What is an orchestra short definition. Types of orchestras

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Historical outline

The very idea of ​​simultaneous music-making by a group of instrumental performers goes back to ancient times: even in ancient Egypt, small groups of musicians played together at various holidays and funerals. An early example of orchestration is the score of Orpheus by Monteverdi, written for forty instruments: that is how many musicians served at the court of the Duke of Mantan. During the 17th century, ensembles were formed, as a rule, from related instruments, and only in exceptional cases was the combination of dissimilar instruments practiced. By the beginning of the 18th century, an orchestra was formed on the basis of stringed instruments: first and second violins, violas, cellos and double basses. Such a composition of strings made it possible to use a full-sounding four-part harmony with an octave doubling of the bass. The leader of the orchestra simultaneously performed the part of the bass general on the harpsichord (in secular music-making) or on the organ (in church music). Later, the orchestra included oboes, flutes and bassoons, and often the same performers played the flutes and oboes, and these instruments could not sound simultaneously. In the second half of the 18th century, clarinets, trumpets and percussion instruments (drums or timpani) joined the orchestra.

The word "orchestra" ("orchestra") comes from the name of the round platform in front of the stage in the ancient Greek theater, which housed the ancient Greek choir, a participant in any tragedy or comedy. During the Renaissance and further in the 17th century, the orchestra was transformed into an orchestra pit and, accordingly, gave the name to the group of musicians located in it.

Symphony Orchestra

A symphony is an orchestra composed of several heterogeneous groups of instruments - a family of strings, winds and percussion. The principle of such unification took shape in Europe in the 18th century. Initially, the symphony orchestra included groups of bowed instruments, woodwinds and brass instruments, which were joined by a few percussion instruments. Subsequently, the composition of each of these groups expanded and diversified. Currently, among a number of varieties of symphony orchestras, it is customary to distinguish small and big Symphony Orchestra. The Small Symphony Orchestra is an orchestra of predominantly classical composition (playing music of the late 18th - early 19th century or modern stylizations). It consists of 2 flutes (rarely a small flute), 2 oboes, 2 clarinets, 2 bassoons, 2 (rarely 4) horns, sometimes 2 trumpets and timpani, a string group of no more than 20 instruments (5 first and 4 second violins, 4 violas, 3 cellos, 2 double basses). A large symphony orchestra (BSO) includes trombones with a tuba in the copper group and can have any composition. The number of woodwind instruments (flutes, oboes, clarinets and bassoons) can reach up to 5 instruments of each family (sometimes more clarinets) and include their varieties (pick and alto flutes, oboe d'amore and English horn, small, alto and bass clarinets, contrabassoon). The copper group can include up to 8 horns (including Wagner (horn) tubas), 5 trumpets (including small, alto, bass), 3-5 trombones (tenor and bass) and a tuba. Sometimes saxophones are used (all 4 types, see jazz orchestra). The string group reaches 60 or more instruments. A huge variety of percussion instruments is possible (the basis of the percussion group is timpani, snare and large drums, cymbals, triangle, tom-toms and bells). Often used harp, piano, harpsichord, organ.
The large symphony orchestra has about a hundred musicians.

