The Middle Ages is the longest cultural era in the history of Western Europe. It covers nine centuries - with VI to the XIV century. It was the time of the domination of the Catholic Church, which from the first steps was the patroness of the arts. The church word (prayer) in different countries of Europe and in various social layers was inextricably linked with music: Psalms, hymns, chorales were sounded - focused, detached melodies, distant from everyday bustle.

Also, by order of the church, majestic temples were erected, decorated them with sculptures and colorful stained glass windows; Thanks to the patronage of the Church, architects and artists, sculptors and singers devoted themselves to fearlessly beloved art, i.e. the Catholic Church supported them from the material side. Thus, the most significant part of art in general and musical, in particular, was under the maintenance of Catholic religion.

Church singing in all countries of Western Europe sounded in strict Latin and in order to further strengthen the unity, the community of the Catholic world, Pope Gregory I, who joined the throne at the beginning of the IV century, gathered all the church chants and was prescribed to perform each of them A certain day of the church calendar. The melody collected by the dad was called Grigorian choralov, and the singing tradition based on them is called Gregorian singing.

In the melodic sense, the Grigorian choral is focused on the octoys - the system of eight wards. It was the LAD that often remained the only indication on how to perform the choral. All the frets were octave and were modifications of an antique trichord system. The fretsmen had only the numbering, the concepts of "Dorian", "Lidy" and so on. Excluded. Each way represented the connection of two tetrachords.

The Grigorian choralas perfectly corresponded to their prayer appointment: leisurely melodies were made out of the motifs imperceptively in each other, the melodic line was limited to the temps, the intervals between the sounds were small, the rhythmic pattern was also smooth, choralas based on a dictional sound hand were built. The Grigorian choralas were alone with a male chorus and trained such singing mainly in the oral tradition. Written sources of Grigoryanicians are a model of inept notation (special icons stood over the Latin text), however, this type of music record indicated only the approximate height of the sound, the generalized direction of the melodic line and did not touch the rhythmic side at all and therefore was considered difficult to read. The singers who performed church chorals were not always formed and trained their craft orally.

Gregorian Choral became a symbol of a huge era, which reflected his understanding of life and peace in it. The meaning and content of choralov reflected the representation of a medieval person about the essence of being. In this sense, the Middle Ages is often referred to as the "young European culture", when, after the fall of ancient Rome in 476, the tribes of the barbarians, Galov and Germans invaded Europe and began to build their lives again. Their faith in the Christian saints was distinguished by the idleness, simplicity and melodies of the Grigorian chorals were based on the same principle of naturalness. Some monotony of choralov reflects the representation of a medieval person about space, which is limited to the field of his vision. Also, the idea of \u200b\u200bthe time was associated with the idea of \u200b\u200brepeatability and immutability.

Grigorian singing, as a dominant musical style, to the IX century finally approved throughout Europe. At the same time, in the music art, the greatest discovery occurred, which had an impact on his entire further history: a monk scientist, the Italian musician Guido from Arezzo (Aretinsky) invented the record record, which we still use to this day. From now on, the Gregorian Choral could be felt on notes, and he joined the new phase of his development.

From VII to the 9th century, the concept of "music" and "Grigorian choral" existed internally. Studying the melody of choralov, medieval musicians and singers wanted to decorate them, but the church singing was not allowed. The output was found: over the choral melody at an equal distance from all her sounds, a second voice was prescribed, which exactly repeated the melodic pattern of the chorated. The melody seemed thickened twin. Such first two-voice essays received the names of organum, as the lower voice in which the choral sounded, was called Vox Principalis (basic voice), and the top, capleen - Vox Organalis (additional voice). The sound of organum caused associations with the acoustics of the temple: it was a muddy, deep. Further, during the XI-XIII centuries, two-ways increased to three- (TripTUM) and four-glazes.

Rhythmic forms of organum - an example of modus (modal) rhythm. Their six: Jamb (L ¡), Trohai (Korea) (¡L), Dactyl (¡ . L ¡), anapest (L ¡¡ . ), spondes (¡ . ¡ . ), tractured (L L L).

