Musical texture. Texture, musical structure, textural transformation of harmony, non-chord sounds
lat. factura - manufacturing, processing, structure, from facio - I do, carry out, form; German Faktur, Satz - warehouse, Satzweise, Schreibweise - style of writing; French texture, structure, conformation - device, addition; English texture, texture, structure, build-up; Italian strutture
In a broad sense, it is one of the aspects of musical form, included in the aesthetic and philosophical concept of musical form in unity with all means of expressiveness; in a narrower and more commonly used sense - the specific design of the musical fabric, musical presentation.
The term "texture" is revealed in connection with the concept of "musical warehouse". Monodic. the warehouse assumes only a “horizontal dimension” without any vertical relationships. In strictly unison monodic. samples (Gregorian chant, Znamenny chant) single-headed. music fabric and f. are identical. Rich monodic. F. distinguishes, for example, Eastern music. peoples who did not know polyphony: in Uzbek. and Taj. makome singing is duplicated by the instrument. ensemble with the participation of percussionists performing usul. Monodic. composition and f. easily transform into a phenomenon intermediate between monody and polyphony - into heterophonic presentation, where unison singing becomes more complex during the performance process. melodic and textural options.
The essence of polyphony. warehouse - correlation at the same time. melodious sounding lines are relatively independent. the development of which (more or less independent of the consonances arising vertically) constitutes the logic of the muses. forms. In polyphonic music vocal tissues tend to be functionally equal, but can also be multifunctional. Among the qualities are polyphonic. F. creatures. What matters is density and rarefaction (“viscosity” and “transparency”), which are regulated by the number of polyphonics. voices (masters of a strict style willingly wrote for 8-12 voices, maintaining one type of f. without a sharp change in sonority; however, in masses it was the custom to set off the lush polyphony with light two- or three-voices, for example, Crucifixus in the masses of Palestrina). Palestrina only outlines, but in free writing, polyphonic techniques are widely used. condensation, condensation (especially at the end of the work) with the help of increase and decrease, stretta (fugue in C major from the 1st volume of Bach's Well-Tempered Clavier), combinations of different themes (coda to the finale of Taneyev's symphony in C minor). The example below is characterized by textural thickening due to the rapid pulse of the introductions and textural expansion of the 1st (thirty-second) and 2nd (chords) elements of the theme:
J. S. Bach. Fugue in D major from Volume 1 of The Well-Tempered Clavier (bars 23-27).
For polyphonic F. is characterized by unity of pattern, absence of sharp contrasts in sonority, and a constant number of voices. One of the remarkable properties of polyphonic. P. - fluidity; polyphony. F. is distinguished by constant updating, the absence of literal repetitions while maintaining a complete thematic theme. unity. Defining value for polyphonic. F. has a rhythmic and thematic vote ratio. With equal durations, a chorale rhythm appears in all voices. This rhythm is not identical to the chord-harmonic one, since the movement here is determined by the development of melodic elements. lines in each of the voices, rather than functional harmonious relationships. verticals, for example:
F. d" Ana. Excerpt from the motet.
The opposite case is polyphonic. F., based on complete meter-rhythm. independence of voices, as in the mensural canons (see example in Art. Canon, column 692); the most common type of complementary polyphonic. F. is determined thematically. and rhythmic similar to themselves. voices (in imitations, canons, fugues, etc.). Polyphonic F. does not exclude sharp rhythmic. stratification and unequal ratio of voices: counterpointing voices moving in relatively small durations form the background for the dominant cantus firmus (in masses and motets of the 15th-16th centuries, in Bach’s organ choral arrangements). In the music of later times (19th-20th centuries), multi-themed polyphony develops, creating an unusually picturesque composition (for example, the textured interweaving of the leitmotifs of fire, fate and Brünnhilde’s sleep at the conclusion of Wagner’s opera “Walkyrie”). Among the new phenomena of music of the 20th century. should be noted: F. linear polyphony (movement of harmonically and rhythmically uncorrelated voices, see Milhaud's "Chamber Symphonies"); P., associated with complex dissonant duplications of polyphonic. voices and turning into polyphony of layers (often in the works of O. Messiaen); "dematerialized" pointillist. F. in op. A. Webern and its opposite polygon. the severity of the orc. counterpoint by A. Berg and A. Schoenberg; polyphonic F. aleatory (in W. Lutoslawski) and sonoristic. effects (by K. Penderecki).
O. Messiaen. Epouvante (Rhythmic Canon. Example No. 50 from his book "Technique of My Musical Language").
Most often the term "F." applied to harmonic music. warehouse In the immeasurable variety of types of harmonious. The first and simplest is its division into homophonic-harmonic and actually chordal (the latter is considered as a special case of homophonic-harmonic). Chord F. is monorhythmic: all voices are presented with sounds of the same duration (the beginning of the fantasy overture “Romeo and Juliet” by Tchaikovsky). In homophonic-harmonic F. drawings of the melody, bass and complementary voices are clearly separated (the beginning of Chopin's nocturne in C minor). The following basic types are distinguished: types of presentation harmonious. consonances (Tyulin, 1976, chapters 3rd, 4th): a) harmonious. figuration of the chord-figurative type, representing one or another form of alternate presentation of chord sounds (prelude in C major from the 1st volume of Bach's Well-Tempered Clavier); b) rhythmic. figuration - repetition of a sound or chord (poem D major op. 32 No. 2 by Scriabin); c) decomposition duplications, e.g. per octave at orc. presentation (minuet from Mozart’s g-moll symphony) or long doubling into third, sixth, etc., forming a “ribbon movement” (“Musical Moment” op. 16 No. 3 by Rachmaninov); d) various types of melodies. figurations, the essence of which is to introduce melodiousness. movement in harmonious voices - complication of chord figuration by passing and auxiliary. sounds (Chopin’s etude op. 10 No. 12), melodization (choral and orc. presentation of the main theme at the beginning of the 4th scene “Sadko” by Rimsky-Korsakov) and polyphonization of voices (introduction to Wagner’s “Lohengrin”), melodic-rhythmic "revival" org. point (4th painting "Sadko", number 151). The given systematization of types of harmonics. F. is the most common. In music there are many specific textural techniques, the appearance of which and methods of use are determined stylistically. the norms of this musical-historical eras; therefore, the history of f. is inseparable from the history of harmony, orchestration (more broadly, instrumentalism), and performance.
