Instrumental ensembles in one form or another existed until the 17th century: small household ensembles (often without the designation of instruments), most often performing dances; all kinds, from small to polyphonic, participated in the performance of vocal and instrumental works (most of all in the Venetian school, especially with Giovanni Gabrieli). However, the types of instrumental ensembles from chamber to orchestral only gradually took shape, developed over the course of the 17th century. This happened in close connection with the development of certain musical genres, which were also in the process of formation and went from the 16th to the 18th century from the vocal-instrumental canzone to the old sonata (sonata da chiesa) and concerto grosso. On this path, they did not pass the suite either - from its simplest origins in the 16th century to the chamber sonata (sonata da camera) and the multi-part orchestral piece. Unlike, on the one hand, from organ music, which is mainly associated with performance in the church, and, on the other hand, from clavier music as purely secular, music for instrumental ensembles sounded both in the church (hence the “church sonata”) and in the secular salon, and at home, and in the palace. Nevertheless, over time, its imagery completely freed itself from the traditions of spiritual art (except that the designation “church sonata” did not imply only suite movements in the cycle). In this sense, there is a profound, fundamental difference between the instrumental canzone of the end of the 16th century and the trio sonata, as a result of the 17th century.

In the field of the instrumental ensemble, the 16th century did not leave such performing and composing traditions that had already been laid down in the development of organ art (fixed performance techniques, in particular improvisation in a certain style of the instrument). Ensemble works of that time could be intended: for singing or playing; for playing various (any, as long as their range allows) instruments; for a certain ensemble, but without any differentiation of its parts (like a violin, then a trombone). It took a lot of time to overcome this uncertainty, the instability of customs and concepts associated with the "children's" stages in the development of instrumental music.

The first starting points for the progressive movement of ensemble music from the 16th century onwards were the most common dances from the everyday repertoire, and polyphonic canzones from professional art. This meant that the artistic origins of the new genres went both to folk-everyday forms and to a strict vocal-polyphonic style. The homophonic warehouse of dance music, the integrity and compactness of a simple composition, melodic-rhythmic certainty, clearly expressed contrasts of movements (during the alternation of dances) were to a certain extent opposed in the canzone by polyphonic writing, the unfolding of the composition, the melodic-rhythmic "neutrality" of thematics, the absence of contrasts between parts ( if they were planned inside the canzone).

Among the earliest instrumental canzonas ("Canzoni da sonare") are the works of Florentio Maschera (organist in the Brescia Cathedral), published in 1584. These four-part pieces, if the text were signed under their parts, would not differ in any way from vocal polyphonic compositions, for example, motets of strict writing; the nature of the four-voice, the smoothness of voice leading, the range of each of the voices, the imitative warehouse, the emergence of new sections without definite thematic contrasts, without restrictions (two or many more sections) - everything here would be natural in connection with the verbal text. When the text is absent, and the themes are not individualized, the whole is fluid, amorphous. If this were to some extent compensated by the specifics of the instrumental warehouse, such a "canzone for playing" would be a new step on the way to proper instrumental forms. But in this form, Masker's canzones seem to be simple copies of vocal works, not even designed for a certain composition of instruments. The composer gives them program names (“La Capriola”, “La Maggia”, “La Rosa”, “La Foresta”, etc.), apparently trying to reveal the nature of their imagery. Let us recall in passing that the canzones that were created for the organ in the same period were more specific and, thus, still more free from signs of a purely vocal warehouse.

The creative activity of the composers of the Venetian school in the second half of the 16th century and the beginning of the 17th century allows us to trace exactly how the process of “singling out” instrumental genres from the general mass of vocal and instrumental forms of that time proceeded. It is known that in Venice, too, the various compositions of instrumental ensembles were closely connected with the choral sound, and the instruments very often simply replaced the vocal parts, were used, so to speak, on an equal footing with them. However, at the same time, the development of the actual instrumental writing has already begun here, by the efforts of the largest masters, a keen interest in instrumental timbres has been shown, expressed at least in the desire to oppose the various groups of the ensemble (which was perceived as their "concert"). At the same time, much remained uncertain: possible instrumental genres, performing composition, types of composition. Giovanni Gabrieli calls his works for instrumental ensemble either canzones (the vocal source is emphasized), then sonatas (instrumental performance), or symphonies (in the sense of “consonance”, that is, an ensemble). In practice, there may not be any special differences between these designations: in principle, they could refer to the same work for a number of instruments. Andrea Gabrieli has “Canzones alia francese for playing the organ”, Giovanni Gabrieli has “Canzones and sonatas ... for 3, 5, 6, 8, 10, 12, 14, 15 and 22 voices for playing various instruments” . "Sacred symphonies", on the other hand, the Venetians call their vocal-instrumental compositions. The performing composition in the early instrumental works for the ensemble can approach either chamber or orchestral (from 3 to 16 instruments), and there are no special differences between the parts, for example, of violins and trombones. According to the style of presentation, these are polyphonic, imitation works (often still close to choral ones in texture) from several (from 2 to 12) sections that directly pass one into another, that is, in a fused form.

Large vocal and instrumental compositions of the Venetian school at the turn of the 16th-17th centuries, as well as the score of Monteverdi's Orpheus, convincingly show that there were no established types of instrumental ensembles at that time. Almost for each work a special “set” of instruments was possible. Only over time, from a variety of instrumental timbres and an indefinite number of their combinations, certain types of chamber ensembles and orchestras were formed.

Nevertheless, over the years, representatives of the Venetian school more and more persistently sought to free themselves from following vocal patterns, found ways to diversify sections of the instrumental canzone due to differences in movement, chordal or imitative warehouse, and also using the features of instrumental texture. A good example is Giovanni Gabrieli's canzone for two violins, two cornets and two trombones. There are frequent changes of movement (3 - 8 - 5 - 1 - 8 - 1 - 7 - 3 - 10 bars), and the imitation fragments alternate with chord sounds and the monotony does not threaten the whole. We note by the way that the same technique is required from violins, cornets and trombones, and only at the very end of the work are light passages distributed only between the parts of two violins.

Although the early instrumental pieces of this kind are not very independent, thematically not very bright, they have not yet lost their dependence on vocal polyphony and its structures, nevertheless, the emancipation of instrumental music has begun. The Venetian creative school, with its craving for the "concert" of spiritual art, with its dramatic and coloristic aspirations, found new expressive possibilities, new colors in the emerging instrumental genres - and, moreover, relative independence from the church.

How colorful this picture of the early development of instrumental music in Italy was at first, is evidenced by the content of the collection "Canzones for playing ...", published in 1608 and containing 36 works by G. Gabrieli, Claudio Merulo, Florentio Maschera, G. Frescobaldi, Ludzasco Ludzaski, Giovanni Battista Grillo and other authors. The number of voices in these plays varies from four to sixteen. In some cases, the instruments are not marked. And then there are canzones for eight or sixteen trombones, for four violins, four lutes. We note in this connection that both string and wind instruments were used at that time by entire families, in all registers. A canzone could, for example, be played by a family of violins or a family of trombones (or in unison by both). Among the canzonas of the named collection there is also a four-voice (without designation of instruments) capriccio by G.B. Grillo, which is interesting because its origins are not only in vocal polyphonic music. The composition contains many small sections, which for the most part are not polyphonic, but danceable: 1) imitation section, 2) in the galliard movement, 3) imitation, 4) in the pavane movement, 5) in the galliard movement, 6) pavanes, 7) galliards, 8) and 9) repetitions of 1) and 2), code. So, the “great pairs” of dances “mixed in” here, from which the suite will then form.

From the beginning to the end of the 17th century, the instrumental ensemble with its repertoire goes through a rather long and complex path of development. The prevailing types of ensembles (chamber trio) are gradually being determined, selected solo instruments are being promoted, the importance of strings (especially the violin) in the ensemble is growing, while the instrumental style itself is being intensively improved. Polyphonic traditions in the process of evolution intersect with writing techniques characteristic of monody with accompaniment (in particular, digital bass, basso continuo). Over the course of a century, there has been an accumulation of literature for an instrumental ensemble, its repertoire: suites, canzona-sonatas, then concerto grosso. Comparing the canzones of the beginning of the century with the sonatas and suites at the end of the century, we are convinced that instrumental writing acquired its own specifics, became independent.

A turning point on this path is clearly outlined around the middle of the century, when the suite matures as a cycle of dances for the ensemble (which have already lost their applied meaning), and the sonata grows out of the many-dark canzona - as a cycle of a new type, not connected (or not completely connected) with dance movements and already free from direct connections with choral polyphonic forms. The process of sort of "collecting" dances into a cycle, although it took time, was still quite simple. The process of formation of a sonata genetically related to the canzone is more complicated. After all, the canzone does not just fall apart, forming an old sonata. Such a figurative content arises, such a thematicism that prompts the dismemberment of the form into sections - initially while maintaining the unity of the whole. In other words, the point is not only in dividing the canzone into parts, but precisely in its rebirth: the sonata forms a new artistic quality in comparison with the canzone. Essentially, other musical phenomena also participate in this process. The dances of the suite also influenced the specificity and activation of the rhythmic movement in the homophonic parts of the sonata in their own way. The intonation system, the melodic thematics of the parts of the cycle was influenced by the opera monody of the new style.

New instrumental genres developed in the 17th century in close connection with the evolution of the instrumental ensembles themselves. In Italy, where the sonata was first born, there was a definite tendency to limit the performing ensembles, to differentiate them, in the first place - to a stable allocation chamber ensemble. Two violins and a bass - this became the dominant type of chamber composition. The bass was understood as basso continuo, being intended to be played on the harpsichord or organ (of course, with harmonic decoding), the line of the bass voice itself could be doubled by a string or wind instrument of the corresponding register. In the latter case, the trio sonata was performed by four musicians. We note right away that such a composition could be used both in polyphonic and homophonic parts of works. The presence of basso continuo allowed all voices to participate in polyphonic presentation, if the bass was involved in it as an equal voice. And it, this presence, allowed a purely harmonic warehouse with the melodic movement of the two upper voices. Finally, two melodic voices and a bass could lead to polyphonic development, and the deciphering of consonances on a keyboard instrument added a chordal basis to them. It was for the sonata as a new genre that such complex possibilities of polyphony-homophony were especially important, because they helped to find thematic and compositional contrasts for the various parts of the cycle that were being formed.

As for the orchestra, as an organized whole, independent of vocal and instrumental music, with certain functions of groups in it, it had not yet taken shape by the middle of the 17th century. Its formation is most noticeable in Italian opera, especially since it became widespread in Venice, and then in French - during Lully. One can speak of some approximation to the orchestra in the second half of the 17th century in large instrumental ensembles, which lose their chamber character and sound at all kinds of festivities as drinking or generally entertaining music.

The social conditions and environment characteristic for the cultivation of the instrumental genres of the new warehouse were not the same in the 17th century in various countries of Western Europe and gradually changed throughout it. The connection with the church has not yet been broken: hence the name - church sonata. However, this did not mean at all that such a work was performed only in the church. It could sound in any musical collection of the academy, in the salon among enlightened art lovers, be it Venice, Mantua, Bologna or another Italian center. In German cities, instrumental music of a new type was performed and listened to in associations of urban musicians, in the burghers' home circle, in the "musical colleges" of universities, in court settings. In France, the beginning of ensemble music, in addition to everyday sources (dances of the suite), is associated with the activities of court instrumental ensembles (“24 violins of the king”, “16 violins of the king” under Louis XIV), and later with the emergence of more chamber, home-palace concerts, in which, for example, Couperin participated as the author and performer of his works for the ensemble. On the example of Purcell's creative activity, who transferred the genre of the trio sonata to English soil, it is clear that the conditions for the performance and perception of chamber works of a new type have ripened there too - among music lovers and professionals, probably also in the setting of court concerts.

The peculiar transformation of the many-part canzone into a sonata - simultaneously with the release of its style from choral traditions - is clearly seen in the material of Italian music from the beginning to the middle of the 17th century. This process was associated with a gradual figurative deepening of new genres, with the search for a new thematicism that would define a different (if not contrasting) figurative meaning of several parts of the whole. The path from more "neutral", to a certain extent, abstract thematicism in strict-style music (tradition of the 16th century) to greater figurative certainty, concreteness, to contrasts of dynamically active and lyrically colored parts of the sonata naturally led to an expansion of the general framework of the composition and self-determination of its parts ( from the contrast-composite form to the cycle). On this path, the new thematicism took shape in interaction with the intonational structure of other new genres - opera in the first place. An example of opera monody, in general, melodic expressiveness of the opera-cantata type, presumably, even more contributed to the advancement in music for an instrumental ensemble of a leading, technically perfect instrument - the violin with its melodic gift, sound power and dynamic capabilities.

As you know, in Italy, from the second half of the 16th century, a whole galaxy of outstanding people came to the fore; unsurpassed violin makers (Gasparo da Salo, the Amati and Stradivari families, Giovanni Guarneri). The activities of many of them especially unfolded in the 17th century and partly captured the 18th. It is no coincidence that it was the violin, the violin style, if I may say so, that headed the instrumental ensemble at that time, and to the greatest extent determined its artistic appearance in chamber genres. Among the authors of instrumental music, in addition to organists and harpsichordists, violinists stood out in Italy, who in many respects seized the creative initiative. And all this, in turn, did not cease to stimulate violin makers to further improve the instrument. Already in the second decade of the 17th century, according to the works of Biagio Marini, Giovanni Battista Fontana, Carlo Farina, Bartolomeo Mont "Albano, Tarquinio Merula, the leading, fully defining role of the violin in the instrumental ensemble is clearly visible.

Biagio Marini (1597-1665), a younger contemporary of Monteverdi in Venice (since 1615), like him sought to create (in his field) an "excited style". The first collection of his plays (1617), which included dances, variations and "symphonies" (in the old sense), he entitled "Affetti musicali" ("Musical affects"). Here he singled out in a number of cases the solo violin. The bold and inventive interpretation of the violin part is subordinated to his expressive tasks: earlier than Monteverdi, he finds an expressive tremolo effect in strings; his themes are already broad, mobile, sometimes characteristic; he allows for polyphonic violin playing (imitations, chords - "in the style of a lyre"). J. B. Fontana (died 1630), who writes music for ensembles and for solo violin, gives the canzone not a traditional vocal, but a specific violin look. Its parts are separated from one another due to the specificity of the subject and style of presentation, which is feasible only with a developed texture.

Some authors at that time excelled in achieving special sound-visual effects on the violin with the help of various techniques. For example, K. Farina in "Extravagant Capriccio" for instrumental ensemble (1627) demonstrates techniques that allow you to imitate a small flute, flute, "soldier's pipes", dog barking, cat meowing, etc. Of course, this case is almost anecdotal ( however, not so exceptional in the music of the 17th-18th centuries - remember Polletti and Couperin), but in its own way it is indicative of the purely technical ingenuity of violinist composers.

Regardless of how the ensemble works of Italian composers in the second quarter and in the middle of the 17th century are called (canzones for playing, sonatas, even symphonies), they collectively mark the progression from the traditional canzone to the sonata. The contrast of sections is already increasing in them, their number is growing, and transitions between them are being introduced. B. Mont "Albano calls his work for two violins and bass (1629) a symphony, although in its structure it is the same canzone, clearly tending to be reborn into a sonata: its three parts (in continuous form) go in different movements, they combine and imitative methods of presentation, and parallel movement of voices, and the middle part (by 3/2 between two parts by 4/4), with its evenness and clear articulation, stands out noticeably from the others, and the last part leads to passage dynamization at the end of the piece. is still pale, the thematicism is little individualized, instrumental specificity appears only towards the end of the piece.However, the movement towards the sonata does not stop.

It is enough to compare the canzone of Massimiliano Neri (organist in St. Mark's Cathedral in Venice), dating back to 1644, and his sonata of 1651, in order to feel certain shifts along this path. In the first case, after the fugue section, five more sections of more or less independent significance follow in a continuous form and with internal intonational connections. In the later sonata, the first fugue movement and the second, slow (Adagio) in 3/2, already correlate, as in the old sonata. They are followed by another fast movement, itself multi-part: it includes two thematically interconnected sections, followed by a reprise of this fast movement. So, it is still difficult to consider the last part of the sonata as the finale of the cycle: it is just a search for a structure for it, which grows in the process, upsetting the general balance.

Creative experiences of this kind are largely obscured by the achievements of Giovanni Legrenzi (1626-1690), a major Italian master, a representative of the Venetian opera school and a talented author of many instrumental works. He goes a little further in the direction outlined by his predecessors and older contemporaries. In his trio sonatas (for two violins and bass) and other compositions for the ensemble, internal sections are more clearly self-defined, the principles of their comparisons become clearer, and most importantly, all this is facilitated by a brighter than before, the thematic parts, which determines the specificity of each of them. With Legrenzi, perhaps for the first time in the new genre, one can feel not only the different movement, the different texture of the parts of the sonata, but also their different, sometimes even contrasting, imagery. As if the young genre, freeing itself from the traditional thematicism of a strict style, thematically approaches its contemporary art of a new, expressive direction.

