Genres of choral music. The topic of seventhmuscal genres associated with the word (vocal genres) research approaches to the study of choral miniatures

Genres of choral music

Choral singing has the same ancient history as songs. Recall that the ancient ritual songs are performed collectively. True, everyone sing the same melody in unison. Many centuries in a row choir singing remained one-haired, and the first samples of choral polyphony belong to the 10th century.

In folk music, we meet a polyphony in a slot song. The tradition began from the national polyphony - to perform songs in chorus. Sometimes it is simply an arrangement of any song for the choir, and sometimes songs are written specifically for choir. But the choral song is not an independent genre of choral music, this is one of the variety of song genre.

The genres of choral music includes:

Choral miniature

Choral concert

Cantata

Oratorio

Choral miniature - This is a small play for choir. Unlike choral song, multifony strongly developed in choral miniature, polyphonic techniques are often used. Many choral miniatures are written for choir without accompaniment (in this case, the Italian term is used "a.cappella”).

For example, in a choral miniature V. Schebalina "Winter Road", the composer highlights the party of the first soprano as the main melody. The rest of the votes echo grab separate phrases. They sing these phrases by chords that perform the role of harmonic accompaniment. In the climax, the texture is complicated, the melodic line appears not only in soprano, but also in other voices.

Choral concert - Despite the name, it is not intended for concert execution, this is a concert designed to perform in the Orthodox Church during a solemn holiday service. This is the genre of Russian Orthodox spiritual music.

A choral concert is not a miniature, but a large numerous (cyclic) work. This is a choral story in several chapters, each part is a continuation of the previous one. Typically, there are small pauses between parts, but sometimes parts are performed without a break, flow into each other. All choral concerts are written for the choir "a.cappella", Since instrumental music in the Orthodox Church is prohibited.

Cantata - The word is classified with the word "Cantilena", which means "singing". The name "Cantata" (the music that sing) originated at the beginning of the 17th century, along with the name "Sonata" (the music played) and the "Toccata" (music intended for performing keyboard tools). Now the meaning of these names has changed somewhat.

From the 18th century under Cantata, it is implied not any product that sing.

Cantata is a natural product for soloist singers, choir and orchestra.

According to the structure of Cantata, it looks like a choral concert. At first, cantata, like choral concerts, were spiritual works, but not an Orthodox, but a Catholic church. But in the second half of the 18th century, secular cantata appeared, intended for concert performance. Many spiritual and secular cantat wrote I.S. Bach

Oratoria - this word initially marked not at all musical genre. The oratoria was called the premises for prayer in the temples as well as prayer meetings that were held in these premises. The service in the Catholic Church took place on Latin, on which no one has spoken and few people knew. She was understood only by educated people - mainly the priests themselves. And for parishioners it was clear what we were talking about, the theatrical ideas on the religious plot were arranged - liturgical dramas. They were accompanied by music and singing. Here are them of them and there was a genre of the orator in the 17th century.

As in Cantate, singers-solicists, choir and orchestra take part in the oratorio. Oratorio differs from Cantata with two signs:

Much big sizes (up to 2 - 2.5 hours)

Confused narrative plot

Ancient oratorios were created, as a rule, on biblical plots and were intended for both church and secular execution. In the 18th century, it was especially famous for his orators G.F. Gertel, a German composer who lived for a long time and worked in England. At the end of the 18th century, interest in orators weaken. But in England, hedele's oratorius continued to love. And when in 1791, England visited the Austrian composer Josef Gaidn, he was captive by Handel's oratories and he himself created three orations - "seven words of the Savior on the Cross", "Seasons" and "Creation of the World".

In the 19th century, also created an oratory, but they did not have success, as well as cantata. In the 20th century, there were significant works in the genre of the orator: "Jeanne d'Ark at the fire" of the French composer Arthur Oneguger and the "Patatical Oratorion" of the Russian composer Georgy Sviridov on the verses of Mayakovsky.

Questions to students:

What are the choral music genres?

Tell me about each of them.

The whole life of the Russian people is associated with the song. Labor, rest, joy, grief, war, victory - everything found its reflection in it. Songs were transferred from mouth to mouth, kept in the memory of the people and moved from generation to generation.

Starting from 18 to musicians, lovers were recorded in different parts of Russia, fairy tales, epics. Thanks to the first collections (compilers-Kirsch Danilov, Tervotsky, Prach), in the late 18V, the best samples of folk songs reached us. In 30g 19V, the first collections of choral treatments R.N.P. One of them, the collection of I.Rupina (1792- 1850), was called "Folk R.N.P. Arranged with the accompaniment of piano and for choir. " Most of the treatments are made for three-voice ensembles of various compositions (male, mixed), with an independent developed vocal line of each batch, but on a harmonic basis.

Composers- Classics opened a new page in the genre of choral treatments by Nar. Songs. They carefully chose them the most valuable in artistic and historical terms of the song, they were very carefully treated with the melody, they sought to preserve the specific features of multi-voice popular singing: the diatonic basis of the vote, natural freedoms, plagial turnover, subtlety of the metrohymic structure. Most of the treatments are made for choirs without accompaniment.

In the work of Russian composers, the following types of choral treatments by Nar. Songs: Harmonization, in which the melody in the upper voice is given accompanied by chords executed by other votes; polyphonic type of processing, implying developed grain, imitation, contrasting polyphony in the vote; mixed type, which includes elements of harmonization and polyphonic treatment; Free processing based on combining all previously listed types of treatments and approaching an independent essay on the theme of a folk song.

Russian folk songs played a major role in the work of M. M. M. M. M. (1839 - 1881). Along with the general use in the operations, the composer handled them for independent choir. Four Russian Nar songs - "You go up, go up, the sun is red" and "Ah you will be willing, the will", "Say, the girl is sweet", "at the gate, the gate of the Batyushkin" - transferred to Mussorgsky for the male 4-voice choir without accompaniment .

A special place was occupied by a narion song in the works of N. Rimsky - Korsakov (1844 - 1908). In 1879, the composer publishes the collection "Fifteen Russian narrative songs, shifted on the people's way, without accompaniment", consisting of three notebooks: in the first date processing for women's Chora, in the second - for male, in the third - for mixed. The dance song "Take the woven" is processed for mixed chorus of harmonization techniques. Processing the Trinity Song "A and Gusto on Birch Fauxy", miniature for female choir, made by imitation techniques. An example of polyphonic treatment can serve a song "With the bias I go" - canon for mixed choir.

Lecture number 6. Opera choirs of composers - classics

1. Opero - choir creativity M. Glinka.

2. Opero - chorus creativity A.Dargomyzhsky.

M.I. Glinka (1804 - 18570) - a brilliant Russian composer, founder of Russian national classical music. His operas "Ivan Susanin" and "Ruslan and Lyudmila" reflected heroic and lyrics, the reality of magical fiction, historical epos and life. The composer called "Ivan Susanin" "Patriotic Heroic - Tragic Opera" at the basis of the plot - the feat of the Kostroma peasant Ivan Susanin, the heroism of the Russian people in the fight against enemies, selfless love for their Fatherland. Opera is framed by monumental choral scenes - introduction and epilogue. In the introduction, the choir of militias led by the Russian warrior and the choir of peasants who meet them in their village. In the style of nar. The songs are written by the choir "My Homeland". He starts the melody of sainted (Russian warrior). Wrong, sowing the main topic, it picks up a male choir. Drawing images of peasants, Glinka writes chores style rus. nar. Songs. The chorus of the rowers "good we have a river" and the wedding choir "was raised, broke" are bright examples of such stylization.

"We have a good river" - a unique choir: t and and sing in unison. The song is filled with love for native land. The melody is close to N. Sweeping with its smoothness, the mission, the change of Lada, Diatonic. The shape of the choir is bought - variation, only orchestral support varies, and the melody remains unchanged.

"Frained, broke out" - a wedding ritual choir from the third operation of the opera. After the departure of Susanin with the Poles to Antonid, girlfriends come. Nothing knowing about what happened, the girls sing a wedding song. Especially pouring smooth wider melody. The main idea of \u200b\u200bthe opera - the heroism and patriotism of the Russian people - the most brightly embodied in the chore of the epiloga "nice." Epilogue consists of an intermission and three sections: the first is a triple choir; The second is a scene from Trio (Vanya, Antonida and Sobinin) with a chorus, the third - Final "Choir" Sorry "with the ensemble of Corneyev).

After the scene and the trio with the choir (the choir of warriors) as the reprise of the entire epiralogue in the final sounds "nice" again. Hexagon Mixed People's Choir, Corneyev Ensemble, Coloring Common Sound Movable Melodic Tights. The choir of warriors Symphonic and overall orchestra, bells, lytiona - everything merges into solemnly - the smooth hymn in the glory of the people - the hero.

Dargomyzhsky Alexander Sergeevich (February 2, 1813- January 5, 1869) - the famous Russian composer. Born in the village of Dargomyzhe Bellevsky County, Tula province. Education Dargomyzhsky got homemade, but thoroughly; He perfectly knew French and French literature. Playing in the puppet theater, the boy composed for him small plays-water-watering, and at six years began to learn to play the piano.

There was no real system in the musical education of Dargomyzhsky, and he owed his theoretical knowledge, mainly to himself

Having received a homemade musical education, Dargomyzhsky already in the young years began to compose romances and instrumental plays.

The earliest essays - Rondo, variations for piano, romances to the poems of Zhukovsky and Pushkin

Acquaintance with Glinka (1834), soon passed into close friendship, led to the thought of seriously engaged in music: he began to in-depth study the theory of composition and tool.

In 1844, Dargomyzhsky visited Germany, Paris, Brussels and Vienna.