Harmonic warehouse and f. originate in polyphony; for example, Palestrina, who perfectly sensed the beauty of sobriety, could use the figuration of emerging chords over many bars with the help of complex polyphonic (canon) and the choir itself. means (crossing, doubling), admiring the harmony, like a jeweler with a stone (Kyrie from the Mass of Pope Marcello, bars 9-11, 12-15 - quintuple counterpoint). For a long time in instr. prod. composers of the 17th century dependence on chorus The style of strict writing was obvious (for example, in the organizational work of J. Sweelink), and composers were content with relatively simple techniques and designs of mixed harmonics. and polyphonic F. (eg G. Frescobaldi). F.'s expressive role is enhanced in production. 2nd floor 17th century (in particular, spatial-textural comparisons of solo and tutti in the work by A. Corelli). The music of J. S. Bach is marked by the highest development of F. (chaconne in d-moll for solo violin, “Goldberg Variations”, “Brandenburg Concertos”), and in some virtuoso op. (“Chromatic Fantasy and Fugue”; Fantasy in G major for organ, BWV 572) Bach makes textural discoveries that were later widely used by the Romantics. The music of the Viennese classics is characterized by clarity of harmony and, accordingly, clarity of textured patterns. Composers used relatively simple textural means and were based on general forms of movement (for example, figures such as passage or arpeggio), which did not conflict with the attitude towards F. as a thematically significant element (see, for example, the middle in the 4th variation from the 1st movement of Mozart's sonata No. 11 A-dur, K.-V. in the presentation and development of themes from the Allegri sonatas, motivic development occurs in parallel with textural development (for example, in the main and connecting parts of the 1st movement of Beethoven’s sonata No. 1). In the music of the 19th century, primarily among romantic composers, there is an exception. variety of types of F. - sometimes lush and multi-layered, sometimes homely, sometimes fantastically whimsical; strong textural and stylistic differences arise even in the work of one master (cf. the diverse and powerful pianoforte of the H-moll sonata for piano and the impressionistically exquisite drawing of the pianoforte of Liszt’s play “Grey Clouds”). One of the most important trends in music of the 19th century. - individualization of textured patterns: the interest in the extraordinary, the unique, characteristic of the art of romanticism, made it natural to reject standard figures in F. Special ways of multi-octave highlighting of a melody were found (Liszt); The musicians found opportunities for updating the fresco primarily in the melodization of broad harmonics. figuration (including in such an unusual form as in the finale of Chopin's sonata in B minor), which sometimes turned almost into polyphonic. presentation (the theme of the side part in the exposition of the 1st ballad for f. Chopin). Textural diversity maintained the listener's interest in the wok. and instr. cycles of miniatures, it to a certain extent stimulated the composition of music in genres directly dependent on F. - etudes, variations, rhapsodies. On the other hand, there was a polyphonization of F. in general (the finale of Frank’s violin sonata) and harmonics. figurations in particular (8-chapter canon in the introduction to Wagner's Das Rheingold). Rus. musicians discovered a source of new sonorities in Eastern textural techniques. music (see, in particular, “Islamey” by Balakirev). Some of the most important. achievements of the 19th century in the field of F. - strengthening its motivic richness, thematic. concentration (R. Wagner, J. Brahms): in some op. in fact, there is not a single bar that is not thematic. material (for example, symphony in C minor, Taneyev’s quintet, late operas by Rimsky-Korsakov). The extreme point in the development of individualized f. was the emergence of P.-harmony and F.-timbre. The essence of this phenomenon is that when defined. conditions, harmony, as it were, turns into f., expressiveness is determined not so much by the sound composition as by the picturesque arrangement: the correlation of the “floors” of the chord with each other, with the registers of the piano, with the orchestra takes precedence. in groups; What is more important is not the pitch, but the textural content of the chord, i.e. how it is played. Examples of F.-harmony are contained in op. M. P. Mussorgsky (for example, “Clock with Chimes” from the 2nd act of the opera “Boris Godunov”). But in general, this phenomenon is more typical for music of the 20th century: F.-harmony is often found in production. A. N. Scriabin (beginning of the reprise of the 1st movement of the 4th fp. sonata; the culmination of the 7th fp. sonata; the last chord of the fn. poem “To the Flame”), C. Debussy, S. V. Rachmaninov. In other cases, the fusion of f. and harmony determines the timbre (fn. play "Scarbo" by Ravel), which is especially clearly manifested in the orc. the technique of “combining similar figures”, when sound arises from the combination of rhythmic. variations of one textured figure (a technique known for a long time, but which received brilliant development in the scores of I. F. Stravinsky; see the beginning of the ballet “Petrushka”).
In art of the 20th century. different methods of updating f. coexist. The most general trends are noted: strengthening the role of f. in general, including polyphonic. F., due to the predominance of polyphony in music of the 20th century. (in particular, as a restoration of paintings from past eras in works of the neoclassical direction); further individualization of textural techniques (F. is essentially “composed” for each new work, just as an individual form and harmony are created for them); opening - in connection with new harmonious. norms - dissonant duplications (3 etudes of Scriabin's op. 65), the contrast of a particularly complex and "sophisticatedly simple" f. (1st part of the 5th fp. Prokofiev concert), improvisational drawings. type (No. 24 “Horizontal and Vertical” from Shchedrin’s “Polyphonic Notebook”); combination of original textured features of the national music with the latest harmonics. and orc. technology by Prof. art (brightly colorful “Symphonic Dances” by Moldovan composer P. Rivilis and other op.); continuous thematization of f. c) in particular, in serial and serial works), leading to the identity of thematicism and f.
Emergence in new music of the 20th century. non-traditional composition, not related to either harmonic or polyphonic, determines the corresponding varieties of f.: the following fragment of the production. shows the fragmentation and incoherence of the f. characteristic of this music - register stratification (independence), dynamic. and articulation. differentiation:
P. Boulez. Piano Sonata No. 1, beginning of the 1st movement.
The meaning of F. in the art of music. the avant-garde is brought to its logical level. limit when F. becomes almost the only one (in a number of works by K. Penderecki) or unities. the goal of the composer's work itself (the vocal sextet "Stimmungen" by Stockhausen is a textural and timbre variation of one B major triad). F.'s improvisation in given pitches or rhythms. within - basic technique of controlled aleatorics (op. W. Lutoslawski); The area of Physics includes an incalculable number of sonoristics. inventions (collection of sonoristic techniques - “Coloristic fantasy” for f. Slonimsky). Toward electronic and concrete music created without tradition. instruments and means of performance, the concept of f. is apparently inapplicable.
F. disposes means. formative capabilities (Mazel, Zuckerman, 1967, pp. 331-342). The connection between f. and form is expressed in the fact that maintaining a given f. drawing promotes unity of construction, while changing it promotes dismemberment. F. has long served as the most important transformative tool in section. ostinato and neostaina variation forms, revealing in some cases large dynamic. possibilities (“Bolero” by Ravel). F. is capable of decisively changing the appearance and essence of muses. image (carrying out the leitmotif in the 1st part, in the development and code of the 2nd part of the 4th fp. Scriabin’s sonata); textural changes are often used in reprises of tripartite forms (the 2nd movement of Beethoven's sonata no. 16; Chopin's nocturne in c-moll op. 48), in the performance of a refrain in a rondo (the finale of Beethoven's sonata no. 25). The formative role of f. in the development of sonata forms (especially orchestral works) is significant, in which the boundaries of sections are determined by a change in the method of processing and, consequently, the f. thematic. material. Changing F. becomes one of the main. means of dividing form in works of the 20th century. (Honegger's "Pacific 231"). In some new works, F. turns out to be decisive for the construction of the form (for example, in the so-called repetent forms, based on the variable return of one construction).
Types of F. are often associated with a definition. genres (for example, dance music), which is the basis for combining in production. various genre features that give the music an artistically effective polysemy (examples of this kind in Chopin’s music are expressive: for example, Prelude No. 20 in c-moll - a mixture of features of a chorale, a funeral march and a passacaglia). F. retains the signs of a particular historical or individual music. style (and, by association, era): so-called. guitar accompaniment makes it possible for S.I. Taneyev to create a subtle stylization of early Russian. elegies in the romance “When, whirling, autumn leaves”; G. Berlioz in the 3rd movement of the symphony "Romeo and Julia" to create a national and historical the color skillfully reproduces the sound of a 16th century a cappella madrigal; R. Schumann writes authentic music in Carnival. portraits of F. Chopin and N. Paganini. F. is the main source of music. figurativeness, especially convincing in those cases when a person is depicted. movement. With the help of F., visual clarity of music is achieved (introduction to “Das Rheingold” by Wagner), at the same time. full of mystery and beauty (“Praise to the Desert” from “The Tale of the Invisible City of Kitezh and the Maiden Fevronia” by Rimsky-Korsakov), and sometimes amazing trepidation (“the heart beats in ecstasy” in M. I. Glinka’s romance “I Remember a Wonderful Moment” ).
Literature: Sposobin I., Evseev S., Dubovsky I., Practical course of harmony, part 2, M., 1935; Skrebkov S.S., Textbook of polyphony, parts 1-2, M.-L., 1951, 1965; his, Analysis of musical works, M., 1958; Milshtein Ya., F. List, part 2, M., 1956, 1971; Grigoriev S.S., About the melodics of Rimsky-Korsakov, M., 1961; Grigoriev S., Muller T., Textbook of polyphony, M., 1961, 1977; Mazel L. A., Tsukkerman V. A., Analysis of musical works, M., 1967; Shchurov V., Features of the polyphonic texture of songs in Southern Russia, in: From the history of Russian and Soviet music, M., 1971; Tsukkerman V. A., Analysis of musical works. Variational form, M., 1974; Zavgorodnyaya G., Some features of texture in the works of A. Honegger, "SM", 1975, No. 6; Shaltuper Yu., About Lutosławski’s style in the 60s, in: Problems of Music Science, vol. 3, M., 1975; Tyulin Yu., The doctrine of musical texture and melodic figuration. Musical texture, M., 1976; Pankratov S., On the melodic basis of the texture of Scriabin’s piano works, in the collection: Questions of polyphony and analysis of musical works (Proceedings of the Gnessin State Musical-Pedagogical Institute, issue 20), M., 1976; his, Principles of textured dramaturgy of Scriabin’s piano works, ibid.; Bershadskaya T., Lectures on harmony, Leningrad, 1978; Kholopova V., Faktura, M., 1979.
