A major piece of music for symphony orchestra. Symphonic music

Means of musical expression

Music genres:

Genre(translated from French - genus, type, manner) - a type of art with certain, historically

established features.

vocal-choral genre– it includes works created for performance

cantata, oratorio, mass, etc.

instrumental genre– it includes works created for performance on various musical instruments: a play, an instrumental cycle - suite, sonata, concert, instrumental ensemble (trio, quartet, quintet), etc.
musical theater genre- it includes works created for performance in the theater: opera, operetta, ballet, music for dramatic performances.
symphonic genre- it includes works written for a symphony orchestra: symphonic piece, suite, overture, symphony, etc.

Elements of musical speech:

Melody(in translation from Greek - song) - a musical thought expressed monophonically.

Melody types:

Cantilena (chanting) - a leisurely melodious melody

A vocal melody is a melody created to be performed by the voice.

An instrumental melody is a melody created to be played on a musical instrument.

2. Lad(in translation from Slavic - harmony, harmony, order, peace) - interconnection

musical sounds, their coherence and consistency. From numerous modes

Major and minor are the most widely used.

Harmony(translated from Greek - proportionality, connection) - combining sounds into consonances and their

relationship. (Another meaning of the word harmony is the science of chords).

Meter(in translation from Greek - measure) - continuous and uniform alternation of strong and weak beats. Size – digital designation of the meter.

Basic meters: bipartite (polka, gallop, ecosaise),

three-beat (polonaise, minuet, mazurka, waltz), four-beat (march, gavotte).

Rhythm(in translation from Greek - proportionality) - alternation of durations, sounds and pauses.

Types of rhythm:

Smooth – infrequent changes in durations with a predominance of the same ones.

Dotted (in translation from Latin - dot) - a group of two sounds, one of which is three times shorter than the other (an eighth with a dot and a sixteenth).

Syncope (in translation from Greek - omission, reduction) is a discrepancy between the rhythmic and dynamic accents and the metrical one. (shift of the strong beat to the weak one).

Ostinato (translated from Italian - stubborn, stubborn) - repeated many times

rhythmic or melodic turn.

6. Range(in translation from Greek - through everything) - the distance from the lowest to the highest

sound that an instrument or voice can make.

Register– part of the sound range of a musical instrument or voice containing

sounds similar in color (upper, middle and lower registers are distinguished).

Dynamics- the strength of sound, its volume. Dynamic shades – special terms,

determining the volume level of a piece of music.

Pace(in translation from Latin - time) - the speed of movement of music. In musical works

tempo is indicated by special terms.

Hatch(in translation from Italian - direction, trait) - a method of producing sound when singing or playing musical instruments.

Basic touches:

Legato - coherent, smooth

Staccato - abrupt, sharp

Non legato – separating each sound

Texture(in translation from Latin - processing, device) - the musical fabric of the work,

way of presenting music. Texture elements: melody, chords, bass, middle voices,

Main types of texture:

Monody (in translation from Greek - the song of one singer) - monophony or one melodic

Polyphonic texture (in translation from Greek - many sounds) - it contains musical fabric

consists of a combination of several melodic voices. Every voice

independent melody.

Homophonic-harmonic texture or homophony (translated from Greek - main leader

sound) - it clearly distinguishes the leading voice - the melody, and the remaining voices to it

accompany.

accompaniment types:

chord, bass – chord, harmonic figurations.

Chord texture is a sequence of chords in which the upper voice

represents a melody.

Timbre(translated from French - mark, distinctive sign) - a special coloring of the sound of a musical

octaves. Performers: Tamara Milashkina, Galina Vishnevskaya, Montserrat Caballe and others.

Variety of soprano - Coloratura soprano.

Coloratura(translated from Italian - decoration) - fast virtuoso passages and melismas,

serving to decorate the solo vocal part.

Mezzo-soprano - an average female singing voice with a range of "A" of a small octave - "A"

(“B flat”) of the second octave. Performers: Nadezhda Obukhova, Irina Arkhipova,

Elena Obraztsova and others.

Contralto is the lowest female singing voice with the “F” range of the small octave - “F”

second octave. Performers: Tamara Sinyavskaya and others.

Performers: Leonid Sobinov, Sergey Lemeshev, Ivan Kozlovsky, Vadim Kozin, Enrico

Caruso, Placido Domingo, Luciano Pavarotti, Jose Careras and others.

octaves. Performers: Yuri Gulyaev, Dmitry Hvorostovsky, Tita Ruffo and others.

Performers: Fyodor Chaliapin, Boris Shtokolov, Evgeny Nesterenko and others.

Vocal music

Vocal works can be performed with or without accompaniment on musical instruments - a cappella.

Vocal music can be performed:

Solo – by one singer

Vocal ensemble – duet (2), trio (3), quartet (4), etc.

Choir – a large group of performers of 15 people or more.

Choirs

choirs can vary in composition of performers:

Men's

Women's

Children's

Mixed

choirs can be different in their manner of performance:

Academic – performing classical music and contemporary works, singing

“covered” with a “rounded” sound.

Folk - singing in a special manner with an “open” sound.

Genres of vocal music

Song – the most widespread genre of vocal music.

Folk songs were born and lived among the people. Not written down by anyone, they were passed down orally from generation to generation. The performer was at the same time a creator: he brought something new to each song. The most famous types of folk song art are lullabies, children's play songs, jokes, dance songs, comic songs, round dances, games, work songs, ritual songs, historical songs, epic songs, and lyrical songs.

Mass song as a genre began to develop in the 20s of the 20th century. Popular songs are close to folk songs because everyone loves and knows them; they are often sung in their own way, slightly changing the melody and not knowing the name of the poet and composer. Stages of development of mass songs: songs of the civil war, songs of the 30s, songs of the Second World War, etc.

Pop songs became widespread in the second half of the 20th century. They are performed with

variety performers are professionals.

Author's (bardic) songs gained the greatest popularity in the 60s of the 20th century. In the original song, the poet, composer and performer are presented in one person. Its most prominent representatives are Vladimir Vysotsky, Bulat Okudzhava, Alexander Rosembaum, Segey Nikitin and others.