The example of Legrenzi's sonatas clearly shows how the composer approaches the very threshold of a cyclic sonata composition, although he does not destroy the unity of the whole - now already a contrast-composite form. In the sonata in d-moll (1655) entitled "La Cornara" its four movements acquire a distinct character each. True, they are not yet very developed (30 - 17 - 10 - 10 measures), do not have complete internal completeness, partly perform the function of transition (the third part between the second and fourth). The features of the genetic connection with the canzone are reflected in the reprise of the whole: the finale is a thematic reprise of the first movement. The imitation warehouse is to some extent characteristic of all parts of the composition (with the exception of the transitional third), but the bass remains free from it and serves only as a harmonic foundation for the whole. What is most interesting in this work is the thematic certainty of the parts and their relationship to each other.

The broad, strong, decisive theme of the first part is extremely bright for its time. It contains both "inviting"-signal intonations (the first bar), and an energetic sweep of chord sounds, and descending chromaticisms - more than enough signs for its individual appearance. This theme can be compared with Frescobaldi's most individualized themes. The entire first part of the sonata is permeated with the theme and its elements, although it is not a fugue: after the exposition, thematic work begins, which is possible in the interludes of the fugue (isolation of the theme elements, their imposition in double counterpoint, short sequences), and this free development no longer ends with new conductions Topics. However, the impressive intonational "grains" of the theme do not recede and are not forgotten for a moment. In this sense, the Allegro of the sonata under consideration is surprisingly solid. It develops a single image, full of energy and even hidden drama. The latter is exposed in the thematic development when descending chromatic moves counterpoint with other elements of the theme.

The first part flows directly into the second - slow (Largo?), on 3/2, in a-moll. And it is entirely determined by its thematic, and there are imitations and tricks of complex counterpoint in it. But its general character is different, largely in contrast to Allegro. The calm, undulating, even movement of the theme, its diatonicism, the absence of any emotional aggravation, the modest dynamization of the presentation (light passages in eighths) - everything here opposes the tense energy of the first movement. At the same time, the second part is thoroughly imbued with its thematic. The third movement (Adagio, C, F-dur) stands out from the whole with a simple, clear homophonic warehouse (parallel movement of the upper voices, small echoes with the bass) and the closeness to vocal lyrics noticed by researchers, in particular to love duets in the Venetian opera (by Cavalli) of his time. The fourth movement is small for the finale and, as already mentioned, is not new in terms of thematics: the thematic reprise (D-T) returns to the original D minor.

The program name of this sonata is no exception for Legrenzi: he designates other sonatas as "La Brembata", "La secca Soarda", "La Tassa", "La Rossetta", "La Bona cossa". Apparently, he, at least to some extent, thinks them programmatically or strives to ensure that listeners perceive their imagery with greater certainty than it can be in a sonata cycle without any subtitle.

Legrenzi's trio sonatas were written partly for two violins and harpsichord (op. 4, nos. 1-6), partly for violins and organ (op. 8, no. 7-9). The keyboard instrument plays a basso continuo part, which is supported by a low-register bowed string instrument. The structure of the cycle has not yet been fully established, but it is clearly established: it tends to be four-part, but some sections are only of a transitional nature. The sequence of parts is often based on their contrasting juxtaposition. The initial part can be both fast (usually polyphonic) and slow. In essence, the composer is moving in a direction close to the Bologna creative school.

The names mentioned by no means exhaust the circle of authors who worked in Italy on works for chamber ensembles. The names of a number of other composers who took part in the creative movement from ancient forms to the so-called church sonata are known: Solomon Rossi, Francesco Turini, Marco Ucellini and others.

The title of B. Marini's collection of instrumental works (1655) lists, among others, different genres - sonatas da chiesa and sonatas da camera. This means that around the middle of the century such a distinction began to be recognized by contemporaries. So, apparently, the crystallization of the suite for an instrumental ensemble, which began to be called in Italy the "chamber sonata", which emphasized its purely secular character, apparently dates back to the time of the composition of the sonata from the many-part ancient canzona. Since both genres in fact constantly came into contact and even interacted, let us now turn to the suite in order to trace exactly how it approached the first milestone of its maturity.

As you know, the ancient in its folk tradition and historically constantly updated repertoire of everyday dances attracted the interest of a number of professional musicians from different countries during the Renaissance and was reflected in collections, for example, of lute pieces of the 16th century. Already at the very beginning of the 17th century, numerous author's collections of dances for instrumental ensembles were published. It was music that was closer to folk-everyday than professional composers. At the same time, it was created by composers (often German), relying on everyday tradition, processing dances, combining them in pairs or in a row. Instrumental parts (four or five) were usually not written out: everything depended on the specific circumstances and possibilities of performance. In some collections, dances were grouped in pairs (slow - fast): this was the case with Hans Leo Hasler (1601, 1610) and Valentin Hausmann (1602). In other cases, dances were united by gender: separately pavanes, separately galliards, separately intradas. According to this principle, Melchior Frank's collection New Pavanes, Galliards and Intrades for various instruments for four, five and six voices (1603) was built. Early examples of cyclic juxtapositions are found in Paul Peyerl ("New Paduana, Intrada, Dantz and Galliard", 1611) and Johann Hermann Schein ("Banchetto musicale", i.e. "Musical Feast", 1617). Following everyday tradition, Shine combined his cycles thematically. To the pavane and the galliard he added the chimes, the allemande and the triple dance (called the Tripla) as a simple variation of the previous one. In essence, such a cycle of dances was reduced to rhythmic variations of the source material. Works of this kind, as emphasized in the title of the collection, were widely used in everyday life. They sounded among the German city musical associations, they were performed by city musicians at feasts, at weddings of wealthy citizens, and at other city festivities. The dances in Schein's collection are very little stylized: they are probably almost untouched everyday musical material.

Somewhat later, the suite for the ensemble received a finer artistic finish. Like the lute suite, and then the clavier suite, she took on new dances that came into use, a new fashion, and finally, new influences coming from French ballet music. As early as 1639, A. Hammerschmidt's works include padua, galliard, chimes, sarabande and French Air, that is, an instrumental version of a vocal piece (in a collection for five viols with a general bass).

The suite acquired independent (and not applied) artistic significance for the ensemble in Italy, in the Bologna creative school, where it came into close contact with the sonata and rose to the level of chamber concert music.

For the development of chamber genres of musical art in Italy, it is very great importance took place in the second half of the 17th century Bologna with its school of major violin composers. The role of Venice until that time was also essential for the fate of chamber music, for the evolution of the canzone-sonata: not without the fertilizing influence of operatic monody, the old canzone was reborn into a sonata. New images, new thematics, a new intonation system somehow affected the instrumental works of Marini, Legrenzi ... But the love of Venice of the 17th century belonged primarily to opera; the Venetian creative school gave its main forces to the opera house. Another thing is Bologna. The Bologna creative school has developed precisely as an instrumental school in the first place, in particular as a violin one. This was facilitated, presumably, by the spiritual atmosphere, especially characteristic of Bologna, a cultural and artistic center somewhat different in traditions and interests from a number of other large Italian cities. The artistic tastes of Bologna have long gravitated towards the academic direction rather than towards the widely accessible genres of art: this is evidenced by the Bologna school of painting in the late 16th and early decades of the 17th century. Bologna has long been known as a learned city of ancient traditions: its university was founded one of the first in Europe. For musical life, a kind of intimacy is characteristic here. Not opera performances, not magnificent court festivities were the focus of the Bolognese, but serious music-making in a select circle of local academies that had been in existence in the city since 1615, when the composer Adriano Bankieri founded the first of them (“dei Floridi”). The major Bolognese composers were members of these academies. Giovanni Battista Bassani and Arcangelo Corelli were members of the later famous "Academy of the Philharmonic" ("dei Filarmonici"). Their works were performed there, evoking interested responses, conversations about the art were by no means of an amateurish nature.

The church of San Petronio became another center of the musical life of the city. Her chapel was famous not only for its choir, but especially for its excellent orchestra, led by an enterprising, gifted leader, composer Maurizio Cazzati. Outstanding composers-performers performed in the orchestra. For musical Bologna, the cathedral with its orchestra became a kind of concert hall. So, everything for local musicians was focused on serious, highly professional artistic interests, on the creation and performance of mainly instrumental works of a new type, which required courage and skill, the brightness of the thematic and thoughtfulness of the composition as a whole.

Many composers worked in Bologna in the second half of the 17th century and the first decades of the 18th century, creating instrumental works of various genres. The largest representatives of the creative school were Giovanni Battista Vitali (1632-1692), Giuseppe Torelli (1658-1709), Giovanni Battista Bassani (c. 1647-1716). All of them are top notch performers. Their creative activity is inextricably linked with their own performance. Vitali, originally from Cremona, a student of Kazati, was at one time a violinist in the chapel of San Petronio. The violinist and organist Bassani, a Padua by origin, previously associated with Venice, became the conductor of the same chapel. Torelli from Verona played the violetta and bass viol in the chapel.

Among the works of Bolognese composers, suites (or balletti) and sonatas freely alternate, which are written all the time by the same authors, for the same ensembles, in a common style of presentation. Of the instrumental compositions, the Bolognese resolutely choose the stringed one (from three to six or seven instruments), while giving preference to the trio (in a chamber setting with a harpsichord, in a church setting - with an organ). Their violin writing reaches full maturity, their violin technique improves: the violin seems to be striving to reveal its various artistic possibilities in different parts of the cycle. Both in the sonata and in the suite, the Bolognese authors are gradually developing an integral style of the chamber ensemble. Both genres are somewhat closer due to this. The suite continues to move away from its everyday source, its dances are slightly stylized, the nature of the presentation becomes more and more complex, sometimes even more virtuosic (especially with Torelli). A clear and unified form of a dance piece is developed as part of a suite: it brings close to the so-called "old two-part sonata scheme" (TD DT).

As for the sonata, it already, in essence, breaks its genetic ties with the old canzone and becomes a cyclic composition from a continuous, contrasting-composite form. If at the same time some of its parts pass directly into one another, then the cycle still remains a cycle: the general correlation of its parts decides the matter. Their number in the cycle has not yet been fixed, but is already being established, fluctuating in various ways. The first, fast, fugue part may be preceded by a slow, concentrated one, or it may directly open the cycle. In the middle of it, a slow part is usually opposed to the first as restrained, contemplative, most often lyrical. Next to it there may be a lighter, "suite" part of the dance origin. Other versions of filling the middle of the cycle are also possible. Its finale gravitates toward dynamism, here a jig often sounds, or, in any case, a swift, with dance signs, but often polyphonic movement dominates. Sometimes the cycle ends at a moderate pace (Andante).

Thus, the composition of the whole is not quite stable. At the same time, important processes of great future importance take place inside it. The imagery of each work appears more and more clearly and fully, not only in one or another separate part of it, but also in their relationships. It can also be said that little by little, now more clearly and definitely, now more vaguely characteristic, a circle of images is outlined, accessible to the cycle of an old sonata. Of course, each composer has his own peculiarities in their selection, comparison and interpretation. For Torelli, for example, the intimacy of instrumental thinking is less indicative, he is rather attracted to virtuosity and, in connection with this, the genre of the concerto. It is no coincidence that he prefers to call his ensemble works symphonies. This means that he is closer to the close-up of the cycle and its thematic than deepening into the world of lyrical contemplation or a particularly subtle development of a chamber texture that combines polyphonic "weaving" with the harmonic basis of the bass. And yet the sonata in the Bologna school - with well-known deviations and many specific variants - moves along the general path of a new chamber genre. In this process, its various aspects are interconnected: the tendency towards the characteristic thematicism of each part of the cycle, the achievement of internal unity of any of the parts as the compositional basis of its figurative integrity, the contrasting comparison of the parts as an emerging circle of images, significant for the dramaturgy of the cycle as a whole.

The first of the fast parts of the cycle (regardless of whether there is a slow part or an introduction before it) stands out as the most developed, intense, developmental, performing in this sense the main function in the cycle. Naturally, in those historical conditions, it remains fugue: no other methods of great development in the art of music have yet been worked out. This development-deployment of the image from the core theme can both approach the fugue proper and be freer. As for thematism, the short theme-melody acquires an active, dynamic character in the first parts of the sonatas, becoming somewhat individualized in terms of intonational structure and, due to this, evoking quite clear figurative associations - either strong-willed pressure, or invocative heroic appeal, or shades of drama. In this, one can feel the figurative heritage, if I may say so, of Frescobaldi, partly of Legrenzi with their characteristic thematicism in fugue works. The main contrast of the cycle usually arises between this fast movement and Largo or Adagio as different incarnations of the lyrical beginning - more strictly reserved, contemplative or dramatic, idyllic or light-hearted. A different tempo, a different time signature (tripartite after an even one, often 3/2), a completely different texture (often moving in even long durations with a harmonious general warehouse), the absence of polyphonic tension - everything here is opposed to the first fast movement. Monotony is indisputable, but it is achieved by other means. As with Legrenzi, in the slow parts, the Bolognese may have operatic associations. Sometimes the slow part is followed by a light dance part, close to the chimes or galliards. that is, a sister suite. She may not be. The finale of the cycle is dynamic, like the first part of the sonata, but less individual and tense, more "fluid", being rather a "scattering" conclusion of the cycle, rather than any semantic completion of what was said earlier. The polyphony of the finale is more motorized and simple than in the first movement, the tempo is more impetuous, features of the gigue are not uncommon (also related to the suite!). There are, however, finales, and quite close to the first movement, fugue, complex textures, with harmonic exacerbations, chromatisms, but these are more exceptions for the Bolognese than typical cases.

Over time, the characteristic appearances of parts of the sonata cycle appear more and more clearly. In this sense, Bassani's trio sonata can serve as an excellent example, to the basso continuo of which a cello part is also assigned (in practice this was often done - a low register string was attached to the keyboard instrument). In the first part, fugueted by Allegro, a bright, active, catchy theme is masterfully developed with expressive dissection at the beginning, in a character that is close to the thematicism of the Bach-Handel era. Second part. Adagio on 3/2, in even durations, combines this sustained regularity with the lyrical features of the melody, with its descending "sighs", so akin to the plastic vocal melody. The final Prestissimo is dynamically danceable in its origins, goes to 3/8, is full of fresh vitality and bears a characteristic Italian genre imprint: such rhythms are also characteristic. opera buff overtures in the 18th century, and many works by Vivaldi. Bassani undoubtedly displays the maturity of the Bolognese school in his sonatas. An excellent organist, bandmaster, he inherited the best traditions of polyphonic craftsmanship. At the same time, Bassani created operas, cantatas, oratorios, and, consequently, the whole world of images from the sphere of synthetic (with a word, with stage action) art was organically close to him.

The Bologna instrumental school took shape and matured almost parallel to the Neapolitan opera school. The process of the beginning typification of musical images, together with the tendency to determine their characteristic circle in Italian music, not only captured the vocal genres (most of all opera) by the beginning of the 18th century, but also manifested itself in instrumental genres in its own way. It was the formation of the sonata cycle as a large, internally contrasting and yet integral combination of several parts that turned out to be most closely connected with this process, as a kind of expression of it. The dramaturgy of the sonata cycle, which does not repeat the suite (although associated with it by separate components), is not dictated by any program (although it allows it in a number of cases), developed according to other patterns - in comparison with the many-part canzone, which did not know any such figurative contrasts, no completeness of parts, no similar principles of their combination in a cycle.

The artistic achievements of the Bolognese and their predecessors in Italy prepared the appearance of Corelli as a classic of violin music in the genres of trio sonata, sonata for violin with accompaniment and concerto grosso. With all its roots, Corelli's art goes back to the tradition of the 17th century, without breaking with polyphony, mastering the heritage of the dance suite, further developing expressive means and, thereby, the technique of his instrument. The work of the Bolognese composers, especially on the basis of the trio sonata, has already received a significant impact not only within Italy: as is known, it conquered Purcell in its time. Corelli, the Creator of the Roman school of violin art, won truly world fame. In the first decades of the 18th century, his name embodied in the eyes of French or German contemporaries the highest successes and the very specifics of Italian instrumental music in general. The violin art of the 18th century developed from Corelli, represented by such luminaries as Vivaldi and Tartini, and a whole galaxy of other outstanding masters.