Monodic texture. It assumes only a horizontal dimension (vertical is excluded). Examples include Gregorian chant and Znamenny chant, where the monophonic musical texture and texture are identical. Monodic composition and texture easily take on a form intermediate between monody and polyphony - heterophonic presentation, where unison singing during performance is complicated by various melodic and textural options.
Polyphonic texture. Its essence lies in the correlation of simultaneously sounding melodic lines, the relatively independent development of which constitutes the logic of the musical form. Important qualities are density and sparseness, i.e. “viscosity” and “transparency”, which are regulated by the number of polyphonic voices (for example, the Mass of G. Palestrina, Fugue in C major from the 1st volume of “The Well-Tempered Clavier” by J. S. Bach, coda to the finale of the Symphony in C minor by S. I. Taneyev ).
Polyphonic texture is characterized by unity of pattern, absence of sharp sonority contrasts, and a constant number of voices. One of the properties is fluidity, which is achieved by erasing caesuras that separate constructions, the imperceptibility of transitions from one voice to another. The polyphonic texture is distinguished by constant updating, the absence of literal repetitions while maintaining complete thematic unity. The rhythmic and thematic relationship of voices is of great importance for this texture.
Types of polyphonic texture:
1. Choral texture, which occurs at the same duration in all voices. In this case, the movement is determined by the deployment of the melodic line in each of the voices, and not by the functional relationships of the harmonic verticals. This texture is not identical to the chord-harmonic one.
2. Fact based on absolute metro-rhythmic independence of voices , as in the mensural canons. Mensural notation allowed the fixation of both the height and relative duration of sounds, in contrast to the non-neutral notation, which indicated only the direction of movement of the melody, and the choral notation that replaced it, where the pitch of sounds was indicated (in the mensural notation, bipartite and tripartite fragmentation of the same durations was allowed).
3. Multi-themed polyphony, creating a picturesque textured plexus. It received its development in the music of the 19th-20th centuries. (conclusion of R. Wagner’s opera “Walkyrie”).
4. Texture of linear polyphony, based on the movement of harmonically and rhythmically uncorrelated voices. The melodic line is formed by the sequential movement of sounds of different heights (for example, D. Milhaud’s “Chamber Symphonies”).
5. Invoice related to complex dissonant duplication of polyphonic voices and turning into polyphony of layers (most often found in the works of O. Messiaen).
6. “Dematerialized” pointillistic texture, the specificity of which is that the musical idea is presented not in the form of themes or motives, but with the help of abrupt sounds (mainly with wide jumps, exposing single points in various registers), surrounded by pauses. A colorful scattering of bright dots (sounds) is typical for pointillism. This is one of the modern methods of composition - writing with dots. A. Webern is considered the founder of pointillism.
7. Texture that creates sensation polyphonic heaviness of orchestral counterpoint . This texture is found in the works of A. Berg and A. Schoenberg. It is fundamentally opposite to the “dematerialized” pointillistic texture.
8. Polyphonic texture of aleatory effects, which is built on the principle of chance as the main formative principle in the process of creativity and performance. The representative of this trend in modern music is V. Lutoslavsky. The element of chance is introduced into music through various methods. For example, a musical composition can be built using “lots” - based on the moves of a chess game, number combinations, splashing ink on music paper, throwing dice (hence the name - aleatorics, which translated from Latin means “dice”, “ accident"), etc.
9. Polyphonic texture of sonoristic effects. Its distinctive feature is the highlighting of the colors of sound, as well as the moments of transition from one tone or consonance to another.
Harmonic texture. It is the harmonic structure that presupposes an extraordinary variety of types of texture under consideration. The first and most elementary is its division into homophonic-harmonic and actually chordal. The chord texture is multi-rhythmic: all voices in it are presented with sounds of the same duration (for example, the beginning of the fantasy overture “Romeo and Juliet” by P. I. Tchaikovsky). The homophonic-harmonic texture is distinguished by a clear separation of the patterns of melody, bass and complementary voices (for example, F. Chopin - the beginning of the Nocturne in C minor).
The following types of presentation of harmonic consonances are distinguished.
1. Harmonic figuration of chord-figurative type which is one or another form of alternating presentation of the sounds of a chord. A striking example is the Prelude in C major from the 1st volume of “The Well-Tempered Clavier” by J. S. Bach.
2. Rhythmic figuration– repetition of a sound or chord. For example, in the Poem of A. N. Scriabin in D major (op. 32, no. 2).
3. Various duplications, for example, into an octave in an orchestral presentation (minuet from the Symphony in G minor by W. A. Mozart) or a long doubling into a third, sixth, etc., forming a “ribbon movement” (“Musical Moment” by S. V. Rachmaninov, op. . 16, no. 3).
4. Various types of melodic figurations, based on the introduction of melodic movement into harmonic voices - complication of chord figuration with passing and auxiliary sounds (Etude in C minor by F. Chopin, Op. 10, No. 12), melodization (chorus and orchestral presentation of the main theme at the beginning of the 4th scene of the opera “Sadko” "N. A. Rimsky-Korsakov), polyphonization of voices (introduction to "Lohengrin" by R. Wagner), melodic and rhythmic "revival" of the organ section (4th scene "Sadko", number 151).
The presented systematization of types of harmonic texture is the most general. There are many specific textural techniques in music, the structure of which and methods of use are determined by the stylistic norms of a given musical and historical era. Therefore, the history of the development of texture is inseparable from the history of harmony, orchestration, and performance.
Speaking about the evolution of texture, it would be unfair not to mention those composers who played a huge role in updating and diversifying its types. For example, D. Palestrina could use the figuration of emerging chords over many bars using complex polyphonic and choral means, admiring the harmony. At the beginning of the 17th century. composers in their works used simple techniques and designs of mixed harmonic and polyphonic texture. Only in the second half of the 17th century. her expressive role intensified. An invaluable contribution, marked by the highest development of texture, was made by J. S. Bach. His textural discoveries gave a great impetus to the development of the work of romantic composers. In the music of the Viennese classics, clarity of harmony and clarity of textured patterns are observed. The composers used simple textural means and were based on general forms of movement (passages, arpeggios). For music of the 19th century. characterized by an exceptional variety of texture types. Vivid stylistic features of textural presentation appear in the works of F. Liszt. The renewal of texture is noticeable in the melodization of the harmonic structure, which sometimes turns into polyphonic presentation, as, for example, in F. Chopin. Some of the most significant achievements of the 19th century. in the field of texture - strengthening its motivic richness and thematic concentration. During this period, texture-harmony and texture-timbre arise. Their essence lies in the fact that, under certain conditions, harmony turns into texture, and expressiveness is determined not so much by the sound composition as by the picturesque arrangement. What is more important is not the pitch, but the textural content of the chord. Examples of texture-harmony are often found in the works of M. P. Mussorgsky. But in general this phenomenon is more typical of 20th century music. (works by A. N. Scriabin, S. V. Rachmaninov, C. Debussy). In other cases, the fusion of texture and harmony determines the timbre. This is especially clearly manifested in the orchestral technique of “combining similar figures,” when the sound arises from the combination of rhythmic variations of one textured figure. This technique was brilliantly developed in the scores of I. F. Stravinsky (the beginning of the ballet “Petrushka”). Different methods of updating texture coexist in the art of the 20th century: strengthening the role of texture as a whole, further individualization of textural techniques, the discovery of dissonant duplications, combining the original textural features of national music with the latest harmonic and orchestral techniques of professional art, continuous thematization leading to the identity of thematicism and texture .