Brass band

A brass band is an orchestra consisting exclusively of wind and percussion instruments. Brass instruments form the basis of the brass band, the leading role in the brass band among brass wind instruments is played by wide-scale brass wind instruments of the flugelhorn group - soprano flugelhorns, cornets, altohorns, tenorhorns, baritone euphoniums, bass and contrabass tubas, (note in the symphony orchestra only one contrabass tuba is used). Parts of narrow-scale brass instruments, trumpets, horns, and trombones, are superimposed on their basis. Also in brass bands woodwind instruments are used: flutes, clarinets, saxophones, in large compositions - oboes and bassoons. In large brass bands, wooden instruments are doubled many times (like strings in a symphony orchestra), varieties are used (especially small flutes and clarinets, English oboe, viola and bass clarinet, sometimes contrabass clarinet and contrabassoon, alto flute and amurgoboe are used quite rarely). The wooden group is divided into two subgroups, similar to the two subgroups of brass: clarinet-saxophone (single-reed instruments are bright in sound - there are a little more of them in number) and a group of flutes, oboes and bassoons (weaker in sound than clarinets, double-reed and whistle instruments) . The group of French horns, trumpets and trombones is often divided into ensembles, specific trumpets (small, rarely alto and bass) and trombones (bass) are used. In such orchestras there is a large group of percussion, the basis of which is all the same timpani and the "Janissary group" small, cylindrical and large drums, cymbals, a triangle, as well as a tambourine, castanets and tam-tam. Possible keyboard instruments are piano, harpsichord, synthesizer (or organ) and harps. A large brass band can play not only marches and waltzes, but also overtures, concertos, opera arias and even symphonies. The giant combined brass bands in the parades are actually based on doubling all the instruments and their composition is very poor. These are just multiply enlarged small brass bands without oboes, bassoons and with a small number of saxophones. The brass band is distinguished by its powerful, bright sonority and therefore is often used not indoors, but outdoors (for example, accompanying a procession). For a brass band, it is typical to perform military music, as well as popular dances of European origin (the so-called garden music) - waltzes, polkas, mazurkas. Recently, garden music brass bands have been changing their composition, merging with orchestras of other genres. So, when performing Creole dances - tango, foxtrot, blues jive, rumba, salsa, jazz elements are involved: instead of the Janissary percussion group, a jazz drum kit (1 performer) and a number of Afro-Creole instruments (see jazz orchestra). In such cases, keyboard instruments (piano, organ) and harp are increasingly used.

string orchestra

A string orchestra is essentially a group of bowed string instruments of a symphony orchestra. The string orchestra includes two groups of violins ( first violins and second violins), as well as violas, cellos and double basses. This type of orchestra has been known since the 16th-17th centuries.

Orchestra of Folk Instruments

In various countries, orchestras made up of folk instruments have become widespread, performing both transcriptions of works written for other compositions and original compositions. An example is the orchestra of Russian folk instruments, which includes instruments of the domra and balalaika family, as well as psaltery, button accordions, zhaleika, rattles, whistles and other instruments. The idea to create such an orchestra was proposed at the end of the 19th century by the balalaika player Vasily Andreev. In some cases, such an orchestra additionally introduces instruments that are actually not related to folk: flutes, oboes, various bells and many percussion instruments.

Variety Orchestra

Variety orchestra - a group of musicians performing pop and jazz music. The variety orchestra consists of strings, wind instruments (including saxophones, which are usually not represented in the wind groups of symphony orchestras), keyboards, percussion and electric musical instruments.

A variety symphony orchestra is a large instrumental ensemble capable of combining the performing principles of various types of musical art. The pop part is represented in such compositions by a rhythm group (drum set, percussion, piano, synthesizer, guitar, bass guitar) and a full big band (groups of pipes, trombones and saxophones); symphonic - a large group of stringed bowed instruments, a group of woodwinds, timpani, harp and others.

The forerunner of the variety symphony orchestra was symphonic jazz, which arose in the USA in the 1920s. and created a concert style of popular entertainment and dance-jazz music. L. Ya. Teplitsky's domestic orchestras ("Concert Jazz Band", 1927), the State Jazz Orchestra under the direction of V. Knushevitsky (1937) performed in the mainstream of symphojazz. The term "Variety Symphony Orchestra" appeared in 1954. This was the name of the Variety Orchestra of the All-Union Radio and Television under the direction of Y. Silantiev, created in 1945. In 1983, after the death of Silantyev, it was led by A. A. Petukhov, then M. M. Kazhlaev. The variety and symphony orchestras also included the orchestras of the Moscow Hermitage Theater, the Moscow and Leningrad Variety Theatres, the Blue Screen Orchestra (headed by B. Karamyshev), the Leningrad Concert Orchestra (headed by A. Badkhen), the State Variety Orchestra of the Latvian SSR conducted by Raymond Pauls, the State Variety Symphony Orchestra of Ukraine, the Presidential Orchestra of Ukraine, etc.