Arcangelo Corelli was born on February 17, 1653 in Fusignano, near Bologna, into an intelligent family (his father died before his son was born). His musical talent was revealed early, and it developed under the direct influence of the Bologna school: the young Corelli mastered the violin in Bologna under the direction of Giovanni Benvenuti. His success amazed those around him and received high recognition from experts: at the age of 17, Corelli was elected a member of the Bologna "Academy of the Philharmonic". However, he did not stay long in Bologna and in the early 1670s he moved to Rome, where he then spent his whole life. In Rome, the young musician further supplemented his education by studying counterpoint with the help of the experienced organist, singer and composer Matteo Simonelli from the papal chapel. Corelli's musical activity began first in the church (violinist in the chapel), then at the Capranica Opera House (capella master). Here he came to the fore not only as a wonderful violinist, but also as a leader of instrumental ensembles. Since 1681, Corelli began to publish his compositions: before 1694, four collections of his trio sonatas were published, which brought him wide popularity. From 1687 to 1690, he headed the chapel of Cardinal B. Panfili, and then became the head of the chapel of Cardinal P. Ottoboni and the organizer of concerts in his palace.

This means that Corelli communicated with a large circle of art connoisseurs, enlightened art lovers and outstanding musicians of his time. A rich and brilliant philanthropist, passionate about art, Ottoboni arranged for the performance of oratorios, concerts, "academies", attended by a large society. Young Handel, Alessandro Scarlatti and his son Domenico, many other Italian and foreign musicians, artists, poets, and scientists visited his house. The first collection of Corelli's trio sonatas is dedicated to Christina of Sweden, a queen without a throne who lived in Rome. This suggests that in the musical festivals organized in the palace she occupied or under her auspices, Corelli took part in one way or another.

Unlike most Italian musicians of his time, Corelli did not write operas (although he was associated with the opera house) and vocal compositions for the church. He was completely immersed as a composer-performer only in instrumental music and its few genres associated with the leading participation of the violin. In 1700 a collection of his sonatas for violin with accompaniment was published. Since 1710, Corelli stopped performing in concerts, two years later he moved from the Ottoboni Palace to his own apartment.

For many years, Corelli worked with students. Among his pupils are composers-performers Pietro Locatelli, Francesco Geminiani, J. B. Somis. Otherwise, the details of his life are little known. After him, a large collection of paintings remained, among which were paintings by Italian masters, landscapes by Poussin and one painting by Brueghel, highly valued by the composer and mentioned in his will. Corelli died in Rome on January 8, 1713. 12 of his concerts (concerti grossi) were published posthumously in 1714.

The creative heritage of Corelli at that time is not so great: 48 trio sonatas (in the four collections mentioned, op. 1-4), 12 sonatas for violin accompanied by op. 5 and 12 "great concertos" (concerti grossi) op. 6. Modern Corelli Italian composers, as a rule, were much more prolific, created many dozens of operas, hundreds of cantatas, not to mention a huge number of instrumental works (Vivaldi, for example, had 465 concertos alone). Judging by Corelli's music itself, it is unlikely that creative work was difficult for him. Being, apparently, deeply focused on it, not scattering to the sides, he carefully thought out all his ideas and did not hurry at all with the publication of ready-made works. There is no doubt that from the trio sonatas published in 1681 to the solo sonatas published in 1700 and the concerti grossi published after the composer's death, he has come a long way. Nevertheless, we do not feel traces of obvious immaturity in his early works, just as we do not see signs of creative stabilization in later works. It is quite possible that the one published in 1681 was created over the course of a number of previous years, and the concertos published in 1714 began long before the death of the composer.

For Corelli's contemporaries, his name was associated with the Bologna school, although he left Bologna at a very young age. The continuity between the young composer and the Bolognese masters seems undeniable. But further, while in Rome, gaining extensive experience in musical activity, getting acquainted with many works by Italian and foreign composers, Corelli was already going his own way. Only 10 years later he decided to publish his works for the first time. In general, Corelli's creative path, if it comes into contact to a certain extent with the direction of his Bolognese contemporaries, still does not completely coincide with him. As a result, Corelli turns out to be more purposeful than the Bolognese, more consistent in developing the heritage of the 17th century; he more widely and freely develops its traditions - and at the same time comes to more "smooth", more harmonious creative achievements in his field. It was precisely such a path that could not be quick and unaccountable: no one knows how many creative experiences arose along this path - and how many Corelli rejected them, not being satisfied with them.

Between trio sonatas, solo sonatas and concertos, Corelli has much in common in understanding the composition of the whole, although, of course, the requirements for the expressive and technical capabilities of the violin cannot but differ to a certain extent in each case. Moving forward from the Bolognese, the composer initially proceeded mainly from trio sonatas. On the material of 48 works for chamber ensemble, he apparently developed his understanding of the sonata and suite cycles. In the trio sonata, Corelli, in those historical conditions, had more opportunities to develop, in particular, the polyphonic traditions of the 17th century (at the same time, without abandoning the traditional dances of the suite). Four collections of 1681-1694 contain both "church" and "chamber" sonatas: in the first and third "XII Sonate da chiese a tre", in the second and fourth "XII Sonate da camera a tre". Accordingly, in the first cases, an organ joins the two violins, in the second, a harpsichord.

The construction of the cycle in Corelli's sonatas is somewhat flexible, although the basic principle of composition is clear enough. Usually sonatas alternate four movements with a slow introduction at the beginning (Grave), a polyphonic Allegro or Vivace, a homophonic Largo or Adagio, and a fast finale, predominantly motorized, dynamic (sometimes in the movement of a gigi), although somewhat polyphonic. Within this general framework, various flexible options are possible. For example, the introductory part, in turn, may contain two sections (Grave - Andante), or between the slow introduction and the fast fugue part, another small, moderately fast part appears, moreover, thematically loosely connected with the next one (in sonata op. 1 No. 10); along with lyrical, cantilena slow parts (Largo) in the middle of the cycle there are more mobile, light Adagio, etc.

In the "chamber sonatas" or suites, the composer approaches the structure of the cycle more freely, although here, too, he has certain limits in which this relative freedom is allowed. There is no impassable line between the sonata and the suite in Corelli. In the sonata, a gigue is possible as a finale, there may be signs of a sarabande in the slow part. In the suite, the opening prelude (Grave, Largo, Adagio) is “sonata-like” serious and solid, the sarabande is deeply lyrical, between dances there are expressive, even dramatic Adagios, short, as if “connecting” Grave. Among other things, the composer strives for the compactness of the cycle in the suite, striving to string no more than four parts in its composition. As for the selection of dances and their arrangement, Corelli allows for various options, but, as a rule, he observes the principle of a slow, weighty beginning and a dynamic conclusion of the cycle with contrasts between its neighboring parts. Ultimately, this brings the suite closer to the sonata.

Let's compare several suite cycles from the collection of 1694:

Preludio (Largo) - Courante - Adagio - Allemande.

Preludio (Grave) - Allemande - Grave (5 bars) - Courante.

Preludio (Largo) - Courante - Sarabande - At the pace of the gavotte.

Preludio (Grave) - Courante - Adagio - Gigue.

In Corelli's trio sonatas, the figurative meaning of each part of the cycle is gradually determined, although the composer has not yet completely broken with a somewhat abstract thematicism in the spirit of old traditions. But still, he tends to a solemn, majestic or pathetic Grave (Largo), to a lyrical, concentrated or idyllic slow part, to a lively, dynamic or stormy finale. The first of the quick parts of the cycle is distinguished by a special design as the most developmental, effective part of it. It is usually polyphonic, and its thematics are sometimes already classical, like the thematics of a fugue. It is no coincidence that Bach borrowed two short Vivace themes from Corelli's trio sonata h-moll for one of his organ fugues (BWV 579). Bach was attracted by these bright and simple themes together, and he also did not separate them, realizing that both of them - a wide leap and a gradual "minching" ascent - create the core of a single image, as if answering one another. As for the remaining parts of Corelli's sonata cycle, they gradually seem to level out in their homophonic warehouse, although in places the polyphonic features of voice leading still make themselves felt.

The characteristic of each of the parts of the cycle is often highlighted by Corelli using typical thematicism, as was also outlined by the Bolognese. Here sometimes there are associations with certain types of opera arias then, as well as with certain dance movements. Striving for the specificity and specificity of the parts in the cycle, for their internal integrity, for the possible diversity of the cycle, Corelli completely subordinates the development of violin writing, which he mastered as a composer-performer, to these artistic goals. To the brilliant, purely violin virtuosity of the fast movements (one in the fugue first, the other in the finale), he contrasts the beautiful - also purely violin - cantilena of the slow movements of the cycle. However, emphasizing contrasts, the composer always strives for the balance of the whole in any cycle, for the proportionality of its parts, the compactness of the composition without lengthiness, unites it with the violin style as such, asserts the dominance of homophony when highlighting one clearly fugue part. As a result, Corelli affirms the very aesthetic principle of the ancient sonata as concert music of independent artistic (not applied, not everyday, not necessarily programmatic) significance. Let us refer to the same trio sonata in h-moll, which attracted Bach with the thematic nature of its second movement. Its slow introduction, with frequent dynamic changes, is both pathetic and contemplative: this is precisely the solemn introduction - preparation for the next ... It is followed by Vivace - the most significant part of the cycle in terms of scale and intensity of development, which performs the function in the old sonata, to some extent similar to the function of the sonata allegro in the symphonies and sonatas of the classics. A beautiful, flowing third movement combines light lyricism with a dance movement, perhaps even with a pastoral tinge. It is not traditional in its expressiveness, it follows the new tastes of its time. As for the fourth movement, the impetuous finale, it is based on an even, strong movement (the violins sometimes give concerts), it leaves the impression of a simple and indomitable energy.

In the future, we will see exactly how Corelli develops his creative principles in other genres: in the solo sonata and in the concerto grosso. In fact, they do not stand apart from him. He approaches them gradually, as if from inside the chamber ensemble, which was, apparently, the primary one in his creative evolution.

Starting from the 1680s, the creative example of Italian composers, who represented new trends in instrumental music, in one way or another affects their contemporaries outside of Italy. Perhaps, this was the earliest effect in England, then echoed in the work of a number of German masters, and somewhat later appeared in France, where the national tradition opposed the "Italian taste" for quite a long time. At first, Corelli still could not have had any influence in this sense: the earliest of two collections of Purcell's trio sonatas was published in 1683, when the first opus of Corelli himself, only recently published, was hardly known in England (the rest of his collections works have not been published yet). Purcell then knew, in any case, the trio sonatas of Bolognese composers. German authors of works in the new genre, too, presumably, began their acquaintance with the Italian sonata on Bologna samples and only then paid tribute to Corelli. In France, Couperin, as already mentioned, was the first to take the initiative, turning to the trio sonata genre - relying precisely on Corelli's samples. It is curious that almost everywhere this development of new genres began, following Italy, with a chamber ensemble, with a trio sonata, which is stronger than a solo violin sonata or concerto grosso, was associated with the traditions of the 17th century, in particular with polyphonic ones.

Among the early creative experiences in the new genre outside of Italy, there is no doubt that Purcell's twenty-two trio sonatas, published in 1683 and 1697, are in the first place. Perhaps none of the other foreign contemporaries was so faithful to the example of the Italians - and no one at the same time showed such a tangible author's individuality from the very first steps. Purcell quickly and perfectly mastered the principles of composition of the Italian trio sonata as a cycle of contrasting parts with imagery, expressive possibilities, thematics and development methods characteristic of each of them, and, accordingly, the features of violin writing. He completely liked the Italian samples, which he said with complete sincerity and dignity in the preface to the first collection of his trio sonatas. The composer sought to ensure that his contemporaries appreciate the noble Italian taste, as it manifested itself in a new musical genre, the "seriousness and solemnity" of Italian music, as well as the "greatness and grace" of the melody.

However, Purcell did not imitate the Italian masters at all. The trio sonata best suited his own creative aspirations, made it possible to embody a circle of close to him, his own musical images in a chamber instrumental cycle. He was fully prepared to saturate any of its parts with bright, individual thematics and find impressive figurative contrasts within the cycle. In this sense, his creative imagination would have been enough for many dozens of sonatas - and nothing would have been thematically repeated in them. As for the methods of development within each part, Purcell, as we know, had an excellent command of polyphonic skill, his national traditions, as well as clear homophonic writing of fine and elegant texture. One of the greatest melodists of the world, he was organically sensitive to folk melodic and rhythmic sources, acutely receptive to manifestations of the genre and dance principle. In other words, he seemed to be only waiting for the trio sonata in order to express himself most fully in accordance with his individuality. Among the Bolognese composers, he found and immediately accepted the idea of ​​a cycle of contrasting, more or less closed parts. This really helped him, as it were, to complete everything in instrumental music that, in the system of his images, in his musical warehouse and methods of development, matured naturally for the artist and was already irresistible in his other compositions.

If everything had been different, Purcell in his quick creative response, in the first trio sonatas, would have completely remained only an epigone of the Italian masters. Meanwhile, his works in this genre are on the whole higher than the general level of trio sonatas of the Bologna school. This refers to their figurativeness, to their thematics, to their style of presentation, to the general appearance of each work separately. Purcell embodied in the framework of the sonatas almost all the main things in the world of his images, and this world, no doubt, was richer and more original than that of Vitali, Torelli or Bassani.

There are no da camera sonatas among Purcell's trio sonatas. If dance movements occur in his cycles, then none of the parts is actually a dance, not designated as an allemande or a sarabande. The cycle usually consists of four parts. With five parts in a cycle, one of them is usually small, of a transitional type. In contrast to the Italian samples, Purcell often writes sonatas in minor: them. 16 out of 22 (in the second collection 6 out of 10). The composition of the cycle is quite stable, however, with some variations. Unusual for Purcell in this sense is the first sonata, g-moll: Maestoso - Vivace - Adagio - Presto - Largo. The slow finale will then meet with him only once more in the d-moll "sonata from the second collection (also Largo). The Adagio in the first sonata is small (12 bars) and is of a transitional nature (G-dur - g-moll), directly pouring into Presto Unusual in this cycle is the fact that all its main movements, except for the last one, are somehow polyphonic, although on a chordal basis (thanks to the basso continuo on the organ or harpsichord). its light, in the folk spirit scherzo temko, fugued by Presto on a more fluid, traditional theme for this warehouse.And only the final Largo - in the spirit of the shackled-tragic sarabande characteristic of Purcell, with heavily falling syncopations - is sustained in a purely chordal presentation.

Slow openings (Adagio, Maestoso, Grave) are most common in Purcell's trio sonatas. It can be of a different nature - solemnly majestic, internally dynamic, thoughtful, and, moreover, more or less wide. But it is always an introduction to the main thing, as if preparing for what will follow, and never a subjective statement with a lyrical or dramatic tinge. In some cases, there is no slow introduction and the first part goes in moderate (Moderate) or fast (Allegro, Vivace) movement. But then it is less weighty in the cycle, and its center of gravity is outlined either after it or towards the end of the work. In Purcell's sonatas, the center of gravity is always clearly felt - this is the most developed large-scale polyphonic part, which the composer most often calls the canzone (in 15 cases out of 22). In fact, this is not a one-dark canzone, but a fugue that has grown out of it. The name only emphasizes the traditional polyphonic origin of the main part of the cycle. In general, Purcell's canzones in trio sonatas are very diverse: lively, moving, even cheerful, alternate with more intense, dramatic, polyphonically complex. And their thematics is by no means of the same type: it can bear both a genre-domestic and traditional organ imprint, and a more abstract and more dramatized look. However, one thing is not typical here: deepening into lyrical feelings. In Purcell's center of gravity, the main thing is movement, action, activity of development. The lyrics belong entirely to the core of the cycle, to his Largo, which becomes the true lyrical center of the cyclic composition.

None of Purcell's contemporaries singles out with such brightness and such creative constancy this function of the middle slow movement in the trio sonata cycle. Often Largo goes in the movement of the sarabande, columns of chords, on 3/2 and then usually has a strict, important, restrained dramatic or even tragic character in the spirit of many of Purcell's lamentos. This even movement in half durations is often found in Bolognese. composers in the slow parts of the sonatas. But in Purcell it is imbued with great emotional tension and is associated with a great variety of psychological shades - from high expression (in the eighth and ninth sonatas from the second collection) to strict contemplation or calm meditation. This figurative sphere stands closest to Handel's sarabandes. But Purcell also has other slow parts - lighter, lighter, in the spirit of minuets or graceful, perhaps fabulous lyrics.

With a few exceptions, the finales in his trio sonatas are written in fast or very fast tempos (Allegro, Vivace, Presto). And although they are not emotionally heavy, although they are dominated by dynamic images and more genre-specific themes than in the first fast part of the cycle, Purcell avoids any monotony even within these modest limits. So, in the final Allegro from the second sonata, after the imitative beginning, a lively general movement unfolds on the basis of a sharply rhythmic, genre-tinged, cheerful theme. In the fourth sonata, the finale is sustained in the spirit of the same diatonic, scale-like passage as the first two parts of the cycle. The fifth sonata is original in that its center of gravity is moved to the finale and consists of an introductory (to it) Grave and a fast polyphonic canzone with a dramatized five-bar conclusion (Adagio). Light, dynamic thematicism dominates the finale of the sixth sonata. The composition of the cycle in the ninth sonata, c-moll, is interesting: imitative Adagio - chordal Largo - polyphonic canzone and (after the "transitional" short Adagio) final Allegro in the Sicilian movement. In the first and second sonatas from the second collection, the finals are quite polyphonic, in the seventh sonata the finale is more in the spirit of a light minuet, and ends with a short Grave. In a word, the finals are as individual as the idea of ​​each sonata as a whole is individual. In principle, both the composition of the cycle and the functions of the parts in it were completely determined by Purcell, however, within these frameworks, new individual solutions emerge every time, as we observed in other genres of his work.

