Notes on solfeggio melody and harmony. Solfeggio
From this article you will learn why some music students do not like harmony, why it is so important to love these teachings and practice them regularly, and what results are achieved by those who wisely approach the study of these disciplines with patience and humility.
Many musicians admit that during their years of study they did not like theoretical disciplines, simply considering them superfluous, unnecessary subjects in the program. As a rule, in a music school, solfeggio takes on such a crown: due to the intensity of the school solfeggio course, children's music school students (especially truants) often do not have time in this subject.
At school, the situation is changing: solfeggio here appears in a “transformed” form and is liked by most students, and all the former indignation falls on harmony - a subject incomprehensible to those who failed to cope with elementary theory in the first year. Of course, it cannot be said that such statistics are accurate and characterize the attitude towards learning of the majority of students, but one thing can be said for sure: the situation of underestimation of music theoretical disciplines is extremely common.
Why is this happening? The main reason is ordinary laziness, or, to put it more decently, labor intensity. Courses in elementary music theory and harmony are based on a very intensive program that must be mastered in an extremely small number of hours. This results in the intensive nature of the training and the heavy load on each lesson. None of the topics can be left without elaboration, otherwise you will not understand everything that follows, which certainly happens to those who allow themselves to skip classes or not do their homework.
The accumulation of gaps in knowledge and the constant postponement of solving pressing problems until later leads to complete confusion, which only the most desperate student will be able to sort out (and will gain a lot as a result). Thus, laziness leads to blocking the professional growth of a pupil or student due to the inclusion of inhibitory principles, for example, of this type: “Why analyze what is not clear - it’s better to reject it” or “Harmony is complete nonsense and no one except extravagant theorists needs it.” "
Meanwhile, the study of music theory in its various forms plays a huge role in the development of a musician. Thus, solfeggio classes are aimed at developing and training a musician’s most important professional instrument – his ear for music. The two main components of solfeggio - singing from notes and recognition by ear - help to master two main skills:
– see the notes and understand what kind of music is recorded in them;
– hear music and know how to write it down in notes.
Elementary theory could be called the ABC of music, and harmony its physics. If theoretical knowledge allows us to identify and analyze any particles that make up music, then harmony reveals the principles of the interconnection of all these particles, tells us how music is structured from the inside, how it is organized in space and time.
Look through several biographies of any composers of the past, you will definitely find references there to those people who taught them general bass (harmony) and counterpoint (polyphony). In the matter of training composers, these teachings were considered the most important and necessary. Now this knowledge gives a solid foundation to the musician in his daily work: he knows exactly how to choose chords for songs, how to harmonize any melody, how to formulate his musical thoughts, how not to play or sing a false note, how to learn a musical text by heart very quickly, etc.
Now you know why it is so important to study harmony and solfeggio with complete dedication if you decide to become a real musician. It remains to add that learning solfeggio and harmony is pleasant, exciting and interesting.
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Outline of an open lesson on solfeggio in grade 2 III quarter, 1 lesson Developed by the teacher of theoretical disciplines of the Toburdanov Children's School Filippova Natalia Vasilievna S. Toburdanovo-2009 1 Lesson topic: repetition of the material covered. Lesson plan: Vocal and intonation skills. Chanting based on the material of the passed intervals (chanting, intervals - seconds, thirds, fourths, fifths; sequences) Repetition: parallel keys. Three types of minor. Working with the key of D minor. Rhythmic warm-up Theory in a crossword puzzle Homework Contents of the lesson: 1. The lesson begins with singing songs based on the material of the passed intervals. 