A personal acquaintance with the Ober, Meyerber and other European musicians influenced its further development.

The socio-musical activity of Dargomyzhsky began only shortly before his death: Since 1860, he consisted of a member of the Committee for the Consideration of the Works submitted to the contests of the Imperial Russian Music Society, and since 1867 he was elected director of the St. Petersburg Branch of the Company.

The first major essay of Dargomyzhsky - Opera « Esmeralda "(1839) (according to the novel by Viktor Hugo" Cathedral of the Parisian Our Lady "). Posted was "Esmeralda" only in 1847 in Moscow and in 1851 in St. Petersburg

In the next product, the opera-ballet "Celebration of Vakha" (in 1848), he turned to Alexander Pushkin, with a poetry of which is more connected all his subsequent creativity.

The peak of the composer's creativity was the Opera Mermaid, completed in 1855.

The last opera work of Dargomyzhsky was the "stone guest" (according to the same "small tragedy" Pushkin.

Pedagogical goal: to form an idea of \u200b\u200bthe peculiarities of the genre of musical miniatures on the example of choral translating "the ancient French song" from the "Children's album" P.I. Tchaikovsky.

Tasks: to trace the relationship of different musical genres through an understanding of the meaningful filling of the artistic design of the composer; To seek the qualitative sound of children's singing votes in the process of learning and executing the song through the conscious perception of music.

Classes genre: thematic.

Type of classes: Studying a new material.

Methods: immersion method (allows you to realize the value-semantic meaning of the musical work in a person's life); phonetic method soundwork (directed both to the development of the qualitative characteristics of the singing voice and the formation of vocal choir skills); musication method (associated with the development of elements of musical tissue and methods for performing music based on the internal activity of students); The method of "plastic intonation" (aimed at the holistic perception of musical tissue through the motorcycle of his body).

Equipment: Portrait of P.I. Tchaikovsky, music album notebook, sunset illustration on the river (by choosing a manager), cards with musical terms "climax", "reprise".

During the classes.

By the time of classes, the children had already met with the work of P.I. Tchaikovsky in the lessons of music and without difficulty should learn the portrait of the composer, which is demonstrated by the head of the choir.

Leader: Guys, the musical works of this ingenious composer you have already studied at school lessons of music. Who remembers his name and what people does he belong to?

Children: Russian composer Peter Ilyich Tchaikovsky.

Leader: Yes, indeed, this is a great Russian composer of the 19th century P.I. Tchaikovsky, and I am glad that you learned it! Peter Ilyich's music know and love all over the world, and what his works are remembered to you?

Students give alleged answers:

Children: "March of wooden soldiers", "Doll disease", "Polka", "Waltz Snowflakes" and "March" from the ballet "Nutcracker".

Leader: Guys, Tchaikovsky created a lot of beautiful music for adults and children in various genres from such large, as opera, ballet and symphony to very small tool plays and songs. Some of them have already mentioned today. For example, the "march of wooden soldiers" and "doll disease". Do you know for whom the composer wrote these plays? For his little nephews who studied to play the piano. Peter Ilyich's children, unfortunately, was not, but he loved her sister's children very much. Especially for them, he created a collection of small plays for the piano, which called the "children's album". In total, the collection includes 24 plays, including the "march of wooden soldiers" and "doll disease".

The head shows a collection of children and, turning his pages, pronounces some names of the plays, focusing on the following:

Leader: "German Song", "Neapolitan Song", "Ancient French Song" ... Guys, how so? Russian composer wrote play with such names?

Children, as a rule, make it difficult to answer, and the head comes to them for help:

Leader: Traveling in different countries, Peter Ilyich studied the music of different nations. He visited Italy, France, Germany, England, other European countries and even went through the ocean to North America. Impressions from the folk music of these countries the composer embodied in his writings, having transferred her beauty and originality. So "German Song" appeared, "Neapolitan Song", "Ancient French Song" from "Children's Album" and many other works.

Now I will fulfill for you on the piano one of my most beloved plays from the "Children's Album" - "an old French song", and you will be attentive listeners and try to understand why the composer called the instrumental work "Song"?

Task: Determine the vocal start of the play by the nature of the melody.

After listening to music learners give alleged answers:

Children: Smooth melody, extended, legato, song, piano as if "sings." Therefore, the composer called this instrumental play "Song".

Leader: Guys, you are absolutely right. No wonder in our time, the modern poetess Emma Alexandrova, feeling the song began this music, composed the words to the "ancient French song". The result was a work for the children's choir, which we will learn today at the lesson. Please listen to this vocal product and determine its content. What is this song about?

The students listen to the "ancient French song" in the vocal execution of the head under the accompaniment of piano.

Children: This is a picture of nature, the musical landscape of the evening river.

Leader: Of course, you are right guys. This is obvious from the poetic text of the song. And what mood is music expressing?

Children: the mood of rest and bright sadness. But unexpectedly in the mid song, the music becomes an excited and impust. Then again returns the mood of rest and bright sadness.

Leader: Well done guys! You not only were able to determine the mood of this music, but could still trace how it changed throughout the song. And this in turn will help us determine the musical form of "the ancient French song". What is a musical form?

Children: a musical form is the structure of a musical work in parts.

Leader: What form is written most songs that you know?

Children: in a bus form.

Leader: Is it possible to assume that "the old French song" has such a form? After all, this is an unusual song. Remember how it was created, and remember how many times the mood was changed in this "Song"?

Children: This song has a three-part form, since the mood of music has changed three times.

Leader: This is the right answer. The "old French song" has an unusual form for the vocal genre, as it was originally written by P.I. Tchaikovsky as a tool play for piano. From your response, we can conclude that the number of parts of the form of the music work corresponds to the change of mood in the music.

Leader: What means of musical speech composer handed the mood "Songs"?

Children: Legato sound studio, minor swollen, smooth rhythm, calm pace in the extreme parts of the song, accelerate the tempo and enhancing the dynamics in the middle part.

Before the next listening to the "old French song", a learning demonstrates an illustration for a song - a sunset on the river, and a verbal picture is offered - a fantasy about the feelings of the composer that wring this music.

Leader: Carefully look at this illustration and imagine how the composer himself sits on the evening of the evening seine in the vicinity of Paris, admires the beauty of the surrounding nature, the colors of the outgoing sun. And suddenly, bright memories of distant, but such a hot beloved homeland fled. He recalls native expanses, wide rivers, Russian birch trees and, like mother's voice, bell ringing churches ...

The head puts the portrait of P.I. Tchaikovsky on the piano.

Leader: Guys, imagine that the composer himself listens to this music with you.

After repeated listening to music in vocal execution, students are divided by their impressions from the heard music.

Leader: Guys, Peter Ilyich loved Russia very much, do you like your homeland?

Estimated learning responses:

Children: Yes, of course, we also love her very much and proud of our great country!

The head distributes the lyrics lyrics.

Leader: Guys, you, of course, drew attention as little text in this song. Despite this, it is very bright and figuratively draws a picture of the evening nature and a change of human moods:

Under the evening over the river cool and peace;
Belea, clouds leave the distance in the distance.
Strive, but where? Rush like water
We fly like a flock of birds, and melting without a trace.

Chu! Far ring tremble, calling, calling!
Does not the heart of the heart feed?

Runs, rumbles water, go away from the year,
And the song lives everything, she is always with you.

After the declamation of the text of the "Ancient French Songs", the head gives the definition of the genre of musical miniatures:

Leader: A musical work of a small size for voice, choir, any tool and even a whole orchestra has a beautiful French name miniature. Guys, and "Ancient French Song" P.I. Tchaikovsky refers to the genre of vocal or instrumental miniatures?

Children: "Ancient French Song" P.I. Tchaikovsky refers to the genre of instrumental miniatures because the composer wrote it for piano. But after the "Songs" had words, it turned into a vocal miniature for children's choir.

Leader: Yes, indeed, the "old French song" is both instrumental and choral (vocal) miniature. Guys, did you like this song? Would you like to learn it? Sure! But before that, we need to fight in order for your voices to sound beautiful and slightly.

2-stage. Sinking.

Children are given a singing installation.

Leader: Guys, show how to sit correctly when singing.

Children sit straight, spread their shoulders, hands put on her knees.

Leader: Well done guys. Do not forget to keep track of the position of the body during singing.

The student is invited to fulfill a complex of exercises for the development of vocal and technical skills:

1.Exercise on vocal breath and choral unison.

The syllable "Mi" to stretch at one height as longer as possible (the sounds "Fa", "salt", "la" first octave).

In the performance of this exercise, it is necessary to ensure that the children do not raise the shoulders and break the breath "with the tummy, like frogs" (lower-rib breathing).

2.Exercises on legato (smooth connected sound studies).

The combination of the syllables "Mi-I", "Da-de di-Du-Du" is performed on and down and down - I - III - I (D Major - Sol Major); I - V - I (to Major - F Major).

3.Stacking exercise (rippled sounded).

The syllable "Lee" is performed by the sounds of major sober up and down (to the major - salt of major).

4.Exercise for vocal diction.

Speaking speaker:

"Barashhenka-Glowing in the mountains go, in the forests roam. In the violin play, Vasya sweat "(Russian folk boom).

Performed on one sound ("RE", "MI," Fa "," Salt "of the first octave) with a gradual acceleration of the pace.

3rd. Arcing the song in the form of the game "Music Echo".

Purpose: to form an integrated view of the song.

Methods of playing: The head sings the first phrase of the song, children repeat quietly by the hand of the head, as "Echo." The second phrase is also played. Then the manager leaves two phrases at once. Different versions are played:

• the head sings loudly, children are quiet;
• the head sings quietly, children - loud;
• the head proposes to become the performer to any of the children.