The sixth sonata in Purcell's second collection is actually a grand chaconne in g minor. A short diatonic theme in the bass, moving along the steps within the sixth, forms the basis of a composition that is very expanded, with increasing dynamics in the process of shaping, very organic for Purcell, as already noted in connection with his work.

By the end of the century, German composers were developing both sonata and suite lines in the field of instrumental ensemble. Sonatas for ensemble attract the attention of the most serious musicians, major polyphonists, authors of many organ works, among them Dietrich Buxtehude, Johann Adam Reinken. At the same time, the suite for the ensemble continues its development in Germany, which gradually grows to the scale of a concert piece with an introductory overture. Already in the chamber sonatas of Johann Rosenmüller (1667), a whole canzone, or "symphony" - as the author calls it, goes before the dances. In the last decade of the 17th century, the German suite for ensemble (or small orchestra) clearly lends itself to French fashion, which sometimes even the composers themselves consider it necessary to declare. This is largely due to the fact that music of this kind sounds like concert, drinking, entertaining at courts, where large and small local rulers strive to imitate the French monarch and try to dream of their own Versailles.

French influences are evident in the collections of suites by Johann Caspar Fischer (titled "Journal de Printemps", 1695) and J. A. Schmierer ("Musical Zodiac", 1694). Fischer's suites are written for seven instruments (without notation), Schmierer's works are for three string instruments, harpsichord and bass. In both, after the French-type overtures, dances follow, among which new, fashionable dances completely predominate: minuet, gavotte, bourre, rigaudon, canary, branle. True, Schmierer still has the traditional allemande, courante, sarabande and gigue, but they no longer determine the composition of the cycle as a whole. Such parts as Entree, "Air des Combattans", march are connected with French theatrical samples. In addition, the suites include: numerous rondos, as well as passacaglia, chaconnes. Complaints, Melody, Echo.

Unusually characteristic in those conditions was the figure of the violinist and composer Georg Muffat (1653-1704), who released in Passau two collections of his suites for string-bow ensemble (with basso continuo) under the title "Florilegium" ("Flower Garden", 1695, 1698). In detailed, even long-winded prefaces to these editions, the author explained the origin of his idea, spoke about his intentions, gave detailed instructions to the performers about the nature of the ensemble and the style of playing according to French models. First of all, Muffat emphasized, addressing the “favorable reader, lover of music,” that his plays were composed for the most part in the French way and that this new style of theirs earned praise and approval from distinguished listeners and outstanding musicians when performed. According to the composer, he learned this style at the time of its heyday under the guidance of Lully himself, while in Paris. He then introduced him to musicians in Alsace, Vienna, Prague, Salzburg and Passau. Further, Muffat specified what exactly he especially appreciated in Lully and what German musicians still do not know how to appreciate: natural melody, light and smooth melodiousness, the absence of excessive sophistication, extravagant decorations and too frequent, sharp jumps. About his suites, he reported that they were performed at the bishop's court in Passau as chamber and table music and as serenades. Speaking about the origin of program headings for plays, the composer refers to the specific reasons for their occurrence (a certain object, an impression made, an incident that happened, a mood that arose).

In this sense, the composition of the suites from the second collection is curious:

1. Overture. Exit of the Spaniards. Air Dutch. Gigue of the English. Gavot of Italians. French minuet. Second minuet.

2. Overture. Poets. Young Spaniards. Cooks. Chopping meat. Chefs.

4. Overture. Peasants. Canary. Nobles. Minuet. Rigaudon of young peasants from Poitou. Minuet.

5. Overture. Exit fencers. Ghost. Chimney sweeps. Gavot of cupids. Minuet of Hymen. Minuet.

The sixth suite is opened by Capriccio for the exit of the choreographer. The seventh includes "Exit of Numa Pompilius", "Ballet of the Amazons" and other parts.

There is no doubt the theatrical impulses for the creation of many of these plays, at least the ballet associations. However, their real characteristic is still small. What the composer wants does not coincide with the impression he makes. The plays in the majority remain only somewhat stylized dances, in a simple presentation "in the French way."

It is curious that almost at the same time, Muffat sought to imitate Corelli directly, creating his concerti grossi (published in 1701). In them, he adhered to the principle of the suite (as did Corelli in a number of his concertos).

This fundamental, proclaimed reliance of the composer simultaneously on French and Italian samples seems to be a kind of extreme, which, however, in those historical conditions was to a certain extent symptomatic: both Lully and Corelli really had a significant influence on the development of instrumental music at the turn of the 17th-18th centuries, which was reflected in the position of Francois Couperin. Georg Muffat only simplified and, as it were, exposed the emerging trend, reducing creative tasks to imitation.

Explanatory note

The vocal and instrumental ensemble is a lively and dynamic way of creative music-making, the possibility of individual and collective improvisation and active dialogue with the audience. The original vocal and instrumental creativity is closely connected with the youth song and reflects the dynamics of modernity, its rapid and disturbing rhythms. Classes in the ensemble contribute to the self-affirmation and self-realization of adolescents.

Properly organized and carefully thought-out work of the vocal-instrumental ensemble (hereinafter - VIA) contributes to the rise of the overall musical culture, develops a sense of responsibility, forms moral and musical and aesthetic views, worldview of students.

The creation of such a team involves multilateral work on the study of musical literacy, the development of vocal abilities, learning to play the instrument, developing the skills of ensemble playing, accompaniment, simultaneous singing and playing the instrument, talking about music and listening to musical works.

The team accepts students with an ear for music, vocal abilities, a sense of rhythm, and musical memory. Possession of any musical instrument is desirable. The specifics of the VIA work, especially at the initial stage, mainly involves individual work on learning to play various instruments and voice training. Students who have shown the greatest abilities can be transferred to the main composition of the ensemble, the number of which does not exceed 4-7 people.

Additionally, in such an ensemble, trombones, saxophones, flute, solo guitar, violins, small percussion instruments: maracas, rattles, tambourines, castanets can be used;

bongs, congas. You can also use individual folk instruments.

Qualitative-quantitative composition can vary from three (percussion instrument, bass guitar, rhythm guitar) or (piano or electric organ) to more instruments, depending on the capabilities of students, the knowledge of the leader and the technical equipment of the circle, but not more than 7.

Choice of the repertoire of the vocal and instrumental ensemble

The most difficult task for a leader. However, it is precisely the correctly selected repertoire that contributes to the spiritual and technical growth of the team, and also determines its creative face, and allows it to competently solve educational problems.

The work of VIA is not limited to individual and group lessons with students. Educational work with parents is also necessary, constant contact with them, acquaintance with the progress of students, meetings and meetings with parents.

The educational work carried out in the vocal and instrumental ensemble is aimed at deepening the musical knowledge gained in music lessons, developing students' creative activity, interest and love for music. It is subordinated to the general tasks of the musical and aesthetic education of students.

According to the intended purpose, the program is professionally oriented, in terms of content and types of activity it is specialized, since it contains one educational area - ensemble performance.

The program is designed for 4 years of study.

Target: education of a harmoniously developed personality, development of instrumental skills in the process of performing the best samples of domestic and foreign works, folk songs.

Tasks First year of study:

To introduce students to ensemble music and the history of instruments.

To acquaint with elementary musical concepts, teaching them the simplest practical skills.

Develop a sense of rhythm, musical memory and hearing. Contribute to the primary identification of musical data.

Enrich the musical experience of students by introducing them to the sound of various musical instruments.

Learn to play easy pieces on instruments. Learn to listen and understand music.

Second year of study:

To promote the development of musical abilities and aesthetic taste.

Contribute to the development of the basic techniques of playing the instruments.

Teach safety precautions when working with rehearsal equipment.

Third year of study:

Teach the basics of stage culture. Introduce the elements of improvisation. Improve your vocal skills.

Fourth year of study:

Improve performance skills. To promote the manifestation of creative activity through participation in competitions and festivals.

Learn to work independently in an ensemble.

This program is designed to work with students aged 12 to 20 years old. Classes are held taking into account age and individual characteristics.

The total number of hours for the first year of study is 72 hours per year, for the second - 144 hours, for the third and fourth - 216 hours.

In one composition of the ensemble, it is advisable to organize work with no more than 7 students. This is due to the style specifics of this direction.

Group classes in musical literacy and solfeggio are held once a week. The knowledge gained in these group lessons, students consolidate in individual lessons on a special instrument.

For the development of vocal skills of students in the second and subsequent years of study, one lesson per week is allotted. The basis of education at this time is ensemble work, so it is advisable to combine students in small vocal groups, while combining individual work with vocal ensemble work. This lesson can take place both as a group (3-4 members of the ensemble), and as an individual (work with a soloist), which depends on the voice data of the ensemble members.

Individual lessons on the instrument in the first year of study are held twice a week. At the end of the second half of the first year of study, chamber-ensemble work is envisaged. Due to the fact that students are recruited for keyboard instruments only on the basis of musical training, recruitment for keyboard instruments takes place at the beginning of the second year of study. Ensemble lessons in the second year of study are given 4 hours a week. In the third and fourth years of study, ensemble classes are the leading form of work. Rehearsals are held 2 times a week for 3 hours or 3 times a week for 2 hours.

Classes in stage movement begin from the second half of the second year of study. These classes are allotted for 0.5 hours once a week.

The distribution of study time must be made taking into account the assimilation and understanding of the set creative tasks by students.

Classes are held in a clean, spacious, well-ventilated area. Rehearsals are held in an auditorium with good sound acoustics, as in a professional studio, without harm to the hearing aids of the ensemble members and the leader. For full-fledged work, the ensemble must be equipped with the following equipment:

complete drum set; two guitar combo amplifiers (60 W each);

bass combo amp (100W); panoramic satellites, subwoofers with amplifiers (1 kW); vocal microphones - 3 pcs.;

microphones for sounding percussion instruments; mixing console (16 channels); multicore; network extenders;

general switching: instrumental, microphone cords; cords with contacts "ekselaer";

effects devices: "reverb", "delay", "chorus", "compressor", "enhancer";

general stereo equalizer (32 bands); stage monitors for each instrument.

The leader must constantly monitor the observance of the safety rules by the ensemble members.

First year of study Curriculum

					Practice
	Introductory lesson
	Individual sessions
(chamber ensemble II semester)
	Basics of musical literacy
	Conversations about music
	Final lesson

Introductory lesson

Acquaintance with the goals and objectives of the ensemble, with the program of the first year of study. Rules of conduct in the audience. Safety and fire safety regulations. The advent of music. The history of the emergence of tools. Musical instrument care and storage.

six string guitar

Theoretical information

Introduction to the tool: general information, device and tuning of the guitar. Planting the performer, the position of the guitar, staging right hand, left hand, sound extraction (nail and nailless). Guitar build, positions. Music staff, notation of notes, duration.

Practical work

Playing small songs, pieces on notes. Positioning of the right and left hand. Finger fluency exercises. Chords and how to extract them. Barre, arpeggio. Scales, exercises, cadenzas and pieces within the 1st position. Study of IV, V, VII, IX positions.

Sound extraction techniques: legato, staccato. Technique of playing mediator.

Percussion instruments

Theoretical information

Information about the instrument, its device, instrument care. Fundamentals of musical literacy. Notation for percussion instruments. Instrument landing. Hand placement.

Practical work

Gymnastic exercises for the development of arms and legs. The simplest exercises on the deaf drum. Single blows, "deuces", "deuces" with acceleration. Simple sizes.

Complicated sizes. Dotted rhythm. Triplets. Syncope. Grace. Crescendo and diminuendo when playing the snare drum. Learning different rhythms on a drum kit with transitions.

Theoretical information

Familiarization of students with the basics of vocal art, basic singing skills, hygiene and voice protection.

Singing installation (singing in a sitting and standing position). The position of the body, arms, legs, head, neck while singing.

Fundamentals of singing breathing. Mastering the skills of lower costal breathing. The ratio of inhalation and exhalation depending on the nature of the music, the length of the musical phrase. Breathing exercises on one sound with a gradual increase in its duration.

The concept of sound attack as the beginning of singing (mobilization of the entire articulatory apparatus). Mastering the soft attack skill.

Practical study of the mechanism of singing sound formation. Auditory control, education of a conscious attitude to singing and the development of vocal hearing.

Practical work

Articulation and articulatory apparatus (mouth, lips, teeth, tongue, jaws, upper and lower palate). The role of the articulatory apparatus in vocalization and rounding of vowels. Alignment of vowels when singing exercises on "i-e-a-o-u" in combination with various consonants, as well as their alignment and rounding in specific vocal works.

Singing with an unforced sound on comfortable sounds (for boys in the mutational period, within do, re - up to 1, re 1).

Fundamentals of musical literacy and solfeggio

Theoretical information Information about musical sound and its properties (pitch, strength, duration, timbre).

Music notation of sounds. Octaves. Registers. Keys. The arrangement of notes on the staff in the treble and bass clefs.

duration. Pauses. Alteration signs. Their designation. The value of the dot near the note. League as a sign of increasing the duration of the sound. A league as a sign of a coherent performance of several sounds and an inter-bar syncopation.

Strong and weak beats. The concept of rhythm, meter, size. Tact and barlines. Zatakt.

The concept of simple (,) and complex () sizes.

Rhythm and special types of rhythmic divisions (duoli, triplets).

Grouping (recording instrumental and vocal music).

Clocking on,.

Practical work

Recording simple rhythmic dictations. Reading musical examples with timing.

Tone and semitone. Scale. Numerical designation of scale steps. Tonic as the main stable step of the scale.

The concept of fret. Major and minor. Building a major scale. Major scale singing.

Small dictations in major.

Determination by ear of stable steps of the mode. Minor mode. Building a minor scale orally and in writing. The study of natural, harmonic and melodic minor.

Singing small examples in minor key with timing. Recording dictations.

intervals. Step and tone value of intervals. Melodic and harmonic intervals. Inversion of intervals. Consonances and dissonances. Determination of intervals by ear.

Building intervals orally and in writing from various sounds and in harmony.

Melody solfegging up to 4 key signs with clocking.

Recording of musical dictation within the intervals and keys covered.

Reduction and simplification of musical notation. Reprise. Volta. The sign of the repetition of measures. The sign of octave sound shift. Melismas (trills, grace notes, gruppettos, mordents).

Terms designating tempo and dynamics.

Conversations about music

Theoretical work

Topics to study:

1. The role and importance of music in our life.
2. Genre variety of music.
3. What does the music express. Musical image.

musical language. The main means of musical expressiveness (melody, harmony, tempo, timbre, dynamics).

1. 1. musical forms.
   2. Folk song origins of music.
   3. Song is the art of the spoken word.
   4. Dance traditions and rhythms of modern music.
   5. Classical, jazz, pop. (Choice of topic, range of images. Comparison and analysis.)

Practical work

Final lesson

The final lesson takes place in the form of a reporting concert (the chamber composition must perform 3-4 works of a different nature).

Second year of study Curriculum

		Qty hours		Practice
	Introductory lesson
	Individual sessions
	Vocal work (individually)
	Basics of musical literacy
	Music Conversation
	Ensemble work
	Basics of stage movement (second semester)
	Final lesson

Introduction to the second year program. Rules of conduct in the audience. Rules for the use of rehearsal equipment and safety precautions when working with it. The history of the origin of musical styles and trends.

Individual lessons on the instrument

Electric guitar

Theoretical information

Modern electric guitar, its structure, timbre and dynamic possibilities. Technical characteristics of the electric guitar, tone block, amplifiers and sound speakers. Rules for connecting an electric guitar, using and storing an instrument. The position of the guitar during performance. Playing as a mediator.

Practical work Mastering various types of techniques: chords, arpeggios,

legato, glissando, vibrato, braces (bend), legato of the left hand (hammer-on, pull-off). Alphanumeric designation of chords. Performance of various rhythmic patterns in chord presentation. Practical study of scales, chords, cadences, pieces in various positions and keys.

Bas-guitar

Theoretical information

History of creation, device, technical and timbre characteristics of the instrument.

Connecting to an amplifier with a speaker and storing a bass guitar. The function of the bass guitar in the ensemble, orchestra.

Practical work

The position of the instrument during the game (playing in a standing and sitting position), setting of hands, playing with fingers and a plectrum. Fingering and positions. The position of the thumb (support). Strokes: detail, legato, staccato, portato. Learning the bass clef. Chord and scale types of the bass part.

Percussion instruments

Theoretical information

The study of drum kit instruments, their structure and location. Functions of drum kit instruments. Musical notation of a percussion instrument.