2 Let us recall the concept of “Sequence”. The motif of the sequence is written on the board. We sing the ascending sequence with notes: Then the descending sequence: We sing solfeggio, then with the words the song “Sequence”: 3 Solfegging musical examples for the sequence: d) 4 2. We remember what parallel keys are based on the material of the song “PARALLEL TONALS” What types of minor do we know? Singing songs in minor key. 5 Work in the key of D minor. Using the circle of fifths we find F major. To F major there is a parallel D minor. a) We write down in a notebook and sing three types of D minor and triad. b) Singing steps using cards. Options: natural minor o I-III-V-IV-III-II-I o I-II-III-I-V-VI-V-I o V-III-II-I-II-VII-↓I o V-VI- V-III-II-VII-↓I harmonic and melodic I-III-II-I-VII#↓-I I-V-III-I-II-I-VII#↓-I V-VI-V-VII#- I I-V-VI#-VII#-I I-III-V-VI#-VII#-I 6 c) Introducing the new song “Lullaby” (Appendix 1) - Listen to the phonogram of the song - Analyze the content, structure of the melody - Sing with phonogram - Further in the form of a dictation. The teacher plays a melody, the students sing the rhythm using rhythm syllables and build the rhythm with cards. -We write down notes, sing solfeggio with a soundtrack. - We select harmony. -Singing to a backing track. 3. Rhythmic warm-up. - rhythmic exercises using cards. (At the discretion of the teacher) - Assignment: come up with your own rhythm 4. Theory in a crossword puzzle. Let's remember the theoretical material covered using this crossword puzzle as an example. 7 5.Homework: -Sing three types of D minor and triads -Song “Lullaby” - sing with notes and with words, play an instrument, select harmony. 8 Illustration material for the lesson. Appendix 1 9 Explanation of the lesson. The main objective of this lesson is to review the material of the 1st half of the year, since the lesson is held after the winter holidays. It is necessary to remember the material covered. The lesson includes the following sections: Vocal and intonation skills. Singing chants at intervals covered: from m. 2 to part 5 Repetition of the concepts of “Parallel keys” and minor of 3 types. Introducing the key of D minor. Singing step chains. The key of D minor is fixed using the example of the song “Lullaby”. Here is a complete analysis of expressive means: the nature of the music, rhythm, melodic movement. The recording of a song with notes is carried out in the form of a dictation. The selection of harmony for further playing of the instrument is also underway. Rhythmic warm-up is carried out according to various options at the choice of the teacher. For example, practicing various rhythm patterns using cards. Composing your own rhythm. You can use noise tools. Theory in a crossword puzzle. Students answer theoretical questions covered in previous lessons. This type of work is attractive to children. Bottom line: all the material being taught is accompanied by musical singing, and not by boring memorization of rules and concepts. 10
Solfeggio lesson "Harmonic major and minor. The relationship of elements"
I offer a summary of a solfeggio lesson in the 4th grade of the Children's Art School for pianists. The lesson is a study aimed at summarizing the experience of theoretical analysis of musical works.
Lesson summary.
Subject: Harmonic major and minor. The relationship of elements in the same keys
Lesson type: Lesson – research
Lesson objectives:
1. Summarize the previously obtained information about the structure of major and minor.
2. Draw conclusions about changes in the elements of modes during the interaction of major and minor.
Lesson objectives:
Educational:
1. Introduce students to harmonic major, D7, tritones in harmonic modes.
2. Compare the pitch position of major and minor degrees in harmonic and natural forms, examine the elements of modes and identify their changes associated with changes in the pitch structure of the mode.
3. Repeat previously studied information about major and minor, formulate conclusions on the comparative characteristics of the elements.
4. Learn to identify signs in minor keys in different ways.
5. Develop the skill of identifying by ear the harmonic and melodic types of major and minor, tritones, chains of chords in natural and harmonic major.
Educational:
Ability to work in a group, help each other in finding a solution to a given problem.
Motivate interest in research.
Lesson equipment:
Projector, computer, piano, stereo system.
Reader on auditory analysis in solfeggio lessons (compiled by Shekhtman L.S.)
Sheet music: J.S.Bach HTC Volume I, Prelude in A minor.
Lesson steps
Organizational moment, goal setting, motivation of educational activitiesA short introductory word about the genre of the lesson - research as the most active type of activity when learning new material.
The teacher introduces the topic of the lesson and discusses the wording with the students. The meaning of each musical term in the formulation of the lesson topic is clarified.
Students explain the meaning of familiar terms (harmonic minor, keys of the same name, completed elements of the mode - stable and unstable steps, main triads of the mode, tritones), identify unfamiliar terms (harmonic major).
Together with students, the teacher forms the goals of the lesson.
What will we do in class today? – Explore the harmonic major scale, compare elements.
What do we need to know to make this happen? – Those elements of modes that were previously studied in solfeggio lessons.
The teacher divides the children into two groups, designating them as two research laboratories, and appoints a senior “researcher” in each group.
Updating the knowledge, skills and abilities necessary for creative application and learning of new material
The teacher suggests analyzing several pairs of tonalities of the same name and finding the steps that differ in pitch in each pair.