Leader: Guys, you have determined the content of the song, its form, the nature of sounding, and now let's figure it out with its intonational and rhythmic features. So, listen to the first musical proposal of the first part of the song and determine the nature of the movement of the melody.

The head executes the first sentence.

Children: The melody rises up, delayed on the upper tone, and then descends on the lower sounds to the tonic (music point).

Leader: What is the direction of the melody depict?

Children: Waves on the river.

Leader: Let's, fulfill this proposal, at the same time turns the rhythmic pattern of the melody (drawing of short and long sounds), emphasizing strokes in words.

Then the students compare the first and second proposals of the first part of the "Songs" and conclude that their music is the same, and the words are different. The head joins the first part of the choral miniature with children, using the technique of musical echo, working on the purity of intonation and choral unison.

After vocal work on the first part of the "Songs", the head proposes to listen to the second part and compare with the previous one.

Children: Music becomes an excited, gradually accelerates the pace, the power of the sound is gradually enhanced, the melody rises "Out" on the highest sounds of "Songs" in the words "not the heart of the l ..." and suddenly freezes at the end of the part.

Leader: Well done guys! You correctly felt the development of the melody of the middle part of the "Songs" and determined the brightest "point" of this choral miniature, which is called culmination That is, the most important semantic venue of the musical work. Let's act this part, at the same time showing the rising movement of the melody and delay at the climax.

After vocal work on the middle part, the head proposes the student listening to the third part of the "Songs" and compare it with the previous one.

Children: in the third part of the "Songs" melody is the same as in the first. It is the same calm and measured. In it one music offer.

Leader: That's right, guys. The first and third parts of this choral miniature have the same melody. Such a three-part musical form is called repriznaya. The word reprise Italian and translated into Russian means "repeat". Let's, fulfill the extreme parts of the "Songs" and will try to transfer a smooth motion of the waves on the river and slip clouds in the evening sky, which comes in the song.

After vocal work on the third part of the choral miniature, the head assesses the execution of children, noting his best moments, and suggests this part at the request of students solo. After that, the student is invited to once again listen to the "old French song" as a tool miniature performed by the piano, and then to execute the "song" from beginning to end as a choir (vocal) miniature:

Leader: Guys, try to convey the feelings of the composer that wring this beautiful music, as well as your own feelings that you will experience in the performance of the "old French song".

4-stage. The results of the lesson.

Leader: Guys , froman innode in the classroom you were beautiful listeners, our performance tried to transfer the figurative content of the "old French song", you managed to express the feelings of the composer that wring this musical work. Let's call the name of this composer once again.

Children: Great Russian composer Peter Ilyich Tchaikovsky.

Leader: Why are the "old French song" refer to the genre of musical miniatures?

Children: Because it is a very small musical work in size.

Leader: What else did you find out about this musical miniature?

Children: An interesting story of creating this musical work; "Ancient French Song" entered the collection of piano pies "Children's album" for young pianists; It is also a tool miniature and choral miniature, depending on who executes it.

Leader: Well done guys! And now carefully read the "musical" words on these cards and remember what they are denoted.

The head shows children two cards with the words "climax", "reprise".

Children: Culmination is the most important semantic place in the musical work; Reprise - the repetition of the musical part, refers to a three-part form in which the third part "repeats" the music of the first part.

Leader: Well done, you gave the right definitions to these words. Let's place these new cards in our "Music Dictionary".

One of the students places cards on the "Music Dictionary" stand.

Leader: Guys, fulfilling today at the lesson "Ancient French Song", you "painted" with musical paints a picture of the evening nature on the river. And your homework will draw with the help of ordinary paints paintings-illustration for this choral miniature.

Introduction Choral miniature

The work of Lepine "Forest Echo" is written in the genre of choral miniatures.
Miniature (Franz. Miniature; Ital. Miniature) - a small musical play for various performing compounds. Like a picturesque and poetic, musical miniature - usually honed in shape, aphoristic, mainly lyrical content, landscape or graphic - characteristic (A. K. Lyadov, "Kimor" for the orchestra), often on a folk genre-based (Mazurki F. Chopin, choral Processing A. K. Lyadov).
The vocal miniature is based on the thumbnail. The flourishing of instrumental and vocal miniatures in the 19th century is defined by aesthetics of romanticism (F. Schubert, F. Mendelson, R. Schuman, F. Shopin, A. N. Scriabin); The miniatures are often united in cycles, including in music for children (P. I. Tchaikovsky, S.S. Prokofiev).
Choral miniature is a small piece for choir. Unlike the song, a multi-voice choir texture is more developed in a choral miniature, a polyphonic warehouse is often used. Many choral miniatures are written for choir without accompaniment.

Brief bibliographic information about composer S. Taneyev

Sergey Ivanovich Taneyev (November 13, 1856, Vladimir - June 6, 1915, Dutkovo near Zvenigorod) - Russian composer, pianist, teacher, scientist, musical and public figure from the nobleman of Taneev.

In 1875 he graduated from the Moscow Conservatory in N. G. Rubinstein (Piano) and P. I. Tchaikovsky (composition) with a gold medal. He performed in concerts as a pianist soloist and an ensembler. The first performer of many piano works of Tchaikovsky (the second and third piano concerts, finalized the last after the death of the composer), the performer of his own writings. From 1878 to 1905 he worked at the Moscow Conservatory (since 1881, a professor), where the classes of harmony, tools, piano, compositions, polyphonies, musical form were conducted, in 1885-1889 held the position of Director of the Moscow Conservatory. It was one of the founders and teachers of the People's Conservatory (1906).

The convinced follower of the classics (in his music the tradition of the tradition of M. I. Glinka, P. I. Tchaikovsky, as well as I. S. Baha, L. Beethoven), Taneev anticipated many of the trends of the musical art of the 20th century. His work is marked by depth and nobility of designs, high ethics and philosophical orientation, restraint of the statement, the skill of thematic and polyphonic development. In his writings, he was in moral and philosophical issues. Such is, for example, his only Operation Opera (1894, according to Eschil) - a sample of the antique plot in Russian music. His chamber-instrumental works (trio, quartets, quintes) belong to the best samples of this genre in Russian music. One of the creators of lyric-philosophical cantata in Russian music ("John Damaskin", "On reading Psalm"). Raked the XVII-XVIII century popular in the domestic music. Genre - Choir a Cappella (author of more than 40 choirs). In instrumental music, the intonational unity of the cycle, monotematism (4th symphony, chamber-instrumental ensembles) attached particular importance.
Created a unique work - the "rolling counterpoint of a strict letter" (1889-1906) and its continuation - "The Doctrine of Canon" (end of 1890s. - 1915).

As a teacher, Taneyev sought an increase in professional musical education in Russia, fought for a high level of musical and theoretical preparation of students of the conservatory of all specialties. Created a composer school, brought up many music studies, conduits, pianists.

Brief information about the poet

Mikhail Yuryevich Lermontov (1814-1841) - Great Russian Poet, writer, artist, playwright and officer of the royal army of the Russian Empire. Born on October 15 in 1814 in Moscow. His father was an officer, and a year later, the Son will go to his footsteps. As a child, he brought up his grandmother. It was the grandmother who gave him a primary education, after which young Lermontov went to one of the guests of Moscow University. In this institution, the very first, not very successful, poems came out of under his feather. At the end of this Pension, Mikhail Yuryevich became a student of Moscow University, and only then he went to the school of Guards subpenters in the then capital of St. Petersburg.

After this school, Lermontov began his service in the royal village, enrolling in the hussar regiment. After they were written on the death of Pushkin and published a poem "death of the poet", he was arrested and sent to the reference to the Caucasus. On the way to the link, he writes his brilliant work "Borodin", devoting his anniversary of the battle.

In the Caucasus, the link Lermontov begins to get involved in painting, writes paintings. At the same time, his father walks according to officials, asking to pardon the Son. What happens soon - Mikhail Yurevich Lermontov is restored in the service. But getting into a duel with a score, he is sent to the Caucasus again, this time to war.

During this time, he writes many works that are forever entered the Golden Foundation of World Literature - this is the "hero of our time", "MTSI", "demon" and many others.

After the link, Lermontov arrives in Pyatigorsk, where she accidentally insults the joke of his old acquaintance Martynov. Comrade, in turn,
It causes a poet to a duel, which became for Lermontov fatal. July 15, 1841 he dies.