Most often, pop-symphony orchestras are used during song gala performances, television competitions, less often for the performance of instrumental music. Studio work (recording music for the radio and film fund, on sound media, creating phonograms) prevails over concert work. Variety and symphony orchestras have become a kind of laboratory for Russian, light and jazz music.

jazz orchestra

The jazz orchestra is one of the most interesting and original phenomena of modern music. Arising later than all other orchestras, it began to influence other forms of music - chamber, symphony, music of brass bands. Jazz uses many of the instruments of a symphony orchestra, but has a quality that is radically different from all other forms of orchestral music.

The main quality that distinguishes jazz from European music is the greater role of rhythm (much greater than in a military march or waltz). In this regard, in any jazz orchestra there is a special group of instruments - the rhythm section. A jazz orchestra has another feature - the prevailing role of jazz improvisation leads to a noticeable variability in its composition. However, there are several types of jazz orchestras (approximately 7-8): chamber combo (although this is the area of ​​​​the ensemble, but it must be indicated, since it is the essence of the action of the rhythm section), dixieland chamber ensemble, small jazz orchestra - big band of small composition , large jazz orchestra without strings - big band, large jazz orchestra with strings (not symphonic type) - extended big band, symphonic jazz orchestra.

The rhythm section of all types of jazz orchestra usually includes percussion, stringed plucked and keyboard instruments. This is a jazz drum kit (1 player) consisting of several rhythm cymbals, several accent cymbals, several tom-toms (either Chinese or African), pedal cymbals, a snare drum and a special kind of bass drum of African origin - the “Ethiopian (Kenyan) kick drum ” (its sound is much softer than the Turkish bass drum). Many styles of southern jazz and Latin American music (rumba, salsa, tango, samba, cha-cha-cha, etc.) use additional percussion: a set of congo-bongo drums, maracas (chocalo, cabas), bells, wooden boxes, Senegalese bells (agogo), clave, etc. Other instruments of the rhythm section that already hold a melodic-harmonic pulse: piano, guitar or banjo (a special type of North African guitar), acoustic bass guitar or double bass (which is played only with a pluck). Large orchestras sometimes have several guitars, a guitar along with a banjo, both kinds of basses. The rarely used tuba is a wind bass instrument in the rhythm section. Large orchestras (big bands of all 3 types and symphonic jazz) often use vibraphone, marimba, flexatone, ukulele, blues guitar (both of the latter are slightly electrified, along with bass), but these instruments are no longer included in the rhythm section.

Other groups of a jazz orchestra depend on its type. The combo usually has 1-2 soloists (saxophone, trumpet or bowed soloist: violin or viola). Examples: ModernJazzQuartet, JazzMessenjers.

In a small big band there can be 3 trumpets, 1-2 trombones, 3-4 saxophones (soprano = tenor, alto, baritone, everyone also plays clarinets), 3-4 violins, sometimes a cello. Examples: Ellington's first orchestra 1929-1935 (USA), Bratislava Hot Serenaders (Slovakia).

A large big band usually has 4 trumpets (1-2 high soprano parts play at the level of small ones with special mouthpieces), 3-4 trombones (4 trombones tenor-contrabass or tenor-bass, sometimes 3), 5 saxophones (2 altos, 2 tenors = soprano, baritone).

In an extended big band there can be up to 5 pipes (with specific pipes), up to 5 trombones, additional saxophones and clarinets (5-7 common saxophones and clarinets), bowed strings (no more than 4-6 violins, 2 violas, 3 cellos) , sometimes horn, flute, small flute (only in the USSR). Similar experiments in jazz were carried out in the USA by Duke Ellington, Artie Shaw, Glenn Miller, Stanley Kenton, Count Basie, in Cuba by Paquito d'Rivera, Arturo Sandoval, in the USSR by Eddie Rosner, Leonid Utyosov.

