all the deepening in a sense of man, recognizing them with a new aesthetic value. This contributed to the identification and implementation of the strongest properties of the musical specificity.

For the whole era, in general, the obvious predominance of vocal genres, in particular the vocal polyphony. Only very slowly, gradually instrumental music acquires some independence, the direct dependence of the vocal forms and from domestic sources (dance, song) will be overcome only slightly later. Large musical genres remain associated with verbal text.

The big path of musical art, traveled from the XIV by the end of the XVI century, was by no means simple and straightforward, as well as all the spiritual culture of revival did not develop only and only on the ascending straight line. In musical art, as in the adjacent areas, there were their "gothic line", and their, sustainable and chain, the legacy of the Middle Ages.

The music art of Western European countries, the musical art of Western European countries, approached the manifold Italian, Netherlands, French, German, Spanish, English and other creative schools and at the same time as clearly pronounced general trends. The classic of a strict style was already created, a kind of "harmonization" of the polyphony was, and movement to a homophone writing increased, increased the role of the artist's creative individuality, the value of the music of life and its impact on the professional art of a high level, figuratively enriched and individualized secular musical genres (especially Italian Madrigal), young instrumental music approached the threshold of independence. All this XVII century directly perceived from the XVI - as the heritage of the Renaissance.

ARS NOVA in Italy. Francesco Landini

The Italian music art of the XIV century (Kreteno) produces in general the amazing impression of freshness, as if younnight new, only an emerging style. The music of Ars Nova in Italy is just attractive and strong in its purely Italian nature and its differences from French art of the same time. Ars Nova in Italy - Already Zarya Renaissance, its significant foresight. The center of creative activities of the Italian representatives of Ars Nova was not by chance that Florence was, whose importance was affected by primary and for the new literature of the humanistic direction, and - to a large extent - for the visual arts.

The Ars Nova's period covers the XIV century from about 20 to the 80s and marked with a PSURE genuine | The flourishing of secular musical creativity in Italy. For the Italian Ars Nova, the indisputable predominance of secular essays over spiritual are characteristic. In most cases, these are samples of musical lyrics or kinda genre plays.

In the center of the movement Ars Nova, the figure of Francesco Landini, a richly and versatile gifted artist, who made a strongest impression on advanced contemporaries.

Landini was born in Fyzole, near Florence, in the family of painter. After the psrenin in childhood, Oseplen is forever. According to Villani, he early began to make music (first sing, and then play strings and organ). Its musical development went with a wonderful speed and amazed others. He exceeded the design of many tools, made improvements and invented new samples. Over the years, Francesco Landini surpassed all the modern Italian musicians.

Particularly glorified his game on the organ,: for which he, in the presence of Petrarch, was crowned with laurels in Venice in 1364. Modern researchers include its early works by 1365-1370. In the 1380s, the glory of Landini as a composer has already eclipsed the successes of all his Italian contemporaries. Landini died in Florence and buried in the Church of San Lorenzo; On his gravestone stove marked the date: September 2, 1397

Nowadays, 154 Landini compositions are known. Ballads prevail among them.

Creativity of Landini, essentially completes the period of Ars Nova Italy. There is no doubt that the overall level of Landini's art and quality characteristic of it do not allow it to be considered a provincial, primitive, pure hedonistic.

In the past two decades, the X1U century in the music art of Italy, there are changes, which first violate the integrity of the position of Ars Nova, and then lead to the end of his era. The art of hu century belongs to the new historical period.

More than 1000 years developed the musical art of the Middle Ages. It is a stressful and controversial stage of the evolution of musical thinking - from the monoment (one-s) to the most complex polyphony. Many European musical instruments have been improved in the Epoch of the Middle Ages, the genres of both church and secular music were formed, famous music schools of Europe were formed: Netherlands, French, German, Italian, Spanish, etc.

In the Middle Ages there were two main directions in the development of music: spiritual music and secular, entertaining. At the same time, secular music was believed to religion, was considered the "devilish navation".

The music was one of the tools of religion, a "subwoiled" means that served the goals of the Church, as well as one of the exact sciences. The music was put along with mathematics, rhetoric, logic, geometry, astronomy and grammar. The church developed singers and composer schools with a focus on numerical musical aesthetics (for scientists of that era, the music was a projection of the number on sound matter). This was the influence of the late Hellenism, the ideas of Pythagora and Plato. With this approach, the music did not have an independent value, it was the allegory of the Higher, Divine Music.

So, the music was divided into 3 types:

• World music is music spheres, planets. According to the musical and numerical aesthetics of the Middle Ages, each planet of the solar system was endowed with his sound, tone, and the movement of the planets created heavenly music. In addition to the planets, the seasons were endowed with his tone.
• Human music - every organ, part of the body, the soul of a person was endowed with their sound, which were in harmonious consonance.
• Instrumental music - the art of playing tools, music for envelope, lower type of hierarchy.

The spiritual music was vocal, choral, and secular - instrumental vocal. Instrumental music was considered light, frivolous, and, the musical theorists of that epoch did not perceive it seriously. Although the minstrel craft required the musicians of great performing skills.

