Genres of songs: description and examples. What is composition in music, literature, painting? You must know different styles of music

In the form of a musical work worked out and completed in itself, an "opus", in contrast to the fluid variability of folk art - a process, from improvisation (in ancient, oriental, folk, jazz music, some types of music of the 20th century).

The composition assumes: the presence of the author as a person (composer); his purposeful creative activity; separable from the creator and further independently from the creator of the existing work; the embodiment of the content in a precisely established objectified sound structure; a complex apparatus of technical means, systematized by musical theory and presented in a special field of knowledge (in the course of composition). The written fixation of the composition requires perfect musical notation. The consolidation of the category of composition and the status of the composer is associated with the development in the Renaissance of the concept of a free human personality - the creator, creator (indicating the name of the composer has become the norm since the 14th century; the culmination of the personal and authorial principle in composition - in the 19th century).

Composition as a musical and artistic whole is stable. It overcomes the continuous fluidity of time, establishes the always equally reproducible uniqueness of the main components of music - altitude, rhythm, location of the material, etc. Thanks to the stability of the composition, it is possible to reproduce the sound of music at any arbitrarily long intervals after its creation. At the same time, the composition is always designed for certain conditions of performance. Compared to applied folklore forms (songs, dances) and actions (ceremonial, religious, everyday), directly included in the life process, the composition is more a work of art.

Since ancient times, the idea of ​​a compositionally unified musical whole has been associated with a textual (or dance-metric) basis. Historically, the Latin concept of composition was preceded by the ancient concept of melopeia. Verb componere and its derivatives (including compositor) are found in many medieval treatises, starting from Hukbald of St. Amansky and his school (IX-X centuries). In the 11th century, Guido Aretinsky, in his Micrologue (c.), Understood composition (componenda) mainly as the skillful composition of the chorale. John de Groceio ("On Music", approx.) Attributed this concept to polyphonic music ("musica composita", that is, complex, composite music) and used the word "compositor". In the Renaissance, John Tinctoris ("Determinant of musical terms") singled out the creative moment in the last term (the composer - "who wrote some new cantus"); in The Book on the Art of Counterpoint (), he clearly distinguished the notated counterpoint - "res facta" (equivalent to "cantus compositus" in the "Determinant") and improvised ("super librum cantare", letters. sing over the book).

The study new methods of composition in the music of the second half of the XX - beginning of the XXI centuries, over the past 15 years, it has emerged as an independent scientific and educational discipline - theory of modern composition, which includes the study of such new methods of composition and musical phenomena as

(in ancient, oriental, folk, jazz music, some types of music of the 20th century).

The composition presupposes the author-personality (composer), his purposeful creative activity, separable from the creator and then an existing work independently of him, the embodiment of the content in a precisely established objectified sound structure, a complex apparatus of technical means, systematized by musical theory and presented in a special field of knowledge (in course of composition). The written fixation of the composition requires perfect musical notation. The consolidation of the category of composition and the status of the composer is associated with the development in the Renaissance of the concept of a free human personality - the creator, creator (indicating the name of the composer has become the norm since the 14th century; the culmination of the personal and authorial principle in composition - in the 19th century).

Composition as a musical and artistic whole is stable. It overcomes the continuous fluidity of time, establishes the always equally reproducible uniqueness of the main components of music - altitude, rhythm, location of the material, etc. Thanks to the stability of the composition, it is possible to reproduce the sound of music at any arbitrarily long intervals after its creation. At the same time, composition, always designed for certain conditions of performance and function in musical life, inevitably turns out to be an imprint of the historically and socially determined aesthetic attitude of musical art to reality, its image. Compared to applied folklore forms (songs, dances) and actions (ceremonial, religious, everyday), directly included in the life process, composition is more an artistic reflection of reality.

Since ancient times, the idea of ​​a compositionally unified musical whole has been associated with a textual (or dance-metric) basis. The Latin concept of composition was historically preceded by the Greek concept of melopeia. In the Middle Ages, the term "componere" was introduced by Guido d'Arezzo in the Micrologue (c.). The composition was understood as a deep figurative skillful processing of the chorale (cantus firmus). Johannes de Groheo (On ​​Music, approx.) Referred this concept to polyphonic music ("musica composita") and used the term "compositor". In the Renaissance, John Tinctoris ("Determinant of musical terms",) "highlighted the creative moment in the last term (the composer -" who wrote some new cantus "); in the" Book on the art of counterpoint "() he clearly distinguished the counterpoint iotated -" res facta "(equivalent to" cantus compositus "in the" Determinant ", and improvised (" super librim cantare ").