A symphonic jazz orchestra includes a large string group (40-60 performers), and bowed double basses are possible (in a big band there can only be bowed cellos, the double bass is a member of the rhythm section). But the main thing is the use of flutes rare for jazz (in all types from small to bass), oboes (all 3-4 types), horns and bassoons (and contrabassoon) that are not at all typical for jazz. Clarinets are complemented by bass, alto, small clarinet. Such an orchestra can perform symphonies, concertos specially written for it, participate in operas (George Gershwin). Its feature is a pronounced rhythmic pulse, which is not found in an ordinary symphony orchestra. A symphonic jazz orchestra should be distinguished from its complete aesthetic opposite - a variety orchestra based not on jazz, but on beat music.

Special types of jazz bands - brass jazz band (brass band with a jazz rhythm section, including a guitar group and with a decrease in the role of flugelhorns), a church jazz band ( currently exists only in Latin America, includes an organ, a choir, church bells, the entire rhythm section, drums without bells and agogo, saxophones, clarinets, trumpets, trombones, bowed strings), a jazz-rock style ensemble (Miles Davis team, from the Soviet and Russian "Arsenal" and etc.).

military band

military band- a special full-time military unit designed to perform military music, that is, musical works during drill training of troops, during military rituals, solemn ceremonies, as well as for concert activities.

There are homogeneous military bands, consisting of brass and percussion instruments, and mixed ones, which also include a group of woodwind instruments. The military orchestra is led by a military conductor. The use of musical instruments (wind and percussion) in war was already known to the ancient peoples. The chronicles of the 14th century already point to the use of instruments in the Russian troops: “and the voices of the military trumpets began to blow, and the jew’s harps teput (sound), and the banners roar unwavering.”

Some princes with thirty banners or regiments had 140 trumpets and a tambourine. The old Russian combat instruments include timpani, which were used under Tsar Alexei Mikhailovich in the Reiter cavalry regiments, and nakras, now known as a tambourine. In the old days, tambourines were called small copper bowls, covered with leather on top, which were hit with sticks. They were imposed in front of the rider at the saddle. Sometimes tambourines reached extraordinary sizes; they were carried by several horses, they were hit by eight people [ source unspecified 31 days] . These tambourines were known to our ancestors under the name of tympanums.

In the XIV century. alarms, that is, drums, are already known. Surna, or antimony, was also used in the old days.

In the West, the arrangement of more or less organized military bands belongs to the 17th century. Under Louis XIV, the orchestra consisted of pipes, oboes, bassoons, trumpets, timpani, and drums. All these instruments were divided into three groups, rarely joined together.

In the 18th century, the clarinet was introduced into the military orchestra, and military music acquired a melodic meaning. Until the beginning of the 19th century, military bands in both France and Germany included, in addition to the above-mentioned instruments, horns, serpents, trombones and Turkish music, that is, a bass drum, cymbals, a triangle. The invention of caps for brass instruments (1816) had a great influence on the development of the military orchestra: trumpets, cornets, bugelhorns, ophicleides with caps, tubas, and saxophones appeared. Mention should also be made of an orchestra consisting only of brass instruments (fanfare). Such an orchestra is used in cavalry regiments. The new organization of military bands from the West also moved to Russia.

History of military music

Peter I took care of improving military music; knowledgeable people were discharged from Germany to train soldiers who played from 11 to 12 in the afternoon on the Admiralty tower. During the reign of Anna Ioannovna and later at court opera performances, the orchestra was strengthened by the best musicians from the Guards regiments.

Military music should also include the choirs of regimental songwriters.

When writing this article, material from the Encyclopedic Dictionary of Brockhaus and Efron (1890-1907) was used

school orchestra

A group of musicians consisting of school students, usually headed by a primary music education teacher. For musicians, it is often the starting point of their further musical career.

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An excerpt characterizing the Orchestra