The transition period from the Middle Ages to the era of the New Time in Europe, which lasted almost two and a half century. During this period, significant changes occurred in many areas of life; Stormy flourishing survived science and art. The period of revival is divided into many component parts and phases of development. Various superstitions are also associated with it, rooted so firmly that even today there are considerable efforts to refute them.

• The first and, probably, the main misconception is to be considered (like many of the ideologists of the Renaissance) the revival of the revival, the resurrection of culture and civilization, which has come after a long period of the barbaric "middle ages", gloomy time, the period of gap in the development of culture. This prejudice is based on the full ignorance of the Middle Ages and the close connection between it and the revival; As an example, there will be enough two completely different areas - poetry and economic life. Dante lived in the XIII century, i.e. In the climax of the Middle Ages, Petrarka - in the XIV. As for economic life, its authentic Renaissance also falls on the XIII century, the time of the rapid development of trade and banking. It is said that we are obliged to revive the ancient authors, but this is also superstition. It is known that during this period only two ancient Greek manuscripts were discovered, the rest were already in the West (mainly in France), because the return to antiquity associated with the interest in person and nature, Western Europe survived in the XII and XIII centuries.
• The second superstition is associated with the mixing of two components of the revival opposite to each other, namely the so-called humanism and the new natural science. Humanism is hostile to any logic, every reason, any natural science, which he considers the "mechanical" labor, unworthy of a cultural person, designed to be a writer, riser, politician. The figure of the Renaissance, which combines the Erasma of Rotterdam and Galilee at the same time, is the mythical, and faith in a certain one inherent in the era of the revival of the image of the world - nothing but a superstition.
• The third prejudice consists in praising the philosophy of the Renaissance Age as "Great" compared to the scholastic prior to it.

In fact, with the exception of Nicholas Kuzansky (distant from the Spirit of Renaissance) and Galilee (who lived at the Renaissance, the Renaissance philosophers, according to the fair approval of Kristencher, were neither good, nor bad, they were not philosophers at all. Many of them were outstanding writers, scientists, connoisseurs of ancient texts, were famous for mocking and acute intelligence, literary skill. But they did not have almost no relation to philosophy. Thus, oppose them to thinkers of the Middle Ages - Clean Water Superstition.

• • Another misconception is to consider the revival of a stormy revolution, a complete gap with the past. Indeed, during this period there are deep changes, but they are all organically connected with the past, and in any case, their origins can be found in the Middle Ages. These changes have in the past so deep roots that one of the largest professionals on the era of Renaissance, Hasing, had every reason to name this era of the "Autumn Middle Ages".

Finally, the superstition is the opinion that people who lived in the era of the Renaissance, at least most of them, in the spirit of their protestants, monists, atheists or rationalists. In fact, the overwhelming majority of well-known representatives of Renaissance, and in the field of philosophy almost everything, from Leonardo and Ficino to Galilean and Campennel, were Catholics, frequency supporters and defenders34 Catholic faith. So, Martilyo Ficino at the 40th year of life took the Christian faith and created a Catholic apologetics of the new time.

Music theorist Middle Ages Guido Aretinsky (end of the 15th century) gives the following Music definition:

"Music is the movement of vocal sounds."

In this definition, the medieval musical theorist expressed attitude to the music of the entire European musical culture of that era.

Music genres of church and secular music.

The source of spiritual music of the Middle Ages was the monastery environment. The chants were trapped in singing schools for hearing and distributed in church environment. In view of the appearance of a large manifold, the Catholic Church decided to canonize and regulate chants reflecting the unity of the Christian doctrine.

Thus, the choral appeared, which became the personification of the church musical tradition. It is based on other genres created specifically for certain holidays, worship.

The spiritual music of the Middle Ages is represented by the following genres: · Choral, Grigorian Choral - one-haired religious chant on Latin, clearly regulated, was performed by a chorus, some sections - soloist

• • • Mass is the main worship of the Catholic Church, consisting of 5 sustainable parts (Ordarden) - I. Kyrie Eleison (Lord, Pomemui), II. Gloria (Glory), III. Credo (believe), IV. Sanctus (Holy), V. Agnus Dei (Lamb of God).
    • Liturgy, liturgical drama - Easter or Christmas worship, where the Gregorian Choralas alternated with non-canonized trail melodies, the liturgies were performed by the choir, the party of characters (Mary, Evangelist) - soloists, sometimes some kind of costumes appeared
    • Mystery - a liturgical drama with a detailed stage action, costumes
    • Rondel (Rondo, Ru) is a multi-voice genre of mature and late Middle Ages, relied on the author's melody (unlike the canonized cholation), which was performed in the improvisational manner by soloists who join turns (early canon form)
    • Proprium - part of the genre Mass, varying depending on the church calendar (unlike the constant part of the Mass - Ordarium)
    • Antifone - the most ancient genre of choral church music, based on alternating parties by two choral groups

Samples of church music:

1) Kyrie Eleyson

2) Victimae Pashali

The secular music of the Middle Ages was, mostly music of stray musicians and was distinguished by freedom, individualized and emotionality. Also, the secular music was part of the courtie, knightly culture of feudal. Because the code prescribed the knight of exquisite manners, generosity, generosity, duties to serve as a beautiful lady, these parties could not not find their reflection in the songs of Troubadur and Minnesinger.