Practical work

Instrument landing. Bass drum, outboard cymbals, hi-hat (pedal cymbals), toms. Coordination of hands and feet. Learning dance rhythms. The study of ensemble parts. Working with a metronome

Keyboard power instruments

Theoretical information

Modern keyboard instruments. Technical characteristics, principle of operation and connection to amplifying equipment. Grounding tools and safety regulations.

Timbre and dynamic capabilities of instruments. Range. Registers. Manuals (switch keys).

"Pure" timbres, mixed timbres: tremolo, vibrato, reverb (depth and duration). Musical justification for applying various effects.

Place and role of a keyboard electric instrument in an ensemble, orchestra.

Practical work

The soloing function of the instrument (timbre variety, loudness). Accompanying function (harmony, rhythm, dynamics). Pedal retentions and their expressive meaning.

Application of knowledge in learning songs and plays. A clear, competent, emotional performance of several songs and plays as part of the VIA. Understanding the functions and tasks of your instrument in a collective ensemble game.

Vocal work (individually)

Theoretical information

Repetition and consolidation of breathing skills, sound production, articulation and diction. Singing with a soft, unforced and round sound.

Register alignment. Strengthening the middle register of the range.

Gradual development of singing vibrato. Continued work on the purity of intonation.

Practical work

Vocal ensemble work. Development of uniform singing techniques (simultaneous breathing and sound attack, correct vocalization of vowels, single subtext).

Unison singing of the vocal group. Exercises and chants to develop a pure unison (alignment, adjustment of all voices in terms of strength and pitch). Singing of individual sounds and melodic intervals, singing of scales and scale exercises with the name of notes and on various syllables in even durations and in complicated rhythmic figuration (triplets, dotted rhythm). Elements of two and three voices.

Singing harmonic intervals (single intervals, small sequences, as well as chants, using undertones).

Singing chords. “Building up” individual chords and singing small chains within T-T-S-D-T.

Breath production.

Learning several songs individually and as part of a vocal group.

Basics of musical literacy

Theoretical information Repetition and consolidation of the musical-theoretical material of the previous year. New material.

Quarto-quint circle of tonalities. Chords. Alphanumeric and step designation of chords and their composition.

Triad and its conversions. Major and minor triads.

Seventh chord and its appeals. Five types of seventh chords. The simplest cadences.

Deviation. Modulation. Analysis of works using deviations, modulations.

Blues. harmony and form. Blues notes.

Practical work

Singing scales in major and minor with even durations and in complicated rhythmic figuration (triplets, dotted rhythm, other combinations). Solfegging a melody with clocking.

Recording dictations within the limits of the material covered. Building chords orally and in writing. Melody harmonization. Chord Harmonization.

Music Conversation

Theoretical work

Topics to study:

1. Music at the turn of the 20th century ( short review). The emergence of jazz (the birthplace of jazz, the origins of jazz).
   1. Modern Jazz.

Searching for something new in the musical art of the 20th century.

1. The meaning and strengthening of rhythm in modern music.
2. The penetration of the classical form into popular, jazz, rock music.
3. Music of the 50s. The rise of rock. A fusion of jazz and rock.
4. The use of jazz and rock styles in classical music.
5. The emergence of electronic technology in music. Works of composers of academic music in the "new" sound (comparison and analysis).

Practical work

Listening to works or their fragments (works and songs are selected in accordance with the age of students and the dynamics of the development of pop music).

Ensemble work

Theoretical information

The concept of "accompaniment". The function and role of each instrument in the accompanying group. Solo and sound balance between soloist and accompaniment.

Practical work

Repetition, consolidation and further development of ensemble skills. Ensemble tuning, purity of performance (system), unity of tempo. The subordination of individual performance to the ensemble sound as a whole. Alternate introduction of instruments, instrumental screensavers and their expressive meaning. Sound balance between ensemble instruments, dynamic selection of solo episodes. Learning several instrumental pieces and accompanying vocal soloists, vocal ensemble, choir. Reading sheet music.

The study of rhythms, the most common in modern pop music.

Basics of stage movement

Theoretical information

The concept of the nature of music, dynamic shades, tempo, the structure of a musical work (musical introduction, various parts, conclusion), the concept of durations, tact, various musical sizes (,).

Different types syncope. Features of the rhythms of the studied dance elements.

Practical work

Exercises for the development of rhythm. Building a group in a circle, line, "flock". Walking in even quarters, walking with claps (various rhythmic combinations of steps and claps), walking for various durations with switching the speed of walking in quarters to moving in half and vice versa, moving in half, running in eighths while simultaneously clapping quarters.

(It is necessary to respond to music directly when performing a rhythmic exercise, or after listening to music, as if responding to a replica of a partner, whose role is played by music.)

Final lesson

Reporting concert "Rock Spring".

Third year of study Curriculum

				Practice
	Introductory lesson
	Individual sessions
	vocal work
	Fundamentals of solfeggio and harmony
	Conversations about music
	Ensemble work
	Basics of stage movement
	Final lesson

Introduction to the third year program. Rules of conduct in the audience. Conversation "Prevention of electrical injuries."

Individual lessons on the instrument

Theoretical information

Tool care. Scale tuning (electric guitar, bass guitar). Using and setting effects. Rules for connection and use of tools and equipment.

Practical work

Theoretical information

Repetition and consolidation of vocal skills (simultaneous and chain breathing, a uniform manner of rounding and vocalization of vowels, a single subtext, phrasing, build, ensemble).

Practical work

Expansion of the singing range. Work on the quality (timbre) of the sound. Pure unison intonation.

Learning the repertoire of the vocal and instrumental ensemble. Understanding of general and particular tasks in collective musical performance.

Fundamentals of solfeggio and harmony

Theoretical information

Repetition and consolidation of the musical-theoretical material of the previous year. New material.

Melody structure. melodic drawing. Motive. Phrase. Caesura. Subject. Period. Cadence. Offer. Climax. Types of climaxes and their meaning.

The texture of presentation (melodic, harmonic, rhythmic).

Definition by ear of intervals, triads.

Singing the intervals of triads and their inversions.

The composition of the motive. Phrase writing. Fundamentals of improvisation.

Sequences. diatonic and chromatic.

Composing small musical improvisations based on a ready-made scheme of harmonic structure.

Conversations about music

Theoretical work

Topics to study:

Short review modern trends mass musical culture.

1. How to understand modernity in music? Are the concepts of "contemporary music" and "music reflecting modernity" unambiguous? (historical chronicle in music on the example of different eras);
2. The birth of the "big beat" (creativity of the ensemble "The Beatles");
3. Mass song (origins and traditions);
4. Songs of our days (genre and thematic variety);
5. Creativity of modern songwriters;
6. A brief review of the work of leading performers and vocal and instrumental groups;
7. Prospects for the further development of the genre.

Practical work

Listening to works or their fragments (works and songs are selected in accordance with the age of students and the dynamics of the development of pop music).

Ensemble work

Theoretical information

Repetition and consolidation of skills and abilities of ensemble playing. The function and role of each instrument in the ensemble. Build (ensemble) and sound balance in the ensemble.

Types of improvisation. Practical work

Learning songs and pieces of the concert repertoire. Combining your own singing with accompaniment. Sound balance between singing and accompaniment, between solo episodes and singing. The subordination of an individual performance to a general ensemble performance, aimed at revealing the artistic image of a song or play. Work on improvisations. Digital bass game. The composition of small motives and its further development. Reading sheet music.

Basics of stage movement

Theor Ethical informationFeatures of stage imagination. Stage action as action in imaginary conditions - in "suggested circumstances". Stage "untruth" as fiction.

Practical work

1. Attention exercises.
2. Exercises showing the need for authenticity and purposefulness of actions in the "proposed circumstances" (justification of the action: "Why am I doing this?", "Why am I doing this?").
3. Etudes-improvisations in the "suggested circumstances" (action under conditions of fiction, actions with imaginary objects).

Final lesson

Fourth year of study Curriculum

				Practice
	Introductory lesson
	Individual sessions
	vocal work
	Fundamentals of harmony and structure
musical forms
	Conversations about music
	Ensemble work
	Basics of stage movement
	Final lesson

Acquaintance with the content of the program of the fourth year of study. Rules of conduct in the audience. Rules for the use of rehearsal equipment and safety precautions when working with it.

Individual lessons on the instrument

Theoretical information

Tool care. Scale setting. Using and setting effects. Rules for connection and use of tools and equipment.

Practical work

Exercises on different kinds technology. Reading sheet music. Scales and arpeggios. Improvisation skills. Detailed work on ensemble parts. Learning small solo works, etudes.

Vocal work (individual or small group lessons)

Theoretical information

Repetition and consolidation of vocal skills.

Practical work

Expansion of the singing range. Working on sound quality. Pure unison intonation.

Learning the repertoire of the vocal and instrumental ensemble.

Singing to your own accompaniment. The combination of singing with the performance of one's part on a musical instrument as part of a vocal and instrumental ensemble.

Fundamentals of harmony and the structure of musical forms

Theoretical information

Repetition and consolidation of the musical-theoretical material of previous years.

Practical work Musical dictations in keys up to four signs.

Definition by ear of intervals, triads. Singing the intervals of triads and their inversions.

Rhythmic development of the motive (while maintaining the melodic pattern of the motive line).

Recording and performing sequences on the instrument based on a given or composed motive.

Basic musical forms

Period. Square (in modern music). Cuplet form. Two- and three-part form. Blues.

Couplet-variation and variation forms. Introduction, presentation of the theme, developmental or variational development, climax, reprise and coda.

Analysis of works of classical and modern music in terms of expressive means, form, climax,

melodic line, solo part and creation of an artistic image as a whole.

Conversations about music

Theoretical work

Topics to study:

1. VIA of the 60-80s (“Ariel”, “Merry Fellows”, “Pesnyary”, “Singing Guitars”, “Gems”).
2. Creativity of the classics. I.S. Bach.
3. The contribution of Belarusian composers to the world musical culture.
4. Creativity of the classics. L. Van Beethoven.
5. Modern styles and trends in music.

1. The influence of folk music on the work of classical composers and on the work of VIA.

1. Blues as the basis of new stylistics of the 20th century.
2. Russian classics ("The Mighty Handful").
3. Survey of the creativity of popular performers and rock groups.

Practical work

Listening to works or their fragments (works and songs are selected in accordance with the age of students and the dynamics of the development of pop music).

Ensemble work

Theoretical information

Repetition and consolidation of skills and abilities of ensemble playing. Functions and role of each instrument in the ensemble. Build (ensemble) and sound balance in the ensemble.

Types of improvisation.

Practical work

Learning songs and pieces of the concert repertoire. Combining your own singing with accompaniment. Sound balance between singing and accompaniment, between solo episodes and singing. Submission of individual performance

general ensemble, aimed at revealing the artistic image of a song or play. Work on improvisations. Digital bass game. Composition of small motives and their further development. Reading sheet music.

Basics of stage movement

Theoretical information

Features of stage imagination. Purposefulness, expediency, logic and consistency, authenticity are the most important signs of stage action.

Practical work

1. Exercises for the development of figurative representations, writing a short story on a given topic and participating in it as the main character and performer.
2. Musical etudes-improvisations on the themes of comic and playful folk songs.
3. Acquaintance with dance rhythms, as well as elements of modern dance movements.

Final lesson

Festival of vocal and instrumental music (groups of educational institutions are invited to participate).

Performance forecast

First year of study

six string guitar

1) master the major scales to, salt;

2) master the scales of re, la within the first and second positions;

3) get acquainted with major and minor scales within the fourth, fifth, seventh and ninth positions;

4) to learn several studies for various types of techniques, plays (of a different nature);

6) perform at the reporting concert 1-2 works solo and as part of a chamber ensemble.

Percussion instruments

During the year, students must:

1) learn exercises for all types of beats with various rhythmic figurations and ratios, as well as several rhythmic etudes and exercises;

2) perform at the reporting concert 1-2 pieces accompanied by piano.

Students must:

1) master the skills of breathing, soft unforced sound, purity of intonation, the basic rules of vocal diction;

3) learn several songs of a different nature;

4) at the test lesson competently, expressively perform 1-2 songs.

Second year of study

Electric guitar

Students must:

1) be able to handle an electric guitar;

2) observe safety precautions;

3) master the technique of playing as a mediator;

4) learn major and minor scales, chords, arpeggios within the passed positions with a complicated rhythmic pattern (movement by triplets, dotted rhythm, combined rhythmic figures);

5) learn several etudes for various techniques, plays of various nature, songs as part of a chamber ensemble;

6) acquire the skills of reading sheet music and playing chords by alphanumeric designation;

7) at the reporting concert, perform several songs or pieces as part of an accompanying instrumental ensemble, understanding their role and tasks in it.

Bas-guitar

During the year, students must:

1) learn how to use the bass guitar;

2) know the connection rules and safety precautions;

3) master the technique of playing with a mediator and fingers;

4) learn major and minor scales, arpeggios within the passed positions in various sizes and with various rhythmic patterns;

5) acquire the skill of reading sheet music;

6) learn a few sketches, plays, songs;

7) perform the bass part according to the alphanumeric designation;

8) at the reporting concert, perform several songs or pieces as part of an instrumental ensemble, understanding their task.

Percussion instruments

During the year, students must:

1) learn all the basic dance rhythms;
2) prepare 8-10 songs or pieces to be performed in an ensemble;
3) learn to read music from a sheet.

Keyboard power instruments

Students must:

1) be able to use power tools;
2) know the manuals of this tool (switch keys);
3) comply with safety regulations;
4) master "pure" and mixed timbres, tremolo, vibrato, reverberation, understand the place and role of a keyboard electric instrument in an ensemble, several songs or pieces as part of an instrumental ensemble;
5) at the reporting concert, clearly, competently, emotionally perform a number of songs and pieces as part of an accompanying instrumental group.

vocal work

Students must:

1) master the skills of ensemble singing (simultaneous breathing and sound attack, correct vocalization of vowels, single subtext);
2) be able to adjust your voice to the voices of others, leveling it in strength and height;
3) sing in a rounded unforced sound;
4) learn several songs of different nature and content;
5) at the reporting concert competently, expressively, emotionally perform several songs accompanied by a piano or an instrumental accompaniment group.

Ensemble

Students must:

1) master the skills of ensemble playing (clear introduction of instruments, observance of a single tempo-rhythm, coordinated change in sound strength);

2) know and understand their role and place in the ensemble;

3) master a few songs or pieces;

4) at the reporting concert, competently accompany the soloists-vocalists, soloists-instrumentalists, vocal group, perform several dance instrumental pieces, taking into account the necessary sound power.

Third year of study

Students of the vocal-instrumental concert group must:

1) master the skills of singing, accompaniment and stage freedom when performing plays and songs;

2) to get acquainted with the elements of improvisation.

Fourth year of study

Students of the vocal and instrumental ensemble should:

1) develop the skills of singing, playing an instrument, improvisation;

2) take part in concerts and competitions.

Forms and methods of program implementation

basis educational process is the study of musical literacy, in the process of which musical and auditory presentations, musical thinking and memory are developed.

Along with the traditional sections of elementary music theory: the location of notes on the staff, duration, size, students study alphanumeric designations, complicated rhythm, get acquainted with the basics of harmony, learn to connect the main triads, “build” the simplest cadenzas and sequences in various keys, study the structure musical form.

For the success of the VIA is very important independent work students, conscious, persistent and painstaking work necessary to overcome numerous difficulties.

The work of VIA will not be complete if students do not get acquainted with Russian and foreign classical music, with the development of popular pop music, jazz, rock music, the work of composers and performers. For talks about music and listening to works in the program, 9 hours are allotted annually - one lesson per month.

In the organisation educational process heuristic teaching methods are used (story; conversation; lecture), illustrative and explanatory, reproductive. It is supposed to work with a book, musical material, exercises for the development of performance technique. Audio and video materials are actively used.

The following types of classes are used for their intended purpose:

• combined;

• initial acquaintance with the material;

• assimilation of new knowledge;

• application of acquired knowledge and skills in practice;

• consolidation, repetition;

• final.

Forms of education: training session, lesson-concert, lesson-excursion.

Twice a year, a final lesson is held in the form of a concert.

Methodical literature

1. Ogorodnov, D. Education of a singer in an amateur ensemble / D. Ogorodnov. - Kyiv, 1980.

1. Rovner, V. The work of an amateur vocal ensemble / V. Rovner. - L., 1973.

II. By individual training playing an instrument

Percussion instruments

1. Galoyan, E. Rhythmic etudes-variations for snare drum and tam-tams in ensemble with bass drum / E. Galoyan. - M., 1977.
2. Zinevich, V. The course of playing percussion instruments. Ch.
3. L. / V. Zinevich, V. Borin. - M., 1979.
4. Kovalevsky, M. Fingering techniques of playing percussion instruments in a variety ensemble / Central Scientific and Methodological Cabinet for Educational Institutions of Culture and Art / M. Kovalevsky. - M., 1972.

piano

1. Bril, I. Practical course of jazz improvisation / I. Bril. - M., 1979.
2. Jazz and pop compositions (for piano). Issue. II. - M., 1981.
3. Jazz works for piano. Issue. I. - M., 1982.
4. Zhivaikin, P. School of blues, boogie-woogie and rock and roll (I, II book) / P. Zhivaikin. / Ed. Smolkin K. - M., 2001.
5. Favorite plays / CJSC "Ksenia" - 1995.
6. Playing Keyboards in a Rock Band / Ed. Smolkin K. - M., 2001.