In the music of the 20th century. non-traditional structures appear that are neither harmonic nor polyphonic, and thereby determine the corresponding types of texture. Composers in their works use techniques of fragmentation and unconnectedness of texture - register stratification, dynamic and articulatory differentiation. In the art of the musical avant-garde, the importance of texture is taken to its logical limit. Sometimes it becomes the only or only goal of the composer's work itself.
The formative role of texture is significant. The connection between texture and form is expressed in the fact that maintaining a given texture pattern promotes unity of construction, and changing it promotes dismemberment. Texture serves as the most important transformative tool; it is capable of decisively changing the appearance and essence of a musical image. Changing the texture becomes one of the main means of dividing form in the works of the 20th century.
Often, types of texture are associated with certain genres, which is the basis for combining different genre characteristics in works. Texture is the main source of musical imagery, especially convincing in cases where any movement is depicted.
In modern literature, along with the concept of “texture”, the related concepts of “musical fabric”, “presentation”, and “warehouse” are used. At the same time, warehouse is usually understood as a composer’s way of thinking, which is reflected in the peculiarities of the presentation of musical material and the choice of one or another type of texture. Texture is usually associated with the coordination correlation of the components of the musical fabric, their functional interaction, and the internal functional structure of musical presentation.
The most complete definition, in which texture appears as a category of musical and sound space, was given by V. Nazaikinsky: “ Texture – this is a three-dimensional musical-spatial configuration of the sound fabric, differentiating and combining vertically, horizontally and depthly the entire set of components"[italics mine. – M.Ch . ].
The vertical parameter of the texture is determined by the pitch relationships and the distribution of sounds in space. For example, the opening chord in L. Beethoven’s “Pathétique Sonata” gives a close arrangement of the chord, which is associated with something oppressive and heavy.
Accompanied by Nocturne op. 27 No. 2 Des-dur by F. Chopin, the effect is exactly the opposite: the removal of chord sounds in a figurative movement and in a wide arrangement introduces a feeling of air, spatial volume.
The horizontal coordinate determines the life of the texture formula in time, its variation, which can be either the same type or contrasting, continuous or discrete, and also determines the episodic life of individual texture complexes.
The depth coordinate is associated with the relationship between figure and background, it determines the division in depth, creates perspective in sound, sound plans. An interesting example of the figurative use of a deep parameter is given by the beginning of S. Prokofiev’s cantata “Alexander Nevsky”:
Example 10:
The sparse, empty sound of orchestral instruments is associated with the picture of endless frozen space. Such an expressive effect is created to a large extent by means of presentation. In the example there are only three voices that differ in pitch. Their dispersed tessitura-register distribution is noteworthy: the outer voices are located at a distance of four octaves, and the doubling interval of the melody is an octave, the sounds of which are maximally fused and, as a result, sound empty, creating a feeling of empty space.
Texture has many varieties, which are associated with differences in mindsets. Musical science distinguishes the following varieties:
1. Monodic texture. It existed until the 9th century in Europe and until the 17th century in Russia. In eastern music, the monodyic structure remains the leading one today, which is what caused the development of the monodyic texture.
· Organum type texture.
· Polyphonic texture:
a) heterophony - ancient types of folk polyphony and the refraction of heterophony in the twentieth century, starting with the strata of Stravinsky;
c) contrapuntal;
d) imitative-contrapuntal;
e) complementary sonorous polyphony, superpolyphony;
e) rhythmic polyphony.
· Chord-harmonic texture.
· Homophonic texture with various types of figurative content.
· Homophony involving duplications.
· Polyphony of layers.
· Pointillistic texture and aleatorics.
· Texture complexes of electronic music that are not recorded by recording.
In practice, one often encounters a mixed type of texture, in which the voices of the musical fabric perform both polyphonic and homophonic functions. So, along with the melody, an echo, counterpoint, imitating a voice, as well as bass, harmonic voices, which is typical for the plays of P. Tchaikovsky and S. Rachmaninov, can be placed here.
The development of texture in a musical work is determined by its intonation content. A small form, expressing a single state, is often based on one texture type. If there is contrast, then the form contains several texture types. The formative properties of musical texture are manifested in its shifts and changes in the details of presentation. Changes in the details of the presentation dissect the fabric of the musical work and highlight the most important moments of development (cadences, climaxes).
The texture lives in time, it develops internally. If the texture formula is repeated exactly or varied, then this is an initiative formula, which is usually called textured cell. The presence of a textured cell gives rise to textured stereotypes of waltz, tango, folklore samples, etc. From a texture cell, texture grows in different ways. Built on the principle of texture cell germination monothematism.
If during the development of the form there is a change in the type of texture, then this is usually due to texture modulation. It can occur as a comparison or transition. The transition technique is always individual. In the case of transition, the old stereotype is destroyed and the prerequisites for a new one are born. For example, in the opening bars of L. Beethoven's piano sonata No. 18 there is a transition from choral-harmonic presentation to homophonic-harmonic.
Example 11:
In the music of the twentieth century, the concept of a textured cell became more acute, and the concepts appeared textured contrast, texture transition, textured reprise, microvariance, long time duration.
Elements of textured technique acquire independence and come to the fore where sonority, electronic effects, pointillistic, aleatory, and serial methods of intonation design dominate.
Tasks:
1. Determine the type of texture in the following works: G. Purcell. "New Ground"; I.S. Bach. Inventions C-dur, a-moll; A. Lyadov Prelude h-moll; G. Sviridov. Album of plays for children. "Stubborn." "Guy with an accordion"; P. Tchaikovsky. Children's album. “The Organ Grinder Sings”; S. Rachmaninov. Prelude cis-minor.
2. Find two examples each with polyphonic, homophonic and mixed texture.
3. Name three texture coordinates that are commonly used in analysis and illustrate them with examples.
Lesson objectives:
Musical lesson material:
S. Rachmaninov, poetry E. Beketova. Lilac (listening).
S. Rachmaninov, poetry F. Tyutcheva. Spring waters (listening).
J. Bizet.
G. Struve, poetry S. Marshak. Wishes to friends (singing).
E. Krylatov, poetry Yu. Entina.
Additional material:
During the classes:
I. Organizational moment.
II. Lesson topic message.
III. Work on the topic of the lesson.
Let's talk about the texture of musical works.
What does this term mean? I found this definition on the Internet:
FACTURA (lat. factura - processing, from facio - doing) - a set of means of musical presentation, forming the technical structure of the work, its musical fabric. Unlike form, Texture refers to simultaneously (vertically) unfolding components of a work. Sometimes, instead of the term Faktura, the following expressions are used: warehouse, structure, addition, presentation. The elements of Texture are melody, bass, chords, figuration, individual voices, ornamentation, sustained sounds, etc. Texture is determined by the content of the work, compositional principles (for example, homophony, polyphony), expressive and technical capabilities of instruments and voices. The main forms of Faktura are musical structures: monodic (one-voice), polyphonic, subvocal, chordal, homophonic; Most often, mixed types of these warehouses are used.
The following questions arose:
1. Is it possible to briefly define texture as the nature of the dependence of the integral sound of a work on time?
2. Is there an infinite or finite set of textures?
3. Is there a set of euphonious textures that are recognized in musical practice and vice versa, “forbidden”, i.e. cacophonous textures?
4. Is there a correspondence between the genre (style) of the work and its texture?
5. Can two works have the same texture?
6. Can a texture be the subject of an invention (creative discovery) of a musician and does copyright apply to it?
TEXTURE this is the device, organization, structure of the musical fabric, the totality of its elements. And the elements of texture are what it consists of - melody, accompaniment, bass, middle voices and echoes. The texture is like a “vertical section” of the sounding layer.
In guitar practice, we mainly encounter three elements of texture:
1. Melody
2. Harmonic filling
3. Bass
Melody- the main element of texture. In songs, it is the melody that is sung by the voice, and by the melody we distinguish one piece from another. In notes, it is indicated by the stems up, because, as a rule, it is located above other elements of texture. But there are often cases when the melody is carried out in the middle voice or even in the bass. Then the calms can be directed downwards.