They performed the secular music of mimes, jugglers, trumpeners or pipes, minstrels (in France), Minnesinger, Spielmen (in German countries), chogres (in Spain), crumbs (in Russia). These artists had to not only be able to sing, play and dance, but also to be able to show circus performances, tricks, theatrical scenes, and should have been in other ways to entertain public.
Due to the fact that the music was one of the sciences and was taught at universities, feudal and noble people who received education could apply their knowledge and art.
Thus, the music developed in court medium. As opposed to Christian asceticism, the knightly music challenged the sensual love and the ideal of an excellent lady. Among the nobility, as the musicians were known - Guyom - VII, Count Poitiers, Duke Aquitania, Jean Briensky - King of Jerusalem, Pierre Moklar - Duke of Brittany, Tibo Champagne - King Navarre.

Main features and features of the Middle Ages:

• • • relies on the folklore, it is not performed on Latin, but in the native languages \u200b\u200bdialects,
    • among the stray artists notation is not used, the music is an oral tradition (later in the court environment, a musical writing is developing)
    • the main topic is the image of a person in the whole manifold of his earthly life, idealized sensual love
    • one-way - as a way of expressing individual feelings in poems and song form
    • vocal and instrumental execution, the role of the tools is not very high, the instrumental was mainly entry, intermediates and codes
    • the melody was diverse, but the rhythmics at the same time - canonized, "the influence of church music, rhythm varieties (rhythmic modes), was only 6, and each of them had a strictly shaped content.

Trumpets, Trubadras and Minnesingers, playing trumpet knight music, created their original genres:

• • • "Weavky" and "May" songs
    • Rondo - form based on repeating refrene
    • Ballad - textzy song
    • Virlael - StaroFronzuz poems with a three-stricken stanza (the third line is shortened), the same rhyme and with the chorus
    • Heroic Epos ("Song of Roland", "Song of Nibelunga")
    • Crusaders songs (Palestine songs)
    • Kanzona (at Minnesinger were called - Alba) - love, lyrical song

Thanks to the development of urban culture in the X - XI centuries. Secular art has become more active. Watching musicians are increasingly choosing a settling style, populated whole city blocks.

Interestingly, stray musicians by the XII - XIII centuries. Return to spiritual theme. The transition from Latin to local languages \u200b\u200band the enormous popularity of these performers allowed them to take part in spiritual ideas in the cathedrals of Strasbourg, Rouen, Reims. Cambone. Over time, some of the wandering musicians received the right to organize performances in the castles of nobility and at the courtyards of France, England, Sicily and other countries.

By the XII - XIII centuries, escaped monks, wandering schools appear among the stray musicians, and the lower layers of the clergy - Vagant and Goliada.

Seced musicians form in medieval cities whole musical shops - "Brotherhood of St. Julien" (Paris, 1321), "Brotherhood of St. Nicholas" (Vienna, 1288). The objectives of these associations were the protection of the rights of musicians, the preservation and transfer of professional traditions.

In the XIII - XVI centuries. New genres are formed, which further develop already in the ARS NOVA Epoch:

• • • Motets (from Franz. - "Word") - a multi-voice genre, distinguished by the melodic nursing of votes that intolerated different texts at the same time, sometimes even in different languages, could be both secular content and spiritual
    • Madrigal (from Ital. - "Song in the native language", i.e. Italian) - Lyric, Pastoral songs,
    • Kachche (from Ital. - "Hunting") - a vocal play on the topic of hunting.

Secular music of the troubadur and professional composers.

Additional Information:

In our information age, the century of high technologies, we often forget about irreversive spiritual values. One of these values \u200b\u200bis classical music - the spiritual heritage of our ancestors. What is classical music, why is it needed by a modern person? Why many believe that this is very boring? Let's try to figure out these difficult questions. You can hear the opinion that classical music is supposedly the one that has been written long ago. This is not the case, since this concept implies all the best that was created in the world of music since the existence of human civilization. Sonata Beethoven, created in the XVIII century, and Romance Sviridova, added 40 years ago, - All this is a classic! The main thing is that this music has passed the test of time. And at the time of Beethoven, and now there are delints from art producing a base musical product. This product is spoiled very quickly, and genuine art every day is becoming more beautiful and more beautiful.

The appearance of notes

Writing, the great invention of humanity, allowed to accumulate and transmit thoughts, ideas and impressions to the upcoming generations. Another invention, no less great, music record, allowed to transfer sounds to descendants, music. To music in European music, special signs were used - the nema.

The inventor of the modern tank record system is the Benedictine monk of Guido Aretinsky (Guido D'Isset) (990-1050). Arezzo is a small town in Tuscany, not far from Florence. In the local monastery, Gvido brother taught singing the execution of church chants. It was not easy and long. All knowledge and skills were transmitted orally in direct communication. Singeing under the guidance of the teacher and from his voice was consistently learned every anthem and every chanting of Catholic Mass. Therefore, a full "course" took about 10 years.

Guido Arettinsky began to mark sounds of notes (from the Latin word nota - a sign). Notes, shaded squares, were placed on a tin one, consisting of four parallel lines. Now these lines are five, and notes are depicted by circles, but the principle introduced by Guido, remained unchanged. Higher notes are depicted on a higher line. Notes seven, they form an octave.