Guitar, electric guitar, bass guitar

1. Agafoshin, P. School of playing the six-string guitar / P. Agafoshin. - M., 1983.
2. Arievich, S. A practical guide to playing the bass guitar /S. Arievich. - M., 1983.
3. Arievich, S. Jazz improvisations / Central Methodical Cabinet for Educational Institutions of Culture and Art / S. Arievich. - M., 1980.
4. Brand, V. Classical music arranged for electric guitar and piano / V. Brand. - M., 1982.
5. Ivanov-Kramskoy, A. School of playing the six-string guitar / A. Ivanov-Kramskoy. - M., 1980.
6. Carcassi, M. School of playing the six-string guitar / M. Carcassi. - M., 1978.
7. Molotkov, V. Jazz improvisation on a six-string guitar / V. Molotkov. - Kyiv, 1983.
8. Manilov, V. Technique of jazz accompaniment on a six-string guitar. / V. Manilov, V. Molotkov. - Kyiv, 1979 (Mn., 2001).
9. Improvisation on bass guitar and double bass Chuck Sher (M. "Guitar College"). - 1997.
10. Smirnov, V. School of playing the bass guitar / V. Smirnov. - M., 2001.
11. Kiryanov, N.G. The art of playing the six-string guitar (I-VI). / N.G. Kiryanov. - M., 1991.
12. Preparatory guitarist's reader - grade 5 for music schools - Rostov n / a: "Phoenix", 2000.
13. Tutorial for playing the six-string acoustic and electric guitar - M .: ACC-Center, 1999.
14. Nikolaev, A. Self-instruction manual for playing the six-string guitar / A. Nikolaev. - St. Petersburg, 2000
15. Manilov, V. Popular jazz pieces arranged for six-string guitar and rhythm group / V. Manilov. - Kyiv, 1980.
16. Popular jazz compositions for electric guitar and rhythm group. - M., 1984.

III. Music theory, solfeggio, harmony, analysis of musical works, composition, improvisation

Music theory, musical literacy

1. Sposobin, I. Elementary Theory of Music / I. Sposobin. -M., 1979.
2. Friedkin, G. A practical guide to musical literacy. / G. Fridkin. - M., 1982.

Solfeggio

1. Two-voice solfeggio (for students of grades II-VII of the music school). - L., 1975. Kalmykov, B. Solfeggio: textbook. allowance. Part I. Monophony / B. Kalmykov, G. Fridkin. - M., 1982.
2. Kalmykov, B. Solfeggio. Part II. Double voice / B. Kalmykov, G. Friedkin. - M., 1982.
3. Harmony; analysis, jazz improvisation Bril, I. Practical course of jazz improvisation / I. Bril. - M., 1979.
4. Doshchechko, N. Harmony in jazz and pop music: textbook. allowance / N. Doshchechko. - M., 1983.
5. Mozhzhevelov, B. Melodies for harmonization / B. Mozhzhevelov. - L., 1982.
6. Siqueira Jose. 14 lessons on the harmonization of this melody / Siqueira Jose. - M., 1978.
7. Sposobin, I. Musical form / I. Sposobin. - M., 1980.
8. Chugunov, Y. Harmony in Jazz: teaching aid. / Yu. Chugunov. - M., 1980.

IV. Arrangement, instrumentation, methods of working with VIA

1. Kiyanov, B., Guide to instrumentation for variety orchestras and ensembles / B. Kiyanov, S. Voskresensky. - L., 1978.
2. Kuznetsov, V. Work with amateur variety orchestras and ensembles / V. Kuznetsov. - M., 1981.
3. Brylin, B.A. Vocal-instrumental ensembles of schoolchildren / B.A. Brylin. - M., 1990.
4. Shakhalov, L. Instrumentation course for variety ensembles / L. Shakhalov. - M., 1974.
5. Shakhalev, L. Arrangement of musical works for pop ensembles: textbook. allowance / L. Shakhalev. - M., 1978.

An ensemble is a joint performance of a musical composition by several members. It is vocal, instrumental and dance. An ensemble is also called an ensemble intended for a small group of performers. Depending on their number, it can have different names and be called a quartet, quintet, sextet, and so on.

An ensemble can be an independent work that belongs to the field of chamber music. They are found in the choral and also in cantatas, operas, oratorios, etc. The name, born in the field of academic music, "migrated" and successfully took root in others. So, for example, in the Soviet music of the 1970s, the genre of vocal-instrumental ensemble - VIA - was very common.

In choral studies

The ensemble is an artistic unity, a harmonious whole, mutual coherence. In choral practice, a private ensemble and a general one are distinguished. The first of them is characterized by a unison group of singers, mostly of the same type in composition. The general ensemble is a combination of unison groups of the entire choir. Its main difference from the private one is that it is independent. The formation of a high-quality ensemble is a rather complex, lengthy and laborious process. This is a whole art, which implies that the singers have an ensemble feeling, the ability to hear the voices of partners. The choir sounds perfect only if it is correctly assembled.

Unacceptable and necessary moments to create the best ensemble

The vocal ensemble will sound harmonious and beautiful, given some important points. Among the unacceptable factors, the following should be highlighted:

• parts should not be unequal in terms of sound strength, quality and timbre;
• large disproportions in the collective composition of singers should be avoided;
• the presence of "swinging" and "trembling" voices is highly undesirable;
• singers with a sharp "throat", "flat" or "squeezed" sound should not participate;
• participants who have speech defects ("lisp", "burr" and others) will complicate the work with the ensemble.

Points to be noted include:

• singers must have good solo voices;
• all voices should be similar to each other in timbre. Thanks to this, a more continuous and unison sound is formed;
• correct placement of singers within each part. The presence of gradual transitions from lighter voices to heavy ones;
• quantitative and qualitative balance of parties;
• all singers must have musicality, the ability to listen to each other.

Varieties

There are several types of vocal ensemble:

• pitch-intonation,
• tempo-rhythmic,
• metro-rhythmic,
• dynamic,
• timbre,
• agogic,
• articulatory,
• homophonic-harmonic,
• polyphonic.

Each of them has its own characteristics. The purpose of the pitch-intonation ensemble is the dense unity of absolutely all voices. The singers of the tempo-rhythmic ensemble are distinguished by the ability to simultaneously begin (end) the whole work and its individual parts. At the same time, they constantly feel the metrical share, sing at a given tempo and accurately convey the rhythmic pattern. The main task of the timbre ensemble is the attentive attitude of the participants to the overall sound and color of the tone. They pay due attention to the proportionality of shades and the softness of the sound of voices. A dynamic ensemble is, first of all, the balance of the strength of the voices within each part, as well as the consistency of the sound volume. Dynamic balance is inextricably linked with tempo-rhythmic and timbre ensembles. Articulatory - involves the development of a single manner of pronouncing the text. The difficulty of a polyphonic ensemble lies in the combination of the unity of the compositional plan with the originality of each line. It is equally important to preserve the expressiveness of the second and third plan.

folklore ensemble

It seems that folklore is a bygone past. However, it still exists. After all, a living tradition goes into the past, but then resurrects.

On this moment folklore holidays and festivals are very popular. Therefore, we should not forget that in our country there are people who are engaged in folk culture.

Such is the Russian ensemble "Theater of Folk Music". Its leader is Tamara Smyslova. The repertoire of the folklore ensemble includes motifs of the ancient Slavs, Cossack songs, collections of the Russian North and South. The material was collected over many years throughout Russia and made it possible to draw up such programs as the Russian Folk Theater, Peasant Calendar Holidays, Russian Wedding Rite and others. Therefore, it is worth being proud of such teams.

Cheonan World Dance Festival 2014

Among the grandiose events of dance art in 2014, the international festival-competition, held in the Republic of Korea, should be noted. It ran from September 30 to October 5. 38 teams from 22 countries took part.

The Grand Prix (the highest award) was shared between representatives of Turkey and North Ossetia. The top five teams included a folk dance ensemble from Yakutsk (which represented Russia). Many producers were fascinated by its participants and became interested in national color, repertoire and originality of movements.

Unlike organ music, which is mainly associated with performance in the church, and clavier music, as purely secular, ensemble instrumental music sounded everywhere - in the church and in the palace, in home life and secular salons.

By the beginning of the 17th century, there were no specific types of instrumental ensembles: almost every work could have a special “set” of instruments. But gradually an ensemble of two violins and a bass emerged as the dominant one. The bass voice was performed on the harpsichord or organ, and often doubled with a cello or bassoon. At the same time, the part of the harpsichord (organ) was recorded in a special way - with the help of digital bass(basso continuo or general bass).

Digitized bass is a special technique for recording accompaniment, when it was not written out completely, but was limited only to the lower voice with numbers indicating which chords should be built on its basis. The art of recording and transcribing a digital bass was then mastered by all composers and performers who, at their discretion, could vary the texture of the presentation.

In the 17th century, the development of ensemble music was carried out by the creative efforts of various Western European composers, but the Italians were on the front line, and this is far from accidental. It was in Italy that a whole galaxy of outstanding violin makers emerged from the second half of the 16th century. First of all, these are the masters of the Cremonese school Andrea and Niccolo Amati, Antonio Stradivari, Giovanni Guarneri, who brought the art of making bowed instruments to the highest perfection.

The 17th century is justifiably called the “golden era” in the history of the violin, which came out victorious in a tense struggle with the “older” viols.

Arcangelo Corelli (1653 - 1713)

The classic of Italian violin art, nicknamed by his contemporaries "Columbus in music", was Arcangelo Corelli. His life path is not rich in events. He received his musical education in Bologna, where already at the age of 17 he achieved such perfection in playing the violin that he was honored to become a member of the famous Bologna Academy. Soon the musician moved to Rome, where he spent his whole life. For many years, Corelli served at the court of a wealthy philanthropist, Cardinal Ottoboni, as the head of an instrumental chapel and organizer of concerts. The composer could communicate with a wide range of connoisseurs and art lovers, renowned musicians who attended numerous concerts at the Ottoboni Palace. Corelli paid much attention pedagogical activity, educating many famous violinists of the 17th century.

The creative heritage of Corelli is not very large quantitatively (especially in comparison with the unheard-of productivity of many contemporaries). At the same time, unlike most Italian composers of that time, he did not write any operas or vocal compositions for the church at all. As a composer, he was completely immersed in instrumental music, the few genres associated with the leading participation of the violin. This is, first of all, trio sonata And concerto grosso. Thanks to Corelli, these genres acquired a classically perfect look.

Trio sonata- a work intended for three instrumental parts: two - soprano tessitura and one bass. However, in fact, 4 performers participated in the trio sonata, since the bass voice was accompanied by a harpsichord or organ according to the general bass system. Usually a concert trio consisted of two violins and a cello, sometimes a flute, an oboe, a bassoon. There were two types of trio sonata: chamber designed for home music playing, and church, which was originally performed only in the church. Compared to the chamber one, it was distinguished by a more solemn character and the obligatory participation of the organ. The chamber trio sonata was in form a traditional dance suite; the ecclesiastical variety anticipated the future sonata-symphony cycle.

concerto grosso(literally "great concerto") - a work based on the competition of a group of solo instruments (concertino) with the entire mass of the orchestra (tutti). In other words, unlike the solo, this is a concert for ensemble soloists. Most often, the concert group consisted of two violins and a cello (that is, it was an ordinary trio composition), sometimes two oboes and a bassoon.

Both the trio sonata and the concerto grosso from Italy quickly spread to other Western European countries. German, French, English composers turn to them (in particular, Henry Purcell was one of the greatest masters of the trio sonata).

Antonio Vivaldi (1678-1741)

In Corelli, the part of the soloists is still relatively modestly interpreted, without the bright virtuosity that began to develop later. The gradual strengthening of the role of soloists subsequently led to the emergence solo concert intended for a soloist with an orchestra. In its creation and development, the leading role belonged to.

Vivaldi was from Venice, where from his youth he became famous as a magnificent virtuoso violinist. He was a little over 20 years old when he was invited to the best of the Venetian conservatories. Vivaldi worked here for over 30 years, leading the choir and orchestra. According to contemporaries, the Vivaldi orchestra was not inferior to the court. The famous Italian playwright Carlo Goldoni wrote in his memoirs that Vivaldi was better known by the nickname "Red Priest" than by his own. The composer, indeed, took the rank of abbot, but there was little in him from the clergyman. Very sociable, carried away, during the service he could leave the altar to record the melody that came to his mind. The number of works written by Vivaldi is enormous: he composed with truly Mozartian ease and speed in all genres known to his era. But Vivaldi was especially willing to compose concertos, he has an incredible number of them - 43 grossos and 447 solos for a variety of instruments.

The leader of the Italian violinists of the first half of the 18th century was Giuseppe Tartini , who worked for about 50 years in Padua, in the church chapel. Tartini created the modern manner of conducting the bow. He became famous as the author and performer of violin concertos and sonatas, among which the sonata "Devil's Trills" gained exceptional popularity (according to one of his contemporaries, the composer created it under the impression of a dream about a devil-violinist). Nature is indomitable, passionate, Tartini created a violin style dynamic, emotionally impulsive, with subtle nuances and a variety of stroke techniques.

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BRIEF GLOSSARY OF MUSICAL TERMS

Accompaniment(French accompagnement - accompaniment) - musical background to the main melodies, which is of secondary importance in the work.

Chord(it. accordo, fr. accord - agreement) - consonance, the sound of several (at least three) musical tones, taken, as a rule, simultaneously. A. are divided into consonant and dissonant (see. consonance And dissonance).

Act(lat. actus - action) - a relatively completed part of the theatrical performance ( operas, ballet etc.), separated from another of the same part by a break - intermission. Sometimes A. is divided into paintings.

Ensemble(fr. ensemble - together) - 1. The name of a relatively independent musical episodes V opera, representing the simultaneous singing of two or more singers, vocal parts which are not identical; according to the number of participants A. are divided into duets, trio or tercetes, quartets, quintets, sextets etc. 2. Play, intended for joint performance by several musicians, most often instrumentalists. 3. The quality of joint performance, the degree of coherence, unity of the overall sound.

Intermission(French entr'acte - letters, interaction) - 1. Break between acts theatrical performance or branches concert. 2. Orchestral introduction to one of the acts, except for the first (cf. overture)

Arietta(it. arietta) - small aria.

Arioso(it. arioso - like an aria) - a variety arias, characterized by a freer construction, more closely connected with the previous and subsequent musical episodes.

Aria(it. aria - song) - developed vocal episode in opera, oratorios or cantata sung by one singer accompanied by orchestra, which has a wide range melody and completeness of the musical forms. Sometimes A. consists of several contrasting(see) sections. Varieties A. - arietta, arioso, cavatina, cabaletta, canzone, monologue etc.

Ballet(fr. ballet from it. ballo - dance, dance) - a major musical choreographic(cm.) genre, in which the main artistic means is dance, as well as pantomime, presented on the theater stage in a picturesque decorative design, accompanied by orchestral music. B. in the form of independent dance scenes is sometimes part of operas.

Ballad(French ballade, Italian ballare - to dance) - originally the name of the Provencal (France) dance songs; then - literary and poetic genre connected with folk legends or telling about the events of the past. From the beginning of the XIX century. - designation vocal and instrumental plays narrative warehouse.

Baritone(Greek barytono - heavy-sounding) - male voice of the middle between bass And register tenor; Another name is high bass.

Barcarolle(from it. barca - boat, barcaruola - song of the boatman) - genus songs, common in Venice, and also the name vocal and instrumental plays contemplative melodious character with a smooth, swaying accompaniment; size 6/8. Another name for B. is a gondolier (from the Italian gondola, a Venetian boat).

Bass(it. basso - low, Greek basis - basis) - 1. The lowest male voice. 2. Common name for low register of orchestral instruments (cello, double bass, bassoon, etc.).

Bolero(Spanish bolero) - Spanish dance, known since the end of the 18th century, moderately fast movement, accompanied by castanets; size 3/4.

Bylina- a work of Russian folk epic, a story about the old days, about the exploits of folk heroes-bogatyrs. B. has the character of a leisurely smooth recitative like a sung speech; sometimes accompanied by playing the harp and other musical instruments.

Waltz(French valse, German Walzer) is a dance that originated from Austrian, German and Czech folk dances. V. is danced in pairs in a smooth circular motion; size 3/4 or 3/8, pace varying from very slow to very fast. Thanks to its special figurative and expressive possibilities, dance became widespread from the middle of the 19th century not only as a dance and concert(cm.) genre but also how important component music operas, ballet, symphonies and even chamber — solo And ensemble(see) works.