Bass- the second most important element of texture after melody. The bass can be called the second melody, which runs in the lower register, often this element is also called the “bass line”. The bass is the foundation of the work, its support. It is the bass that denotes rhythmic pulsation and changing harmonies. Bass notes, as a rule, are located on the strong beats of the bar; they are the supporting points on which the remaining elements of the texture rest. Bass notes can also be on the weak beats of a bar, in the case when they are part of the bass line or bass melody. In any case, the bass line is always clearly distinguishable by ear.
Harmonic filling This is the third most important element of texture after melody and bass. The role of harmonic notes in filling the space between the bass and the melody vertically, as well as rhythmic filling horizontally. Harmonic notes create depth, volume, and fullness of sound texture. As a rule, they are located on the weak beats of the measure and represent the notes that are part of the current chord.
When playing a piece, when analyzing it, it is very important to know the role of each note in the texture. Only through awareness of the multi-layered musical fabric can one achieve the effect of surround sound, the effect of playing several instruments on one.
Musical fabric. Texture.
The totality of all sound elements of a musical work is musical fabric.
The structure and nature of the musical fabric is called texture(from Latin factūra -
structure).
The same concept also refers to musical presentation and writing style.
- Monody(Greek – one, – singing)
It is a one-voice melody.
Most often found in its pure form in folk songs.Examples of monody in professional music:
Initial implementation of the theme in a fugue
Prologue to the opera “Boris Godunov” by M.P. Mussorgsky
Introduction to Part I of Symphony No. 2 by P.I. Tchaikovsky
Trumpet signals or shepherd's horn tunes are often presented monophonically:
"Italian Capriccio" by P.I. Tchaikovsky
Introduction to Act I of the opera “The Snow Maiden” by N.A. Rimsky-Korsakov - Doubling
An intermediate form between monophony and polyphony.
Represents doubling the melody by octave, third, sixth, or doubling by chords.For example:
Introduction to "Scheherazade" by N.A. Rimsky-Korsakov
"Russian" from "Petrushka" by I.F. Stravinsky
Found in folk music of different national cultures. It is dominant in professional creativity.
It has several types:
Type I Homophony(Greek – even, – sound, voice).
There is a main melodic voice and other melodically neutral voices.
Usually, the main voice in homophony is upper, but there is also a lower and even middle voice.
There are two forms of homophony based on:
Type II Heterophony(Greek – other, – sound, voice).
This type of polyphony is also called subglottic or branchy polyphony. This is the main form of folk, especially Russian, Belarusian and Ukrainian polyphony.
The main melodic voice is combined with other melodic voices, which are variants of the main one, branches from it, sub-voices.
III type Polyphony(Counterpoint)
Polyphony (Greek – many, – sound, voice)
Counterpoint (lat. punctum contra punctum - point against point (note against note))
The combined sound of contrasting, different, melodically developed voices. In this case, contrast is required, and melodic development is variable:
Reprise of the overture of the opera "Die Meisersinger of Nuremberg" by R. Wagner
The main melody is more expressive (bright, significant) than the others.
From the second half of the 18th century, a new type of polyphony emerged - complex polyphony.
Vocal and choral work.
IV. Lesson summary.
V. Homework.
Lesson 27
Topic: Space of texture.
Lesson objectives:
Ø Teach to perceive music as an integral part of every person’s life.
Ø Develop an attentive and friendly attitude towards the world around you.
Ø To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.
Ø Develop an interest in music through creative self-expression, manifested in reflections on music and one’s own creativity.
Ø Formation of a listening culture based on familiarization with the highest achievements of musical art.
Ø Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).
Musical lesson material:
Ø S. Rachmaninov, poems by E. Beketova. Lilac (listening).
Ø S. Rachmaninov, poems by F. Tyutchev. Spring waters (listening).
Ø J. Bizet. Morning in the mountains. Intermission to Act III. From the opera "Carmen" (listening).
Ø G. Struve, poems by S. Marshak. Wishes to friends (singing).
Ø How far progress has come (singing).
Additional material:
During the classes:
I. Organizational moment.
II. Lesson topic message.
III. Work on the topic of the lesson.
Tasks:
1) prepare students emotionally for work;
2) introduce the topic and purpose of the lesson, set tasks, and emotionally prepare students for work.
A video sequence is projected on the screen, including pictures of spring, accompanied by P.I. Tchaikovsky’s play “April. Snowdrop" from the series "Seasons".
All the riches of the Russian landscape
We are given full possession of:
Silver yarn of blizzard winters,
Green spring lace.
Summer afternoon in the blanket of heat,
Evening, looking into the stream,
Colored meadow pattern,
Warm wax of yellowing fields.
Painted leaf fall wings
Above the bottomless blue lakes.
It's all yours, and your heart is happy
Make the whole world fall in love with its native space.
There is hardly anything that occupies the human mind and imagination as powerfully as nature. And this is quite natural: man is a child of nature, from his first steps he feels the powerful forces of the surrounding world.
A person grows, matures - and his attitude towards nature changes. It becomes more versatile and conscious. A scientist observes natural phenomena and discovers universal laws; the technician puts them at the service of people. And a forester, for example, does not allow the green reserves of the earth to become scarce and thereby helps nature conserve and increase its strength.
And the poet, artist, musician finds in nature consonances with his experiences, embodies them in images, with the help of which he tells us about the complex laws of life of the human soul. This is how nature helps a person to better understand himself.
The difference between the attitude of artistic people to nature and the scientific, practical one lies, first of all, in the fact that a poet in his poems, an artist in his paintings, a musician in his music endows it with the experiences, properties and traits of a living being, in other words, animates it.
And it is a sympathetic attitude towards the surrounding nature - the highest creative force of our world - that allows the artist (in a broad sense) to create memorable images. There is not a single significant poet, musician or artist whose soul does not respond to the beauty of nature. Russian art has amazing examples of landscape poetry. “It has a soul, it has freedom,” this is said about nature. It is an inexhaustible source of inspiration for poets, artists, composers and, perhaps, for you and me. You need to listen and look closely...
In our lesson today we will try to understand how, and with what means, Sergei Rachmaninov and Ivan Bunin - Composer and Poet - created pictures of the Russian spring. We will open the door to the creative workshop of two great artists and try our hand at creativity ourselves: an aspiring artist will work in our “shelter of the muses”, and the best result of our work will be the creation of miniature essays by you.
Tasks:
1) conduct a comparative analysis of works of different types of art (S. Rachmaninov’s romance “Spring Waters”, F. Tyutchev’s poem “The snow is still white in the fields ...” and I. Levitan’s painting “Spring. Big Water”);
2) show the importance of musical texture in creating the image of spring.
How many wonderful poems, paintings, and musical works are dedicated to spring. How many feelings, how many thoughts and experiences they express. And all because spring is an unusual time of year, because changes occur not only in nature, but also in the human soul. It seems that life is filled with some special meaning, makes you move, act, does not allow you to stand still.
Today we turn to S. Rachmaninov’s romance “Spring Waters”. Remember what romance is? (Romance is a work of vocal art in which feelings are expressed.)
· Working with the text of a romance.
The romance is based on a poem by F.I. Tyutchev. You met him in elementary school. Let's read it. (Slide No. 23)
What feelings does this poem convey?
Can you feel the movement of spring? In what words is it expressed?
What stage of spring are we talking about: is it the beginning, middle or end of spring? Justify your answer.
· Working with the melody of a romance.
S. Rachmaninov's romance not only conveys the image of the poem, but also introduces new swiftness and dynamics into it. Listen to this piece performed by a chamber choir and piano.
Listening to S. Rachmaninov's romance “Spring Waters” performed by a chamber choir.
A joyful premonition of an imminent spring literally permeates the romance. The melody of the choir sounds especially light and sunny. Pay attention to its musical notation in the first line. She looks like a stream.
The melody is constructed in such a way as to avoid anything soothing. The endings of almost all phrases are ascending, which makes the intonation even more jubilant and exclamatory than in the poem. (Show on musical notation and sing by the teacher.)
Let's take a closer look at the accompaniment recording. Tell me, what instrument did the composer use as musical accompaniment? (Piano.)
Why? (This instrument allows you to create the feeling of the movement of seething water, covering a huge space, breaking all obstacles in its path.)
Do you think the piano is only an accompaniment or an independent participant in this work?