Slides 2 – 7.
As a result of the analysis, students conclude that in each pair the III, VI and VII steps are different in height.
The teacher draws the children's attention to the fact that tones with different numbers of characters were analyzed. Next, a brief historical background is given - about the existence in the past of the natural system and the later, tempered system. Slide 8 is a portrait of J.S. Bach, the composer who created 2 volumes of the HTC and supported the theory of equal temperament.
The teacher offers to listen to the prelude in A minor from Volume I of the Kharkiv Theater and gives a task to the groups: to determine the mode at the beginning of the work and at the end.
The prelude in A minor sounds.
Students identify A minor at the beginning of the prelude and A major at the end of the prelude, which gives the keys of the same name.
The teacher gives a task for research in groups: the first group analyzes the beginning of the prelude by notes and must find signs of A minor; the second group analyzes the end of the prelude and must find signs of A major. Slide 9.
After 3 minutes, the groups give the answer: A minor has no signs at the key, the sign G#, which appears at the beginning, “belongs” to the major of the same name as the VII degree. In A minor, this sign can be explained as a change in degree in the harmonic form of the minor. The second group comes to the conclusion that the appearance of the sound C# (III degree) at the end of the prelude changes A minor to A major.
The teacher once again draws attention to the rise of the 7th degree in the harmonic minor as an element of the natural major.
Learning new material
The teacher shows on the projector Slide 10 two options for recording a melody from M.I. Glinka’s opera “Life for the Tsar” (a fragment of the Romance of Antonida), listen to this melody and choose the correct recording option from the two proposed.
After listening, students choose option 2.
The teacher draws attention to the different modal colors of the third bar in examples 1 and 2, explains the use of the minor as emphasizing the emotional tension in the words “bitter grief.” Slide 11.
The conclusion is formulated: in order to emphasize the emotional meaning of the word, the composer borrows a lower VI degree from minor to major. The rule for the formation of the harmonic form of the major is written down in the notebook.
Singing a fragment from M.I. Glinka's opera with accompaniment.
After singing the melody with accompaniment, a harmonic analysis of this fragment is done. The teacher draws the students' attention to a chord with a modified sound (G-flat) and asks them to give it a name.
Students define this chord as a minor subdominant and, together with the teacher, conclude that the minor subdominant is an element of the natural minor in the harmonic major of the same name.
The teacher invites students to listen to a fragment of the Sonata by F. Schubert and determine by ear the chord of the minor subdominant that is used in the work.
After listening, students determine S53harmon. in the second sentence.
One of the students shows this chord among the chords of the harmonic sequence Slide 12., then all students name the chords in the chain in order up to S53 harmonic.. Slide 13.
Singing the lower voice of a harmonic sequence (the teacher plays the upper voices on the piano).
The teacher asks students to highlight any unfamiliar chords or symbols in the chain.
Students pay attention to the seventh measure of the harmonic sequence. As a result of the analysis, it turns out that the chord of 4 sounds is dominant, in structure it is one third more than the dominant triad, the extreme sounds form a seventh. The teacher introduces the concept of “dominant seventh chord.” The teacher also explains the meaning of the designation K64 in the final harmonic revolution.
The teacher gives a task for research: what elements can be found in D7?
After listening to all the answer options, the teacher concentrates the students’ attention on mind.5, which is part of the chord. Since students already know the rule for resolving tritones, they can easily remember the resolution rule D7.
Group work
The teacher invites students in groups to explore the scale of harmonic major (group 1) and harmonic minor (group 2). Students must build a scale, find a segment of 3 tones in it and answer the question which steps are involved in the formation of tritones in harmonic modes.
The first group concludes that the tritone in harmonic major is on the segment II-VId degree. This rule corresponds to the rule for constructing tritones in the natural minor.
The second group concludes that the tritone in the harmonic minor is formed on the segment IV-VIId level. This rule corresponds to the rule for constructing tritones in natural major.
The teacher helps formulate the conclusion: a change in steps in harmonic modes entails a change and the formation of new elements borrowed from the same keys. The modes – major and minor – are getting closer and enriched with new expressive means.
Primary test of knowledge acquisition. Primary consolidation of knowledge. Control and self-test of knowledge
Slide 14. The teacher gives the task to compare the scales of D major and D minor in harmonic forms, to find similarities and differences.