An old man, just as experienced in court affairs as in military affairs, that Kutuzov, who in August of that year was elected commander-in-chief against the will of the sovereign, the one who removed the heir and the Grand Duke from the army, the one who, by his power, in opposition to the will of the sovereign, ordered the abandonment of Moscow, this Kutuzov now immediately realized that his time was over, that his role had been played and that he no longer had this imaginary power. And it was not just from court relations that he realized this. On the one hand, he saw that the military business, the one in which he played his role, was over, and he felt that his calling had been fulfilled. On the other hand, at the same time he began to feel physical weariness in his old body and the need for physical rest.
On November 29, Kutuzov entered Vilna - his good Vilna, as he said. Twice in his service, Kutuzov was governor in Vilna. In the rich surviving Vilna, in addition to the comforts of life, which he had been deprived of for so long, Kutuzov found old friends and memories. And he, suddenly turning away from all military and government concerns, plunged into an even, familiar life as much as he was given rest by the passions that boiled around him, as if everything that was happening now and about to happen in the historical world did not concern him at all.
Chichagov, one of the most passionate cut-offers and overturners, Chichagov, who wanted to first sabotage Greece, and then to Warsaw, but did not want to go where he was ordered, Chichagov, known for his boldness of speech with the sovereign, Chichagov, who considered Kutuzov blessed by himself, because when he was sent in the 11th year to conclude peace with Turkey, in addition to Kutuzov, he, convinced that peace had already been concluded, admitted to the sovereign that the merit of making peace belongs to Kutuzov; this Chichagov was the first to meet Kutuzov in Vilna at the castle where Kutuzov was supposed to stay. Chichagov in a naval uniform, with a dagger, holding his cap under his arm, gave Kutuzov a drill report and the keys to the city. That contemptuous respectful attitude of young people towards the old man who had gone out of his mind was expressed to the highest degree in the whole appeal of Chichagov, who already knew the accusations brought against Kutuzov.
Speaking with Chichagov, Kutuzov, among other things, told him that the carriages with dishes he had recaptured from him in Borisov were intact and would be returned to him.
- C "est pour me dire que je n" ai pas sur quoi manger ... Je puis au contraire vous fournir de tout dans le cas meme ou vous voudriez donner des diners, [You want to tell me that I have nothing to eat. On the contrary, I can serve you all, even if you wanted to give dinners.] - flaring up, said Chichagov, who wanted to prove his case with every word and therefore assumed that Kutuzov was also preoccupied with this. Kutuzov smiled with his thin, penetrating smile and, shrugging his shoulders, answered: - Ce n "est que pour vous dire ce que je vous dis. [I only want to say what I say.]
In Vilna, Kutuzov, contrary to the will of the sovereign, stopped most of the troops. Kutuzov, as his close associates said, unusually sank and physically weakened during his stay in Vilna. He reluctantly took care of the affairs of the army, leaving everything to his generals and, while waiting for the sovereign, indulged in a dispersed life.
Having left with his retinue - Count Tolstoy, Prince Volkonsky, Arakcheev and others, on December 7 from Petersburg, the sovereign arrived in Vilna on December 11 and drove straight to the castle in a road sleigh. At the castle, despite the severe frost, there were about a hundred generals and staff officers in full dress uniform and an honor guard of the Semenovsky regiment.
The courier, who galloped to the castle on a sweaty troika, ahead of the sovereign, shouted: "He's on his way!" Konovnitsyn rushed into the hall to report to Kutuzov, who was waiting in a small Swiss room.
A minute later, a fat, large figure of an old man, in full dress uniform, with all the regalia covering his chest, and his belly pulled up by a scarf, swaying, came out onto the porch. Kutuzov put on his hat along the front, took gloves in his hands and sideways, stepping with difficulty down the steps, descended from them and took in his hand the report prepared for submission to the sovereign.
Running, whispering, the troika still desperately flying by, and all eyes were fixed on the jumping sleigh, in which the figures of the sovereign and Volkonsky were already visible.
All this, according to fifty years of habit, had a physically unsettling effect on the old general; he anxiously hurriedly felt himself, straightened his hat, and at that moment, as the sovereign, getting out of the sleigh, raised his eyes to him, cheered up and stretched out, filed a report and began to speak in his measured, ingratiating voice.
The emperor glanced at Kutuzov from head to toe, frowned for a moment, but immediately, overcoming himself, came up and, spreading his arms, hugged the old general. Again, according to the old, familiar impression and in relation to his sincere thought, this embrace, as usual, had an effect on Kutuzov: he sobbed.
The sovereign greeted the officers, with the Semyonovsky guard, and, shaking the old man's hand once more, went with him to the castle.
Left alone with the field marshal, the emperor expressed his displeasure at the slowness of the pursuit, for the mistakes in Krasnoye and on the Berezina, and told him his thoughts on the future campaign abroad. Kutuzov did not make any objections or comments. The same submissive and senseless expression with which, seven years ago, he listened to the orders of the sovereign on the field of Austerlitz, was now established on his face.
When Kutuzov left the office and with his heavy, diving gait, head down, walked down the hall, someone's voice stopped him.
“Your Grace,” someone said.
Kutuzov raised his head and for a long time looked into the eyes of Count Tolstoy, who, with some small thing on a silver platter, stood in front of him. Kutuzov did not seem to understand what they wanted from him.
Suddenly, he seemed to remember: a barely perceptible smile flickered on his plump face, and he, bending low, respectfully, took the object lying on the dish. It was George 1st degree.