Variations(lat. variatio - change) - a piece of music based on a gradual change set out at the beginning Topics, during which the original image is developed and enriched without losing its essential features.

Virtuoso(it. virtuoso - lit. valiant, courageous) - a performing musician who is fluent in his instrument or voice, easily, brilliantly overcoming any technical difficulties. Virtuosity is the skill and technical perfection of musical performance. Virtuoso music is music replete with technical difficulties, requiring brilliant, spectacular performance.

Vocal music(from it. vocale - voice) - music for singing - solo, ensemble or choral(see) with accompaniment or without it.

Introduction- the initial section, directly introducing into any vocal or an instrumental piece, painting or Act musical and theatrical performance.

Gavotte(fr. gavotte) - an old French dance folk origin; subsequently, from the 17th century, it entered into court use, in the 18th century it took its place in the dance suite. G.'s music is energetic, moderately fast movement, meter 4/4 with a characteristic two-quarter upbeat.

Harmony(Greek harmonia - proportionality, consistency) - 1. One of the expressive means of musical art, associated with chordal(see) combinations of tones and their sequences accompanying the main melody. 2. The science of chords, their movement and connections. 3. The name of individual chord sound combinations when characterizing their expressiveness (“hard harmony”, “light harmony”, etc.). 4. The general designation of the range of chordal means characteristic of a particular work, composer, musical style(“Mussorgsky's harmony”, “romantic harmony”, etc.).

Hymn(Greek hymnos) - a solemn laudatory chant.

Grotesque(French grotesque - bizarre, ugly, strange) - an artistic device associated with a deliberate exaggeration or distortion of the real features of the image, which gives it a bizarre, fantastic, often caricature-humorous, sometimes frightening character.

Gusli(from Old Russian gusel - string) - an old Russian folk instrument, which is a hollow flat box on which metal strings are stretched. Playing the G. was usually accompanied by the performance of epics. The performer in G. is a harpist.

Declamation- artistic reading of poetry or prose in an emotionally elevated manner. D. musical - correct reproduction in recitative characteristic intonations - rises, falls, accents, etc. - expressive human speech.

woodwind instruments- the general name of a group of instruments that includes a flute (with varieties of flute-piccolo and alto flute), oboe (with varieties of alto oboe, or English horn), clarinet (with varieties of clarinet-piccolo and bass clarinet), bassoon (with variety of contrabassoon). D. d. i. are also used in brass bands, various chamber ensembles And How soloists(see) tools. In the orchestral score group D. d. and. occupies the top lines, placed in the above order.

Decimet(from lat. decimus - tenth) - operatic or chamber ensemble ten participants.

Dialogue(Greek dialogos - a conversation between two) - scene- a conversation between two characters operas; roll call of alternating short musical phrases as if responding to each other.

Divertissement(French divertissement - entertainment, entertainment) - a piece of music built like suites, consisting of several diverse, mainly dance, rooms. D. is also called a separate instrumental play entertaining character.

Dynamics(from the Greek dynamikos - power) - 1. Strength, loudness of sound. 2. Designation of the degree of tension, the effective aspiration of the musical narrative (“the dynamics of development”).

Dramaturgy- Literature that involves the stage incarnation; the science of the laws of the construction of a dramatic play. In the 20th century, the term D. began to be applied also to the musical and theatrical art, and then to large instrumental and symphonic works that were not connected with the stage. D. musical - a set of principles for the construction and development of music operas, ballet, symphonies etc. with the aim of the most logical, consistent and effective embodiment of the chosen plot, ideological concept.

Thought, thought— narrative Ukrainian folk song free recitative-improvisational warehouse with tool support. Usually D. is devoted to a story about historical events, but sometimes it acquires the features of a sincere, sad song of a purely lyrical content.

Brass band— orchestra, consisting of copper And woodwinds And percussion tools. Before. has a powerful, bright sonority.

Wind instruments- instruments, different in shape, size and material, which are a tube or a set of tubes that sound due to the vibrations of the air column enclosed in them. According to the material and method of sound extraction D. and. divided into copper And wooden. Among D. and. belongs also organ.

Duet(from lat. duo - two) - operatic or chamber ensemble two participants.

duetino(it. duettino) - small duet.

Genre(French genre - type, manner) - 1. The type of musical work, determined by various criteria: by the nature of the subject (for example, J. epic, comic), the nature of the plot (for example, J. historical, mythological), the composition of the performers (e.g., F - operatic, ballet, symphonic, vocal(see), instrumental), the circumstances of the performance (for example, J. concert, chamber(see), household), features of the form (for example, Zh. romance, songs, instrumental or orchestral miniatures), etc. 2. Genre (in music) - associated with characteristic features folk household musical genres. 3. Genre scene - everyday scene.

Chorus- Start choral song, performed by one singer - the lead singer.

Singspiel(German Singspiel from singen - to sing and Spiel - game) - kind comic opera, which combined colloquial dialogues with singing and dancing; Z. received the greatest development in Germany and Austria in the 2nd half of the 18th and early. XIX centuries.

Improvisation(from lat. improvisus - unforeseen, unexpected) - creativity in the process of execution, without prior preparation, by inspiration; also a characteristic of a certain kind of musical works or their individual episodes, characterized by whimsical freedom of presentation.

Instrumentation- the same as orchestration.

Sideshow(lat. intermedia - located in the middle) - 1. A small musical play, placed between the more important parts of a large work. 2. Plug-in episode or scene in a major theatrical work, suspending the development of the action and not directly related to it. 3. Binder episode between two Topics V fugue, a passing episode in an instrumental piece in general.

Intermezzo(it. intermezzo - pause, intermission) - play linking more important sections; also the name of separate, mainly instrumental, pieces of various nature and content.

Introduction(lat. introductio - introduction) - 1. Small size opera overture, directly put into action. 2. The initial section of any plays, which has its own pace and the nature of the music.

cabaletta(from it. cabalare - fantasize) - a small opera aria, often of a heroically upbeat nature.

Cavatina(it. cavatina) - a kind of opera arias, characterized by a freer construction, lyrical melody, lack of tempo(see) contrasts.

Chamber music(from it. camera - room) - music for soloists(see solo) instruments or voices, small ensembles designed for performance in small concert halls.

Canon(Greek kanon - rule, pattern) - a kind of polyphonic music based on the alternate entry of voices from the same melody.

Kant(from lat. cantus - singing) - in Russian, Ukrainian and Polish music of the 17th-18th centuries, lyrical songs for a three-part choir without accompaniment; in the era of Peter I, greetings to K. vigorous marching(cm. march) character, performed on the occasion of official celebrations.

Cantata(from it. cantare - to sing) - a great work for singers - soloists, chora And orchestra, consisting of a number of numbers - aria, recitatives, ensembles, choirs. K. differs from the oratorio in the absence of a detailed and consistently embodied plot.

Cantilena(lat. cantilena - chanting) - wide melodious melody.

Canzona(it. canzone - song) - the old name of the Italian lyric songs with instrumental accompaniment; later - the name of the instrumental plays melodious lyric.

canzonetta(it. canzonetta - song) - small canzone, melodious vocal or instrumental play small size.

Painting- 1. In a musical and theatrical work, a part act, separable not intermission, but a brief pause during which the curtain falls briefly. 2. The designation of instrumental-symphonic works, which are characterized by a special concreteness, visualization of musical images; sometimes such works belong to genre of program music.

Quartet(from lat. quartus - fourth) - opera-vocal or instrumental (most often string) ensemble four participants.

Quintet(from lat. quintus - fifth) - opera-vocal or instrumental ensemble five participants.

Clavier(abbr. German Klavierauszug - piano extract) - processing, arrangement for piano work written for orchestra or ensemble, and operas, cantatas or oratorios(with preservation vocal parties).

Koda(it. coda - tail, end) - the final section of a musical work, usually of an energetic, impetuous nature, asserting its main idea, the dominant image.

Coloratura(it. coloratura - coloring, decoration) - coloring, variation vocal melodies in a variety of flexible, moving passages, virtuosic decorations.

Coloring(from lat. color - color) in music - the predominant emotional coloring of an episode, achieved using various registers, timbres, harmonic(see) and other expressive means.

Carol- the general name of the Slavic folk ritual songs pagan origin associated with the celebration of Christmas (New Year's Eve).

Composer(Latin compositor - composer, compiler, creator) - the author of a musical work.

Composition(lat. compositio - composition, arrangement) - 1. Musical creativity, the process of creating a musical work. 2. The internal structure of a musical work, the same as musical form. 3. A separate piece of music.

Contralto(it. contralto) - the lowest female voice, the same as in choir viola.

Counterpoint(from Latin punctumcontrapunctum - point against point, that is, note against note) - 1. The simultaneous combination of two or more melodically independent voices. 2. The science of the laws of the combination of simultaneously sounding melodies, the same as polyphony.

Contrast(fr. contraste - opposite) - a bright expressive means of music, which consists in the rapprochement and direct opposition of dissimilar, sharply differing in character musical episodes. Musical figurative-emotional K. is carried out with the help of tempo, dynamic, tonal, register, timbre(see) and other oppositions.

Concert(from lat. concertare - to compete, it. concerto - consent) - 1. Public performance of musical works. 2. A large, usually three-part, work for soloist(see) tool with orchestra, brilliant, spectacular, with developed elements virtuosity, in some cases approaching in richness and significance of the ideological and artistic content to symphonies.

climax(from lat. culmen - top, top) - the moment of highest tension in the musical development.

Couplet(fr. couplet - stanza) - repeated part songs.

banknote(fr. coupure - clipping, reduction) - reduction of a piece of music by removing, skipping any episode, V opera — scenes, paintings or act.

Lezginka- a dance common among the peoples of the Caucasus, temperamental, impetuous; size 2/4 or 6/8.

Leitmotif(German Leitmotiv - leading motive) - musical thought, melody associated in opera with a certain character, memory, experience, phenomenon or abstract concept that arises in music when it appears or is mentioned in the course of a stage action.

Landler(German: Ländler) is a German and Austrian dance of folk origin, the predecessor of waltz, lively, but not fast movement; size 3/4.

Libretto(it. libretto - notebook, little book) - full literary text operas, operettas; verbal presentation of content ballet. The author L. is a librettist.

Madrigal(it. madrigale) - a European polyphonic secular song of the 16th century, of an exquisite nature, usually of love content.

Mazurka(from Polish mazur - a resident of Mazovia) - a Polish dance of folk origin, lively, with a sharp, sometimes syncopated(cm.) rhythm; size 3/4.

March(fr. marche - walking, procession) - genre, Related to rhythm walking, characterized by a clear, measured, energetic movement. M. is marching, solemn, mourning; size 2/4 or 4/4.

Brass instruments— wind instruments, made of copper and other metals, forming a special group in the symphony orchestra, which includes horns, trumpets (sometimes partially replaced by cornets), trombones and tuba. M. d. and. are the basis brass band. In the symphony score group M. d. and. written under the group woodwind instruments, placed in the above order.

Meistersingers(German Meistersinger - master of singing) - in medieval Germany (XIV-XVII centuries) shop musicians.

Melodeclamation(from Greek melos - song and Latin declamatio - recitation) - expressive reading (most often poetry), accompanied by music.

Melody(Greek melodia - singing a song from melos - song and ode - singing) - the main idea of ​​a musical work, expressed in a monophonic melody, the most important means of musical expression.

Melodrama(from the Greek melos - song and drama - action) - 1. Part of a dramatic work, accompanied by music. 2. A negative characterization of works or episodes, characterized by exaggerated sensitivity, sentimentality, bad taste.

Minuet(fr. menuet) - an old French dance, originally of folk origin, in the 17th century - a court dance, at the end of the 18th century it was introduced into the symphony cycle(cm. symphony). M. is distinguished by smooth and graceful movements; size 3/4.

Mass(fr. messe, lat. missa) - a large multi-part work for chora with instrumental accompaniment, sometimes with the participation of singers- soloists written in religious latin text. M. - the same as the Catholic mass, liturgy.

mezzo-soprano(from it. mezzo - median and soprano) - a female voice, in register occupying an intermediate position between soprano And contralto. mezzo soprano in chore- the same as alt.

Miniature(it. miniatura) - small orchestral, vocal(see) or an instrumental piece.

Monologue(from the Greek monos - one, speech uttered by one person) in music - one of the most effective solo vocal forms V opera, which usually captures the process of intense experience or reflection, leading to a decision. M., as a rule, is built from several non-identical, contrasting episodes.

Motive(from it. motivo - reason, motivation, and lat. motus - movement) - 1. Part melodies, which has an independent expressive meaning; a group of sounds is a melody united around one accent - stress. 2. In the common sense - a melody, a melody.

musical drama- originally the same as opera. In common sense, one of genres opera, which is characterized by the leading role of intense dramatic action that unfolds on the stage and determines the principles of musical embodiment.

Musical comedy- cm. operetta.

Nocturne(fr. nocturne - night) - the name of relatively small instrumental instruments that spread in the 19th century (rarely - vocal) plays lyrical-contemplative character with expressive melodious melody.

Number- the smallest, relatively complete, allowing separate, independent execution opera episode, ballet or operettas.

But no(from lat. nonus - ninth) - comparatively rare view opera or chamber ensemble for nine participants.

Oh yeah(Greek ode) - the name of a piece of music borrowed from literature (more often - vocal) solemn laudatory character.

Octet(from lat. octo - eight) - ensemble eight participants.

Opera(it. opera - action, work, from lat. opus - labor, creation) - synthetic genre musical art, including dramatic action, singing and dancing, accompanied by orchestral music, as well as pictorial and decorative design. The opera is made up of solo episodes — aria, recitatives, and ensembles, choirs, ballet scenes, independent orchestral numbers (see overture, intermission, introduction). O. is divided into acts and paintings. O. as an independent genre spread in Europe in the 17th century, and in Russia from the middle of the 18th century. Further development led to the formation of various national styles and ideological and artistic types of opera art (see. O. big french, O.-buffa, O. comic, O. lyrical-dramatic, O. lyrical French, O. beggars, O.-series, O. epic, singspiel, musical drama, operetta). As a result of the diverse historical development Musical music became the most democratic genre among the complex monumental genres of musical art.

Grand Opera French(French grandopéra) - a variety that became widespread in the middle of the 19th century, which is characterized by the embodiment of historical themes in a monumental, colorful performance rich in effective moments.

opera buffa(it. opera-buffa) - Italian comic opera that emerged in the first half of the 18th century. About. based on everyday stories, often acquiring a satirical coloring. Developed from the Italian folk "comedy of masks" (comediadelarte), O.-b. reflected the progressive democratic tendencies of the late 18th and first half of the 19th centuries.

Opera comic- the general specific name of the opera genre that arose in Europe from the middle of the 18th century under the influence of democratic ideas as opposed to courtly aristocratic art. O. to. in different countries had different names: in Italy - opera buffa, in Germany and Austria singspiel, in Spain - tonadilla, in England - beggar's opera, or ballad song opera. O. c. is the generally accepted name for the proper French variety of this genre, which is characterized by the inclusion of colloquial dialogues.

Opera lyrical-dramatic- a variety that developed in the operatic art of the second half of the 19th century. For O. l.-d. characteristic is the foreground of dramatic, often tragic personal destinies and human relationships, shown against a realistically truthful life background, in-depth attention composer to the mental life of the characters, their feelings, psychological contradictions and conflicts.

French lyric opera- own name French lyric-dramatic opera.

Beggar's Opera(English beggarsopera) - English variety comic opera, in which folk songs were widely used - ballads.

Opera series(Italian operaseria - serious opera, as opposed to comic) - Italian opera of the 18th century, associated with the court-aristocratic environment. Based, as a rule, on mythological and historical-legendary subjects, O.-s. distinguished by the splendor of the production, masterly glitter vocal parts, but in its development was constrained by the conventions of plots, situations and characters.

Opera epic- a kind of classical opera, predominantly developed in Russia, characterized by the use of plots from the folk epos - legends, legends and examples of folk songwriting. Stage action and music of O. e. maintained in the spirit of a majestic, unhurried narrative. TO genre O. e. adjoins also an opera-fairy tale.

Operetta(it. operetta - small opera) - a theatrical performance that combines singing and dancing, accompanied by orchestra with conversational scenes, deriving from comic opera XVIII century. European O. of the 19th century is characterized by an abundance of comedic situations of a satirical or purely entertaining nature. In Soviet musical and theatrical art, O. is more often referred to as musical comedy.

Oratorio(from lat. oratoria - eloquence) - a large vocal and symphonic genre musical art, the works of which are intended to be performed chorus, soloists-singers and orchestra. O. is based on a certain plot that generally tells about the historical or legendary events of folk life, usually with a sublime, heroic coloring. The plot of O. is embodied in a number of completed solo, choral And orchestral(see) numbers sometimes shared recitatives.