In addition to church art, with the development of European cities and economics, the birth of new art occurred in the Middle Ages. Simple people (townspeople, peasants) were often seen in their settlements stray actors and musicians who danced, played theatrical ideas for different topics: about the angels and the Most Holy Virgin or about the hell and hellish torments. This new secular art had to taste ascetic ministers of the church, which were found in frivolous songs and the ideas of the chinny of the devil.

The flourishing of medieval cities and feudal castles, interest in secular art, which covered all the estates, led to the emergence of the first vocational school of secular poetry and music - the School of Troubadurov, which arose in the south of France in the XII century. Similar German poets and musicians were called Minnesingers (Maistezingers), Severofranzes-Trusters. As authors of the poems, the Poets-Trubadura performed simultaneously both as composers, and as singers performers.

Music Troubadur songs grew out of poetry and imitated her simplicity, joggy, carelessness. The content of such songs discussed all the vital topics: love and separation, the offensive of the spring and its joy, the funny life of the wandering students-Scholars, the pranksters of the fortune and her capricious temper, etc. Rhythmic, clear membership on musical phrases, emphasis, frequency - all this was peculiar Songs Troubadurov.

The Grigorian singing and Lyrics of Troubadurov are two independent directions in medieval music, however, with all their contrast, it is possible to note the general features: inner relationship with a word, a tendency to a smooth, ornate vote.

The top of the early polyphony (polyphony) has become the school notre ladies. The musicians belonging to her worked in Paris in the Cathedral of the Parisian Our Lady in the XII-XIII centuries. They managed to create such multi-voiced structures, thanks to which musical art has become more independent, less dependent on the pronunciation of Latin text. Music ceased to be perceived as his support and decoration, she was now intended specifically for the hearing, although the organs of the masters of this school were still performed in the church. Professional composers stood at the head of the school notre-ladies: in the second half of the XII century - Leonin, at the turn of the XII-XIII centuries - his disciple of Peroths.

The concept of "composer" in the Epoch of the Middle Ages existed in the second plan of musical cultures and the very word originated from "Composing" - i.e. Combine, create something new of the well-known elements. The profession of the composer appeared only in the XII century (in the work of the Troubadur and the Masters of the NOTR-Dame School). For example, the rules of the composition found by Leonin are unique because, starting with a deep study of the musical material created before him, the composer was subsequently combined to combine the traditions of strict Grigorian singing with the free norms of the art of the troubadur.

Already in organum peroth, a way to extend the musical form was invented. So, the musical tissue was dismembered for short motives, built according to the principle of similarity (they all represent quite close variants of each other). Peroth transmits these motifs from one vote to another, creating something like a motive chain. Using such combinations and permutations, Peroths allowed organum to grow on scale. The sounds of the Grigorian Choral, placed in the voice of Cantus Firmus, are located at a high distance from each other - and it also contributes to the expansion of the musical form. So there was a new genre - mott; As a rule, this is a three-voice essay that has been distributed in the XIII century. The beauty of the new genre was concluded in the simultaneous combination of different melodic lines, although they were essentially an option, duplication, reflection of the main pit - Cantus Firmus. Such motges were called "ordered."

However, the public most popular at the public, which, in contrast to Cantus Firmus, exaggerated the principles of difference: Some of them even composed on multilingual texts.

Medieval motes could be both spiritual and secular content: love, satirical, etc.

Early polyphony existed not only as vocal art, but also as instrumental. For carnavals and holidays, dance music was composed, Troubaduri songs were also accompanied by playing the instruments. Peculous instrumental fantasies similar to motes were popular.

The XIV century in Western European art is called the "autumn" of the Middle Ages. Italy has already received a new era - rebirth; Already created Dante, Petrarch, Jotto - the Great Masters of the early Renaissance. The rest of Europe failed the results of the Middle Ages and felt the birth of a new topic in art - the subjects of individuality.

The introduction of medieval music in a new era was marked by the appearance of Treatise Philip de Vitrate "ARS NOVA" - "New Art". In it, the scientist and the musician tried to outline a new image of a musically beautiful. The name of this treatise gave the name and the entire musical culture of the XIV century. From now on, the music should have abandoned simple and coarse sounds and rushed to softness, charm the sound: instead of empty, cold consonant ARS Antiqua was prescribed to use full and singer consonances.