Musically theoretically analysis

Pine S. Taneyev is written in 2 private form. The first part is one period consisting of two proposals. The content of the first part corresponds to the first four rows of the poem. Music transfers the image of a lonely pine defenseless in front of the elements of northern nature. The first sentence (t. 4) introduces a listener into a minora's sound palette, corresponding to the lyrical mood of this work. The second part consists of three proposals written in the D Majer of the same name (the second half of the poem). In the second part, Lermontov was described with a light, sleeping warm and sunlight Sleep: "And to dream of everything in the desert is far away. In that region, where the sun is sunrise ... ". In the music of the second part, the heart of the poem is transferred. Already the first sentence (t. 4) is permeated with light feelings, kind and serene. The second offer contributes the development of dramatic experiences. The third period - no matter how logically balances the drama of the second offer. This is achieved by expanding its sizes to eight clocks, a gradual decline of musical stress (the final line of the poem "Beautiful palm tree grows" three times)
Vocal-choral thumbnail "Pine" is written in a harmonic warehouse with elements of polyphony. Movement of music, its development is achieved by changing the harmonies, the collected paints of the choir, its textual statement (close, wide, mixed location of votes), polyphonic adoptions, means of the development of a melodic line of votes, comparing culmination.
From where is in the work of culmination depends on the organicity of its and slightness of his form. The poetic text is perceived by each person individually. S. Taneyev in the music "Pine" revealed his vision, the perception of the poetic word Lermontov poem. The climax of the poetic work and the musical general coincide. The brightest musical climax is to re-serve the lines: "One and sad on the cliff is grieving, beautiful palm trees grow." The means of musical repeat Taneyev strengthens the emotional content of the poem and highlights the climax: Soprano sounds the second octave, at the tenors #f of the first octave. And at soprano and tenors, these notes sound are saturated, bright. Bass to climax are suitable gradually: from the first vertex (11 tact) through the growing voltage of harmonies, deviations and polyphonic development, they lead a product to its brightest vertex (vol.17), rapidly lifting dominant up (melodic bass line in 16 tact) .
"Pine" is written in D Moll (first part) and in D DUR (second part). Minor in the first part and major in the second part is the contrast, which is laid in the content of the verse. The first part: The first sentence begins in D Minor, it has deviations in G Dur (the tonality of subdominates), the offer on tonic. The second offer begins in D Minor, ends at the dominant. The second part: begins with Dominants D Minor, goes to D DUR, ends in the same D Dur. First Offer: D Dur, Second Offer: Starts in D Majer, ends at its dominant, there is a deviation in the subdominant (t. 14 g dur), in the second stage D Major (the same E Moll clock). The third sentence - begins and ends in D Major, it has deviations: in the second step (by 19 e Moll) and in the tonality of subdominants (by 2 g dur). The first part has an imperfect cadence, ending on the dominant.
The cadence of the second part consists of an alterized septaxine of the second stage, K6 / 4, Dominants and Toniki D Major (complete, perfect cadence).
"Pine" Taneyev is written in a four-dollar meter, which is preserved until the end of the work.
The texture "Pine" has a gamofone-polyphonic warehouse. Basically, the votes are built up vertically, but in several clocks (TT. 12,13,15,16,17,17), the parties are placed polyphenically horizontally and melodic pattern is listened not only to s, but also other votes. In the same clocks, the soloing voice stands out. In 12, 13, 16, 17 clocks in one or two voices there are pauses, in 12 clutch sounds the tone tone. The size C implies execution in a four-dollar meter.

As the early work of S. Taneyev, Pine is written in D Moll and the same name D Dur. This is one of the early choral partners of the composer, but already contains the features in general is characteristic of the composer. Pine has a polyphonic style feature, which is also characteristic of Taneyev's creativity. Harmony "Pines" polyphonic votes are characteristic of harmony, melodiousness. In the sequence of chords, there is a connection with the Russian-folk song (TT. 1.6, 7- natural dominant). The use of the sober VI degree (t. 2), also resembles a Russian-folk song. The features of Russian song are characteristic of the work of Taneyev. Sometimes the harmony of "pines" is quite complex, which is associated with the musical language of the composer. There are an alterized sepepkords (TT. 2, 5, 6, 14, 18, 19, 23), which create the intense sounds of the conjunks. Polyphonic conducting votes also often gives a random dissembly sound (TT. 11, 12, 15). The harmonic language of the work helps to reveal the elevation of the poem of the Great Poet. Deviation into related tralialities (T.2-G Moll, T 14-E Moll, t. 19-e Moll, vol. 20-g dur) betray a special lyrical color. The dynamics of "pine" also corresponds to the concentrated sad, and then dreamily bright mood. There is no pronounced f in the work, the dynamics muted, there are no bright contrasts.

Vocal - choral analysis

Vocal choir analysis
Polyphonic work of Taneev "Pine"
Created for four-voice mixed choir without accompaniment.
Sopran (s) Alt (a) Tenor (T) bass (b) Total range

Consider individually every batch.
Testing conditions for s convenient, voice voltage does not go beyond the framework of the working range. In t. 4 s sing the note D of the 1st octave - the dynamics P helps it. The batch of jump-shackle (jump at C4 TT. 6,13; per h5 tt. 11.19; on b6 19-20 tt.), But the melody is convenient for execution and easily remember. It often moves along the sounds of a sober (TT.). Composer little spaced dynamic shades The conductor creatively should approach this issue, in our opinion the dynamics can be made on the basis of the tessetia.
The altitude batch is written in convenient temps. Difficulties are associated with harmonic load. For example: T.2 in Altov note D, the rest of the voices of the movable melody, as far as it is a purely pure note D, the purity of the melodies will depend on it; T.3-4 Alta has a difficult course of downward quarts. A similar difficulty when the Alt is held on one sound is found in several places (TT. 5, 6-7, 9-10). The party carries a harmonic function, but in the second part, where the nature of the work changes, Taneev uses polyphonic techniques and average votes adorn the harmonic texture of the work of melodic moves not only at soprano and all other votes.
The tenor party is also written in comfortable testicular. Its difficulties are associated with the sequence of chords that accompany the melody soprano. For example; The difficulty of execution is that it is a harmonic filling of a musical fabric: t. 5-6 tenor holds on a tone note G, which creates a certain difficulty for performers (similar places TT. 21, 23). Harmonic chords of the work carry emotional painting of sorrow, light sadness, the well-pop feelings of Lermontov poem. In this regard, there are unstable harmony of alterized septaxords (TT. 2, 5, 6, 14, 18), the accuracy of their execution largely depends on the tenors. The party carries harmonic and places polyphonic load.
The bass batch is written in the usual for bass. It is intonationally not everywhere simple, for example, complex moves along the chromatic gamma (TT. 5-6, 14, 23). One of the most difficult places of the work for bass is their solo conducting in words: "Beautiful palm trees grow .." (TT. 15-16), where the intonation of ascending colors and quarts are present. But in general, the party should not cause special difficulties from performers.
Breathing in the work - a phrase, because the text is a poetic. In the nutria phrase chain.
Example:
In the north, the wilder is lonely on the bare top of the pine. And dormant swing, and snow is dressed as risa, it (1-8t.).
Dickening features of the work also require attention. Vowels and consonants will be reduced. In places where P, you need to clearly pronounce the text to bring the meaning of the verse to the listener. Cantilene must be present in the sound, you need to suck vowels, and consonants to attach to the next syllable, to the next vowel.
Conducting difficulties. 1) It is necessary to maintain the integrity of the form.
2) each batch is correct to show
Auftacts.

3) It is necessary in the gesture to transfer the mood of the musical phrase.
4) Accuracy of the transfer of the speaker.

Conclusion

Sergey Ivanovich Taneyev made a huge contribution to Russian music. He played a big role in creating works for the choir a Capella and raising this genre to the level of independent, stylisticly separate composition. Texts for Khorov Taneyev chose with great thoroughness; All of them belong to the best Russian poets and are distinguished by high art. Taneev's topics, on which he builds his works, differ in melodiousness. Vote flawlessly. Choral voices, gossy in sound complexes, create interesting and peculiar harmony. The composer never abuses the extreme sounds of the ranges. He knows how to keep voices in a certain arrangement of their friend to a friend, providing excellent dies. Polyphonic vote does not interfere with the sound of sound. This is the result of the mastery of choral style Taneyev.
Significant difficulties represent the choir of Taneev by the system - arising from chromatis and complex harmony. The facilitating moment is the strict logic of voice science. Big requirements presents Taneev to performers of their choirs. His works require the presence of a good vocal basis from choral singers, allowing to extract the singers, a sharp sound, free in all registers.
The product "Pine" is written on the poetic lines M. Yu. Lermontov, in which the theme of loneliness is revealed. Pine, which costs one in the cold edge, under the snow. She is cold, but not physically, her soul froze. The tree lacks communication, someone's support, sympathy. Pine every day dreams of communication with a palm tree. But palm is far from the wild north, on hot south.
But pine is not looking for fun, she is not interested in a cheerful palm tree, which would make her company, if it were near. Pine realizes that somewhere far stands palm in the desert and she is also bad one. Does not interest the well-being of the surrounding world. She is not important to the cold and the desert, which is around. She lives a dream of another such lonely creature.
If Palma was happy on his hot south, she would not be interested in a pine at all. Because, then the palm could not understand the pine, to sympathize with her. All these experiences of Taneyev were able to pass through music, such as expressive means as: dynamics, pace, tonality, the texture of the presentation.

Bibliography

Music Encyclopedic Dictionary / Ch. ed. G.V. Keldysh. - M.: Soviet Encyclopedia, 1990 - 672 p.: Il.
www.wikipedia.ru.
http://hor.by/2010/08/popov- taneev-chor-works /

For manuscript rights

Greenschenko Inna Viktorovna

Choral miniature in Russian musical culture: history and theory

Specialty 17.00.02 - Musical art

Rostov-on-Don - 2015

The work was performed at the Department of Music Theory and the composition of the Rostov State Conservatory. C.B. Rachmaninova

Scientific adviser:

Official opponents:

Leading organization:

doctor of Cultural Science, Candidate of Art History, Professor

Krylova Alexander Vladimirovna

Malatsi Lyudmila Viktorovna,

Orlovsk State Institute of Arts and Culture, Professor of the Department of Choral Conducting

Nemkova Olga Vyacheslavovna,

doctor of Art History, Associate Professor,

Tambov State Music and Pedagogical Institute, Professor of the Department of Choir conducting

Ufa State Academy of Arts named after Zagira Ismagilov, Department of Music Theory

The defense will be held "24" June 2015 at 16.00 at the meeting of the dissertation council D 210.016.01 in the Rostov State Conservatory named after C.B. Rachmaninova at:

344002, Rostov-on-Don, Ave. Budennovsky, 23.