Romance – vocal piece for voice with accompaniment.

Romances appeared in Spain, from where they spread throughout Europe. They came to Russia in the 19th century from France and at first were performed only in French. Vocal works with Russian text were called “Russian songs.”

Over time, the meaning of the word "romance" has expanded. A romance began to be called a piece for voice with accompaniment, written in a more complex form than a song. In songs, the melodies of the verse and chorus are repeated, reflecting the general content of the text. In a romance, the melody, changing, flexibly follows the word. A huge role is given to the accompaniment (most often the piano part)

Cantata and oratorio.

The oratorio genre originated in the church. In Rome, at the end of the 16th century, when Catholic believers began to gather in special rooms at the church - oratorios - to read and interpret the Bible. Their sermons were always accompanied by music. This is how special works on biblical subjects arose for soloists, choirs and instrumental ensembles - oratorios. In the 18th century, secular oratorios appeared, i.e. intended for concert performance. Their first creator is G. F. Handel. It is important to remember that, unlike an opera, there is no theatrical action in an oratorio.

In the 17th century, a genre close to the oratorio appeared - the cantata - a concert-vocal piece of a lyrical, congratulatory or welcoming nature, consisting of arias and recitatives. Performed by soloists or choir accompanied by an orchestra. (difference from oratorio – lack of plot)

J. S. Bach wrote many wonderful cantatas.

Currently, the distinction between oratorio and cantata is being blurred:

Now these are large multi-part vocal and symphonic works, the main themes of which are: glorification of the Motherland, images of heroes, the heroic past of the people, the struggle for peace, etc.

Aria - the most striking solo number in the opera.

This is a vocal monologue in which the hero is most fully and comprehensively characterized and his musical portrait is drawn. In classical opera, the aria is more complex in form than the song.

Varieties of aria include: arioso, arietta, cavatina.

Before arias in opera there is usually a recitative.

Recitative - a type of vocal music based on speech intonations.

It is constructed freely, approaching speech.

Mass - a multi-movement work of church music for choir, soloists with instrumental

accompaniment

The Mass is a remembrance of the suffering, death on the cross and resurrection of Christ. The Christian sacrament of thanksgiving occurs, and the bread and wine turn into the body and blood of Christ.

The Mass consists of the obligatory chants:

· Kirie eleison – Lord have mercy

· Gloria – glory to God in the highest

· Credo – I believe

· Sanctus – holy

· Benedictus – blessed

· Agnus Dei - Lamb of God (a reminder of the tradition of slaughtering a lamb as a sacrifice, because Christ also sacrificed himself)

Combined together, these chants simultaneously show the image of God and talk about the feelings that a person experiences before God.

Instrumental music

Instrumental ensemble

(Ensemble - together, according to)

Fork - an instrument in the form of a two-pronged fork that makes one sound “la”.

Invented in 1711 by John Shore.

Using a tuning fork, all musicians tune their instruments to play together.

Chamber ensembles (from the Latin word chamber - i.e. room) - small stable types of ensembles, where the instruments well balance each other in sonority.

The most common chamber ensembles are:

String quartet - consists of 2 violins, viola and cello

String trio - consists of violin, viola and cello

Piano trio - consists of violin, cello and piano

There are ensembles consisting of only violinists or only harps, etc.

Types of orchestras

Orchestra – a group of musicians performing instrumental music together.

Conductor - director of the orchestra.

Over the years, conducting methods have changed many times:

the conductors were behind the stage, in front of the orchestra, behind the orchestra, in the middle of the orchestra. During the game they sat and walked. They conducted in silence, sang, shouted at the top of their voices, and played one of the instruments.

They conducted with a huge baton; a roll of paper rolled into a tube; blows from the foot, shod in sandals, the soles of which were covered with iron; bow; conductor's baton - trampoline.

Previously, conductors stood with their backs to the orchestra. German composer Richard Wagner in the 19th century. broke this tradition and turned to face the orchestra.

Score – a musical notation of a polyphonic musical work in which parts of individual instruments are combined

Symphony Orchestra:

The birth of the first orchestras is associated with the emergence of opera in the 16th – 17th centuries. A group of musicians was placed separately on a special small area in front of the stage, which was called an “orchestra”. The set of instruments in the first orchestras was inconsistent: viols (predecessors of the violin and cello), 2-3 violins, several lutens, trumpets, flutes, harpsichord. At the same time, all these instruments sounded only in the introductory piece, which in those days was called a “symphony”. Up until the 18th century, composers searched for the best combination of instruments in an orchestra.

Viennese classics - J. Haydn and W. A. Mozart - determined the composition of the classical symphony orchestra.

A modern symphony orchestra has up to 100 musicians.

Four main groups of the symphony orchestra

Sometimes the orchestra includes: harp, organ, piano, celesta (in translation from Italian, celestial - a percussion keyboard instrument reminiscent of a small piano. Timbre - delicate, crystalline)

Brass band

It mainly sounds on open air stages and accompanies processions and marches. Its sonority is especially powerful and bright. The main instruments of a brass band are brass: clarinets, trumpets, horns. There are also woodwinds: flutes, clarinets, and in large orchestras there are also oboes and bassoons, as well as percussion instruments - drums, timpani, cymbals. There are works written specifically for a brass band, but symphonic works orchestrated for a brass band are often performed.

Variety orchestra

The most diverse in the composition of instruments and sizes - from large, similar to a symphony, to very small, more like an ensemble. Pop orchestras often include ukuleles, saxophones and many percussion instruments. The pop orchestra performs: dance music, various types of songs, musical works of an entertaining nature, popular classical works of simple content.

Pop orchestras led by O. Lundstrem, P. Moria, B. Goodman, and others are famous.

Folk Instruments Orchestra

Their compositions are different, because Every nation has its own national instruments. In Russia, the folk instrument orchestra includes

Stringed instruments: domras, balalaikas, gusli,

Brass – pipes, pipes, horns, nozzles, flutes

Bayans, harmonicas

Large group of percussion instruments

The first professional orchestra of folk instruments was created in 1888 under the direction of the famous musician V.V. Andreev.