Each of the seven notes of Octave Gwido gave name: UT, Re, Mi, Fa, Sol, La, Si. These are the first syllables of the hymn of St. John. Each line of this anthem comes on the tone above the previous one.

The notes of the next Octave are called the same, but come in a higher or lower voice. When moving from one octave to another sound frequency, which is indicated by the same note, increases or decreases twice. For example, musical instruments set up a note of the first octave. This note corresponds to the frequency of 440 Hz. The next, second, octave will correspond to the frequency of 880 Hz.

The names of all the notes, except first, end onto a vowel sound, it is convenient to sing. Slog UT - closed and disappearing it is impossible. Therefore, the name of the first notch of the octave, UT, in the sixteenth century replaced the DO (most likely, from the Latin word Dominus - the Lord). The last note of the octave, Si is the reduction of two words of the last line of the hymn, Sancate Ioannes. In English-language countries, the name "SI" was replaced by "TI" to not be confused with the letter C, also used in a notice record.

The invenus notes, Guido taught the singers of this kind of alphabet, and also taught them to sing on notes. That is, the fact that in modern music schools is called Solfeggio. Now it was enough to write down the entire Mesa notes, and the singers could already rush the desired melody. Disappeared the need to teach each of each song personally. Guido had only to control the process. Training time Pevichi has decreased five times. Instead of ten years - two years.!

A memorial plaque in Arezzo on Ricassolley Street on the house in which Guido was born. On it depicted square notes.

I must say that the monk Guido from Arezzo was not the first to come up with writing music with the help of signs. Before him, in Western Europe, there was already a system of nonime (from the Greek word "pneumo" - breathing), badges affixed over the text of the Psalms to designate the rise or decrease in the tone of the song. In Russia, for the same purpose, they used their own "hooks" or "banners".

The square notes of Guido Aretinsky, located on the four lines of the Mot, turned out to be the easiest and most convenient music recording system. Thanks to her, a touch grades spread throughout the world. Music left the borders of the church and left at the Palaces of Vladyk and noble, and then in theaters, concert halls and in city squares, becoming the general heritage.

What is a way.

Lada is one of the central terms in the theory of music. Understanding how they are built, and the skillful use of their use opens unlimited opportunities in front of a musician. And often explain exactly how an interesting transition is created in a particular composition, it is impossible - if a person does not understand what is a way. But there is a snag: the term "way" themselves the musicians themselves use, often meaning not at all the same. Why is that? And what is like that in general? The confusion turned out because of this word in different epochs was invested a very different meaning.

We do not realize how our perception is brought up and tied in classical music. (While the concept of "modern music" is a departure from the classical principles). The era of classicism is a large historical layer in the human perception of the world. After the Middle Ages, people discover antique art and fascinate them. Any product of classicism is built on strict canons, thereby finding the slightness and the logicality of the universe itself. Classicism created a structural orderliness - a clear hierarchy of the highest and lower, main and secondary, central and subordinate. Therefore, for example, starting with the Vienna Classics and Romantic Music, we think in the system - "Major Minor". What is it and how affects our perception?

Major and Minor are tonal frets. Tonal Lad is a specific relationship system between tones. What does it mean? What is the tone? Let's try to figure out. Suppose you are piano in front of you: look at the keyboard: we are familiar to the pre-Mi-Fa-Sol-La-Si, 7 white keys and between them are another 5 black, only 12. The distance between each of them is halftone. Between the neighboring black and white - always halftone. Between the adjacent white - the tone (there are exceptions to the Mi-Fa, and Si-up is halftone).

Any set of tones and halftone is a source. In the era of classicism, it began to build it with strict subordination of all tones of tonic - the main tone. Such is a major or mining way. All tone music (the whole classic) is based on the relationship between the main and subordinate consonents. For rumors, we intuitively distinguish Major and Minor on how they are painted - "joyful" or "sad". A variable way is when the major, and minor features are simultaneously in one work. But the principle of them is common - tonal.

However, this principle is not the only possible. Before the era of classicism, when everyone was finally ordered in a slender system of tonalities, musical thinking was different. Ionian, Dorian, Frigian, Lidy, Mixolidian, Eoli, Lokuri ... This is the octave Lada of the Greeks. And there were church frets of Grigorian music. All this is Modal Lada. They composed music in antiquity, Middle Ages, Modalna Eastern Music Tradition (Indian Rags or Arabic Macms, for example). In the music of Europe, the revival era also prevailed modality.

What is the main difference from our usual tonal look? In the tonal freaks there is strictly distinguishing the functions of the main consonance and chords, and in modal music they are much more blurred. For modal Lada, the Sound Sound itself is important - both the meanings and paints that it can bring into music. That is why we are easily at rumor distinguish Indian music from medieval chorals - according to certain consonances and musical strokes.