In Russia, the first teaching on composition was the Musikian grammar by Nikolai Diletskiy (Moscow, 1679, other editorship - 1681); among other authors of the manuals: I. L. Fuks (Russian translation - "Practical Guide to Composing Music", St. Petersburg, 1830), I. K. Gunke ("Guide to Composing Music", part I-3, St. Petersburg , 1859-63), MF Gnesin ("Initial course of practical composition", M.-L., 1941).

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See what "Musical composition" is in other dictionaries:

- ... Wikipedia

Modern encyclopedia

Composition- (from the Latin compositio addition, composition), 1) the construction of a work of art (literary, musical, pictorial, etc.), due to its content, character, purpose and largely determines its perception. ... ... Illustrated Encyclopedic Dictionary

- (from Lat. compositio composing binding), 1) the construction of a work of art, due to its content, character, purpose and largely determines its perception. Composition is the most important organizing element of the artistic ... ... Big Encyclopedic Dictionary

AND; f. [from lat. compositio compilation] 1. The structure, location and ratio of the constituent parts of works of literature, art. K. novel. K. opera. K. paintings. Mastery of composition. 2. A work (of music, painting, etc.) that has ... ... encyclopedic Dictionary

composition- and, w. 1) (what) The structure of a work of literature and art, the location and relationship of its parts. Composition of the Word about Igor's regiment. Composition of the painting. Synonyms: architect / nick, construction / ning, structure / ra 2) Work (music, painting, etc.) Popular dictionary of the Russian language

This term has other meanings, see Composition. Composition (lat. Composito composition, composition) is a category of musicology and musical aesthetics, which characterizes the subject embodiment of music in the form of elaborated and ... ... Wikipedia

Composition (from Lat. Compositio - composition, composition), 1) the construction of a work of art, due to its content, nature and purpose and largely determines its perception. K. is the most important organizing component ... ... Great Soviet Encyclopedia

- (Italian improvisazione, from Latin improvisus unexpected, sudden) historically the most ancient type of music-making, in which the process of composing music occurs directly during its performance. Originally ... ... Wikipedia

Lesson objectives:

Musical lesson material:

Ø L. Beethoven.

Ø M. Ravel. Water play. Fragment (listening).

Ø L. Dubravin, poetry M. Plyatskovsky. Snowflake (singing).

Additional material:

Portraits of composers.

During the classes:

I. Organizational moment.

II. Lesson topic message.

Lesson topic: “Musical composition. What is a musical composition ”.

III. Work on the topic of the lesson.

Trying to understand and explain any piece of music, we are convinced that its content is inseparable from the form, that the entire system of images, characters and moods reveals itself in the composition (structure of the piece). By the complexity or simplicity of the composition, by its scale, we judge the complexity and scale of the content, which can also be very different, then addressing the small problems of life, then setting global, universal tasks.

I remind you:

“We call in an artistic way that phenomenon in music, literature or the visual arts, which reflects some important event in life” D. Kabalevsky.

1. The image embodies some life phenomena of the personality, but the personality is always associated with the atmosphere of the era in which he lives.

2. The image always reflects the personality of the artist and the era in which he lives.

Great art, the art of big thoughts and deep feelings is capable of awakening his best qualities in a person.

“Music should strike fire from the human soul,” Beethoven himself said. His motto is "Through the struggle - to victory!" - very clearly expressed in the fifth symphony. It contains pictures of intense battles in the name of that bright life, the dream of which always lives in people and which they themselves want to create.

Ludwig van Beethoven (1770 - 1827)

"People build their own destiny!" - Beethoven asserted.

Beethoven's faith in life, in victory is amazing. It is difficult to find a person to whom fate would inflict so many blows: a bleak childhood (drunken orgies of his father, illness and death of his beloved mother, disgusted service from the age of eleven), constant turmoil, loss of friends and, finally, the most terrible blow - deafness. To understand the full extent of the deaf composer's misfortune, it is enough to imagine a blind artist. But Beethoven did not give up. He composed music. And what! "Appassionata", the Fifth, Ninth Symphonies, etc. In the most difficult hour he wrote: "I want to cling to fate's throat, it will certainly not be able to completely bend me to the ground." Life has confirmed the composer's motto. He fought and won. I won because I fought.

Romain Rolland wrote: "He is the best, most militant friend of all who suffer and struggle."

Ø L. Beethoven. Symphony No. 5. I movement. Fragment (listening).

Vocal and choral work.

Ø L. Dubravin, poetry M. Plyatskovsky. Snowflake (singing).