Jazz - orchestras

Unlike a symphony orchestra, a jazz orchestra does not have a permanent composition of instruments. Jazz is always an ensemble of soloists. Jazz orchestras include piano, saxaphones, banjos, and guitars. Strings such as bows, trombones, trumpets and clarinets may be included. The group of percussion instruments is very large and diverse.

The main features of jazz are improvisation (the ability of soloists to compose music directly during performance); rhythmic freedom.

The first jazz orchestras appeared in America - the most famous jazz master: Louis Armstrong.

In Russia, the first jazz orchestra was created by Leonid Utesov.

The structure of musical works. Musical form. Musical theme.

Subject (in translation from Greek - what is the basis) - the main musical idea of the work. One work can have one or several (usually contrasting) themes.

Leitmotif (in translation with German - guiding motive) - a phrase or a whole topic, repeatedly

repeated in the work.

Repetition - such a presentation of a topic in which it is repeated several times without changes or with minor changes.

Sequence – repeated repetition of the theme without changes at different heights.

Variation – repeated repetition of the topic with significant changes.

Motivational elaboration (development) – isolating bright elements (motifs) from the theme and their

sequential, register, timbre, tonal development.

Musical form

Form (in translation from Latin - image, outline) - the construction of a musical work, the relationship of its parts.

Elements of musical form: motive, phrase, sentence.

Motif (translated from Italian as “foundation”) is the smallest element of a musical form. As a rule, a motive contains one accent and is equal to one measure.

A phrase (translated from Greek as an expression) is an element of musical form that contains two or

several motives. The volume of a phrase is from two to four bars. Sometimes phrases are not divided into motives.

A sentence is a relatively complete element of musical form, consisting of several phrases. The sentence length is from four to eight bars. There are sentences that cannot be divided into phrases.

Period- the simplest musical form that contains a complete or relatively

a complete thought. A period consists of two (less often three) sentences. Volume of the period

from eight to sixteen bars. There are periods:

Repeated construction (when the second sentence repeats the first literally or with

small changes. Scheme: a + a or a + a 1)

Non-repetitive structure (when the second sentence does not repeat the first. Scheme: a + b)

There are simple and complex forms:

Simple - called a form in which each part is no longer than a period.

Complex - called a form in which at least one part is greater than the period.

Any of the forms can be given an introduction and a conclusion (coda).

Simple two-part form

A musical form consisting of two parts, each no longer than a period

Varieties:

Reprisal - where the second sentence of the second part repeats one of the sentences of the first part

For example:

Tchaikovsky "Old French Song" Scheme: A B

a + a 1 b + a 2

Unrecognized – consisting of two different periods. For example:

Tchaikovsky "The Organ Grinder Sings" Scheme: A B

a + b c + c 1

Simple three-part form

A musical form consisting of three parts, each of which is no longer than a period.

Varieties:

Reprisal - where the third part is a repetition of the first part literally or with minor

changes. For example:

Tchaikovsky “March of the Wooden Soldiers” Diagram: A B A

a + a 1 b + b 1 a 2 + a 3

Non-reprise - in which the third part is not a reprise of the first part. For example:

Tchaikovsky "Neapolitan Song". Scheme: A B C

a + a 1 b + b c + c 1

Complex three-part form

A three-part reprisal form, in which the outer parts are a simple two-part or three-part form, and the middle part contrasts with the outer parts and represents any simple form.

For example: Tchaikovsky "Waltz". Scheme:

a + a 1 b + b 1 c + c 1 a + a 1 b + b 1

(simple two-part) (period) (simple two-part)

Rondo shape

Rondo (translated from French – circle, round dance) – a musical form in which the main theme is repeated

at least three times, alternating with other topics - episodes.

The main topic is called refrain (translated from French - chorus).

Refrains and episodes can be presented in any simple form.

Scheme: A B A C A

Form of variations

Form of variations – a musical form in which a theme is presented repeatedly with changes.

A modified repetition of a theme is called variation (in translation from Latin - change,

diversity).

In variations, any elements of musical speech can change.

The number of variations ranges from two to several dozen.

The topic can be written in any simple form. But most often - in a simple two-part.

Scheme: A A 1 A 2 A 3 A 4, etc.

Topic 1 var. 2 var. 3 var. 4 var.

Sonata form

Sonata form – a musical form based on the juxtaposition of the development of two themes, usually

contrasting.

The sonata form consists of three sections.

Section 1 – exposition (in translation from Latin - show) - the beginning of the action.

The exhibition presents two main themes - home And Side .

home the theme sounds in the main, main key of the work, and Side The theme is in a different key.

home And Side topics connect Binder topic.

Completes the exhibition Final subject.

Section 2 – development – dramatic center of sonata form;

comparison, collision and development of themes presented in the exhibition. Development is characterized by frequent changes of tonality. The main method of developing themes is motivic development.

Section 3 – reprise - denouement of action.

Conducting exposition material in the main key.

Exposition Development Reprise

Gl.t. Svyaz.t. Pob.t. Zakl.t. Gl.t. Svyaz.t. Pob.t. Zakl.t.

T------------- D, VI, III T T

Cyclic forms

Cycle - in the lane from Greek - circle.

Cyclic forms - musical forms consisting of several independent

contrasting parts united by one concept.

The most important cyclic forms are the suite and the sonata cycle.

Suite.

Ancient Suite (16th - 18th centuries) - a cycle of diverse ancient dances written in one

tonality.

Main dances of the ancient suite:

Moderate alemande (German quadruple)

Lively chime (French trilobed)

Slow sarabande (Spanish trilobed)

Fast giga (English tripartite)

Sometimes the ancient suite included a minuet, gavotte, bure and other dances, as well as non-dance pieces - prelude, fugue, aria, rondo.

Examples of ancient suites in the works of G. Handel, J. S. Bach, F. Couperin, J. Lully, J. Rameau.

New Suite (19th – 20th centuries) – a cycle of brightly contrasting plays written in different keys.

The new suite is dominated by non-dance pieces.