By the 20th century, composers seem to have tried all the sound options within tonal music. "I'm bored, the demon!", "They said and in search of new colors turned to the old - modal turnover and move. So there was a new modality. In modern music, new frets have appeared - for example, blues. Moreover, there was a special genre - modal jazz. Miles Davis, for example, called modal music "Deviation from a normal gamma from seven notes, where every note is not in focus." And he said that "going in this direction, you go to infinity." The bottomday is that the tonal and modal principles do not exclude each other at all. In one play, their signs can be mixed. Modality is like another layer, which is superimposed on the usual Major / Minor. And the use of various modal logs changes the color of the music: for example, the turns of the Frigian Lada are grilled, because its sound rugs mainly make up reduced steps. Knowing such vegetables, you can achieve interesting sound if you write music.

Color, mood, character - these are signs of Lada, which we hear, but often do not realize this. Often, modal turns are cling to the songs - because they are unusual. Rumor, brought up on classical music, pulls this departure from everyday life. All this and much more opens when you understand the language of music.

Music the epochs of the Middle Ages - Development periodmusical culturethere is a grabbing time intervalV to the XIV century AD. .
In the era of the Middle Ages in Europe There is a musical culture of a new type -feudal uniting professional art, amateur musication andfolklore. Since the church dominates in all areas of spiritual life, the basis of professional musical art is the activities of musicians intemples and monasteries . Secular professional art was presented at first only singers who create and execute epic legends at the courtyard, in homes for knowing, among warriors, etc. (bards, Scaldy and etc.). Over time, amateur and semi-professional molds of musitization are developing.knights: in France - the art of Trubadurov and Trovers (Adam de la, the XIII century), in Germany - Minnesinger ( Tungsten von Eschenbach, Walter background der Fogelweed, XII - XIII century ), as well as urbancraftsmen. In feudal castles and in the cities are cultivated all sorts of childbirth,genres and forms of songs (epic, "dawn", Rondo, Le, Velel, ballads, chancests, lands, etc.).
Included in life newmusical instruments, including those who come withEast (Viola, Lute etc.), ensembles arise (unstable compositions). Folklore blooms in the peasant medium. "People's Professionals" also operate:sPORTERS. , Wearing synthetic artists (juggles, mimes, minstrels, spiens, scrolls ). Music reiterates mainly applied and spiritual and practical functions. Creativity performs in unity withperformance (usually in one person).
And in the content of music, and in its form dominatescollectivity ; An individual start is subject to the general, without standing out from it (the musician master is the best representativecommunities ). In all reigning stricttraditional and canonism . Consolidation, preservation and distributiontraditions and standards.
Gradually, although slowly, the content of music is enriched, hergenres, forms , Expressive means. INWestern Europe with VI - VII centuries . There is a strictly regulated system.one-haired (monodic ) Church music based ondiatonic Ladins ( grigorian singing), uniting recitation (psalmody) and singing (hymns ). At the turn of the 1st and 2nd Millennium it is bornpolyphony . Formed newvocal (choral ) and vocal instrumental (choir andorgan) genres: organs, mott, konduct, then Mesia. In France in the XII century The first is formedcomposer (creative) school with Cathedral of the Parisian Mother of God. (Leonin, Peroths). At the turn of the Renaissance (ARS NOVA style in France and Italy, the XIV century) in professional music Single-glazier is supplantedpolyphony Music begins to be freed from purely practical functions (church maintenancerites ), it increases the valuesecular genres, including songs (Gille de Masho).

Revival.

Music in the period of the XV-XVII centuries.
In the Middle Ages, the music was the prerogative of the Church, so most of the musical works were sacred, they were based on church chants (Gregorian Choral), which were part of the religion from the very beginning of Christianity. At the beginning of the XVII century, cult entries, with the direct participation of Pope Gregory I, were finally canonized. Gregorian Khoral was performed by professional singers. After the development of church music, Grigorian Choral remained the thematic basis of polyphonic religious works (MESS, Motetov, etc.).

The Middle Ages followed the Renaissance, which was for the musicians of the era discoveries, innovations and research, the era of the revival of all layers of cultural and scientific manifestation of life from music and painting to astronomy and mathematics.
Although mostly music remained religious, but the weakening of church control over the society opened up composers and performers with great freedom in the manifestation of their talents.
With the invention of the printing machine, it was possible to print and distribute notes, from now on and begins what we call classical music.
During this period, new musical instruments appeared. The most popular tools on which the game lovers of music were easy and simply, without requiring special skills.
It was at this time that Viola appeared - the predecessor of the violin. Thanks to the lads (wooden stripes across the griff), it was easy to play, and her sound was quiet, gentle and sounded well in small halls.
Brass tools were also popular - block flute, flute and horn. The most complex music was written for the newly created cluster, trees (English harpsichin, distinguished by small size) and organ. At the same time, the musicians did not forget to put out the music easier, which did not require high performing skills. At the same time, there were changes in the music letter: the Italian Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Mobile Metal Lisers came to replace the heavy wooden printed blocks. Published musical works quickly bought up, more and more people began to join the music.
The end of the revival era was marked by the most important event in the musical history - the birth of the opera. In Florence, a group of humanists, musicians, poets under the patronage of their leader of Graph Jovani de Bardi (1534 - 1612) were gathered. The group was called "Camera", its main members were Julio Kachchini, Pietro Strozzi, Vincenzo Galilee (Father Astronoma Galileo Galilean), Giloramo Mei, Emilio de Kavalii and Ottavio Rhinucchini in young years.
The first documented assembly of the group took place in 1573, and the most active years of work "Florentine Camerata "Was 1577-1582. They believed that the music was" spoiled "and sought to return to the form and style of ancient Greece, believing that musical art could be improved and, accordingly, society would also improve. The camera criticized the existing music for the excessive use of the polyphony to the detriment of the intestine. The text and the loss of the poetic component of the work also proposed to create a new musical style in which the text in the monodic style was accompanied by instrumental music. Their experiments led to the creation of a new vocal-musical form - a cleattee used by Emilio de Cavalieri, subsequently directly related to the development of the opera.
First officially recognizedopera corresponding to modern standards, the "Daphne" opera (Daphne) was first presented in 1598 by the authors "Daphne" were Jacopo Pier and Jacopo Corsi, Libretto Ottavio Rhinucchini. This opera is not preserved. The first surviving opera is "Eurydick" (1600) of the same authors - Jacopo Per. And Ottavio Rhinucchini. This creative union has also created a lot of works, most of whom are lost.