The piano accompaniment in this romance acts as an independent participant in the action, which sometimes surpasses even the choir in its power of expressiveness and visualization!
Tell me, is the feeling and mood created in the romance experienced by one person or is it all-encompassing, covering everything and everyone?
In “Spring Waters” there is a bright, open, enthusiastic feeling, embracing nature, people, and the entire world around us. It seems that this music allows you to expand the space. Musical texture plays a huge role in conveying this space.
What is the texture of a piece of music? (Musical texture is a feature of the recording of a work.)
What is the texture? (Chord, figurative, plast, single-voice, polyphonic.)
We have already said that the choir and piano have almost the same importance in creating the image of spring. See how the notations for voice and piano parts differ. But we perceive them together as a single whole. Before us is a figurative texture. Take a closer look at the recording: if you connect all the notes in a line, you get shapes, wavy lines. It is in these lines of melody that the expressiveness of the romance lies.
· Working with I. Levitan’s painting “Spring. Big water."
Look at the screen. Here is one of the most famous paintings by Isaac Levitan “Spring. Big water." It is one of the brightest and most life-affirming images of nature in the artist’s work. The popular expression “big water” means a wide flood, a large flood. Unfortunately, this beautiful expression is now extremely rarely used.
Tell me why the artist named his painting that way?
What did you notice first? Why?
What mood does the painting create?
Thanks to what colors does the painting look so sunny, because the sun is not visible in it?
Note the trees submerged in water. How are they depicted?
Thanks to these thin trees, the picture becomes musical, because it is they who set the rhythm of this picture. Let's remember what rhythm is? (Rhythm is the alternation of long and short sounds in a certain sequence and in a strictly defined quantity.)
Look, indeed, the trees are different in height and thickness. They are located unevenly, as are the durations in musical notation.
Remember the musical notation of the romance. It also has a lot of short eighth notes. These notes, like birch trees in water, create some kind of rhythmic pattern.
· Conclusion.
So, we see that poets, artists, composers in their works not only create an image of spring, but also convey feelings, emotions, a sense of movement, dynamics. Of course, each of them uses the means of expressiveness and visualization available to this type of art. In music, one of the most important means is texture, because it is in it that everything related to the expressiveness of musical sound is captured. A powerful choir, rapid sounds of the piano - all this gives birth to its own musical fabric, this “patterned cover” of texture, always new, unique, deeply original.
3. Literary part.
· Introductory word.
Task: to emotionally prepare students to perceive the poems of I.A. Bunin.
The teacher reads B. L. Pasternak’s poem “March”.
MARCH
The sun warms up to the point of sweat,
And the ravine is raging, stupefied.
Like a hefty cowgirl's work,
Spring is in full swing.
The snow withers and is sick with anemia
There were impotent blue veins in the branches.
But life is smoking in the cow shed,
And the fork teeth glow with health.
These nights, these days and nights!
Fraction of drops by the middle of the day,
Roofing icicles are thin,
Streams of sleepless chatter!
Everything is wide open, the stables and the cowshed.
Pigeons in the snow peck oats,
And the life-giving and culprit of all -
The manure smells like fresh air.
· Teacher's story about the life and work of the poet
Objective: to expand and deepen students’ knowledge about I. Bunin.
The master of creating poetic landscapes is Ivan Bunin, an outstanding Russian poet and prose writer. He was born on October 10 (22), 1870 in the old impoverished HYPERLINK "http://ru.wikipedia.org/wiki/%D0%A0%D1%83%D1%81%D1%81%D0%BA%D0%BE %D0%B5_%D0%B4%D0%B2%D0%BE%D1%80%D1%8F%D0%BD%D1%81%D1%82%D0%B2%D0%BE" \o "Russian nobility "noble HYPERLINK" http://ru.wikipedia.org/wiki/%D0%91%D1%83%D0%BD%D0%B8%D0%BD%D1%8B" \o "Bunin" family in the heart central Russia - in Voronezh, where he lived the first three years of his life. Later the family moved to the HYPERLINK estate "http://ru.wikipedia.org/wiki/%D0%9E%D0%B7%D1%91%D1%80%D0%BA%D0%B8_%28%D0%9F %D0%B5%D1%82%D1%80%D0%B8%D1%89%D0%B5%D0%B2%D1%81%D0%BA%D0%BE%D0%B5_%D1%81%D0 %B5%D0%BB%D1%8C%D1%81%D0%BA%D0%BE%D0%B5_%D0%BF%D0%BE%D1%81%D0%B5%D0%BB%D0%B5 %D0%BD%D0%B8%D0%B5%29" \o "Ozerki (Petrishchevskoe rural settlement)" Ozerki under HYPERLINK "http://ru.wikipedia.org/w/index.php?title=%D0% 95%D0%BB%D1%8C%D1%86%D0%BE%D0%BC&action=edit&redlink=1" \o "Elets (page missing)" Yelets. Childhood spent on a poor estate, among Russian nature, Russian people, forever instilled in the poet’s heart a love for his Fatherland.
Until the age of 11, Ivan was raised at home, and then entered the Yeletsk district gymnasium (slide No. 30) where he spent 4 years. Due to lack of funds in the family, Bunin had to leave the gymnasium. He returns home and continues his education under the guidance of his older brother HYPERLINK "http://ru.wikipedia.org/wiki/%D0%91%D1%83%D0%BD%D0%B8%D0%BD,_%D0%AE %D0%BB%D0%B8%D0%B9_%D0%90%D0%BB%D0%B5%D0%BA%D1%81%D0%B5%D0%B5%D0%B2%D0%B8%D1 %87" \o "Bunin, Yuliy Alekseevich" Yulia. (slide No. 31) I did a lot of self-education, being fond of reading world and domestic literary classics.
At the age of 17 he begins to write poetry. In 1887, Ivan Alekseevich made his literary debut - his poems and stories were published. Ivan Alekseevich knew how to notice every new feature of the changing pictures of his native nature.
Bunin was awarded the Pushkin Prize, the highest award of the Russian Empire in the field of literature, three times. HYPERLINK "http://ru.wikipedia.org/wiki/1_%D0%BD%D0%BE%D1%8F%D0%B1%D1%80%D1%8F" November 1 HYPERLINK "http://ru. wikipedia.org/wiki/1909_%D0%B3%D0%BE%D0%B4" \o "1909" 1909 he was elected an honorary academician HYPERLINK "http://ru.wikipedia.org/wiki/%D0% 98%D0%BC%D0%BF%D0%B5%D1%80%D0%B0%D1%82%D0%BE%D1%80%D1%81%D0%BA%D0%B0%D1%8F_% D0%A1%D0%B0%D0%BD%D0%BA%D1%82-%D0%9F%D0%B5%D1%82%D0%B5%D1%80%D0%B1%D1%83%D1 %80%D0%B3%D1%81%D0%BA%D0%B0%D1%8F_%D0%90%D0%BA%D0%B0%D0%B4%D0%B5%D0%BC%D0%B8 %D1%8F_%D0%BD%D0%B0%D1%83%D0%BA" \o "Imperial St. Petersburg Academy of Sciences" of the St. Petersburg Academy of Sciences in the category of fine literature.
In February HYPERLINK "http://ru.wikipedia.org/wiki/1920" \o "1920" 1920, Bunin left Russia forever: he left the country engulfed in civil war fires for Europe. The poet lived in France for many years. (slide No. 32) He was engaged in literary activities a lot and fruitfully, becoming one of the main figures of the Russian Abroad. In 1933, Ivan Alekseevich Bunin was awarded the Nobel Prize in Literature. (slide No. 33) He became the first Russian writer to win a Nobel Prize.
World War II (from October HYPERLINK "http://ru.wikipedia.org/wiki/1939_%D0%B3%D0%BE%D0%B4" \o "1939" 1939 according to HYPERLINK "http://ru .wikipedia.org/wiki/1945_%D0%B3%D0%BE%D0%B4" 1945) spent in the rented villa "Jeanette" in HYPERLINK "http://ru.wikipedia.org/wiki/%D0%93 %D1%80%D0%B0%D1%81" \o "Grasse" Grasse (HYPERLINK department "http://ru.wikipedia.org/wiki/%D0%9F%D1%80%D0%B8%D0% BC%D0%BE%D1%80%D1%81%D0%BA%D0%B8%D0%B5_%D0%90%D0%BB%D1%8C%D0%BF%D1%8B_%28%D0% B4%D0%B5%D0%BF%D0%B0%D1%80%D1%82%D0%B0%D0%BC%D0%B5%D0%BD%D1%82%29" \o "Maritime Alps ( Department) "Maritime Alps). (slide No. 34) Bunin refused any forms of cooperation with the Nazi occupiers and tried to constantly monitor events in Russia.