Examples of the New Suite:

P.I. Tchaikovsky “Seasons”;

M.P. Mussorgsky “Pictures at an Exhibition”;

E. Grieg "Peer Gynt";

N.A. Rimsky - Korsakov “Scheherazade”;

K. Sen – Sans “Carnival of Animals”.

Sonata cycle- a musical form in which at least one movement is written in sonata form.

A sonata cycle for one or two solo performers is called - sonata;

for three performers – trio;

for four performers – quartet;

for five performers – quintet.

A sonata cycle written for a symphony orchestra is called - symphony;

for solo instrument and orchestra – concert.

Three-part cycles – sonata, concerto.

Four-part cycles - symphony, quartet, quintet.

Polyphonic forms

Polyphony(Greek poly - many, phone - voice, sound) - a type of polyphony that appeared much earlier than homophony and became widespread back in the 16th and 17th centuries. Here all the voices lead their own independent and equally important, equally expressive melodies.
Polyphonic art has its own special genres: passacaglia, chaconne, invention and canon . All these plays use the technique of imitation.

Imitation means “imitation,” that is, repeating a melody in a different voice.

For example, Canon based on a strict, continuous imitation of the same melody in all voices. The voices repeat the melody of the leading voice, entering before this melody ends with the previous one.
The pinnacle of polyphonic art is the fugue . This form of polyphony reached its greatest flowering in the work of Johann Sebastian Bach.
Word "Fugue" comes from the Latin "running". A fugue is composed according to special, very strict laws. As a rule, a fugue is based on one musical subject - bright, well-remembered. This theme sounds consistently in different voices. Depending on the number of voices, a fugue can be two-voice, three-voice, four-voice, etc.
According to its structure, the fugue is divided into three parts:

The first is an exposition, where the topic is carried out across all voices. Each time a theme is carried out, it is accompanied by a melody in a different voice, called anti-addition . There are sections in a fugue where there is no theme, these are - sideshows, they are located between the topics.
The second part of the fugue is called development, where the theme undergoes development, passing alternately through different voices.
The third section is a reprise, here the themes are in the main key. In reprise, the technique is often used to accelerate musical development. stretta. This is an imitation where each subsequent iteration of the theme begins before it ends in a different voice.
The reprise is adjoined by a coda, summing up the development of the fugue.
There are fugues in musical literature written on not one, but two or even three themes. Then they are called double and triple, respectively. Very often a fugue is preceded by a short piece - a fantasy, variation or chorale. But the “prelude and fugue” cycles were especially popular. I.S. Bach wrote 48 preludes and fugues and compiled them into two volumes called The Well-Tempered Clavier.

Inventions

The word invention in Latin means “invention”. Actually, the invention is the theme of the invention - a short expressive melody. Further, the structure of the invention is almost no different from the structure of the fugue, only everything is much simpler and more accessible for novice musicians to perform.

Subject - a short expressive musical phrase, passing in turn in all voices.

Counteraddition – a melody in a different voice that accompanies the theme.

Sideshows - located between the topics.

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Slide captions:

Game “Guess the Musical Instrument” Task: Name the instruments that perform the themes of the heroes of S.S. Prokofiev’s fairy tale “Peter and the Wolf”.

Oboe Which instrument plays the Birds theme? Flute

What instrument plays the Grandfather's theme? Bassoon Oboe

Flute Which instrument plays the Cat theme? Clarinet

Flute Which instrument plays the Duck's theme? Oboe

Bowed strings What instruments perform Petit's theme? Woodwinds

I invite you to the fairy tale “Peter and the Wolf”

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Slide captions:

“A Tale Walks Through the Forest” Mus. V. Pshenichnikova

A fairy tale walks through the forest, Leads a fairy tale by the hand, A fairy tale comes out of the river, From a tram, from a gate.

What kind of round dance is this? This is a fairy tale round dance! The fairy tale is clever and charming, lives next to us.

So that, so that Good Evil will win again. So that Good convinces Evil to become good.

And behind me and behind you Fairy tales run in a crowd. Adored fairy tales Sweeter than any berry.

In a fairy tale, the sun burns, Justice reigns in it. The fairy tale is clever and charming, the path is open to her everywhere!

So that, so that Good Evil will win again. So that Good convinces Evil to become good.

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Slide captions:

“Instruments of a symphony orchestra in S. Prokofiev’s fairy tale “Peter and the Wolf” Answers to tests:

Bowed strings Woodwinds Percussion No. 1: What instruments perform Petit's theme? Task No. 2:

Think again! Think again!

Right! Bowed strings

Task No. 3: Flute Oboe Clarinet Which instrument plays the Cat theme? No. 2:

Do not hurry!

Right! CLARINET

Task No. 4: Flute Clarinet Oboe Which instrument plays the bird's theme? No. 3:

Think again!

FLUTE Correct!

Task No. 5: Clarinet Bassoon Which instrument plays the Grandfather’s theme? No. 4: Flute

Think again!

Right! BASSOON

What instrument plays the Duck's theme? Clarinet Oboe No. 5: Flute

Oh no no no! Do not hurry!

OBOE Correct!

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Technological map of the lesson model according to the program"Art. Music" (T.I. Naumenko, V.V. Aleev)

Music teacher of MBU “Gymnasium No. 39” Malova Daria Anatolyevna

Subject: “The image of the Great Patriotic War in D. Shostakovich’s Seventh Symphony.”

Lesson type: lesson in discovering new knowledge

Class 7

The purpose of the lesson: Nurturing part of the general spiritual culture of students through the art of music, as well as the development of patriotism in the minds of schoolchildren

Lesson objectives:

1) Educational: to form a concept of Shostakovich’s music as music corresponding to the spirit of the times;give an idea of the genre of a symphony using the example of the 7th symphony by D. Shostakovich

2) Developmental: develop the skills of emotionally conscious perception of symphonic music, the ability to analyze a musical work, realize the inextricable connection between composer activity and historical events,control your learning activities.

3) Educational: to cultivate respect, pride and a sense of gratitude towards the Russian people, especially towards the generation that survived the Leningrad siege.

Basic concepts:symphony, climax, means of expression (dynamic shades, tempo, instruments, timbre...)