It was recommended to leave in the past and monotonous rhythm (modal) and use the newly open menzural (measuring) notation, when short and long sounds belong to each other as 1: 3 or 1: 2. Many more durations - Maxim, Long, Brevis, SemiBrevis; Each of them has its own drawing: longer sounds are not shaded, more brief are depicted in black.

Rhythm has become more flexible, varied, you can use syncopes. Less strict was the restriction on the use of other, except for diatonic church frets: you can use alterations, increasing, lowering musical tones.

Music of the Middle Ages - the period of development of musical culture, covering a period of time from about V to the XIV century AD.

The Middle Ages is a large era of human history, the time of domination of the feudal system.

Culture periodization:

Early medieval - v - x centuries.

Mature Middle Ages - XI - XIV centuries.

In 395, the Roman Empire broke into two parts: Western and Eastern. In the western part on the ruins of Rome in the V-IX centuries, there were barbarian states: sharpening, modes, francs, etc. In the 9th century, three states were formed in the decay of the Empire Karl Great here: France, Germany, Italy. Constantinople became the capital, founded by Emperor Konstantin on the site of the Greek colony of Byzantium - from here and the name of the state.

In the era of the Middle Ages in Europe there is a new type musical culture - a feudal, combining professional art, amateur music and folklore. Since the church prevails in all areas of spiritual life, the basis of professional musical art is the activities of musicians in the temples and monasteries. Secular professional art was presented at first only singers who create and execute epic legends at the courtyard, in the houses of know, among warriors, etc. (Bards, Scalds, etc.). Over time, amateur and semi-professional forms of chivalry musitization are developing: in France - the art of Trubadurov and Trovers (Adam de la, the XIII century), in Germany - Minnesinger (tungsten von Eschenbach, Walter von der Foelweid, XII-XIII century), and Also urban artisans. In feudal locks and in the cities are cultivated all sorts of childbirth, genres and forms of songs (epic, "dawn", Rondo, Le, Velel, ballads, chancests, lands, etc.).

New musical instruments are included in life, including those who came from the East (Viola, Lute, etc.), ensembles (unstable compositions) arise. Folklore blooms in the peasant medium. "People's Professionals" operate: the observance of the wandering synthetic artists (juggles, mimes, minstrels, spiens, crumbs). Music reiterates mainly applied and spiritual and practical functions. Creativity performs in unity with the execution (as a rule in one person).

Gradually, although slowly, the content of music, its genres, forms, means of expressiveness are enriched. In Western Europe from the VI-VII centuries. There is a strictly regulated system of single-voice (monodic) church music on the basis of diatonic lands (Grigorian singing), which combines recitation (psalmody) and singing (hymns). At the turn of the 1st and 2nd millennia, multi-beams are born. New vocal (choral) and vocal-instrumental (choir and organ) genres are formed: organs, mott, Conduct, then Mesia. In France in the XII century, the first composer (creative) school is formed with the Cathedral of the Paris Mother of God (Leonin, Peroths). At the turn of the Renaissance (ARS NOVA style in France and Italy, the XIV century) in the professional music of one-haired multi-voyage, music begins to be freed from purely practical functions (servicing church rites), it increases the importance of secular genres, including songs (Gille De Masha).

The material basis of the Middle Ages was a feudal relationship. Medieval culture is formed in the conditions of a rural estate. In the future, the social basis of culture becomes the urban environment - Burgemi. With the formation of states, the main estimia is formed: clergy, nobility, people.

The art of the Middle Ages is closely connected with the church. Christian creed is the basis of philosophy, ethics, aesthetics, the whole spiritual life of this time. Filled with religious symbols, art is directed from earthly, transient to spiritual, eternal.

Along with the official church culture (high), there was a secular culture (lower) - folk (lower public layers) and knightly (courti).

The main foci of the professional music of the early Middle Ages - cathedrals, singing schools in them, monasteries are the only centers for the formation of that time. They studied Greek and Latin, arithmetic and music.