The dissertation can be found in the library of the Rostov State Conservatory. C.B. Rachmaninova and the site http: // \\ vww.rostcons.ru//discouncil.html

Scientific Secretary of the Dissertation Council

Dabaeva Irina Prokopyevna

GENERAL DESCRIPTION OF WORK

The relevance of research. Choral art is the fundamental part of Russian culture. The abundance of bright collectives is a direct evidence of the viability of domestic choral traditions, confirmed by many festivals and reviews of the choir music of the most different levels. Such "raging content" of choral acts is a natural source of unrelenting composer interest in this genre sphere.

In the manifold of choral music genres, choral miniature occupies a special place. Its development and relevance of practice is due to a number of reasons. One of them is a support for the root basis of the entire array of choral genres - the primary genre of the Russian folk song, representing the base small form, from which other, more complex genre types developed. Other - in the specifics of miniature forms, with characteristic concentration on one emotional state, deeply felt and meaningful, with a finely discharged nuunting of feelings, sentiments transmitted by means of an exquisite speaking choral palette. The third - in the peculiarities of the perception of the modern listener, endowed, due to the impact of television, a clip consciousness, with fragmentation, the low length of sound "personnel", the beauty of the "surface".

However, the demand for the genre in performing practice is still not supported by the scientific substantiation of his nature. It can be stated that there are no works on the history and theory of this phenomenon in modern domestic musicual literature. It should not be noted that in contemporary art, the desire for miniaturization of the form with the depth of the content is one of the characteristic general trends predetermined by the new twist of understanding the philosophical problem of the macro and micromirov ratio.

In the choral miniature genre, this problem focuses with a special acute due to the fact that the personification of the macromir in the framework of this genre is choiring, but it is, thanks to the special laws of compression of the form and meaning, it turns out to be minted into the micromyr format. Obviously, this complex process requires its research, because it reflects

general patterns of modern culture. The above defines the relevance of the topic of research.

The object of the study is Russian choral music of the 20th century. The subject of the study is the formation and development of the genre of choral miniatures in domestic musical culture.

The purpose of the study is the rationale for the genre nature of the choral miniature, which allows identifying the choral works of small volume with the principles and aesthetics of miniatures. The set target determined the following tasks:

Reveal the genesis of miniatures in the traditions of Russian culture;

Characterize the basic parameters that allow attribute

Consider choral miniature as an artistic object of art;

Investigate the path of the evolution of the genre in the context of the musical domestic culture of the 20th century;

Analyze the features of the individual interpretation of the genre of choral miniatures in the work of Russian composers of the second half of the 20th century.

The purpose and objectives of the work determined its methodological basis. It builds up comprehensively on the basis of theoretical scientific developments and works of scientists - musicologists and literary criticism, as well as analyzing the creativity of composers of the XIX - XX century. The dissertations used methods of cultural and historical, structural and functional, axiological, comparative analysis.

Research materials. Due to the latitude of the problem field of the stated topic, the framework of the dissertation study is limited to the consideration of the development process of choral miniatures in the Russian secular art of the XIX - XX centuries. The empirical material was the chorals and Cappella, as the most brightly embodying the idea of \u200b\u200bminiaturization in choral music. The work used works by M. Glinka, A. Dargomyzhsky, P. Tchaikovsky, N. Rimsky-Korsakov, M. Mussorgsky, S. Taneyev, A. Arensky, P. Chesnokova, A. Kastalsky,

B. Shebalina, Sviridova, V. Salmanova, E. Denisova, A. Shnitke, R. Shchedrin,

C. Gubaidulline S. Slonimsky, V. Gavrilina, Y. Falika, R. Ledneva, V. Krasnoskulova, V. Kickty, V. Khodosha.

The degree of scientific development of the topic. Problems of history and theory of the genre of choral miniatures are not sufficiently developed in music recognition. In

temporary scientific studies There are no works that allow the identification of a choral product of small volume with the principles and aesthetics of miniatures. However, in the art historical, literary, cultural and music general works of various problem directions, a number of ideas and provisions are conceptually significant for this dissertation.

In this paper, the philosophical generalization of the phenomenon, positioning a choral miniature as a macrosystem like and allowing it to determine its place in culture, a role in human experience, was formed on the materials of the works of M. Bakhtina, X. Gadamera, M. Druskin, T. Zhavoronkova, M. Kagan, S. Konenko, Kolomiets, A. Korshunova, Yu. Keldysh, I. Loseva, A. Nozdrina, V. Sukuntseva, P. Florensky.

Identification of the stages of assimilation of the experience of miniaturization by various kinds of Russian art demanded appeal to the works of the musical and historical and cultural content of B. Asafyev, E. Berdennikova, A. Belonenko, Grigorieva, K. Dmitrevskaya, S. Lazutin, L. Nikitina, E. Orlova , Yu. Paison, V. Petrov-Stromsky, N. Sokolova. A sociological aspect was included in the problem area, which determined the attraction of ideas A. Kestra, E. Dukova.

The representation of the genre as a multi-passage structure, with interconnected and interdependent levels, was based on a multidimensional approach to the category of genre formed in music, which resulted in research M. Aranovsky, S. Averintsev, Yu. Tynyanov, A. Korobovy, E. Nazaykinsky, . Sokolova, A. Kestra, S. Scrabkova, V. Zuckerman.

Analysis of musical works, with the help of which the features of the vocal-choral form were identified, was carried out in the support on the work of K. Dmitrevskaya, I. Dabayeva, A. Krylova, I. Lavrentieva, E. Rukhevskaya, L. Shaimuhametova. Valuable clarifications were learned from labor

A. Khakimova on the theory of choir genre and Cappella. The means of expressive choirs were considered on the basis of works by V. Krasnoshkova, P. Levando, O. Kolovsky, P. Chesnokov, collections of scientific articles edited

B. Protopopova, V. Fraenov.

When studying samples of choral music from the position of the musical and poetic nature of the genre and their close interaction with other species

the arts were used by the provisions and conclusions contained in the works of S. Averintsev, V. Vasina-Grossman, V. Vanaslova, M. Gasparova, K. Zenkina, S. Lazutin, Y. Lotman, E. Rukhevskaya, Yu. Tynyanova, B. Eikenbauma , S. Eisenstein.

The scientific novelty of the study is that it is for the first time:

The determination of the genre of choral miniature, which allows to produce genre attribution of choral works of small shapes;

The nature of the genre of choral miniatures through the prism of the philosophical knowledge of macro and micrometers, revealing the endless semantic possibilities of the embodiment of artistic ideas in a compressed substantive field, up to reflection in the phenomenon miniatures of significant cultural image attributes;

Considered small forms of various types of Russian art in order to identify their generic signs and features that have compiled in the integrated and indirect form of the genre genotype.

The role of various musical genres - historical predecessors of choral miniatures - in the formation of its genre features;

The historically changing configuration of genre signs of choral miniatures in the socio-cultural context of the 20th century was investigated.

The following provisions are made on the defense:

The choir miniature genre is a small-scale musical work and Cappella, based on a multi-level syncreusis of the word and music (phonovascular, lexical, syntactic, composite, semantic), providing the time-concentrated deep disclosure of a lyrical type of image, achieving symbolizing intensity.

The miniature is a peculiar analogy of the macro system, in which it is inscribed - art, culture, nature. As a microcosm in relation to the actually existing human macrocosm, it is capable of reflecting the complex properties of living matter as a result of the concentration of multidimensional meanings in a small artistic text. As a result of the miniaturization process, the character system is compressed, where the sign acquires the value of the image image. Thanks to the semantic coding, the possibility of operating with whole "semantic complexes", by comparison and comparison.

Genetic roots of choral miniatures are inextricably linked with samples of small forms of different arts, their poetic and aesthetics. As part of the miniature genres and forms of Russian art, the features were formed significant for choral miniatures, such as the deposit of a small form, a high level of artisticity, arising from the filigree, refined workmanship of the manufacturer, the specificity of the content - emotional and ideological concentration, the depth of understanding the world and senses of a person, functional intended .

The process of crystallization of the genre occurred on the basis of active interzhenic interaction, as well as strengthening the mutual influence of musical and poetic arts. As a result of these processes, a genre is formed at the beginning of the 20th century, in which the musical element reaches the limit of artistic expressiveness in synthesis with a poetic shape.

Author's approaches in the creation of a new type of image of choral miniatures of the second half of the 20th century are characterized by the expansion of genre boundaries due to the transformation of the musical language and the saturation of the genre model by extremisical factors. Use by composers of different types of technician in a synthesis with old traditions, giving the genre elements of the new semantic coloration formed modern facets of the genre of choral miniatures.

Theoretical significance of the study was determined by the fact that a number of conditions developed significantly complement the accumulated knowledge of the nature of the studied genre. The paper received a detailed argument and an analytical evidence base issues, fluid the possibility of further scientific search of the characteristics of this genre species. Among the analysis of the phenomena of miniaturization in art from the point of view of philosophical knowledge, the identification of the poetics of miniatures in different kinds of Russian art, the rationale for genre signs of choral miniatures in its difference from small forms, a special role in the process of crystallization of the genre of individual interpretation of the genre model by Russian composers of the second half of the 20th century And other.

The practical significance of the study is due to the fact that the submitted materials will significantly expand the possibility of applying scientific knowledge in the field of practice, since they will be able to enter into an integral part in the history of music and analyzing the forms of music schools and universities, in music programs for secondary schools, and will also be useful in Khommesters.

The dissertation structure. The thesis consists of introduction, three chapters, conclusion, literature of references from 242 sources.

The introduction contains a substantiation of the relevance of the topic, the main problems of the study and the degree of its scientific desires are revealed, the goals and objectives, material, methodological foundations are determined, the degree of scientific novelty is argued, information about approbation of the results of work is provided.