Forms of organization of cognitive activity:frontal, steam room, independent

Equipment: Methodological manual, historical information, excerpts from the biography of D. Shostakovich, compiled by the teacher, cards with tasks for groups. screen, projector, video fragments from the life of besieged Leningrad, music center, recordings of fragments of D. Shostakovich’s 7th symphony, audio clips of wartime songs, photograph of the “Broken Ring” monument (A3), presentation, laurel leaves for a wreath.

During the classes:

Lesson stage	Teacher activities	Student activities	Planned results of UUD
I. Org. moment Determining the topic of the lesson Setting lesson goals	Introductory speech by the teacher, emotional mood for active creative work. The teacher poses a problematic question that students will be able to answer at the end of the lesson.	Listen, prepare to receive They make up the phrase “The muses are silent when the guns roar” from individual words and discuss which sign (., ?, ... or!) should be put at the end of it. Determine the topic of the lesson and goals.	Organizational and psychological readiness for the lesson. The ability to reason, listen to other people’s opinions, and set goals. Uthe ability to express your thoughts orally;the ability to listen and understand the speech of others.
II. Updating knowledge, introducing it into the context of new knowledge	Conducts a frontal conversation to find out what the children learned about life in Leningrad during the siege, biographical and musicological information necessary to study the topic. Turning in turn to art critics, historians and biographers, the teacher, together with the students, discovers the new concept of “symphony”, the circumstances of D. Shostakovich’s writing of the 7th symphony and its features.	They study the proposed text, dividing into 3 groups: historians, biographers and musicologists. Participate in the general conversation, answering questions posed by the teacher. Participate in the conversation, relying on their knowledge and the proposed text.	Ability to navigate text, search for necessary information,formulating answers to questions; skill navigate your knowledge system:find answers to questions using your life experience and information,received in class. plan your action in accordance with the task and the conditions for its implementation.
Discovery of something new.	Sets up the perception of musical fragments, citing I. Sachkov’s poems about the conditions under which the 7th symphony was performed in besieged Leningrad. Offers to work with a list of musical images. Organizes a frontal conversation, during which an analysis of musical fragments is carried out (the musical image and the means of expression with which the author creates this image) Helps students draw a conclusion about the importance of D. Shostakovich's 7th symphony not only for the residents of besieged Leningrad, but also for their descendants. Organizes the laying of a laurel wreath at the “Broken Ring” monument (A3 photo) Organizes the performance of 1 verse of the song “Let’s bow to those great years”	Listen to fragments of the symphony. Discussing in pairs, make up a list of words that characterize the first and second fragments. By participating in the conversation, together they determine the features of the musical image of the first and second fragments, analyze them from the point of view of means of musical expressiveness, and determine which part of the symphony the fragments belong to. They conclude that the 7th symphony is necessary to strengthen the spirit of the inhabitants of besieged Leningrad, They reflect on their attitude towards these people. They write on laurel leaves and read out a short message to the people of Leningrad. They lay a wreath of these laurel leaves in front of the “Broken Ring” monument Perform 1 verse of the song “Let’s bow to those great years” in front of the “Broken Ring” monument	Ability to perceive music and Communicative:allow for the possibility of people having different points of view, including those that do not coincide with his own, and focus on the partner’s position in communication and interaction; take into account different opinions and interests and justify your own position.
Summarizing. Reflection.	Offers to compile and write down in a notebook a definition of the concept of “symphony” Returns students to the problem that arose at the beginning of the lesson and offers to resolve it. What helped us solve our problem?	Compose and write down the concept of “symphony” in a notebook. They determine what the phrase should be so that we can agree with it (“When the guns roar, the muses are not silent!”, “When the muses roar, the guns are silent!”, etc.)
Homework.	I suggest you find out at home what other works were written during the war: stories, poems, songs. And talk about them in class.	Write down homework in a diary.

The word “orchestra” is now familiar to every schoolchild. This is the name of a large group of musicians who jointly perform a piece of music. Meanwhile, in Ancient Greece, the term “orchestra” (from which the modern word “orchestra” was later formed) denoted the area in front of the stage where the choir, an indispensable participant in ancient Greek tragedy, was located. Later, a group of musicians began to be located on the same site, and it was called an “orchestra”.

Centuries have passed. And now the word “orchestra” itself has no specific meaning. Nowadays, there are different orchestras: brass, folk, accordion orchestras, chamber orchestras, pop-jazz, etc. But none of them can withstand competition with the “sound miracle”; This is how a symphony orchestra is often and, of course, quite rightly called.

The possibilities of a symphony orchestra are truly endless. At his disposal are all shades of sonority, from barely audible vibrations and rustles to powerful thunderous peals. And the point is not even in the very breadth of dynamic shades (they are available to any orchestra at all), but in that captivating expressiveness that always accompanies the sound of true symphonic masterpieces. Timbre combinations, powerful wave-like rises and falls, expressive solo cues, and fused “organ” layers of sounds come to the rescue here.

Listen to some examples of symphonic music. Remember the fairy-tale picture by the famous Russian composer A. Lyadov, “The Magic Lake,” amazing in its soulful silence. The subject of the image here is nature in its untouched, static state. The composer also emphasizes this in his statement about the “Magic Lake”: “How picturesque, clean, with stars and mystery in the depths! And most importantly - without people, without their requests and complaints - just dead nature - cold, evil, but fantastic, like in a fairy tale.” However, Lyadov's score cannot be called dead or cold. On the contrary, it is warmed by a warm lyrical feeling - reverent, but restrained.

The famous Soviet musicologist B. Asafiev wrote that in this “poetic contemplative musical picture... Lyadov’s work masters the sphere of the lyrical symphonic landscape.” The colorful palette of “Magic Lake” is made up of veiled, muffled sounds, rustles, rustles, barely noticeable splashes and vibrations. Thin openwork touches predominate here. Dynamic build-ups are kept to a minimum. All orchestral voices carry an independent visual load. There is no melodic development in the true sense of the word; like flickering highlights, individual short phrases-motifs glow... Lyadov, who knew how to sensitively “hear silence,” with amazing skill paints a picture of an enchanted lake - a smoky, but inspired picture, full of a fabulous aroma and pure, chaste beauty. Such a landscape could only be “painted” with the help of a symphony orchestra, because no instrument and no other “orchestral organism” is able to depict such a visual picture and find such subtle timbre colors and shades for it.