Students find that all degrees are the same in height, except for III - in major it is high, and in minor it is low.
The teacher draws the students' attention to the fact that stage III is an indicator of the color of the fret. Slide 15.
Slide 16. The teacher instructs students to place signs in harmonic modes, based on the scales of the same keys in their natural form.
Students easily change the degrees, borrowing signs according to the scheme of their scales of the same keys. (answer Slide 17).
Slide 18 – confirmation of what was learned in the lesson using the example of other keys.
The teacher explains to the students how to identify signs through the same tonality. Since the natural major and minor of the same name always differ by 3 signs, we can derive a formula for determining the signs in the minor through the tonality of the same name:
With dur – 3 characters = with moll
It is very convenient to represent this on a number line. Flats go into minus, sharps go into plus. If there are 4 sharps in a major (4 – 3 = 1), then in the minor of the same name there is 1 sharp. If there is 1 sharp in a major (1 – 3 = –2), then in the minor of the same name there are 2 flats.
Summing up the lesson, reflection
Students name what they learned new in the lesson and repeat new terms.
Reflection – Who had it easy? Difficult? Is everything clear? Who wants to know more?
Homework (optional):
1. In the works of the specialty, find the elements that were discussed in the lesson.
2. Briefly formulate the main conclusions of the lesson in a few sentences.
Lesson summary "Parallel keys D major - B minor" for students of the 2nd grade of the instrumental department of the Children's Music School (DSHI) in the subject "Solfeggio"
Butorina E.I., teacher of theoretical disciplinesPlace of work: MBU DO "Children's Art School" in Gornozavodsk, Perm Territory
The target audience: 2nd grade of the instrumental department of children's music school, children's art school.
Age of students: 8 - 9 years old.
Academic subject: solfeggio, 2nd grade, 2nd quarter.
Class time: 1 hour 05 minutes.
Equipment: classroom, multimedia projector, computer (laptop), screen, speakers.
Lesson type: lesson of generalization and systematization of knowledge.
The purpose of the lesson– identification and systematization of students’ knowledge on the topic “Parallel keys D major – B minor.”
Tasks:
- test theoretical knowledge on the covered topic;
- apply acquired theoretical knowledge in practical tasks;
- continue to develop skills of independent work and group work;
- teach the creative application of knowledge in familiar and changed situations;
- continue training in techniques for comparing and summarizing knowledge (creating tables);
- develop the creative abilities of each student.
The lesson summary may be of interest to teachers of the educational subject "Solfeggio" of Children's Music School (DSHI). The choice of lesson topic is justified by the thematic plan for the academic subject “Solfeggio” (Additional pre-professional educational program in the field of musical art “Piano”, subject area Theory and history of music in the academic subject “Solfeggio”, editor-in-chief I.E. Domogatskaya, Moscow, 2012) , 2nd grade, II quarter, lesson “Parallel tonalities.”
To successfully conduct a training session, a outline plan has been drawn up; a presentation has been prepared (in the text of the competition work, all presentation slides are presented in the form of drawings); musical examples in D major and B minor were selected (see “Tasks for practical work”).
To achieve the goal and objectives of the lesson, teachers are recommended the following effective methods: the reproductive method (to identify theoretical knowledge on the topic covered) and the search method (to systematize knowledge and apply this knowledge in practical tasks). For example, when performing practical tasks, you can use the “Find the error” method in a previously learned musical number (“Our neighbor took the bagpipes”) and the “Musical Detective” method (a fragment of E. Grieg’s play “In the Cave of the Mountain King” - searching for deviations in the key of D major). Students will be interested in the process of identifying the “emotional coloring” of tonalities using examples from classical music. For example, the key is D major - J. Haydn, sonata in D major, first movement, main part; P. I. Tchaikovsky, “Kamarinskaya” and “Italian Song” from the Children's Album; key of B minor – E. Grieg, “In the Cave of the Mountain King”; P.I. Tchaikovsky, "Winter Morning" from the Children's Album. It is equally important to draw students’ attention to the use of “warm” and “cold” colors to create their own drawings that reflect the “character” of these tones.
To learn how to compare and generalize acquired knowledge, students are asked to complete a variety of practical tasks in familiar and modified situations, and create two tables (“Comparative table for performing practical work”, “Auxiliary table for performing practical work”). The created tables can be used when studying other parallel tones in solfeggio lessons.