In the first chapter "Choral miniature in a historical and cultural context" through the prism of philosophical knowledge, the essence of the phenomenon of miniaturization in art is contacted. Understanding this entity, so important for choral miniatures, is disclosed in the light of Russian philosophical thought. The role of miniatures as an artifact of modern culture was considered, the features of miniature poetics were revealed in small forms of various types of arts, in which there was a mastering of the musicians of miniatures, representing a sort of death of the genre. Indicated scientific approaches to the consideration of this phenomenon.

1.1. Miniaturization in musical and choir art: philosophical

basis

Stripping from Asafjevsky understanding of the essence of music as a reflection of the "paintings of the world", as "Mirrowing, which born a microcosm - a system synthesizing Maximum in Minimum" E1, in this section of work on the basis of the analysis of philosophical approaches to the problem of macro and micrometers, the nature of the choir miniature is studied. Emphasized that miniature, being the span of art and cultural artifact, is similar to space, culture, a person, that is, it is reflected by the microcosm in relation to the actually existing Macrocosm of a person that the object of miniatures (as the object of art embedded in culture) is a microworld with all its elements .

1 Asafiev, B.V. (Igor Glebov) Value of music [Text]: Collection of articles / B.V. Asafiev (Igor Glebov); Ed. Igor Glebova; Petrograd state. Academic Philharmonic. -Petrograd: De Música, 1923. - P. 31.

processes, laws, which is similar to the Macrocosm with the principles of the organization, infinity of phenomena.

It was revealed that in a miniature the reflection of complex, fleeting properties of living matter is "coaling" of the process of becoming the meaning of the artistic text, that is, its miniaturization. His entity is a compression of a character system, where the sign acquires the value of the image image. Thanks to the semantic coding, the possibility of operating with whole "semantic complexes", comparing them and generalization.

It is also noted that the depth of the philosophical knowledge concluded in the miniature of Russian composers is derived from the idea of \u200b\u200bthe Council, and the dominance of the macro and micro worlds in Russian philosophy determined significant ideas, under the sign of which he evolved chorical art from large choral cavities to miniature, from a collective choral start - to subjectively individual. It was concluded that the art of miniatures born in past centuries strengthens their importance in modern culture, concentrates in itself the entire experience and diversity of the artistic traditions of Russian art, enriching them and proving the viability of their historical heritage. A substantive depth and capacity, communicative potential, the plurality of musical and extremisical ties includes a thumbnail to the evolutionary process.

1.2. Choral miniature in the context of traditions of Russian art

The appearance of a phenomenon of Russian choral miniature was obliged to romantic trends that came from Western art. Lyrical self-expression, which caused a new self-satisfaction of the individual in art, influenced the national culture of the turn of the XVIII - XIX centuries. The idea of \u200b\u200bthe deep unity of all types of arts allows us to consider the prehistory of choral miniatures in order to determine the principles of the concentration of meaning in their small forms. This was facilitated by expressiveness and art of book graphics - decoration of capital letters, the creation of small patterns, illustrations that give a special meaning and emotional fullness of the text, the capacity and aphoristic of the Word, deposited in small forms of literary creativity, the depth of the psychological expressiveness of the intonations of Rus-

a stretching song, the desire for spatial ™ and filigree finishes in miniature forms of fine art.

Methods and principles, with the help of which small works of art were created, which conquered their utility in the life of a person, closely overwhelmingly with its internal aspirations, life, the most significant meanings for him, formed the experience of the implementation of the deep concentration of the artistic image.

1.3. Research approaches to the study of choral miniatures

Text approach. Since a specific feature of a choral miniature is a high content of content that is formed in the synthesis of words and music, it is necessary to consider it with the help of a text approach, which involves contacting the text from the point of view of its communicative nature. A text approach in learning choral miniatures as a multi-element structure of synthetic text makes it possible to analyze the text of fine-expressive language tools used in the text, which are identified and correlated with meant content, that is, they have semantic meanings.

The interaction of semantic complexes of musical and poetic texts creates a special artistic and semantic content of the image, as a result, the process of enriching the spectrum of expressive means of the language of one art occurs, at the expense of another. Structural and semantic complexes formed as a result of the interaction of poetic and musical texts reach, sometimes, in its synthesis of symbol intensity. They are the basis of a structural-semiotic system, in which "the organization and means of elements of musical matter depend on at least two features: the epoch in which a person lives, and individual vision-perception-understanding of the world by a person". Consideration of the artistic text of the choral miniature It should be based on the correlation of the principles of formation of structural and semantic relations of artistic signs of the poetic primary and musical text. This is important because

1 Cornellkzh, T.A. MEKING ACCOUNT AS OPEN SYSTEM: EXPERIENCE OF THE PROBLEM: On the material of domestic musical science [Text]: Dis. ... Cand. Art history: 17.00.02. / TA Corneluk; Novosibirsk state. Conservatory. - Novosibirsk, 2007. -s.147

an derivative line of miniatures is the concentration of content and its close connection with the outside world, that is, the importance of bonds, which carry the semantic meanings of both texts on themselves, is multidimensional to it.

A structural and systematic approach ensures consideration of methods for building an artistic integer in the combination of its elements based on the concept of structural poetics. It indicates that in a poem, a specially organized language acquires the properties of the artistic system, the weight of the word as a significant segment in the text increases. Consequently, the implementation of an artistic idea occurs through the mechanism of clutch of these elements, endowed with semantic meaning. According to this, the structural-artistic process of the formation of musical content is based on a high degree of expressiveness of the elements of the musical language and their complex pairing. The designs of the "clutch" thematic elements form the basis of the projective space of the artistic text of the choral miniature. In choiring polyphony, this is a dramatic progressive change in the textural functions of votes, their interaction. As part of the designated approach, attention is focused on artistic structural relations and the interaction of musical and literary texts, which is so necessary when studying the nature of the genre of choral miniatures.

In the second chapter "Choral miniature in the work of composers of the Russian school: Historical and cultural prerequisites, the formation and development of Zapra" highlights historical and artistic processes that influenced the formation of invariant signs of the genre. These are the features of the development of Russian culture, trends that have determined the interaction of poetry and music, the influence of genres-analogues on the formation of characteristic traits of choral miniatures. In support on the theoretical concepts of domestic music awareness, the concept of genre is formulated.

2.1. Music and poetic mutual influence and its role in the formation of the genre

choral miniature

The mutual influence of poetry and music in a historical retrospect was aimed at finding a concentration and deepening of the artistic meaning. IN

the basis of this process was the desire of both arts to achieve the truthfulness of the reflection in the art of the natural intonation of human speech, which enters into itself the informative and emotional depth of the word. The innovations of this kind in poetry, who declared themselves in the XVIII century, led to the formation of a silhlor-tonic system of poems, which, in turn, served as an impulse to the creation of regularities of the form of musical. Further close contact of the two arts in the field of small vocal choral genres contributed not only to the development of free poetic forms in poetry, but also to the formation of the immanent methods of increasing substantive informativeness. Among them, the principles of end-to-end development, dividing the text into small fragments with a detailed nuunting, complication of rhythmic, soft, harmonic sides of the musical text. In the course of these processes, the influence of Russian cultural traditions, which caused the formation of the characteristic signs of the genre of choral miniatures, namely, melodic, disposal, integration into the melody of the properties of the poetic language, associative connections of both arts.

2.2. Choral miniature as a theoretical definition

The theoretical installation defining the vector of the study should be considered the definition of a genre owned by A. Korbogovy. It emphasizes that the genre "is distinguished by historically moving coordination of general traits, construction and pragmatics based on the dominant feature" 1. The essence of this position is indirectly confirmed in the interpretation of the genre S. Averintsev, which notes that the "category of the genre is mobile", "is subject to fundamental changes historically determined" 2. S. Aranovsky also indicates the "amazing ability of the genre to persist, adapting to changing conditions" 3.

"Korobova, A. G. Modern theory of musical genres and its methodological aspects [Text] / A.G. Korobova // Musicology. - 2008. - № 4. - p. 5.

2 Averintsev, S. S. Historical mobility of the category of genre: Periodization experience [Text]:

collection of articles / S.S. Averintsev // Historical poetics. The outcome and prospects of study. -M.: Nauka, 1986.-s. 104.

3 Aranovsky, M. G. The structure of a musical genre and a modern situation in music [Text]: Collection of articles / M.G. Aranovsky // Music contemporary. Vol. 6 - M.: Soviet composer, 1987.- S. 5.

To identify genre paradigm in different types of historical existence of the genre, the etymology of his name was investigated. The key in this concept is the word "miniature". The quintessence of the terminological essence of the "Miniatures" in temporary arts is a criterion of scale (small form) and the effect of sealing the information flow (structural model). This artistic compression relies on the "folding" in the time of the layer of the story organization and the transfer of its functions by the intonation layer.

By virtue of this, according to E.V. Nazaykinsky, a double assessment of the syntactic time is found for thumbnails: both actually syntactic-intonation and composite. The double nature of the time in the genre of miniatures leads to the effect of special tensions, saturation, concentration of musical form and occurring in its framework development processes. The complexity and versatility of this phenomenon served as a reason to appeal to the ideas of outstanding domestic musicologists, the theoretical concepts of which are associated with approaches to the definition of the nature of the genre, the poetics of small forms, to the problem of the interaction of words and music. By refraining the results of these theoretical developments to the specifics of the choral miniature, in this section of the work it was artificially constructed several definitions, which led to an understanding of how and on what principled principles in a choral miniature is a compression of meaning.