IV. Lesson summary.

“The music of the symphony is so powerful and so strong that it turned out to be able to embody the struggle of all mankind against all the injustices that stood in its way. And not only the struggle, but also the image of the coming victory! "

D. Kabalevsky.

V. Homework.

Learn the song and prepare for the answer.

Lesson 21

Theme: Musical masterpiece in sixteen measures (period).

Lesson objectives:

Ø Learn to perceive music as an integral part of every person's life.

Ø Develop an attentive and benevolent attitude towards the world around us.

Ø To foster emotional responsiveness to musical phenomena, the need for musical experiences.

Ø Develop interest in music through creative self-expression, manifested in reflections on music, own creativity.

Ø Formation of a listener's culture based on familiarization with the highest achievements of musical art.

Ø Conscious perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Musical lesson material:

Ø F. Chopin.

Ø L. Dubravin, poetry M. Plyatskovsky. Snowflake (singing).

Additional material:

Portrait of F. Chopin.

During the classes:

I. Organizational moment.

F. Chopin's “Polonaise”.

II. Lesson topic message.

Lesson topic: Musical masterpiece in sixteen measures (period).

III. Work on the topic of the lesson.

Writing on the board:

Today we will have another meeting with art: the world of feelings and thoughts, revelations and discoveries.

Did you notice that today's lesson began immediately with music? Is she familiar to you? What is this work? Who is its author?

D: - Yes, this music is familiar to us. This is "Polonaise" by the Polish composer Frederic Chopin.

W: - Right, really, this is "Polonaise", and you know what it is?

D: - This is a welcome procession dance, which was born in Poland and opened balls in different countries in the 19th century.

D: - This is a composer of the first half of the 19th century, a brilliant pianist. His music is distinguished by great virtuosity, grace, dance and dreaminess.

W: - Well done, indeed, Chopin was called the most poetic composer. But I would like to remind you that the fate of this person was tragic, tk. most of his short (about 40 years!) life and the last days he spent in a foreign land, far from his beloved Motherland, which he loved very much, missed her immensely and devoted all his music to it.

“Chopin is far from his native land,

In love with his beautiful Poland,

Remembering her, he said dying:

"I give my heart to Warsaw!"

Try to remember in which works Chopin “gave his heart”, which works did he composed? The posters on the chalkboard can help you, choose the one you want (there are several posters on the chalkboard with the names of musical genres):

D: - Fryderyk Chopin composed waltzes, mazurkas, polonaises, preludes, nocturnes.

U: - Well done, you did a wonderful job with the task, correctly named all genres.

W: - Today, the amazing music of Fryderyk Chopin will help us understand another secret of music - the secret of the musical form, about which we have been talking for several lessons. We will now turn to one of the simplest forms of music. Take a look at the chalkboard and read the title of the topic for today's lesson - “A Musical Masterpiece in 16 Measures” (writing it down).

The artistic and pedagogical idea of ​​today's lesson is taken from the words of the French writer of the early 20th century Romain Rolland, read them, think and tell me how you understand them in connection with the form of music we are going to get to know today?

D: - Probably, the form of music that will be discussed today is very small and simple.

W: - The piece that we will hear is called "Prelude No. 7". Remember what “foreplay” is?

D: - Prelude is a small piece that plays the role of an introduction, or an independent miniature.

D: - Right. So the work of F. Chopin, which will sound today, is really very small, it fits on a small fragment of an ordinary page (I show it in the textbook, page 78).

Now you will hear this work, and you will complete a small creative task, divided into 3 groups (you can in rows).

He will find and write down definitions from the dictionary of aesthetic emotions that reflect the feelings and experiences of this work.

He will think and determine whether there is one musical idea or several of them. Find the climax of this piece, mark it with a raise of your hand.

Suggest what the composer could tell the listener about with this music.

So, let's listen and work.

Performance of the "Prelude" and a survey and analysis of the guys' answers.

U: - Well done, you very correctly defined the grace and slowness of confidential intonation, the chord structure of sounding, the noble and light calmness of the music. In this small piece, the noble historical traditions of European music have merged, combining both sublime spiritual and gentle dance origins.

It was as if we heard the composer's musical message. This message, as we have seen, is very laconic: in music it is called the period.

A period is one of the elements of a musical form, in the construction of which one musical thought is expressed. The period is divided into 2 equal offers. (Show them, write down the definition of the period in a notebook.)

Let's listen to this work again, but now with a message from the author himself.

Reading a fragment of Chopin's letter against the background of music:

“... My dear, distant, the only one!