The next day, the field marshal had a dinner and a ball, which the sovereign honored with his presence. Kutuzov was granted George 1st degree; the sovereign gave him the highest honors; but the sovereign's displeasure against the field marshal was known to everyone. Decency was observed, and the sovereign showed the first example of this; but everyone knew that the old man was to blame and good for nothing. When at the ball Kutuzov, according to the old Catherine's habit, at the entrance of the sovereign into the ballroom ordered the taken banners to be thrown down at his feet, the sovereign grimaced unpleasantly and uttered words in which some heard: "the old comedian."
The displeasure of the sovereign against Kutuzov intensified in Vilna, especially because Kutuzov, obviously, did not want or could not understand the significance of the upcoming campaign.
When the next day in the morning the sovereign said to the officers gathered at his place: “You saved more than one Russia; you saved Europe,” everyone already understood then that the war was not over.
Only Kutuzov did not want to understand this and openly expressed his opinion that a new war could not improve the position and increase the glory of Russia, but could only worsen its position and reduce the highest degree of glory on which, in his opinion, Russia now stood. He tried to prove to the sovereign the impossibility of recruiting new troops; talked about the plight of the population, about the possibility of failure, etc.
In such a mood, the field marshal, naturally, seemed only an obstacle and a brake on the upcoming war.
To avoid clashes with the old man, a way out was found by itself, consisting in, as in Austerlitz and as at the beginning of the Barclay campaign, to take out from under the commander-in-chief, without disturbing him, without announcing to him that the ground of power on which he stood , and transfer it to the sovereign himself.
To this end, the headquarters was gradually reorganized, and all the essential strength of Kutuzov's headquarters was destroyed and transferred to the sovereign. Toll, Konovnitsyn, Yermolov received other appointments. Everyone said loudly that the field marshal had become very weak and upset with his health.
He had to be in poor health in order to hand over his place to the one who interceded for him. Indeed, his health was poor.
How naturally, and simply, and gradually Kutuzov appeared from Turkey to the state chamber of St. a new, needed figure appeared.
The war of 1812, in addition to its national significance dear to the Russian heart, was supposed to have another - European.
The movement of peoples from west to east was to be followed by the movement of peoples from east to west, and for this new war a new figure was needed, having other properties and views than Kutuzov, driven by other motives.
Alexander the First was as necessary for the movement of peoples from east to west and for the restoration of the borders of peoples as Kutuzov was necessary for the salvation and glory of Russia.
Kutuzov did not understand what Europe, equilibrium, Napoleon meant. He couldn't understand it. The representative of the Russian people, after the enemy was destroyed, Russia was liberated and placed on the highest degree of its glory, the Russian person, as a Russian, had nothing more to do. The representative of the people's war had no choice but death. And he died.