Music of early baroque (1600-1654)

The conditional point of the transition between the Baroque and Renaissance era can be considered the creation of the Italian composer Claudio Monteverdi (1567-1643) of its recitative style and the consistent development of the Italian opera. The beginning of the opera performances in Rome and especially in Venice meant the recognition and distribution of a new genre in the country. All this was only part of a more extensive process who captured all arts, and especially brightly manifested in the architecture and writing paintings.
Renaissance composers paid attention to the elaboration of each part of the musical work, almost without paying attention to the comparison of these parts. Separately, each part could sound excellent, but the harmonious result of the addition was, rather, the case of the case than patterns. The appearance of a figured bass indicated a significant change in musical thinking - namely, the fact that harmony, which is "addition of parts to one whole", as important as melodic parts (polyphony) by themselves. More and more polyphony and harmony looked like two sides of one idea of \u200b\u200bthe composition of harmonious music: when writing, harmonious sequences was given the same attention as tritones when creating dissonance. Harmonic thinking also existed in some composers of the previous era, for example, Karlo Jesualdo, but in the baroque era, it became generally accepted.
Those parts of the works where it is impossible to clearly separate the modality from the tonality, he marked like a mixed major, or a mixed minor (later for these concepts he introduced the terms "Monsal Major" and "Monsal Minor", respectively). From the table, it can be seen how the tonal harmony already in the early baroque period almost displaces the harmony of the previous era.
Italy becomes the center of a new style. The papacy, although captured by the struggle with the reformation, but nevertheless possessing huge money resources, replenished by the military campaigns of the Habsburgs, was looking for the possibility of the spread of Catholic faith by expanding cultural influence. The magnificity, the greatness and complexity of architecture, visual arts and music, Catholicism, as it were, argued with ascetic Protestantism. Rich Italian republics and principalities, also conducted an active competition in the field of fine arts. One of the important centers of musical art was Venice, formerly at the time of secular and under church patronage.
A significant figure of the early baroque period, whose position was on the side of Catholicism, opposing the growing ideological, cultural and public influence of Protestantism, was Giovanni Gabrieli. His work belongs to the style of "high rebirth" (the heyday of the Renaissance). However, some of its innovations in the field of tools (appointing a certain tool for their own, specific tasks) clearly indicate that it was one of the composers who influenced the appearance of a new style.
One of the requirements imposed by the church to the work of spiritual music was that the texts in the works with vocals were picky. It demanded the cargo from the polyphony to musical techniques, where the words went to the fore. Vocals became more complicated, Vitivat compared to accompaniment. So got the development of homophony.
Monteverd Claudio (1567-1643), Italian composer. Nothing attracted him as the exposure of the inner, mental peace of man in his dramatic conflicts and conflicts with the outside world. Monteverdi is a genuine primunity of the conflict drama of the tragedy plan. He is a hurricane singer of human shower. He persistently sought to natural expressiveness of music. "The speech is human - the lady of harmony, and not the servant of it."
"Orpheus" (1607) -The music of the opera is concentrated on the disclosure of the inner world of the tragic hero. His party is unusually multifaceted, it merges various emotional and expressive currents and genre lines. He enthusiastically appears to his native forests and coasts or mourns the loss of his Euridic in the undispable songs of the folk warehouse.

Music Music Baroque (1654-1707)