The main center of church music in Western Europe in the Epoch of the Middle Ages was Rome. At the end of the VI - early VII century. The main variety of Western European church music is formed - Gregorian Choral, named so named Pope Gregory I, who carried out the reform of church singing, collecting together and streamlining various church chants. Grigorian choral is a single-haired Catholic chant, which merged the centuries-old singing traditions of various Middle Eastern and European peoples (Syrians, Jews, Greeks, Romans, etc.). It was the smooth single-haired deployment of a single melody that was intended to personify the united will, the focus of attention of the parishioners in accordance with the dogmas of Catholicism. The character of music is strict, extravaluable. He was performed by Choral Choir (hence the name), some sections - soloist. Prevails adulted on the basis of diatonic frets. Gregorian singing allowed a lot of gradations, ranging from the harsh-slow choir psalmody and ending with the anniversaries (melting syllable syllable) requiring virtuoso vocal skills for its performance.

The Grigorian singing gives a listener from reality, causes humility, leads to contemplation, mystical extension. Such an impact contributes to the text in Latin, incomprehensible bulk of the parishioners. The rhythm of singing was determined by the text. It is vague, undefined, due to the character of text recording accents.

The diverse types of Gregorian singing were summarized in the main worship of the Catholic Church - Messe, in which five stable parts were established:

KYRIE ELEISON (Lord, Pomelia)

Gloria (Glory)

Credo (believe)

Sanctus (holy)

Agnus Dei (Lamb of God).

Over time, the elements of folk music through anthems, sequences and trails begin to leak into the Gregorian Choral. If the psalmodia was performed by professional chorus of singers and clergy, then the hymns at first are parishioners. They were insertion into official worship (they were inherent in the features of folk music). But soon the grams of the mass began to push the psalmodic, which led to the appearance of polyphonic mass.

The first sequences were a downstream under the melody of the anniversary so that one sound of the melody would have a separate syllable. The sequence becomes a common genre (the most popular "Veni, Sancate Spiritus", "Dies Irae", "Stabat Mater"). "Dies Irae" used Berlioz, Leaf, Tchaikovsky, Rachmaninov (very often as a symbol of death).

The first samples of polyphony occurred from monasteries - organs (movement of parallel quints or quarts), Gimel, Fogramsdon (parallel sextaccord), Conduct. Composers: Leonin and Peroths (12-13 centuries - Cathedral of the Parisian Mother of God).

The carriers of secular folk music in the Middle Ages were mimes, juggles, minstrels in France, spiers - in the countries of German culture, and chogres - in Spain, scomerculos - in Russia. These wandering artists were universal masters: they combined singing, dance, game on various tools with focus, circus art, puppet theater.

The other side of the secular culture was a knightly (courterous) culture (culture of secular feudal). The knights were almost all noble people - from the poor warriors to the kings. A special Knight's Code is formed, according to which the knight, along with courage and valor, was supposed to possess exquisite manners, to be educated, generous, generous, to serve as an excellent lady. All sides of the knightly life reflected in the musical and poetic art of Trubadurov (Provence - Southern France), Drivers (Northern France), Minnesingers (Germany). The art of Trubadurov is mainly connected with love lyrics. The most popular genome of love lyrics was Chancend (at Minnesinger - "Morning Songs" - Alba).

Trumpets, widely using troubadur experience, created their original genres: "Weaving Songs", "May Songs". The important area of \u200b\u200bthe musical genres of troubadurov, drovers and minnesinger was the song and dance genres: Rondo, Ballad, Viselle (refrained forms), as well as heroic epos (French Epos "Song about Roland", German - "Song of Nibelunga"). The Minnesiangers had the songs of the Crusaders.

Characteristic features of the art of troubadurov, drovers and minnezinger:

One-way - is a consequence of the inseparable communication of the entry with the poetic text, which follows from the very essence of music-poetic art. Single-band corresponded to the installation on an individualized expression of their own experiences, to personal assessment of the content of the statement (often the expression of personal experiences was framed by outlining nature paintings).

Mostly vocal execution. The role of the tools was not significant: it was reduced to the fulfillment of entry, intermedia and post-short, framing vocal entanglements.

About Knight's art can not be spent on both professional, but for the first time in the context of secular musitization, a powerful musical and poetic direction was created with a developed complex of expressive means and relatively performed musical writing.