But here is an example of the opposite type - the finale of the famous “Poem of Ecstasy” by A. Scriabin. The composer shows in this work the diversity of human states and actions in a steady and logically thought-out development; the music consistently conveys inertia, the awakening of the will, the confrontation with threatening forces, the struggle against them. Climax follows climax. Towards the end of the poem, the tension grows, preparing a new, even more grandiose rise. The epilogue of “The Poem of Ecstasy” turns into a dazzling picture of colossal scope. Against a sparkling background shimmering with all colors (an organ is also connected to the huge orchestra), eight horns and a trumpet joyfully proclaim the main musical theme, the sonority of which reaches superhuman strength by the end. No other ensemble can achieve such power and majesty of sound. Only a symphony orchestra is capable of so richly and at the same time colorfully expressing delight, ecstasy, and a frantic upsurge of feelings.

Lyadov's “Magic Lake” and the epilogue of “The Poem of Ecstasy” are, so to speak, the extreme sound and dynamic poles in the rich sound palette of the symphony orchestra.

Let us now turn to an example of a different kind. The second part of D. Shostakovich's Eleventh Symphony has the subtitle - “January 9th”. In it, the composer narrates the terrible events of “Bloody Sunday”. And at that moment, when the screams and groans of the crowd, gun salvos, the iron rhythm of the soldier’s step merge into a sound picture of amazing strength and power, the deafening barrage suddenly ends... And in the ensuing silence, in the “whistling” whisper of string instruments the quiet and mournful singing of the choir can be clearly heard. According to the apt definition of musicologist G. Orlov, one gets the impression “as if the air of Palace Square groaned with grief at the sight of the atrocity that had taken place.” Possessing an exceptional sense of timbre and brilliant mastery of instrumental writing, D. Shostakovich was able to create the illusion of a choral sound through purely orchestral means. There were even cases when, during the first performances of the Eleventh Symphony, listeners kept getting up from their seats, thinking that there was a choir on the stage behind the orchestra...

A symphony orchestra is capable of conveying a wide variety of naturalistic effects. Thus, the outstanding German composer Richard Strauss in the symphonic poem “Don Quixote,” illustrating a famous episode from Cervantes’ novel, surprisingly “visually” depicted the bleating of a herd of sheep in the orchestra. In the suite by the French composer C. Saint-Saëns, “Carnival of the Animals,” the cries of donkeys, the clumsy gait of an elephant, and the restless roll call of hens and roosters are wittily conveyed. The Frenchman Paul Dukas in the symphonic scherzo “The Sorcerer’s Apprentice” (written based on the ballad of the same name by V. Goethe) brilliantly painted a picture of the wild water element (in the absence of the old wizard, the student decides to turn the broom into a servant: he forces him to carry water, which gradually floods the entire house ). There is no need to even say how many onomatopoeic effects are scattered in opera and ballet music; here they are also conveyed through the means of a symphony orchestra, but are prompted by the immediate stage situation, and not by a literary program, as in symphonic works. It is enough to recall such operas as “The Tale of Tsar Saltan” and “The Snow Maiden” by N. Rimsky-Korsakov, I. Stravinsky’s ballet “Petrushka” and others. Excerpts or suites from these works are often performed in symphony concerts.

And how many magnificent, almost visual pictures of the sea elements can be found in symphonic music! N. Rimsky-Korsakov's Suite "Scheherazade", "The Sea" by C. Debussy, the overture "Silence of the Sea and Happy Sailing" by F. Mendelssohn, symphonic fantasies "The Storm" by P. Tchaikovsky and "The Sea" by A. Glazunov - the list of such works is very large . Many works have been written for the symphony orchestra, depicting pictures of nature or containing apt landscape sketches. Let's name, for example, L. Beethoven's Sixth (“Pastoral”) Symphony with a picture of a sudden thunderstorm that is striking in the power of its image, A. Borodin's symphonic picture “In Central Asia,” A. Glazunov's symphonic fantasy “Forest,” the “scene in the fields” from Fantastic symphonies by G. Berlioz. However, in all these works, the image of nature is always connected with the emotional world of the composer himself, as well as with the idea that determines the nature of the work as a whole. And in general, descriptive, naturalistic, onomatopoeic moments occupy a very small proportion in symphonic canvases. Moreover, program music itself, that is, music that consistently conveys a literary plot, also does not occupy a leading place among symphonic genres. The main thing that a symphony orchestra can be proud of is a rich palette of diverse means of expression, the colossal, still not exhausted possibilities of various combinations and combinations of instruments, the richest timbral resources of all groups that make up the orchestra.

A symphony orchestra differs sharply from other instrumental groups in that its composition is always strictly defined. Take, for example, the numerous pop-jazz ensembles that now exist in abundance in almost all corners of the globe. They are not at all similar to one another: the number of instruments varies (from 3-4 to two dozen or more) and the number of participants. But the most important thing is that these orchestras are not similar in their sound. Some are dominated by strings, others by saxophones and brass; in some ensembles the leading role is played by the piano (supported by drums and double bass); pop orchestras of different countries include national instruments, etc. Thus, almost every pop or jazz orchestra does not adhere to a strictly defined instrumental composition, but freely uses combinations of various instruments. Therefore, the same piece sounds differently in different pop-jazz groups: each of them offers its own specific treatment. And this is understandable: after all, jazz is an art that is fundamentally improvisational.

Brass bands are also different. Some consist exclusively of brass instruments (with the obligatory inclusion of percussion). And most of them cannot do without woodwinds - flutes, oboes, clarinets, bassoons. Orchestras of folk instruments also differ from each other: the Russian folk orchestra is not similar to the Kyrgyz one, and the Italian one is not like the folk orchestras of the Scandinavian countries. And only a symphony orchestra - the largest musical organism - has a long-established, strictly defined composition. Therefore, a symphonic work written in one country can be performed by any symphony ensemble in another country. Therefore, the language of symphonic music is truly an international language. It has been used for more than two centuries. And he doesn't age. Moreover, nowhere else are there as many interesting “internal” changes as there are in a modern symphony orchestra. On the one hand, often replenished with new timbre colors, the orchestra becomes richer every year, on the other hand, its main skeleton, formed back in the 18th century, emerges more and more clearly. And sometimes composers of our time, turning to such an “old-fashioned” composition, once again prove how great its expressive capabilities are still...