Why is our life so arranged that I should be away from you, be apart from you? I remember the rustle of every leaf, every blade of grass, I see faces dear to me, I feel you, my dear homeland ...

Every night you come to me with an obscure melody of either a song or a favorite dance - a mazurka, and so I want this dream to never end ... ”

W: - So, what is the idea of ​​a musical masterpiece of 16 bars by Chopin?

D: - Love and memory of the Motherland, Poland.

W: - You probably remember, guys, from our previous conversations about the work of Fryderyk Chopin, that the love for the Motherland of this talented person was so great that after his death, at the request of F. Chopin, his heart was taken out of his chest and, like a sacred relic , forwarded to his homeland, to Warsaw. Today it is walled up in the wall of one of the main churches (temples) in Warsaw, and the following poetic lines testify to this:

“There is a church in Warsaw,

There, a wall hides a shrine to humanity -

Chopin's heart -

Silence is full of this heartbeat to this day! "

… Here is such a short life, but bright, whole, in the name of love for the Motherland. Life is like a moment, a moment.

Today, in the lesson, one more piece will sound, which will confirm the idea of ​​the transience of life.

Ø F. Chopin. Prelude in A Major, Op. 28 No. 7 (hearing).

This prelude is so small that all of it can fit on a small fragment of an ordinary page.

A period, a small complete musical narration, may contain all sorts of digressions, extensions, additions, but there is none of this in Chopin's Prelude. Its form is distinguished by a repeated structure: that is, the melody in the second sentence begins with the same motive as in the first, equal duration of sentences consisting of eight measures (in music this is called squareness), simplicity of textured presentation.

Musical composition (lat. Compositio - composing, composition) is a category of musicology and musical aesthetics that characterizes the subject embodiment of music in the form of a completed musical work, in contrast to the variability of folk art and the improvisation of some types of music.

The term "composition" is now widely used in various fields of human activity: in the visual arts (sculpture and graphics) and literature (motivated arrangement of the components of the work), construction (composite materials), etc. In art, this term is often identified with both the plot and the system of images, and with the structure of a work of art. For this purpose, explanatory terms are used - architectonics, construction, construction. Finally, this term refers to works that include various types of art (literary and musical composition) or composed of fragments of works of different genres.

The musical composition assumes:

• author-composer and his purposeful creative activity;
• a work separable from the creator and existing independently of him;
• the embodiment of content in an objectified sound structure;
• a complex apparatus of technical means, systematized by musical theory.

Each type of art is characterized by a certain set of techniques, the assimilation of which is necessary for creative work. Music is one of the most labor-intensive art forms. Therefore, the creator of music - the composer - especially needs technical equipment. “Without mastery in art,” asserts D. Kabalevsky, “not a single step can be made”. Moreover, he believes that in the composer's work, creativity itself occupies no more than ten percent, and the rest is technique - knowledge and the ability to apply techniques.

The term "creative method" is used to characterize the way of composing music, which is characteristic of a particular composer. All outstanding composers who wrote orchestral music had a well-developed internal timbre ear, i.e. internal ideas about the real sound. “Musical thought does not appear to me otherwise than in its corresponding external form; ... I invent the most musical idea at the same time as instrumentation ”, - this is how PI wrote about his creative method. Tchaikovsky. Internal ideas about real sounding allowed V.A.Mozart to polish the score of an orchestral composition to such an extent that it only remained to write down the musical text.

Thus, composition is a teaching about the interaction of all means of musical expression in a musical form (compositional structure). Like the texture, which acts as the organizing principle of the artistic space, the form-scheme becomes a side of the musical whole, connected with the laws of the temporal development of the work.

Of course, the composer's creative method is formed in the process of his own hard work. A composer can create and improve his composition with the help of internal ideas about real sound, use a workbook (sketchbook), as well as a piano or computer.
The beginning of work on an essay should be considered the formation of a general plan, in which three stages can be distinguished:

• definition of a musical genre and understanding of imagery (plot);
• justification of the classical form-scheme;
• choice of a creative method: composing (according to preliminary preparations or by gradual "building up") a figurative melody corresponding to this image of harmony, texture, polyphonically developed additional voices.

For a piece of music, such an aspect as accessibility for perception is extremely important. The composer's ability to take into account the patterns of auditory perception B. Asafiev calls "the orientation of the form towards the listener." It consists in riveting the listener's attention to the most important moments of the work, providing timely rest for the hearing after a lot of stress, evoking certain expectations, justifying them or violating the inertia of auditory perception, directing perception along the necessary path, etc.