Comparison of the above characteristics made it possible to express important semantic accents. So it is obvious that the common criterion is common to all. Another, a fairly stable parameter characteristic of choral miniature is how the idea is embodied on which fundamental principles is based on the synthesis of arts. Also marked as significant for the essence of the genre, the specificity of the composite whole (syntactic level) and openness of it to the style modifications, susceptibility to the influence of non-choir musical genres. As a result of the detection of the internal specific composition of the genre structure, in which the most mobile is a synthetic language, which is formed in the interaction of music and the word and implementing himself in the artistic system of polyphony, was formulated to determine the genre, allowing to produce genre attribution of choral compositions of small forms, highlighting samples in their totality Genre choral miniature.

The choral miniature genre is a little - a large-scale musical work and Cappella, based on a multi-level syncreusis of words and music (phono-high-altitude, lexical, syntactic, composite, semantic), provisioning in time concentrated deep disclosure of a lyrical type of image, achieving symbolizing intensity.

2.3. Crystallization Damn Choral Miniature Genre In the Creativity of Russian Composers of the XIX century

Understanding the genre as a mobile category, drawing evolutionary impulses in the subsoil of the adjacent genre system, made it possible to expand the circle of the considered interacting genres and determine the features introduced into a choral miniature from church music, romance, opera, piano miniatures. Among them, attention to the poetic word, his deep meaning, is not restlessly connected "with the quality of Russian music: withdrawing personal internship" 1, the expansion of the circle of emotional states, the development of original ways to specify the image of the software content, the desire to associate intimacy and scale in the artistic image.

Features of the genre paradigm, in our opinion, acquired their clear contours in the works of S. Taneyev. The combination in the simultaneous sound of several melodies, each of which is equal and artistically significant, allowed the artist with the help of their total intonational and psychological effect to create a huge dynamic tension of choral tissue. For the deep reflection of the poetic text, the composer first used the multidirectional expressive potential of vocal music. On the one hand, discreteness in the presentation of the word, the syntactic dismemberment associated with the speech genesis, on the other, the dynamic tension due to the intonation bindance and the discontinuous exacerbation of polyphonic polyphony. A legitimate illustration for these theoretical conclusions serve choral miniatures on poems Ya. Polonsky, embodied the basic principles of the genre. In the individual handwriting of the composer, the work was most clearly reflected, aimed at coagulation and deepening meaning in the musical component of a small choral form.

1 Zenkin, K.V. Piano Miniature and the path of musical romanticism [Text]: Monograph / K.V. Zenkin. -M.: Music 1997. - P. 314.

The important components of this process are the processing of the poetic text S. Taneyev in order to identify its drama potential, which gives the possibility of building an adequate composite form, as well as - the use of techniques that ensure the coagulation of artistic music "information", manifested at the level of substantive meaning (generalization through the genre) , thematic (the use of polyphonic means and techniques in continuous intonational deployment of the topic), lexico-conceptual (synthesis of polyphonic and homophone-harmonic texture as the possibility of allocating the main semantic assemblies of poetic content) and others. All characteristics of empirical material make it possible to conclude the formation of miniatures poetics in Khorah S. Taneyev, which gives the "point of reference" of the development of the genre in Russian choral art.

The third chapter "Choral miniature in the domestic musical culture of the 20th century" is devoted to evolutionary processes in which the features of stylistically new types of choral miniatures were due to the cultural and historical context and individual composer approaches in the embodiment of the genre.

3.1. Genre Situation of the 20th century: Socio-cultural context of existence

This section of the work discusses the situation of the mutual influence of the cultural context on the development of small choral forms at the beginning of the century. It is noted that the specificity of the choral genre is largely predetermined by socio-demographic factors. This made it possible to state that in view of changes in the social function of art in the first half of the century, choral miniature leaves the practice of public musitization. A new aesthetics of socialist art, cultivating collective forms of creativity, brought a mass song to the historical scene. She became one of the emblem cultural phenomena of the first half of the XX century.

Her choral processing was widely represented in the works of M. Anseva, D. Vasilyeva-Bughala, M. Krasheva, K. Korchmarreva, Lobacheva, A. Paschenko, A. Egorova, and others. Big reservoir in the newly formed chorovy repertoire of post-revolutionary decades formed Cholar crossing Rusk1gh folk songs. Popular steel processing A. Glazunov,

A. Kastalsky, P. Chesnokova, A. Davidenko et al., As well as conductor -a. Arkhangelsk, M. Klimov and other. Composers continued their creativity and in line with the old traditions of the choral school. Within the framework of this direction, works of A. Kastalsky, V. Kalinnikov, A. Arensky, P. Chesnikov, etc. The above described above allows us to conclude that in the historical time of revolutionary and post-revolutionary events of the 20th century, a secular choral miniature of Taneevsky type has given way to a mass song and choral processing, which can be viewed as a crisis of the genre.

Perestroika of public consciousness in the 60s converts the cultural life of the country. The possibility of art openly return to the sphere of spiritual and personal changes the public purpose of choral music, which leads to the revival of choral miniatures, as a genre, the demand of which was determined by the fact that in the genetic structure it could be created countless artistic forms of reflection of lyrical content. Renaissance choral miniatures contributed to the restoration of the stored memory of the genre of the content. Miniature "... Samed itself as one of the blocks of this memory and ensured the creation of the greatest fault regime to preserve the development of natural characteristic features of the genre." 1. The semantics of the genre determined the update of communicative functions of its existence, which was associated with the conditions and means of execution. We are talking about the revival of the chamber branch of the choral art.

Changing the political climate, the restoration of the traditions of Russian spirituality, contacts with the world culture contributed to the deployment of a figurative and substantive panorama, updating means of expressiveness, the emergence of new synthetic genres. Choral music becomes a reflection of not just life, but the life of a modern person at a particular historical stage. The musical and choral context is introduced "inhen-zero" factor, patterns, hoped from other types of arts. Composer styles are characterized by the growth of integrative qualities, which made it possible to increase the level of informativeness of the choral miniature, reflecting the desire to concentrate the thought, and, consequently, to the concentration of funds. Ways to focus information contributed to the improvement of artistic forms

1 Nazaykin, E. V. Style and Genre in Music [Text]: Tutorial for university students / E.V. Nazaykin. -M.: Humanitarian Publishing Center Vlados, 2003. - P. 105.

displays reality, which, as a result, determined the emergence of a musical component that represents the artistic independence and the usefulness of the poetic image with the possibility of large-scale generalization. The process of updating the musical language was designated at all levels of interaction of musical and poetic text. There were complex relations characterized by increasing attention to the articulation of verbal text along with its intonation. Sounding, relying on multiple articulation techniques, was aimed at reporting verbal meaning: clear, accurate stroke feeding words, expansion of intonation methods, combining relief intonation-speech microstructures into a single meaning integer. In the context of the development of polystalistic trends, frequent involvement of the icon in the internal structure of choral miniatures, with the distribution of individualized reading the poetic text, the process of expanding the semantic field of the work is developing. The activation of the interaction between the various structural-semantic plans in the figurative concept was determined in the accumulation of the informativeness of artistic content, capacity, artistic versatility of choral miniatures. Thus, evolutionary processes were aimed at finding techniques with the ability to transmit more and more subtle nuances in the disclosure of emotional and psychological states, wide and deep build of an artistic context.

3.2. Evolution of choral miniatures in the second half of the XX century

As part of the paragraph, the development of the genre choral miniature is considered from the position of a new understanding of the principles of the genre formation, which developed under the influence of modern creative practice in the second half of century. The formation of a meaningful volume of choral miniatures occurs in the epicenter of the interceptor interaction, in which different areas of art fall into the circle. Among them are instrumental music, the art of theater and cinema. In this perspective, a bright example of the influence of symphonic and filmmature on a choral miniature, is the work of G. Sviridov. The analysis of the composer's works is indicated that the concept of building the image is based on the use of the installation technology

personnel. Due to this, the formation of an artistic image is presented as a "chain of the designated images of individual aspects" 1. Such a methodology for building an artistic image is applicable to other types of art, in particular, poetry, which made it possible to consider the compositional structure of miniatures using personnel installation, where the "frame" of poetic text corresponds to the music "frame", summarizing the meaning of the poetic stanza.

A comparative analysis of choral miniature S. Taneyev and S. Sviridov made it possible to identify the innovations of the latter at all levels of the relationship between poetic and musical texts: a phonovysto, lexical, semantic, composite. In the process of analysis, the desire of S. Sviridov to transfer the nuances of speech intonation, identifying the dramatic potential of textural plans, the bundle of choral invoice, its tool-lyssization, the introduction of elements of the shape of the Sonata Allegro, the use of symphonyological development techniques, etc. Despite the fact that choral miniature retains The structural and semantic orientation of genre typing in the writings of both composers, Sviridov has its stylistic update. Modernization processes reflected new composer thinking in the area of \u200b\u200bthe music language, the new algorithm for building a figurative concept, namely, the embodiment of the artistic image through the drama of the frame mounting. The refraction of the method of building an artistic whole in cinematic art using visual ways of knowledge of the world in its arsenal, found new forms of interaction between poetry and music.

3.3. The main vectors of the development of the genre

Section 3.3.1. "Choral miniature, cultivating classic guidelines" is devoted to the compositions of a classic style. Among the composers who wrote choral miniatures in the spirit of classical traditions in the second half of the 20th century were G. Sviridov ("Winter Morning" on Sl. A. Pushkin from the Choir Cycle "Pushkin Wreath"), E. Denisov ("Autumn" on Sl. A. Feta from the choir cycle "The arrival of spring"), R. Lednev ("The Edge of Favorite" on the cl. S. Yesenin from choral

1 Eisenstein, S. N. Montage 1938 [Text] / S.N. Eisenstein // Movie Art. - 1941. - № 1.-s. 39.

cycle "Wreath of Sviridov), V. Salmanov (" Niva Compressed "on S. S. Yesenin), V. Krasnoskulov (" Tsarskoselskaya Statue "on Sl. A. Pushkin) and others.