Perhaps no other musical group has created so much wonderful music! Among the brilliant galaxy of symphonic composers shine the names of Haydn and Mozart, Beethoven and Schubert, Mendelssohn and Schumann, Berlioz and Brahms, Liszt and Wagner, Grieg and Dvorak, Glinka and Borodin, Rimsky-Korsakov and Tchaikovsky, Rachmaninov and Scriabin, Glazunov and Taneyev, Mahler and Bruckner, Debussy and Ravel, Sibelius and R. Strauss, Stravinsky and Bartok, Prokofiev and Shostakovich. In addition, the symphony orchestra, as is known, is an indispensable participant in opera and ballet performances. And therefore, to the hundreds of symphonic works we should add those fragments from operas and ballets in which the orchestra (and not soloists, choir or just stage action) plays a primary role. But that's not all. We watch hundreds of films and most of them are “sounded” by a symphony orchestra.

Radio, television, compact discs, and through them - symphonic music have firmly entered our lives. In many cinemas, small symphony orchestras play before screenings. Such orchestras are also created in amateur performances. In other words, of the huge, almost immense ocean of music that surrounds us, a good half is in one way or another connected with symphonic sound. Symphonies and oratorios, operas and ballets, instrumental concerts and suites, music for theater and cinema - all these (and many other) genres simply cannot do without a symphony orchestra.

However, it would be wrong to assume that any musical composition can be performed in an orchestra. After all, it would seem that knowing the principles and laws of instrumentation, every competent musician can orchestrate a piano or some other piece, that is, dress it in a bright symphonic outfit. However, in practice this happens relatively rarely. It is no coincidence that N. Rimsky-Korsakov said that instrumentation is “one of the aspects of the soul of the composition itself.” Therefore, already thinking about the idea, the composer counts on a certain instrumental composition. Therefore, both light, unpretentious pieces and grandiose, large-scale canvases can be written for a symphony orchestra.

There are, however, cases when a composition receives a second life in a new, symphonic version. This happened with M. Mussorgsky’s brilliant piano cycle “Pictures at an Exhibition”: it was masterfully orchestrated by M. Ravel. (There were other, less successful attempts to orchestrate Pictures at an Exhibition.) The scores of M. Mussorgsky’s operas “Boris Godunov” and “Khovanshchina” came to life again under the hands of D. Shostakovich, who carried out their new orchestral edition. Sometimes in the composer’s creative heritage two versions of the same work coexist peacefully - solo-instrumental and symphonic. There are few such examples, but they are quite interesting. Ravel's Pavane exists in both piano and orchestral versions, and both live an equal concert life. Prokofiev orchestrated the slow movement of his Fourth Piano Sonata, making it an independent, purely symphonic work. Leningrad composer S. Slonimsky wrote the vocal cycle “Songs of the Freemen” based on folk texts; This work also has two versions of equal artistic significance: one is accompanied by piano, the other is accompanied by orchestral accompaniment. However, most often, when a composer sets to work, he has a good idea of not only the idea of the composition, but also its timbre embodiment. And such genres as symphony, instrumental concerto, symphonic poem, suite, rhapsody, etc. are always closely related to the sound of a symphony orchestra, one might even say, inseparable from it.

Symphonic music- musical works intended for performance by a symphony orchestra. Includes large monumental works and small plays. Main genres: symphony, suite, overture, symphonic poem.

A symphony orchestra, a large group of musicians, includes three groups of instruments: wind, percussion, and bowed strings.

The classical (pair or double) composition of a small symphony orchestra was formed in the work of J. Haydn (paired brass, timpani and string quintet). A modern small symphony orchestra may have an irregular composition.

In a large symphony orchestra (from the beginning of the 19th century), the wind and percussion groups were expanded, harps and sometimes a piano were introduced; the group of bowed strings has been numerically increased. The name of the symphony orchestra is determined by the number of instruments in each wind family (pair, triple, etc.).

Symphony(from the Greek symphonia - consonance), - a piece of music for a symphony orchestra, written in sonata cyclic form - the highest form of instrumental music. Usually consists of 4 parts. The classical type of symphony developed in the late 18th - early 19th centuries. (J. Haydn, W. A. Mozart, L. V. Beethoven). Among romantic composers, lyric symphonies (F. Schubert, F. Mendelssohn) and program symphonies (G. Berlioz, F. Liszt) became of great importance.

An important contribution to the development of symphonies was made by Western European composers of the 19th and 20th centuries: J. Brahms, A. Bruckner, G. Mahler, S. Frank, A. Dvorak, J. Sibelius, etc. Symphonies occupy a significant place in Russian music: A. P. Borodin, P. I. Tchaikovsky, A. K. Glazunov, A. N. Skryabin, S. V. Rachmaninov, N. Ya. Myaskovsky, S. S. Prokofiev, D. D. Shostakovich, A. I. Khachaturyan et al.

Cyclic forms of instrumental music, - musical forms consisting of several relatively independent parts, which together reveal a single artistic concept. The sonata cyclic form consists, as a rule, of four parts - the fast 1st in sonata form, the slow lyrical 2nd, the fast 3rd (scherzo or minuet) and the fast 4th (finale). This form is typical for a symphony, sometimes a sonata, or a chamber ensemble; an abbreviated cyclic form (without a scherzo or minuet) is typical for a concert or sonata. Another type of cyclic form is formed by a suite, sometimes variations (orchestral, piano), in which the number and nature of parts can be different. There are also vocal cycles (series of songs, romances, ensembles or choirs), united by a plot, words of one author, etc.