We meet the term "composition" almost every day. To a greater extent, it has to do with various branches of art: music, painting, literature, and so on. And now we will learn in detail what a composition is in its various guises, what aspects of it determine and how it is created.

Literature

In the industry, fine composition is defined as follows. This is the construction, distribution and correlation of parts, various episodes, heroes, their actions and other means of artistic expression within the framework of one work. When we talk about what composition is in literature, it is important to remember that all its elements are connected into a single whole. A literary creation can consist of landscapes, still lifes, portraits, dialogues and monologues, lyrical digressions, metaphors and hyperbole, exaggerations and understatements, and so on. All this as a whole adds up to a story, a novel, a poem, or just a small poem.

Music

Speaking about what a composition is in music, for example, you can take absolutely any piece, and it doesn't matter if it is a third grade study or a whole symphony consisting of several parts. In this case, composition is an objective comparison, distribution and expression with a certain intonation of sounds. The main difference between this type of art and folklore is the lack of improvisation. Musical compositions (more often they are called "opuses") are recorded on the stave. Moreover, the notes indicate not only sounds, but also shades, strokes, dynamics, rhythm and tempo.

History and modernity

As mentioned above, musical compositions are characterized by their stability and consistency due to extremely precise notation. The second important component of any opus is its author. The composer must perfectly know not only his instrument, but also solfeggio, as well as musical canons related to the style in which he creates. In the old days, the term "composition" was used to refer to only those works that were sustained in a single rhythm, tempo and tonality. They were short, but very beautiful, melodic. The first musical compositions recorded on the stave appeared in the Renaissance. At that time, the standards for writing music were obligatory for everyone - this is the exposure of the harmony, rhythm and meter. With the onset of the era of romanticism, modulations came into fashion - the transition from one key to another. Composers of the 19-20 centuries began to change in the course of the work not only the harmony, but also the size, tempo. So the musical compositions have become more intense, vivid. Today, there is no clear framework for composing music. The main thing is that, as a result, the work is pleasant to the ear.

Painting

It is the fine art that allows us to most accurately understand what a composition is. In their paintings, artists always convey to the viewer their idea, mood, a certain atmosphere. The types of pictorial compositions are known to everyone - these are landscapes, portraits, still lifes. Among the works of artists of the 20th century and our contemporaries, there are expressionist canvases, surrealistic and others. A drawing, whatever it may be, always conveys a mood to us through color, light and shadows, shapes (angular or rounded), as well as through the main acting objects or persons. For example, a graphic composition of geometric shapes is a set of various cones, pyramids, balls and cubes that have light and shadow and are always drawn in volume. A drawing based on this geometry can be more complex: houses, trains, churches. In short, everything that goes into perspective. In painting, prominent representatives who depicted non-standard compositions are the artists Salvador Dali, Pablo Picasso, Edvard Munch and others.

Souvenirs as part of art

New Year's compositions are unique and inimitable in their way. This is a variety of bouquets, arrangements, wreaths, mini Christmas trees and much more. Such creations look, frankly speaking, fabulous. They consist of spruce branches, cones, ribbons, rowan bunches. Often, candlesticks are attached to them, and the candles themselves are placed in them. Also, a New Year's composition can consist of trick gifts (polystyrene wrapped in gift paper), bells, balls, bows, etc. Such creations can be bought in stores, or you can make it yourself. It is only important to take into account the main rule of composition - all elements must be combined with each other. This also applies to shapes, colors and sizes.

Do-it-yourself New Year's compositions

The simplest New Year's craft is a wreath stand for candles. It has a rounded shape and consists of the main attributes of this holiday - spruce branches, cones, and so on. Therefore, we need the following components: base - a circle of the required diameter made of thick cardboard or plastic; thin pine branches; cones; bunches of mountain ash (optional), miniature balls in red colors (or mini-gifts with bows). We focus on the red color because there is a mountain ash in the composition. Place candles in the center of the base and fix them tightly. Then, in a chaotic order, glue all the elements. The main thing is to look beautiful. Voila! Our New Year's bouquet is ready!

Get inspired and create beauty

You can do such compositions with your own hands for any holiday or just in the mood. For example, on Halloween, something similar to New Year's is built from small pumpkins, ghost figures, witch hats and cobwebs. Just for the Autumn Festival, you can make stunning compositions from autumn leaves, and take as a basis not only a round wreath, but also plain A4 paper, making interesting applications on it. Summer composition can contain fruits, berries, leaves, red and green ribbons. Well, motifs on a marine theme are easily created thanks to the turquoise color, shells and fishing nets.