Organ(from the Greek organon - instrument, instrument) - the largest of modern musical instruments that has existed and improved over many centuries. O, is a system of pipes that sound due to the blowing of a jet of air into them, produced mechanically. The presence of pipes of different sizes and shapes allows you to extract sounds of different heights and timbre. O. control is carried out using keyboards, manual (up to three manuals) and foot (pedal), as well as numerous switches registers. In terms of power and colorful richness of sound, the O. competes with the symphonic orchestra.

Orchestra(from the Greek. orchestra - in the ancient Greek theater, the place in front of the stage, which housed the choir) - a large group of musicians-performers, intended for the joint performance of musical works. Unlike ensemble, some parties in O. are performed simultaneously by several musicians like a monophonic chora. According to the composition of instruments, orchestras are divided into symphonic, brass, folk instruments, pop, jazz, etc. Opera opera, as well as symphony, consists of four main groups of instruments - groups woodwinds, brass, percussion, strings bowed, and also includes some single instruments that are not included in any of the groups (harp, occasionally piano, guitar, etc.).

Orchestration- creating an orchestral scores, the embodiment of musical thought by means of orchestral expressiveness. O. - the same as instrumentation.

Parody(Greek parodià, from para - against and ode - song, singing, letters, singing vice versa) - imitation for the purpose of distortion, ridicule.

Score(it. partitura - division, distribution) - musical notation ensemble, orchestral, operatic, oratorio-cantata(see) and other music that requires many performers. The number of P. lines is determined by the number of parties included in it - instrumental, solo vocal And choral, which are in a certain order.

The consignment(from lat. pars - part) - part of the music ensemble, operas etc. performed by one or a group of musicians or singers.

Pastoral(from lat. pastoralis - shepherd) - music, musical play or theatrical scene, expressed in gentle, lyrically soft contemplative tones, painting calm pictures of nature and an idealized serene rural life (cf. idyll).

Song- basic vocal genre folk musical creativity and related genre of vocal music in general. P. is characterized by the presence of a clear, convex, expressive and slender melodies, which has a generalized figurative and emotional content, embodying the feelings and thoughts of not an individual, but a people. The combination of these features is included in the concept of songwriting as a special means of musical expression, a special warehouse of musical thinking. Folk music, reflecting the most diverse aspects of the life of the people in an innumerable variety of varieties and genres, is the main source of musical art. In the development of folk P. and its highly artistic refraction national characteristics the greatest merit belongs to the Russians classical composers. P. is widely represented in their works as a genre of everyday life, at the same time song, the song beginning was for them the leading artistic device. In the narrow sense, P. is a small vocal piece with or without accompaniment, distinguished by its simplicity and melodically expressive melodiousness, usually in couplet form, as well as an instrumental piece of similar size and character.

subvoice- more or less independent melody accompanying the main tune in polyphonic music. The presence of developed P. is a characteristic feature of the Russian folk choral(see) music.

Polyphony(from Greek poly - many and phone - voice, letters, polyphony) - 1. Simultaneous combination of two or more independent melodies having independent expressive meaning. 2. The science of polyphonic music, the same as counterpoint.

prelude, prelude(from lat. prae - before and ludus - game) - 1. Introduction, introduction to the play or completed musical episode, opera stage, ballet etc. 2. A common name for small instrumental pieces of various content, character and structure.

Premiere- first show operas, ballet, operettas at the theater stage; the first public performance of a musical work (applies to major works only).

Chorus- Part songs, invariably, together with the same verbal text, repeated after each of its couplet.

Lamentations, lamentations— song- crying, one of the most common in pre-revolutionary Russia genres folk songs; usually has the character of a mournfully agitated recitative.

Prologue(from lat. prae - before and Greek. logos - word, speech) - an introductory part in a drama, novel, opera etc., introducing into the story; sometimes P. introduces the events that preceded the depicted.

musical development- the movement of musical images, their changes, collisions, mutual transitions, reflecting the processes that take place in the mental life of a person or the hero of a musical and theatrical performance, as well as in the surrounding reality. R. m. is an important factor in the musical dramaturgy, directing the listener's attention to the most significant parts of the story. R. m. is carried out using a variety of compositional and expressive techniques; all means of musical expression are involved in it.

Requiem(from lat. requiem - peace) - a monumental work for chora, soloists-singers and orchestra. Initially, R. is a mourning Catholic mass. Subsequently, in the works of Mozart, Berlioz, Verdi, R. lost its ritual and religious character, turning into a dramatic, philosophically significant musical genre animated by deep universal human feelings and great thoughts.

Recitative(from lat. recitare - read, recite) - musical speech, the most flexible solo form singing in opera, characterized by a large rhythmic(see) diversity and freedom of construction. Usually R. introduces into aria, emphasizing its melodious melody. R. often reproduces the characteristic intonations of living human speech, making it an indispensable tool in creating a musical portrait. actor. The main varieties of R. - R.-secco ("dry", accompanied by rare jerky orchestra chords or chembalo), R.-accompagnato ("accompanied", sounding against the background of a coherent chord accompaniment) and R.-obligato ("mandatory", which indicates the need for an independent melodic thought in the orchestral accompaniment).

Rigaudon(fr. rigodon, rigaudon) - an old Provencal (France) dance of the 17th-18th centuries, a lively, vigorous movement; time signature 4/4 or 2/3 with one-quarter advance.

Rhythm(from the Greek rythmos - dimensional flow) - the organization of musical movement in time, periodic alternation and the ratio of strong and weak parts. A periodically repeating group of strong and weak beats is called a beat. The number of beats in a measure is called the time signature. R. is an important expressive means of musical art, reaching a special richness and variety in dance music associated with the plasticity of the movement of the human body.

Romance(fr. romance) - solo lyrical song with instrumental accompaniment, characterized by an intimate structure of feelings, individualized content, special subtlety and expressive variety accompaniment. Vocal melody R. often includes elements recitative.

Rondo(French rondeau from ronde - round, the name of an old French choral song) - form building a musical plays, consisting of several (at least three) contrasting episodes, separated by a periodically returning first episode (refrain).

Sarabande(Spanish zarabanda) - an old Spanish dance in the nature of a slow majestic procession; size 3/4. Genre S. was often used to create images of deep mournful reflection, a funeral procession.

Seguidilla(Spanish seguidilla) - fast Spanish dance, accompanied by whimsical rhythm castanets; size 3/4 or 3/8.

Sextet(from lat. sextus - sixth) - operatic-vocal or instrumental ensemble seven participants.

Serenade(from Italian sera - evening, letters, "evening song") - originally in Spain and Italy, a love song sung with accompaniment guitars or mandolins under the sweetheart's window. Then - works of a welcoming nature for instrumental ensembles And orchestra. Subsequently, S. is the name of lyrical solo songs with instrumental accompaniment, stylized in the spirit of a guitar accompaniment, as well as the name of the lyrical instrumental or orchestral cycle.

Symphony(from the Greek symphonia - consonance) - a monumental work for the orchestra, genre which took shape in the second half of the 18th century. S., as a rule, consists of four large diverse, contrasting parts, in which a wide range of life phenomena is reflected, a wealth of moods and conflicts is embodied. The first part of S. usually has a conflict-dramatic character and is sustained in fast movement; sometimes it is preceded by a slow introduction. The second is a lyrical chant, imbued with moods of reflection. Third - minuet, scherzo or waltz— in a lively dance move. Fourth - the final, the fastest, often festive, upbeat character. However, there are other principles of construction. The set of parts, united by a common poetic idea, forms a symphonic cycle.

Scherzo(it. scherzo - joke) - a small instrumental or orchestral work of a lively, perky character, which has a sharp, clear rhythm, sometimes acquiring a dramatic coloring. From the beginning of the 19th century, S. entered the symphony cycle, taking place in it minuet.

buffoons- carriers of Russian folk art in the XI-XVII centuries, itinerant actors, musicians and dancers.

Solo(it. solo - one, only) - an independent performance of one performer with a whole play or in a separate episode if the play is written for ensemble or orchestra. Performer S. - soloist.

Sonata(from it. sonare - to sound) - 1. In the 17th century - the name of any instrumental work, in contrast to the vocal one. 2. Since the 18th century - the name of a work for one or two instruments, consisting of three or four parts of a certain nature, which form a sonata cycle, in general terms similar to the symphonic one (cf. symphony).

Sonata Allegro- the form in which the first parts are written sonatas And symphonies, - sustained in fast (allegro) tempe. S.'s form and. consists of three large sections: exposition, development and reprise. The exposition is a presentation of two central, contrasting musical images created in the main and secondary parties; development - development topics the main and side parties, the clash and struggle of their images; reprise - a repetition of the exposition with a new ratio of images of the main and secondary parties, achieved as a result of their struggle in development. S.'s form and. the most effective, dynamic, it creates ample opportunities for a realistic reflection of the phenomena of objective reality and the spiritual life of a person in their internal inconsistency and ongoing development. S.'s form and. developed by the middle of the 18th century and soon became widespread not only in the first parts symphonies, sonatas, quartets, instrumental concerts, but also in one-part symphonic poems, concert and opera overtures, and in some cases in extended opera arias (for example, Ruslan's aria in Glinka's opera Ruslan and Lyudmila).

Soprano(from it. sopra - above, above) - the highest female voice. S. is subdivided into coloratura, lyrical and dramatic.

Style(in music) - a set of features that characterize the work of composers of a certain country, historical period, individual composer.

Stringed instruments- instruments in which sound occurs as a result of vibration (vibration) of stretched strings. According to the method of sound extraction S. and. are divided into bowed (violin, viola, cello, double bass), keyboard ( piano and his predecessors, cf. chembalo) and plucked (harp, mandolin, guitar, balalaika, etc.).

Scene(Latin scena from Greek skene - tent, tent). - 1. Theatrical stage on which the performance takes place. 2. Part of theatrical performance, separate episode act or paintings.

Scenario(it. scenario) - a more or less detailed presentation of the course of action unfolding on stage in opera, ballet And operetta, a schematic retelling of their plot. On the basis of S. is created libretto operas.

Suite(French suite - series, sequence) - the name of a multi-part cyclic work in which parts are compared according to the principle contrast and have a less close internal ideological and artistic connection than in the symphonic cycle (cf. symphony). Usually S. is a series of dances or descriptive and illustrative pieces of a program nature, and sometimes an extract from a major musical and dramatic work ( operas, ballet, operettas, motion picture).

Tarantella(it. tarantella) - very fast, temperamental Italian folk dance; size 6/8.

The theme is musical(Greek thema - the subject of the story) - the main, subject development a musical thought expressed in a relatively small, complete, embossed, vividly expressive and memorable melody (see also keynote).

Timbre(fr. timbre) - a specific quality, characteristic coloring of the sound of a voice or instrument.

Pace(from it. tempo - time) - the speed of performance and the nature of the movement in a piece of music. T. is indicated by the words: very slowly - largo (largo), slowly - adagio (adagio), calmly, smoothly - andante (andante), moderately fast - moderato (moderato), quickly - allegro (allegro), very quickly - presto (presto ). Sometimes T. is determined by reference to the well-known nature of the movement: “at the pace waltz"," at the pace march". From the middle of the 19th century, t. was also designated by the metronome, where the number corresponds to the number of indicated durations per minute. The verbal designation T. often serves as the name of a play or its individual parts that do not have a title (for example, the names of parts in a sonata cycle- allegro, andante, etc., ballet adagio, etc.).

Tenor(from lat. tenere - to hold, direct) - a high male voice. T is subdivided into lyrical and dramatic.

Tercet(from lat. tertius - third) - operatic and vocal ensemble three participants. Another name for T. - trio, also used to denote instrumental ensembles with the same number of performers.

Trio(it. trio from tre - three) - 1. In vocal music, the same as tercet. 2. Instrumental ensemble of three performers. 3. Middle section in march, waltz, minuet, scherzo smoother and more melodious character; this meaning of the term originated in early instrumental music, in which the middle section was performed by three instruments.

Troubadours, trouvers- knights-poets and singers in medieval France.

Overture(French ouverture - opening, beginning) - 1. Orchestral piece performed before the start operas or ballet, usually based on the themes of the work to which it precedes, and concisely embodying its main idea. 2. The name of an independent one-movement orchestral work, often related to program music.

Percussion instruments- musical instruments from which sound is extracted by striking. U. and. there are: 1) with a certain pitch - timpani, bells and bells, celesta, xylophone and 2) with a sound of indefinite pitch - tam-tom, big and snare drums, tambourine, cymbals, triangle, castanets, etc.

Texture(lat. factura - lit. division, processing) - the structure of the sound fabric of a musical work, including melody accompanying her echoes or polyphonic vote, accompaniment etc.

Fandango(Spanish fandango - Spanish folk dance of moderate movement, accompanied by playing the castanets; size 3/4.

Fantasy(Greek phantasia - imagination, fiction in general, fiction) - masterly free forms. 1. In the 17th century improvisational nature of the introduction to fugue or sonata. 2. Virtuoso composition on Topics any operas, the same as transcription (Latin transcriptio - rewriting) or paraphrase (from Greek paraphrasis - description, retelling, paraphrase). 3. An instrumental piece with a whimsical, fantastic character of music.

Fanfare(it. fanfara) - a trumpet signal, usually of a festive solemn nature.

The final(it. finale - final) - the final part of a multi-part work, operas or ballet.

Folklore(from English folk - people and lore - teaching, science) - a collection of works of oral literary and musical folk art.

Musical form(lat. forma - appearance, shape) - 1. Means of embodying the ideological and figurative content, including melody, harmony, polyphony, rhythm, dynamics, timbre, invoice, as well as compositional principles of construction or F. in a narrow sense. 2. F. in the narrow sense - the historically established and developed patterns of the structure of musical works, the layout and relationships of parts and sections that determine the general contours of a musical work. The most common are F. tripartite, couplet, variational, rondo, sonata, as well as F. construction suite, sonata And symphonic(cm.) cycles.

piano(from it. forte-piano - loud-quietly) - the general name of the keyboard string instrument (piano, piano), which allows, unlike its predecessors - the harpsichord, chembalo, clavichord, receive sounds of various strengths. sound range and speakers, expressiveness and colorful variety of sound, great virtuoso and technical capabilities made F. predominantly solo and concert performers (cf. concert) an instrument, as well as a participant in many chamber-instrumental ensembles.

Fragment(from lat. fragmentum - fragment, piece) - a fragment of something.

Phrase(Greek phrasis - turn of speech, expression) - in music, a short relatively complete passage, part melodies, framed by pauses (caesuras).

Fugue(it. and lat. fuga - running) - a one-part work, which is polyphonic(see) exposition and subsequent development one melodies, Topics.

Fugato(from fuga) - polyphonic episode in an instrumental or vocal play, built like fugues, but not finished and turning into music of the usual, non-polyphonic warehouse.

fugetta(it. fugetta - small fugue) - fugue small sizes, with a reduced development section.

Furiant(Czech, lit. - proud, arrogant) - impetuous temperamental Czech folk dance; variable size - 2/4, 3/4.

Habanera(Spanish habanera - letters, Havana, from Havana) - Spanish folk song-dance, characterized by a restrained clear rhythm; size 2/4.

choir(from Greek choros) - 1. A large singing group, consisting of several groups, each of which performs its own party. 2. Compositions for the choir, independent or included in an operatic work, in which they are one of the most important forms often used in the creation of mass folk scenes.

Chorale(from Greek choros) - 1. Church choral singing on a religious text common in the Middle Ages. 2. A choral or other work or episode based on a uniform, unhurried movement chords, characterized by a sublimely contemplative character.

Hota(Spanish jota) - Spanish folk dance of temperamental live movement, accompanied by a song; size 3/4.

Music cycle(from the Greek. kyklos - circle, circuit) - a set of parts of a multi-part work, following one after another in a certain order. C. is based on the principle of contrast. The main varieties are the sonata-symphony ts., suite ts. (see. symphony, suite); cyclic also include the forms masses And requiem.

Chembalo(it. cembalo, claviecembalo) is the Italian name for the harpsichord, the forerunner of the modern piano. In the 17th and 18th centuries Ch. was part of operatic or oratorio orchestra accompanying the performance recitatives.

Ecossaise(fr. écossaise - "Scottish") - Scottish folk dance of fast movement; size 2/4.

Expression(from lat. expressio - expression) in music - increased expressiveness.

Elegy(Greek elegia from elegos - complaint) - play sad, thoughtful character.

Epigraph(Greek epigraphe - letters. inscription on the monument) - a figurative name of the initial musical phrase borrowed from literature, Topics or a passage that defines the predominant character, the leading thought of the entire work.

Episode(Greek epeisodion - incident, event) - a small part of the musical and theatrical action; sometimes a section introduced into a piece of music that has the character of a digression.

Epilogue(Greek epilogos from epi - after and logos - word, speech) - the final part of the work, summing up the events, sometimes talking about events that occurred after some time.

Epitaph(Greek epitaphios) - grave word.

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