Suite(French suite, lit. - row, sequence), an instrumental cyclic musical work of several contrasting parts. The suite is distinguished from the sonata and symphony by the absence of strict regulation of the number, nature and order of parts, and by its close connection with song and dance. Suite 17-18 centuries. consisted of an allemande, chime, sarabande, gigue and other dances. In the 19th-20th centuries. orchestral non-dance suites were created (P.I. Tchaikovsky), sometimes program ones (“Scheherazade” by N.A. Rimsky-Korsakov). There are suites composed of music from operas, ballets, as well as music for theatrical productions.

Overture(French ouverture, from Latin apertura - opening, beginning), an orchestral introduction to an opera, ballet, dramatic performance, etc. (often in sonata form), as well as an independent orchestral piece, usually of a programmatic nature.

Symphonic poem - genre of symphonic program music. A one-movement orchestral work, in accordance with the romantic idea of a synthesis of arts, allowing for a variety of program sources (literature, painting, less often philosophy or history). The creator of the genre is F. Liszt.

Program music- musical works that the composer provided with a verbal program that concretizes perception. Many programmatic essays are associated with plots and images of outstanding literary works.

Genre(fr. genre) is a general concept that surrounds the most essential properties and connections of phenomena in the world of art, a set of formal and substantive features of a work. All existing works reflect certain conditions, while participating in the creation of a definition of the concept of genre.

Arioso- a small aria with a melody of a melodious, declamatory or song nature.

Aria- a completed episode in an opera, operetta, oratorio or cantata, performed by a soloist accompanied by an orchestra.

Ballad- solo vocal compositions using the texts of poetic works and preserving their main features; instrumental compositions.

Ballet- a type of stage art, the content of which is revealed in dance and musical images.

Blues- a jazz song with sad, lyrical content.

Bylina- Russian folk epic song-legend.

Vaudeville- a fun theatrical play with musical numbers. 1) a type of sitcom with couplet songs, romances, dances; 2) the final verse song in a vaudeville play.

Hymn- a solemn song.

Jazz- a type of improvisational dance music.

Disco- a musical style with simplified melody and rigid rhythm.

Invention- a small musical piece in which some original discovery in the field of melodic development and form-building is essential.

Sideshow- a small piece of music performed between parts of a work.

Intermezzo- a small free-form play, as well as an independent episode in an opera or other musical work.

Cantata- a large vocal-instrumental work of a solemn nature, usually for soloists, choir and orchestra.

Cantilena- melodious, smooth melody.

chamber music - (literally “room”). chamber works are either pieces for solo instruments: songs without words, variations, sonatas, suites, preludes, impromptu, musical moments, nocturnes, or various instrumental ensembles: trio, quartet, quintet, etc., where respectively three, four, five instruments and all parts are equally important, requiring careful finishing from the performers and composer.

Capriccio- a virtuoso instrumental piece of an improvisational nature with an unexpected change of images and moods.

Concert- a work for one or (less often) several solo instruments and an orchestra, as well as public performance of musical works.

Madrigal- a small musical and poetic work of love and lyrical content in the 14th-16th centuries.

March- a piece of music with a measured tempo and clear rhythm, usually accompanying a collective procession.

Musical- a musical work that combines elements of opera and operetta; ballet, pop music.

Nocturne- in the 18th - early 19th centuries. a multi-part instrumental work, mostly for wind instruments, usually performed outdoors in the evening or at night, from the 19th century. a short lyrical instrumental piece.

Oh yeah- a solemn piece of music dedicated to some significant event or person.

Opera- a musical and dramatic work based on the synthesis of words, stage action and music.

Operetta- a musical and stage comedy work, including vocal and dance scenes, orchestral accompaniment and spoken episodes.

Oratorio- a work for soloists, choir and orchestra, intended for concert performance.

House is a style and movement in electronic music. House is a descendant of the dance styles of the early post-disco era (electro, high energy, soul, funk, etc.) The main difference between house music is the repeated rhythm beat, usually in 4/4 time, and sampling - working with sound inserts, which are repeated from time to time in music, partially coinciding with its rhythm. One of the most important modern substyles of house is progressive house.

Choir - a piece for a large singing group. choral works are divided into two large groups - with or without instrumental (or orchestral) accompaniment (a cappella).

Song- a poetic work intended for singing. its musical form is usually couplet or strophic.

Medley- a play composed of excerpts from several popular melodies.

Play- a completed musical work of small size.

Rhapsody- a musical (instrumental) work on the themes of folk songs and epic tales, as if reproducing the performance of a rhapsode.

Requiem- funeral choral work (funeral mass).

Romance- a lyrical work for voice with musical accompaniment.

R&B (Rhythm and Blues, English Rhythm & Blues) is a musical style of song and dance genre. originally, a generalized name for mass music based on blues and jazz styles of the 1930s and 1940s. Currently, the abbreviation rhythm and blues (English r&b) is used to refer to modern rhythm and blues.

Rondo- a piece of music in which the main part is repeated several times.

Serenade- a lyrical song to the accompaniment of a lute, mandolin or guitar, performed in honor of a beloved.

Symphony- a piece of music for orchestra, written in sonata cyclic form, the highest form of instrumental music.

Symphonic Music- unlike chamber music, it is performed in large rooms and is intended for a symphony orchestra. symphonic works are characterized by depth and versatility of content, often grand scale and at the same time accessibility of musical language.

Consonance- a combination of several sounds of different pitches sounding simultaneously.

Sonata- a piece of music consisting of three or four movements of varying tempo and character.

Sonatina- small sonata.

Suite- a work for one or two instruments from several dissimilar pieces connected by a common concept.

Symphonic Poem- a genre of symphonic music that expresses the romantic idea of a synthesis of arts. A symphonic poem is a one-movement orchestral work that allows for various sources of program (literature and painting, less often - philosophy or history; paintings of nature).

Toccata- a virtuoso musical piece for a keyboard instrument in fast movement and a clear tempo.

Tone- a sound of a certain pitch.

Touche- a short musical greeting.

Overture is an orchestral piece designed to serve as an introduction to opera, ballet, and drama. in their imagery and form, many classical overtures are close to the first movements of symphonies.

Fantasy- a free-form musical piece.

Elegy- a musical piece of a sad nature.

Etude- a piece of music based on virtuosic passages.