Ivan Alekseevich died in his sleep at two o'clock in the morning from November 7 to 8 HYPERLINK "http://ru.wikipedia.org/wiki/1953_%D0%B3%D0%BE%D0%B4" \o "1953" 1953 in HYPERLINK "http://ru.wikipedia.org/wiki/%D0%9F%D0%B0%D1%80%D0%B8%D0%B6" \o "Paris" Paris. According to eyewitnesses, on the writer’s bed lay a volume of the novel HYPERLINK "http://ru.wikipedia.org/wiki/%D0%A2%D0%BE%D0%BB%D1%81%D1%82%D0%BE%D0 %B9,_%D0%9B%D0%B5%D0%B2_%D0%9D%D0%B8%D0%BA%D0%BE%D0%BB%D0%B0%D0%B5%D0%B2%D0 %B8%D1%87" \o "Tolstoy, Lev Nikolaevich" L. N. Tolstoy "HYPERLINK" http://ru.wikipedia.org/wiki/%D0%92%D0%BE%D1%81%D0% BA%D1%80%D0%B5%D1%81%D0%B5%D0%BD%D0%B8%D0%B5_%28%D1%80%D0%BE%D0%BC%D0%B0%D0% BD%29" \o "Resurrection (novel)" Resurrection." (slide No. 35) Buried in a cemetery in France HYPERLINK "http://ru.wikipedia.org/wiki/%D0%9A%D0%BB%D0%B0%D0%B4%D0%B1%D0%B8%D1 %89%D0%B5_%D0%A1%D0%B5%D0%BD%D1%82-%D0%96%D0%B5%D0%BD%D0%B5%D0%B2%D1%8C%D0% B5%D0%B2-%D0%B4%D0%B5-%D0%91%D1%83%D0%B0" \o "Cemetery of Sainte-Genevieve-des-Bois" Sainte-Genevieve-des-Bois.
· Poetry page
Task: preparation for the analysis of the poem by I.A. Bunin.
Let's listen to several poems by Bunin about spring.
a. Prepared students read Bunin's poems:
· “It’s also cold and cheese...”
· “Wider, chest, open up to receive...”
· "Russian Spring"
· “The blue sky has opened...”
Question: With what feelings does the poet greet spring?
b. Working with the textbook.
Let's read the poem “The hollow water is raging...”
Questions:
ü What spring month does the poet write about? How did you understand this?
ü Where does the poet meet spring - in the city or in the countryside? What details led you to this conclusion?
ü What do the expressions “hollow water”, “you hear the smell of the garden”, “the calm of barns and courtyards” mean?
ü In what lines does the poet “revive”, animate spring nature?
ü In what meter is the poem written? Why do you think Bunin used iambic?
ü Determine the type of stanza and rhyme.
ü What mood did the poet try to express in this poem?
ü Is it possible to compare Bunin’s poem with Rachmaninov’s music and Levitan’s painting? Why?
ü The poet “paints” with words. What images help Bunin create a picture of the onset of spring? (Work on compiling the poet’s “spring dictionary”).
c. Working on a miniature essay “Spring Movement”.
And now you are given the opportunity to become word artists yourself. Write a miniature essay “The Movement of Spring.” And while you work, you will be inspired by beautiful music.
d. Several students read their essays. The class gives its assessment of what it heard.
Task: summarize the lesson, evaluate the work of students, set them up for an attentive attitude to changes in nature and in the human soul, as well as reflecting this in works of various arts.
The epigraph of our lesson were lines from I.S. Turgenev’s novel “Fathers and Sons”: “Nature is not a temple, but a workshop, and man is a worker in it...”. Temples are created by people, architects, painters... And each of them brings a piece of their soul along with their work. It's the same in nature. Yes, man did not create the forest, the sun and the sky, but it was he who filled everything around with feelings, thoughts, and experiences. It is thanks to works of art that the human soul begins to work.
Today you and your soul worked at the lesson, which was reflected in your creative works: in landscapes drawn with words and paints.
What did you especially like and remember about the lesson?
What new and interesting things have you learned?
I would especially like to mention the work...
Spring is a special time of year. A time of change, a time of transition from rest to movement.
The love of the earth and the beauty of the year,
Spring is fragrant to us! –
Nature gives creation a feast,
The feast gives goodbye to the sons!..
Spirit of life, strength and freedom
Lifts us up, envelops us!..
And joy poured into my soul,
Like a review of the triumph of nature,
Like God's life-giving voice!..
(F.I. Tyutchev)
//Romances occupy a special place in the composer’s work. In them, Rachmaninov appears as a different side of his creative image. The predominant sphere of his chamber vocal work was lyricism, the world of personal feelings and moods. The piano accompaniment in Rachmaninov's romances is also distinguished by its exceptional richness, colorfulness and variety of forms. The most popular ones include “Lilac”, “Don’t sing, beauty”, “Spring waters”, “Sad night”, “Excerpt from Musset”, “I’m lonely again”.
“Lilac” (words by Ek. Beketova) is one of the most precious pearls of Rachmaninov’s lyrics. The music of this romance is marked by exceptional naturalness and simplicity, a remarkable fusion of lyrical feelings and images of nature, expressed through subtle musical and pictorial elements. The entire musical fabric of the romance is melodious and melodious. Calm, sing-song vocal phrases flow effortlessly one after another. The expressive figuration of the piano is associated with the idea of foliage being swayed by a light breeze. A feeling of peace also arises due to the pentatonic scale coloring: the vocal melody and accompaniment of the first bars of the romance are sustained in the half-tone scale A-flat - B-flat - C - E-flat - F.
Later, as he develops, the composer goes beyond the pentatonic scale. In the middle of the romance, a broad melodic phrase (“There is only one happiness in life”), supported by a beautiful instrumental echo and shaded by a soft turn into the tonality of the second degree (B-flat minor), stands out with its sincerity and warmth. . The reprise has also been significantly updated. (The romance is written in a simple two-part form.) The composer retains only the tonality and pattern of the piano accompaniment. The melody itself is new here, with wide intervals and sharp delays at the climax (“My poor happiness”). But at the conclusion, the diatonic melody and the old pentatonic figuration that conclude the romance sound all the more fresh and crystal clear on the piano.
In Rachmaninov's romances, images of nature are used not only to express quiet, contemplative moods. Sometimes they help embody stormy, passionate feelings. Then romances of a virtuosic nature are born, distinguished by their breadth
form, richness and density of colors, brilliance and complexity of piano presentation.
Rachmaninov wrote the romance “Spring Waters” in this style (words by F. I. Tyutchev). This is a musical picture of the Russian spring, a poem of enthusiastic, joyfully jubilant feelings. The vocal part is dominated by appealing melodic turns: motives built on the sounds of a major triad, energetic ascending phrases ending with an energetic jump. Their strong-willed character is enhanced by dotted rhythmic figures. The brilliant, one might say concert-like, piano part is very meaningful and plays an extremely important role in creating the general, life-affirming character of the work and its picturesque, picture-like appearance. Already the opening phrase of the piano part - in rapidly soaring passages, in the expressive sound of an enlarged triad - recreates the atmosphere of spring, giving birth to a musical image of foaming spring streams.
This phrase develops further throughout almost the entire romance and acquires independent artistic meaning, becoming, as it were, the leitmotif of spring. At the climax of the work, it turns into joyful ringing, heralding the triumph of the forces of light.
Musical development, thanks to unexpected tertian comparisons of major keys (E flat major - B major - A flat major, E flat major - F sharp major), is distinguished by bright tonal contrasts. Unusual for the chamber genre is the profound transformation of thematic themes.