During the lesson, it is recommended to use different forms of questioning students (individual, group, frontal) depending on the types of tasks, trying to pay attention to the group as a whole and each student. I wish all teachers of theoretical disciplines creative success! Best regards, Elena Butorina.
During the classes
1. Organizational stage (greeting, checking preparedness for the lesson, organizing attention):Teacher: Hello, dear guys! The topic of our lesson is “Parallel keys D major - B minor.” The lesson will be filled with a variety of tasks that are aimed at achieving the main goal - consolidating and applying knowledge on this topic. I propose to conduct the lesson as productively as possible so that it does not become a “tale of wasted time,” and let the motto of our lesson be a quote from Henry Ford: “Time does not like to be wasted.” Is everyone ready? Let's start!
Slide No. 1 is projected onto the screen:
2. Checking homework completion (frontal survey):
Teacher: I propose to start the lesson by checking your homework in the following way: compare the construction of scales in your notebook and on the presentation slide. Is everything built correctly for you?
- checking the construction of the D major scale;
- checking the construction of the B minor scale (three types);
Slide No. 2 is projected onto the screen:
- singing a one-voice number by heart “Our neighbor took the bagpipes” (team work):
Teacher: Well done! Now you need to answer the following questions:
1. How many key signs are there in the keys of D major and B minor?
2. What are these signs?
3. What is the distance between parallel tones?
4. Are there identical (“common”) sounds in parallel keys?
Students: answer, discuss.
3. Preparing students for work at the main stage (team work).
Teacher: Before we begin practical work (the main stage of the lesson), let's do the following: search for “common” sounds in parallel keys: D major – B minor (natural form); D major – B minor (harmonic form); D major – B minor (melodic form).
Students: On each of the subsequent slides, students find the same (“common”) sounds between two keys and answer the question: “How many common sounds are there between D major and the natural form of B minor?”
Slide No. 3 is projected onto the screen:
The correct answer is 7 “common sounds.
Slide No. 4 is projected onto the screen:
The correct answer is 6 common sounds.
Slide No. 5 is projected onto the screen:
The correct answer is 5 common sounds.
Teacher: The next task you have to complete is this: on the screen you see familiar chords. Are they built correctly? Are there “common” sounds in the main triads of D major and B minor?
Have students answer the following questions:
1. What are the main triads of the mode?
2. From what stages are they built?
3. For what form of work in the lesson will they be useful?
Slide No. 6 is projected onto the screen:
4. The main stage of work (application of knowledge and skills in practical work):
- determine the types of minor in single-voice numbers No. 1, No. 2, No. 3 (individual work); “Tasks for practical work”, No. 1;
- correct melodic “errors” in the one-voice number “Our neighbor took the bagpipes” (individual work):
- play a musical fragment of E. Grieg’s play “In the Cave of the Mountain King” and determine in which bar the deviation to a different key occurs (collective work “musical detective”); determine the change in key indicating the beat;
Slide No. 7 is projected onto the screen:
The correct answer is the deviation in D major in bar 4.
- determine the tonal plan of the melody of Masha’s song from the cartoon “Geese and Swans” (words by A. Kovalenkov, music by Y. Nikolsky, 1947);
Slide No. 8 is projected onto the screen (the correct answer is the “flight” animation effect):
- harmonize the first verse of the song “Steam Locomotive” (joint work of the teacher and students).
Slides No. 9, No. 10 are projected onto the screen:
Song “The locomotive is going, going” (words by S. Ernesaks, Russian text by V. Tatarinov, music by G. Ernesaks)
5. Systematization and generalization of knowledge and skills (consolidation of theoretical knowledge, compilation of tables):
- identifying the emotional coloring of keys using musical examples: determining the nature of musical works in D major (P.I. Tchaikovsky, “Italian Song”, “Kamarinskaya”; J. Haydn, Sonata in D major, first movement, main part) and B minor ( P.I. Tchaikovsky, “Winter Morning”); teamwork:
Slide No. 11 is projected onto the screen:
Slide No. 12 is projected onto the screen:
Note: Musical fragments must be prepared in advance and inserted into the presentation.
- which of the proposed words can convey the emotional coloring of D major, and which of B minor?