Pierre, as is most often the case, felt the brunt of the physical hardships and stresses experienced in captivity only when these stresses and hardships were over. After his release from captivity, he arrived in Orel, and on the third day of his arrival, while he was going to Kyiv, he fell ill and lay ill in Orel for three months; he became, as the doctors said, bilious fever. Despite the fact that the doctors treated him, bled him and gave him medicines to drink, he still recovered.
Everything that happened to Pierre from the time of his release to his illness left almost no impression on him. He remembered only gray, gloomy, sometimes rainy, sometimes snowy weather, inner physical anguish, pain in his legs, in his side; remembered the general impression of the misfortunes and sufferings of people; he remembered the curiosity of the officers and generals who questioned him, which disturbed him, his efforts to find a carriage and horses, and, most importantly, he remembered his inability to think and feel at that time. On the day of his release, he saw the corpse of Petya Rostov. On the same day, he learned that Prince Andrei had been alive for more than a month after the Battle of Borodino and had only recently died in Yaroslavl, in the Rostovs' house. And on the same day, Denisov, who reported this news to Pierre, mentioned the death of Helen between conversations, suggesting that Pierre had known this for a long time. All this only seemed strange to Pierre at the time. He felt that he could not understand the meaning of all this news. At that time he was only in a hurry, to leave these places where people were killing each other as soon as possible, to some quiet refuge and there to come to his senses, rest and think over all the strange and new that he had learned during this time. But as soon as he arrived in Orel, he fell ill. Waking up from his illness, Pierre saw around him his two people who had come from Moscow - Terenty and Vaska, and the elder princess, who, living in Yelets, on Pierre's estate, and learning about his release and illness, came to him to walk behind him.
During his recovery, Pierre only gradually weaned from the impressions that had become habitual to him of the last months and got used to the fact that no one would drive him anywhere tomorrow, that no one would take away his warm bed, and that he would probably have lunch, and tea, and supper. But in a dream he saw himself for a long time in the same conditions of captivity. Just as little by little, Pierre understood the news that he learned after his release from captivity: the death of Prince Andrei, the death of his wife, the destruction of the French.
A joyful feeling of freedom - that complete, inalienable freedom inherent in a person, the consciousness of which he first experienced at the first halt, when leaving Moscow, filled Pierre's soul during his recovery. He was surprised that this inner freedom, independent of external circumstances, was now, as it were, surrounded with excess, with luxury, by external freedom. He was alone in a strange city, without acquaintances. Nobody demanded anything from him; they didn't send him anywhere. Everything he wanted he had; The thought of his wife, which had always tormented him before, was no more, since she was no more.
- Oh, how good! How nice! he said to himself when a cleanly set table with fragrant broth was moved to him, or when he lay down at night on a soft, clean bed, or when he remembered that his wife and the French were no more. - Oh, how good, how nice! - And out of old habit, he asked himself the question: well, then what? What will i do? And at once he answered himself: nothing. I will live. Ah, how nice!
The very thing that he had tormented before, what he was constantly looking for, the purpose of life, now did not exist for him. It was no coincidence that this desired goal of life now did not exist for him only at the present moment, but he felt that it did not exist and could not exist. And this lack of purpose gave him that full, joyful consciousness of freedom, which at that time constituted his happiness.
He could not have a goal, because he now had faith - not faith in any rules, or words, or thoughts, but faith in a living, always felt god. Previously, he had sought it for the purposes he had set for himself. This search for a goal was only a search for God; and suddenly, in his captivity, he recognized, not by words, not by reasoning, but by direct feeling, what his nanny had told him for a long time: that God is here, here, everywhere. In captivity, he learned that God in Karataev is greater, infinite and incomprehensible than in the Architecton of the universe recognized by the Masons. He experienced the feeling of a man who found what he was looking for under his feet, while he strained his eyes, looking far away from him. All his life he looked somewhere, over the heads of the people around him, but he had not to strain his eyes, but only look in front of him.
He was not able to see before the great, incomprehensible and infinite in anything. He only felt that it must be somewhere and looked for it. In everything close, understandable, he saw one thing limited, petty, worldly, meaningless. He armed himself with a mental telescope and looked into the distance, to where this shallow, worldly distance, hiding in the mist, seemed to him great and infinite only because it was not clearly visible. This is how he imagined European life, politics, freemasonry, philosophy, philanthropy. But even then, in those moments that he considered his weakness, his mind penetrated into this distance, and there he saw the same petty, worldly, meaningless things. Now, however, he had learned to see the great, the eternal, and the infinite in everything, and therefore, naturally, in order to see it, to enjoy its contemplation, he threw down the trumpet into which he had so far looked over the heads of people, and joyfully contemplated around him the ever-changing, eternally great , incomprehensible and infinite life. And the closer he looked, the more he was calm and happy. The terrible question that previously destroyed all his mental structures was: why? no longer existed for him. Now to this question - why? a simple answer was always ready in his soul: then, that there is a god, that god, without whose will a hair will not fall from a person’s head.