The strength and intensity of musical development caused the appearance of two bright and powerful climaxes in the romance. One of them is achieved by comparing E-flat major and F-sharp major (“Spring is coming! We are messengers of the young spring”). In the vocal part here there appears a wide (in the volume of a decima), steeply rising upward, jubilant phrase “She sent us forward!”, supported by stormy upswings of chords at the piano (introductory motive). Following this, the music acquires a dreamy and restrained character: the sonority suddenly subsides, the tempo slows down twice, and the piano texture becomes lighter.
Andante (“And the quiet, warm days of May”) begins a new wave of growth: the tempo accelerates and the rhythmic pulse quickens (eighth notes are replaced by triplets). Energetic ascending piano sequences lead to a second, no less impressive, but this time purely instrumental climax. It is reminiscent of the pathetic virtuoso episodes of the composer's piano concertos. The last sound of the vocal part is “flooded” by an avalanche of rapidly falling octaves, leading to a pathetic, trumpet-like cry, “Spring is coming!” It is accompanied by a dense, seemingly “vibrating” (repeating triplets) accompaniment with a sharp-sounding overlay of the “dominant and sixth” chord on the tonic fifth.
The intermission for the third act is a picture of a night in the mountains. Silence “sounds” and “heard” the peace of the mountain peaks. On the stage is a rocky landscape of the Sierra. Brave smugglers sneak through mountain passes. Jose seems to “belong” among these brave and free people. But he is constantly tormented by his conscience and thoughts of his mother, who is waiting and believing in him.//
Vocal and choral work.
Ø G. Struve, poems by S. Marshak. Wishes to friends (singing).
Ø E. Krylatov, poems by Yu. Entin. How far progress has come (singing).
IV. Lesson summary.
So, we see that poets, artists, composers in their works not only create an image of spring, but also convey feelings, emotions, a sense of movement, dynamics. Of course, each of them uses the means of expressiveness and visualization available to this type of art. The texture certainly captures everything related to the expressiveness of musical sound. A powerful choir, rapid sounds of the piano - all this gives birth to its own musical fabric, this “patterned cover” of texture, always new, unique, deeply original.
V. Homework.
Texture
Texture (factura – processing from facio – I do – lat.) – the structure of the musical fabric, taking into account the nature and relationship of its constituent voices. The terms warehouse, presentation, musical fabric are used as synonyms” (Kholopova V.N.). Texture is considered as an individual phenomenon. The concept of “warehouse” has a generalized meaning.
The main types of textures of European music, taken in chronological order, are as follows: monody, subvocality, heterophony, imitative polyphony, multi-themed polyphony, homophony, chord structure, homophonic-polyphonic structure, polyphony of layers, pointillism, super-polyphony. These types are different in their historical role and artistic achievements.
Monodic texture - ancient in origin. Examples of monody are ancient Greek music, Gregorian and Znamenny chant.
Monodic texture is not always monophonic. Several voices or timbres can merge in doublings and doublings; such musical fabric is still perceived as single-line.
Polyphony presupposes a developed system of texture varieties. Polyphony– polyphony, in which voices tend to have equal rights and independent expressive meaning. Subvocality and heterophony, characteristic of folk polyphony, are similar to each other as types of variant polyphony and differ in the degree of independence of the voices.
Heterophony (from Greek - another sound) genetically goes back to unison, subjected to a kind of “splitting”. In heterophony, voices have equal rights. Heterophony occurs when a melody is performed together, in which one or more voices deviate from the main melody. Deviations are due to natural differences in the performing capabilities of voices and instruments, as well as the imagination of the performers.
Subglottic texture - an original folk song polyphony that arose among the Slavic peoples. During choral singing, a branch occurs from the main melody, and independent variants of the melody are formed - echoes. The subvoice can support the main melody from below (bass), can set it off by ornamenting it from above (dishkant, padvodchyk), can resist it, forming a temporary contrast. The subvocal texture is characterized by a variable number of voices, their free switching on and off, simultaneous pronunciation of syllables of the text, free use of dissonances with a predominance of consonances, and unison (octave) endings. Russian folk song “Ivan got into the habit”
Imitation polyphony is based on alternating performance of the same melody in different voices. Despite the thematic identity, the voices are unequal: the first is the leader (proposta, dux - leader), the rest are subordinate.
Multi-themed polyphony involves a combination of independent voices achieving varying degrees of contrast. The distinction between imitative and multi-themed polyphony is arbitrary due to the great fluidity inherent in polyphonic music.
Music The 20th century has given rise to new types of polyphonic texture, which are associated with super-polyphony. Complementary sonorant polyphony consists of non-individualized melodic lines that form mobile cluster tutti. Complementary sonorant polyphony may have an imitative basis (Shostakovich Symphony No. 8, part 1, number 28) or contrapuntal, non-imitative. Another innovation of music XXcenturies – rhythmic polyphony. Each line includes a minimum of sounds that constantly vary rhythmically. Linear mobility creates an aleatory-improvisational effect. Rhythmic polyphony was discovered by Stravinsky and first used in The Rite of Spring.
IN chord texture voices monorhythmically duplicate the line of either the upper voice or the bass. There are only two functions of voices: bass and harmonic voices. In such a texture, various forms of register arrangement of chords, duplication of chord layers, different structures of the chords themselves, and contrasts in the textural sequence of chord complexes are possible.
Homophonic texture relies on the leading formative role of harmony, as well as on the desire for a stable location in space of the melodic relief and the accompanying background. The normative attributes of homophonic texture are the leading solo voice, the bass line and the harmonic voices filling the fabric. Homophony opens the era of the dominance of individualized melody. The homophonic-harmonic structure has two main types:
1. homophonic texture with different types of figurative content;
2. homophonic texture with duplications.
Figuration (Latin – to give shape or form, to form, to do) is a textured pattern of voices in the musical fabric. Three main types of figurations: harmonic, melodic and rhythmic, as well as numerous mixed combinations . Harmonic figuration- movement of the voice along the sounds of the chord.
Melodic figuration - movement of the voice along chord and non-chord sounds of various types (detention, passing sound, auxiliary sound, rise). Melodic figuration increases the expressiveness of the accompanying voices.
Rhythmic figuration used to give a distinctive pattern to accompanying voices. Uniform rhythmic figuration is one of the most typical textural formulas for the accompaniment of vocal music and its implementation in the instrumental sphere (Rachmaninov “Melody”, Schumann “I’m not angry”). Along with this genre-typical application, there are rhythmic figurations that are clearly individual, characteristic, and figurative. Characteristics arise even when relying on uniform rhythmic movements.
The most important feature of the texture is duplication– doubling with some kind of consonance - interval or chord. The most common dubbing is octave doubling of different voices of the texture, which is used to enhance sonority and fullness of sound. Dubbing can also be multi-octave (Glinka’s “Ivan Susanin”, beginning of the overture).
The parallel octaves and fifths that arise in this case are not perceived as a violation of voice standards, since they serve a phonic effect. Fifth and fourth duplications, which constituted the essence of early polyphony, only by the beginning of the 20th century again became normative with the introduction of parallel consonances in Debussy and Ravel. Doubling at dissonant intervals became the norm of the 20th century, along with the establishment of a dissonant style in harmony. Examples: Scriabin Etudes op.65 – dubbing in major none and major seventh, Stravinsky “Petrushka”, “Oh you canopy, my canopy” – dubbing in tritone. Similar to interval duplications, chord layers are also used. Examples: Shostakovich Symphony No. 7, one of the development variations - dubbing with major triads, Prokofiev Third Concerto, part 1, side part - dubbing with incomplete major and minor seventh chords. The design of harmony in the form of polyphonic duplications, which is not characteristic of the classical style, became the property of European harmony, starting from the turn of the 19th – 20th centuries and in many styles of the 20th century (Puccini, Debussy, Ravel, Prokofiev, Stravinsky, Bartok, Messiaen and other composers).
Homophonic-polyphonic texture also relies on a functional triad: the main voice, secondary voices and bass. A special feature is the rich development of side voices, which can be melodic or figurative counterpoints, imitating voices, backing voices, harmonic sounds, organ points, doubling, characteristic voices or layers.
Polyphony of layers