Slide No. 13 is projected onto the screen:
- determination of the color scheme of D major and B minor;
Slide No. 14 is projected onto the screen:
- comparison of tones;
- compiling a comparative table for performing practical tasks (team work);
Slide No. 15 is projected onto the screen:
- compiling an auxiliary table for performing practical work (team work):
Slide No. 16 is projected onto the screen:
6. Control and self-control of knowledge and methods of action:
- checking completed assignments by children (by their deskmate), then by the teacher.
7. Correction of knowledge and methods of action:
- searching for errors in performing practical work;
- determination of an algorithm of actions to independently achieve the correct result.
8. Information about homework, instructions on how to complete it:
- determine the “mood” of the text of the second verse of the song “Steam Locomotive” (the author of the text version for the second verse is E.I. Butorina);
- write the melody of the second verse in B minor (the melody of repeated construction), followed by harmonization and performance;
- draw a picture for the song “Steam Locomotive” in major and minor versions, taking into account warm and cold color shades.
Slides No. 17, No. 18 are projected onto the screen:
9. Summing up the training session:
Evaluation of activities by the students themselves and the teacher (how actively they worked in the lesson; whether all tasks were completed, how independently; what turned out well and what requires additional improvement; what theoretical knowledge needs to be corrected):
Slide No. 19 is projected onto the screen:
Trying to understand the answer to the question: what is music? - people have come up with clouds of descriptive, constructive and practical musical disciplines.All of them, to some extent, distance or bring us closer to the understanding of music, this completely elusive, always multi-valued and mystical “essence”.
Nevertheless, these disciplines make it possible to form at the initial stage (at school) a certain community of people with the same view of the musical world, a community of lovers of certain musical works that have long become popular.
At the next stage (already in a professional music institution - college) - a minimum of professional skills is given, without which it is impossible to call oneself a musical professional, even to the smallest extent. This is information that has become indisputable in a strictly defined musical field.
Conservatories (or music academies) provide a broader view of the art of music and more professional skills, although, naturally, this is no more than 1 percent of the volume of world musical knowledge. Musical traditions vary greatly across countries and cultures.
We study only the musical traditions of Western Europe and Russia. We know something about the folk music of the former CIS countries. All this: specific genres, certain forms, a certain musical structure, a certain music. language, musical content corresponding to a certain culture, certain musical instruments, a certain style of singing.
On our website you will find many articles and exercises on the study of musical theoretical subjects, such as solfeggio (sung numbers and audio dictations), theory, analysis, harmony, polyphony, musical literature (genres of music and analyzes of musical works).
SOLMISATION(from the name of the sounds sol and mi) - singing melodies with syllabic names of sounds.
MUSICAL ANALYSIS is a musical theoretical discipline that studies the structure of a musical work. In musicology, there has been a tradition of considering a musical work as a special artistic system, a meaningful whole, in which various musical expressive means - elements, aspects of a musical work - are combined, subordinated, compositionally designed and interact. Each of these elements (melody, harmony, counterpoint, etc.) can become the subject of a special analytical study (harmonic analysis, polyphonic analysis, rhythmic analysis, form analysis, and so on). The interaction of all aspects (sound, intonation, composition) of a musical work is studied by the so-called holistic musical analysis: the work is considered in the unity of content and form, theoretical and historical perspectives, objective study and aesthetic assessment, as an artistic whole, depending on the composer's intention, performing interpretation and focus on the listener. In vocal music, the relationship between the actual musical means and the verbal text is also analyzed.
HARMONY (Greek - connection, order; structure, harmony; coherence, proportionality, harmony). The term “Harmony” in music includes a number of meanings: pleasant coherence of sounds; combining sounds into consonances and their natural sequence; Harmony is also called a scientific and educational-practical discipline that studies the pitch organization of music, consonance and their connections. The concept of Harmony is used to characterize the pitch system, chords, tonal (modal) functions, etc., a specific musical style (for example, “Baroque harmony”, “Prokofiev’s harmony”), as well as in the meaning of “chord”, “consonance” .
HARMONY SOLVERS - possible solutions to musical harmony problems.
MUSICAL LITERATURE - this is what is usually called all musical works in their entirety: works created by various composers in different countries. This term is used in the same way as, for example, “special literature”, “reference literature”, “scientific literature”. There is another meaning of this term: this is the name of the subject, or rather, the academic discipline, which is studied in senior classes of music schools and music colleges. The program of musical literature includes biographies of major composers, domestic and foreign, an introduction to their work, as well as a detailed study of some of the most famous, most important works.