The period of centralization of the supreme power in Europe is often called absolutism. Absolutism reached its apogee with the French king Louis XIV. For the whole of Europe, Louis Louis was a role model. Including the music performed at the court. The increased availability of musical instruments (it was especially related to the keyboard) gave impetus to the development of chamber music.
Mature baroque is different from the early widespread spread of a new style and a strengthened separation of musical forms, especially in the opera. As in the literature, the ability to stream printing of musical works led to an extension of the audience; Intected the exchange between the centers of musical culture.
An outstanding representative of the court composers of the yard Louis XIV was Giovanni Battista Lulley (1632-1687).Already at 21, he received the title of "Courtful Composer of Instrumental Music." Creative work Lully from the very beginning was tightly connected with the theater. Following the organization of the court chamber music and the writing "Airs De Cour", he began writing ballet music. Louis Xiv himself danced in ballets, which were then favorite entertainment of the courtestrous nobility. Lully was an excellent dancer. He was able to participate in production, dancing along with the king. He is known for his collaboration with the Moliere, on the plays of which he wrote music. But the main thing in the works of Lully was still writing the opera. Surprisingly, Lully created a complete type of French opera; The so-called lyrical tragedy in France (FR. TRAGEDIE LYRIQUE), and reached the undoubted creative maturity in the first years of his work at the Opera House. Rully often used the contrast between the majestic sound of the orchestral section, and simple recipients and arias. The musical language of the cliff is not very complicated, but, of course, the clarity of harmony, rhythmic energy, the clarity of the form membership, the purity of the texture speaks of the victory of the principles of homophone thinking. In a large extent, his success was also facilitated by his ability to select musicians to the orchestra, and his work with them (he himself conducted rehearsals). An integral element of his work was attention to harmony and a soling tool.
In England, the mature baroque was marked by the bright genius of Henry Peressella (1659-1695). He died the young, at the age of 36, writing a large number of works and becoming widely known during his lifetime. Purcell was familiar with the work of Corelli and other Italian baroque composers. However, his patrons and customers were people of another variety than the Italian and French secular and church to know, so the writings of Pörslla are very different from the Italian school. Purcell worked in a wide range of genres; From simple religious hymns to marching music, from vocal essays of a large format to staged music. His catalog has more than 800 works. Purcell became one of the first composers of keyboard music, the influence of which applies to modernity.
Unlike the above composers Dietrich Buxthehud (1637-1707) was not a court composer. Buxtehude worked by an organist, first in Helsingborg (1657-1658), then in Elsinor (1660-1668), and then, starting from 1668, in the church of St. Mary in Lübeck. He did not earn the publication of his works, but their execution, and the patronage of the nobility preferred an essay of music on church texts and the execution of its own organ work. Unfortunately, not all works of this composer have been preserved. The music of the brush station is largely built on the scale of the ideas, wealth and freedom of fantasy, tendency to pathetic, dramatism, several oratory intonation. His creativity had a strong influence on such composers as I. S. Bach and Temen.

Music Late Baroque (1707-1760)

The exact line between mature and late Baroque is a subject of discussion; It lies somewhere between 1680 and 1720. In a considerable degree of complexity of its determination, the fact that in different countries of styles was replaced by incomprehensible; innovations already adopted by the rule in one place in the other were fresh finds
The forms open by the previous period reached maturity and large variability; Concert, Suite, Sonata, Confrato Grosso, Oratoria, Opera and Ballet no longer had pronounced national features. Universally established generally accepted schemes of works: a repetitive two-chart (AABB), a simple three-part (ABC) and Rondo.
Antonio Vivaldi (1678-1741) - Italian composer, born in Venice. In 1703 he accepted the San Catholic priest. It is in these, while still developing instrumental genres (baroque sonata and a baroque concert), Vivaldi and made their most significant contribution. Vivaldi composed more than 500 concerts. He also gave program names to some of its work, such as the famous "Seasons".
Domenico Scarlatti (1685-1757) It was one of the leading keyboard composers and performers of its time. But perhaps the most famous court composer became Georg Friedrich Handel (1685-1759).He was born in Germany, she studied in Italy for three years, but in 1711 London left, where he began his brilliant and commercially successful career of an independent opera composer, performing orders for nobility. Having a tireless energy, Handel recycled the material of other composers, and constantly reworked his own essays. For example, he is known for reworked by the famous speakers "Messiah" as many times that now there is no version that can be called "authentic".
After death, he was recognized as the leading European composer, and was studied by the musicians of the era of classicism. Handel mixed in his music the rich traditions of improvisation and counterpoint. The art of musical jewelry has reached a very high level of development in its works. He traveled in all of Europe to study the music of other composers, and therefore had a very wide range of dating among composers of other styles.
Johann Sebastian Bach Born on March 21, 1685 in the city of Eisenah, Germany. For his life, he composed more than 1000 works in various genres, except for the opera. But during his lifetime, he did not achieve any meaningful success. Many times moving, Bach replaced one not too high position for the other: in Weimar, he was a court musician at Weimar Duke Johanna Ernst, then became a caretaker in the Church of St. Bonifacea in Arnstadt, after a few years she took the position of an organist in the Church of St. Mussea in Mülhausen, where he worked only about a year, after which he returned to Weimar, where he took the place of the court organist and the organizer of concerts. In this position he was delayed for nine years. In 1717, Leopold, Duke Anhalt-Kotensky, hired Baha to the position of Kapelmeister, and Bach began to live and work in Koten. In 1723, Bach moved to Leipzig, where he remained until his death in 1750. In recent years of life, after the death of Bach, his fame as the composer began to decrease: his style was considered old-fashioned compared to flourishing classicism. He knew him more and remembered as artist, the teacher and the father of Bakhov Junior, first of all, Charles Philip Emmanuel, whose music was famous.
Only the execution of "Matthew Passions" by Mendelson, 79 years after the death of I. S. Baha, he resurrect interest in his work. Now I. S. Bach is one of the most popular composers.
Classicism
Classicism - style and direction in the art of the XVII - early XIX centuries.
The word this happened from the Latin Classicus - exemplary. The classicism was based on the conviction in the intelligence of being, in the fact that human nature is harmonious. Its ideal of classics was seen in antique art, which was considered the highest form of perfection.
In the eighteenth century, a new stage of development of social consciousness begins - the era of enlightenment. The old public order is destroyed; The ideas of respect for human dignity, freedom and happiness are of paramount importance; Personality gains independence and maturity, uses its mind and critical thinking. A new lifestyle, based on naturalness and simplicity, comes to replace the ideals of the Baroque era and solemnity. The time of idealistic views of Jean-Jacques Rousseau, calling back to nature, to natural virtue and freedom. Along with nature, antiquity is idealized, since it was believed that it was during the time of antiquity to people managed to embody all human aspirations. Antique art gets the name of classic, it is recognized by the exemplary, most truthful, perfect, harmonious and, unlike the art of the Baroque era, are considered simple and understandable. The center of attention, along with other important aspects, there is an education, the position of a simple people in a social structure, genius as a human property.