One of the important achievements of the mature Middle Ages, starting from the X-XI centuries, the development of cities (burgher culture) was the development of cities. The main features of urban culture were anti-carcinal, freeing orientation, connection with folklore, its laughter and carnival character. Gothic architectural style develops. New polyphony genres form: from 13-14 to 16 centuries. - Motet (from Franz. - "Word". For the mott. Typically melodic nursery of votes that intonated different texts - often even in different languages), Madrigal (from Ital. - "Song in the native language", i.e. Italian. Texts Lyubovoy-lyrical, pastoral), kachche (from Ital. - "Hunting" is a vocal play on text, painting hunting).

Folk wandering musicians are moving from a nomadic lifestyle to a settled, populate whole city blocks and add up to peculiar "musician shops." Starting from the XII century, Vagatants and Goliada were joined to folk musicians - declared immigrants from different classes (Scholas-students, runaways, wandering clerics). Unlike illiterate juggles - typical art representatives of the oral tradition - Vagant and Goliada were competent: they owned the Latin language and the rules of classical poems, composed music - songs (the circle of images is associated with school science and student life) and even complex compositions of type of conducts and motes .

Universities became a significant focus of musical culture. Music, more precisely - musical acoustics - together with astronomy, mathematics, physicist entered the quadrium, i.e. The cycle of four disciplines studied at universities.

Thus, in the medieval city there were various foci of musical culture in the nature and social orientation: association of folk musicians, court music, music of monasteries and cathedrals, university musical practice.

Music theory of the Middle Ages was closely connected with theology. In a few musical and theoretical treatises, music was considered as a "servant of the church". Among the prominent treatises of the early Middle Ages, 6 books "On Music" Augustine, 5 Books "On Music Settlement" and others are given a large place in these treatises.

The medieval foot system was developed by representatives of church professional musical art - therefore, the name "Church Lads" was entrenched for medieval frets. The Ionian and Eolic and Eolist are established as the main frets.

Music theory of Middle Ages put forward the doctrine of hexahorda. In each Lada, 6 steps were used in practice (for example: to, re, mi, fa, salt, la). Xi then avoided, because Food together with the FA move on the increased quart, which was considered very intact and figuratively called the "Devil in Music".

Inviable recording was widely used. Guido Aretinsky has improved a tank recording system. The essence of his reform was as follows: the presence of four lines, the terrent relationship between individual lines, the key sign (initially alphabet) or the coloring of the lines. He also introduced the sludge notation for the first six levels of Lada: Ut, Re, Mi, Fa, Salt, La.

Menzular notation is introduced, where a certain rhythmic measure was fixed for each notew (lat. Mensura - measure, measurement). Name of durations: Maxim, Long, Brevis, etc.

The XIV century is the transition period between the medieval and the era of the revival. The art of France and Italy of the XIV century received the name "ARS NOVA" (from lat. - New art), and in Italy, it has all the properties of early revival. Basic features: Refusal to use exclusively genres of church music and appeal to secular vocal-instrumental chamber genres (ballad, kachche, Madrigal), rapprochement with household soles, the use of various musical instruments. ARS NOVA is opposite to the so-called. ARS Antikva (Lat. Ars Antiqua is old art), implying musical art before the beginning of the XIV century. The largest representatives of ARS NOVA were Guillaume de Masho (14th century, France) and Francesco Landino (14th century, Italy).

Thus, the Music culture of the Middle Ages, despite the relative limitation of funds, is a higher level compared to the music of the ancient world and contains the prerequisites for the magnificent flourishing of musical art in the Renaissance era.

music Museum Grigorian Troubadur

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Books

• Illustrated art history. Architecture, sculpture, painting, music, liking in .. Lifting edition. St. Petersburg, 1884. Edition A. S. Suvorin. Edition with 134 drawings. Owned binding with leather root and corners. Fur Bintovaya. Preservation is good. ...
• Illustrated art history. Architecture, sculpture, painting, music (for schools, self-study and references), Lyubka. Lifting edition. St. Petersburg, 1884. Edition A. S. Suvorin. Book with 134 drawings. Typographic cover. Safety is good. Small holes on the cover. Ornate illustrated ...

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 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 Eisenakh, 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 education.
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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