The features of this type of the miniature are considered to work on the example of a comparative analysis of the writings of P. Tchaikovsky and V. Shebalin, written on the text of the poem M. Lermontov "Rock". The parameters of the analytical review are chosen in such a way that with the help of comparison of expressive opportunities used by composers, to highlight the features of a new artistic approach to the creation of a music-poetic image V. Shebalin, emphasize that specially ensured the artistic independence and the fullness of the musical component of its essay. Analytical procedures made it possible to identify the difference in the interpretation of the image at all levels of the interaction of the word and music. The illustration of the new composer thinking is the following. At the syntactic level, P. Tchaikovsky observes a clear compliance of the phonetic structure of the word of its intonational feed, which leads to the complete coincidence of melodic and verbal microstructures. V. Shebalina, this connection is more mediated. The composer strives for the overall supply of a word, a large stroke. At the level of substantive-sense, we emphasize the wider palette of expressive funds from V. Schebalina. If P. Tchaikovsky uses only harmonic, dynamic, temporitmic characteristics of the image to form an image, then V. Schebalin applies the principle of genre generalization, demonstrates the workshop of the expressive and visual potential of the texture. In the vertically horizontal flow of sound stream, the layering of textured layers reflected the complementary compliance of the word and music. Using the richness of tempophonic paints, arising due to a variety of textured decisions, V. Shebalin reaches a fine psychological nuanxion of the image. In the compositional level of text interaction, we note that in the work of P. Tchaikovsky, a stubphic form, V. Schebalina, the form of "clutch" to musical three-parties. Note that V. Schebalin created a secondary poetic form. As well as indicate the use of choral groups, the expansion of the register range of singers, the articulation features of the word feed, the use of expressive qualities of sonar singing, which is not observed in the choir miniature P. Tchaikovsky.

Accordingly, the path from P. Tchaikovsky to V. Shebalina is the way to specify the word with the means of music, finding more and more subtle parity

relationship and interaction with the musical component built on unity and equivinity. The above allows us to conclude that the musical component in the "Rock" V. Shebalina is the most rich in terms of the implementation of expressive resources. He confirms the thesis that the evolutionary processes of the second half of the 20th century were increasingly approved in the choral miniature its leading genre sign - the coagulation of the meaning in the process of interaction between musical and poetic texts.

Section 3.3.2. "Choral miniature, focused on Russian national traditions" is devoted to the style modification of the genre related to rethinking and recreating through the modern composer techniques of the features of Russian folk art. Within the framework of this section, an attempt was made on the material of the choral miniature V. Gavrilina "Erunda" from the symphony-action "Chimes" to consider the structural processes that caused the development of shaped content. The focus of special attention is the musical and language funds that form semantic complexes in which artistic text information is encoded choir miniatures. In the process of analysis, the semantic meanings of the elements of the musical text are interpreted, the mechanism of clutch is described, in which, with the help of their contrast confrontation, each of the values \u200b\u200bis specified and the meaning is revealed as a result of their comparison.

Section 3.3.3. "Choral miniature in the context of new style trends of the 60s" indicates that this most interesting period of the 20th century is characterized by a substantial radicalization of the musical language. Individual stylistic concepts of Russian composers are developing in the process of permanent search for new means of expressiveness. The main directions in this area were related: with the expansion of the range of expressive means in the presentation of the Word, with the search for ways to instrumentalizing the choir texture, using the resources of tempophonic. These processes are reflected in the work of composers working in the choral miniature genre. In line with new trends, Y. Falik ("Haberner", "Intermezzo", "Romance" from a concert for the choir "Igor Northerner"), R. Lednev ("Prayer" from the Choral Cycle "Wreath of Sviridov"), with . Gubaidullina (Cycle "Dedication to Marina Tsvetaeva"), E. Denisov ("Autumn" on the words V. Klebnikov), A. Shnitke ("Three Spiritual Choir"), V. Kickty

("Winter Lullaby"), S. Slonimsky ("Evening Music") and others. Interesting in this regard, artistic experience of the transit of genre R. Shchedrin.

In the creative works of the artist in the genre of choral miniatures, the new poetics of the genre was designated. It was rooted, mainly in the historically determined style update of structural-semantic unity, a more subtle ratio of music and a poetic word, which was based on "mixed technique", 1 synthesis of means of expressiveness inherent in modern art. The purpose of the analysis becomes the identification of methods and techniques of composer equipment, deeply connected with other arts and aimed at creating artistic structures, on a small scale of which the semantic potential of their elements reaches the intensity of the symbol. An analysis of the analysis was choral miniatures from the "Four Choir on poems by A. Tvardovsky" cycle.

Analysis of choral miniature R. Shchedrin from the Cycle "Four choir on poems by A. Tedovsky" made it possible to draw the following conclusions. Composer thinking of artists of the second half of the 20th century has formed new features of the genre model in which the cardinal update of the methods of forming artistic content is observed. Strengthening the processes of mutual influence of verbal and musical components - the expansion of the themes, the appeal to different musical styles, innovative composer equipment - has taken to update musical semantics. The consequence of activating the interaction between different structural-semantic plans in a figurative concept was the accumulation of informative content, capacity, artistic polymanity of choral miniatures.

The conclusion of the thesis contains conclusions that are significant for the characteristics of the choral miniature. The miniature is a microcosm with respect to the actually existing human macrocosm, it is capable of reflecting complex, properties of living matter in a large-scale compressed artistic text. It contains a high level of artistic skill and the depth of the content, which reflects the subtle faces of the world and senses of man.

The process of crystallization of the genre occurred on the basis of active interzhanskaya interaction, which made it possible to reveal in the genres of analog

1 Grigorieva, G.V. Russian Choral Music of the 1990-80s [Text] / GV Grigorieva. - M.: Music, 1991. - S.7.

funds and elements of the music language contributing to the formation of structures that are maximum implementing semantic potential.

Comparison of the ontology named after the genre (choral miniature) with a genetic code determined their identity and allowed to work out approaches to the attribution of the genre. Based on the development of prominent musicologists in the poetics of small forms, genre theory and the ratio of poetic and musical texts, the definition of the concept of "choral miniature" was formulated and its theoretical justification was given. The analysis of the evolution of this genre species revealed the "point of reference" of the historical life of the genre in the Russian culture of S. Taneyev, the "crisis" of the genre in the first half of the 20th century, due to socio-historical circumstances, and his revival in the second half of the century. The study of Genesis of the genre showed that under the influence of polystalistic trends, multidirectional "vectors" have developed, who determined its "image" in the second half of the 20th century. The evolutionary processes during this period were associated with coordination between musical factors and external determinants, their analysis revealed the ability of choral miniatures to assimilate a variety of style trends and in the diversity of musical languages \u200b\u200bto find the expansion and deepening resource.

At the conclusion of the thesis, it was noted that, despite the topic achieved in the work, the level of scientific understanding of the topic, it remains open in a broad temporary perspective, since the change of composer generations, transmitting their knowledge and creative developments, makes the fact of the inevitable continuation of the life of the studied genre in its new interpretations .

Articles in peer-reviewed scientific journals recommended by VAC:

1. GRINCHENKO, I.V. The origins of choral miniatures of the era of romanticism in the context of traditions of Russian art [Text]: Scientific Journal / I.V. GRINCHENKO // World of science, culture of education. - Gorno-Altaisk, 2012. - № 3 (34). - P. 226-228.-0.4 P.L.

2. GRINCHENKO, I.V. Choral miniature: Structural approach to the analysis of poetic and musical texts [Text]: Scientific and theoretical and Applied Journal: at 2 h. Part II. / I.V. GRINCHENKO // Historical, philosophical, political

both legal sciences, cultural studies and art history. Questions of theory and practice. - Tambov: grades, 2013. -№ 4 (30). - P. 47 -51.-0.4 P.L.

3. GRINCHENKO, I.V. The interaction of poetic and musical texts in the genre of choral miniatures (on the example of the choir "Spring" from the cycle V. Khodosha "Seasons") [Text]: Scientific specialized magazine / I.V. GRINCHENKO // Problems of musical science. Ufa: Publishing House of the Ufa State Academy of Arts, 2013. -№ 2 (13). - P. 273 - 275. - 0.4 P.L.

4. GRINCHENKO, I. V.Khorova miniature in the national music of the second half of the 20th century [Electronic resource]: Scientific Journal / I.V. GRINCHENKO // Fundamental studies. - 2014. - № 9 - 6. - P. 1364 - 1369. - Access mode: http://vak.ed.gov.ru. -0.4 P.L.

Other publications on the topic of dissertation research:

5. GRINCHENKO, I.V. Genre choral miniatures in Russian music of the turn of the XIX - XX centuries (on the example of twelve choirs A Cappella Op. 27 S. Taneyeva) [Text]: Scientific Journal / I.V. Grinchenko // South Russian Musical Almanac: FGOU VPO "Rostov State Conservatory (Academy) named after CB Rachmaninova. - Rostov N / d., 2013.-№ 1 (12) .- s. 18-25.-1P.L.

6. GRINCHENKO, I.V. Actualization of the meaning of musical and poetic text as a technology for working with a children's choir team [Text]: Conference Materials / I.V. GRINCHENKO // Modern choir performance: traditions, experience, prospects: International Scientific and Practical Conference [G. Rostov N / D., April 28 - 29, 2014]. - Rostov N / D.: Publishing House Rostov State Conservatory (Academy) named after C.B. Rakhmaninova, 2014. - S. 94 -101.-0.5 P.L.

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