Mind reigns in art. Wanting to emphasize the high appointment of art, his public and civilian role, the French philosophical enlightener Denis Didro wrote: "Each work of sculptures or painting should express any great rule of life, should teach."

The theater at the same time was a textbook of life, and his life itself. In addition, in the theater, the action is highly ordered, measured; It is divided into acts and scenes, those in turn, dissected on separate replicas of characters, creating such an ideal of art that is so expensive 18 century, where everything is in its place and is subject to logical laws.
The music of classicism is extremely theatrical, it seems to be copied by the art of the theater, imites him.
The separation of classical sonata and symphony on large sections - parts, in each of which there is a lot of music "events", like the division of the performance on the actions and scenes.
In the music of the classic century, the plot is often meant, a kind of action that is deployed in front of the listeners as well as the actor's action deployed in front of the audience.
The listener only remains to include the imagination and find out in the "musical clothes" of the characters of a classic comedy or tragedy.
The art of the theater helps to explain the big change in the performance of music, which were accomplished in the 18th century. Previously, the main place where the music sounded was the temple: there was a man in him below, in a huge space, where the music as if helped him look at the down and devote his thoughts to God. Now, in the 18th century, music sounds in the aristocratic salon, in the Baln Hall of the noble estate or on the city square. The listener of the Education of the Enlightenment seems to turn with the music "On You" and does not experience more delight and the timidity that she inspired him when she sounded in the temple.
There is no powerful, solemn sound of the organ, the role of choir has already been reduced. The music of the classic style sounds easily, there are much fewer sounds in it, as if she is "less weighs" than the cargo, multilayer music of the past. The sound of the organ and choir changed the sound of the symphony orchestra; Elevated arias gave way to music with light, rhythmic and dance.
Thanks to the boundless faith in the possibility of human mind and the power of the knowledge of the 18th century began to call the middle of the mind or an age of the enlightenment.
Classicism flourishing occurs in the 80s of the eighteenth century. In 1781, Y. Gaidn creates several innovative works, among which its string quartet is. 33; The premiere of opera V.A. Mozart "Abduction of Seryla"; Drama F. Schiller "Robbers" and "Cleaning Cleaver" I. Kant are published.

The brightest representatives of the classic period are composers of the Vienna Classical School Josef Gaidn, Wolfgang Amadeus Mozart and Ludwig Van Beethoven. Their art admires the perfection of composer equipment, the humanistic originant and desire, especially tangible in the music of V. A. Mozart, to reflect perfect beauty tools.

The very concept of a Vienna classical school appeared shortly after the death of L. Beethoven. Classical art is distinguished by a subtle equilibrium between feelings and reason, shape and content. Revival music reflected the spirit and breath of their era; In the baroque era, the subject of a person's state of display in music; The music of the era of classicism chants the actions and actions of a person who experienced emotions and feelings, attentive and holistic human mind.

Ludwig Van Beethoven (1770-1827)
The German composer, who often considers the greatest creator of all time.
His creativity is referred to as classicism and romanticism.
Unlike its predecessor of Mozart, Beethoven composed with difficulty. Handbook books Beethoven show how gradually, a grandiose composition arises step by incremental sketch, marked with convincing logic of construction and rare beauty. It is the logic that the main source of Bethovensky magnitude, its incomparable ability to organize contrast elements into a monolithic integer. Beethoven erases traditional cesuras between shape sections, avoids symmetry, merges parts of the cycle, develops extended construction from thematic and rhythmic motifs, at first glance that do not contain anything interesting. In other words, Beethoven creates a musical space of the strength of the mind, his own will. He anticipated and created those art directions that were decisive for musical art 19 V.

Romanticism.
covers conditionally 1800-1910 years
Composers-romance tried with the help of musical means to express the depth and wealth of the inner world of man. Music becomes more embossed, individual. The development of song genres, including ballads, is obtained.
The main representatives of romanticism in music are: inAustria - Franz Schubert. ; in Germany - Ernest Theodore Hoffman, Karl Maria Weber, Richard Wagner, Felix Mendelson, Robert Schuman, Ludwig Spur; in
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