Pierre hardly changed in his outward manners. He looked exactly the same as he had before. Just as before, he was distracted and seemed preoccupied not with what was before his eyes, but with something of his own, special. The difference between his former and present state was that before, when he forgot what was in front of him, what he was told, he wrinkled his forehead in pain, as if trying and could not see something far away from him. . Now he also forgot what was said to him, and what was before him; but now, with a barely noticeable, as if mocking, smile, he peered at the very thing that was in front of him, listened to what was being said to him, although he obviously saw and heard something completely different. Formerly he seemed, though a kind man, but unhappy; and therefore involuntarily people moved away from him. Now a smile of the joy of life constantly played around his mouth, and his eyes shone with concern for people - the question is: are they happy just like he is? And people enjoyed being in his presence.
Before, he talked a lot, got excited when he spoke, and listened little; now he was rarely carried away by conversation and knew how to listen in such a way that people willingly told him their most intimate secrets.
The princess, who never loved Pierre and had a particularly hostile feeling towards him since, after the death of the old count, she felt indebted to Pierre, to her annoyance and surprise, after a short stay in Orel, where she came with the intention of proving to Pierre that, despite his ingratitude, she considers it her duty to follow him, the princess soon felt that she loved him. Pierre did nothing to curry favor with the princess. He just looked at her curiously. Before, the princess felt that in his glance at her there was indifference and mockery, and she, as before other people, shrank before him and showed only her fighting side of life; now, on the contrary, she felt that he seemed to be digging into the most intimate aspects of her life; and she, at first with distrust, and then with gratitude, showed him the hidden good sides of her character.
The most cunning person could not have more skillfully sneaked into the confidence of the princess, evoking her memories of the best time of her youth and showing sympathy for them. Meanwhile, Pierre's whole cunning consisted only in the fact that he was looking for his own pleasure, evoking human feelings in an embittered, cyhoy and proud princess.
“Yes, he is a very, very kind person when he is under the influence not of bad people, but of people like me,” the princess said to herself.
The change that took place in Pierre was noticed in his own way and by his servants - Terenty and Vaska. They found that he was a lot simpler. Terenty often, having undressed the master, with boots and a dress in his hand, having wished good night, hesitated to leave, waiting for the master to join in the conversation. And for the most part Pierre stopped Terenty, noticing that he wanted to talk.
- Well, tell me ... but how did you get your food? he asked. And Terenty began a story about the ruin of Moscow, about the late count, and stood for a long time with his dress, telling, and sometimes listening to Pierre's stories, and, with a pleasant consciousness of the master's closeness to himself and friendliness to him, went into the hall.
The doctor who treated Pierre and visited him every day, despite the fact that, according to the duty of doctors, considered it his duty to look like a person, every minute of which is precious for suffering humanity, sat up for hours with Pierre, telling his favorite stories and observations on the mores of patients in general. and especially ladies.

Orchestra (from the Greek orchēstra - a platform in front of the stage in the ancient Greek theater)

a large group of musicians playing various instruments and jointly performing works written for a given composition. The line between O. and an instrumental ensemble (See Ensemble) is not entirely clear, however, if in the ensemble each part is performed by one musician, O. is characterized by the performance of at least some parts by several instruments of the same type in unison. The highest form of vocalization is symphonic vocalization, which includes stringed, woodwind, and brass instruments, as well as percussion instruments. O. of homogeneous composition are also widespread - string O., Brass band. One of the varieties of O. is the chamber O., which differs from the symphonic O. in a smaller number of performers, and often in the fact that the performance of each part is entrusted to one performer. In connection with the special purpose of performing groups, military orchestral instruments (brass instruments, sometimes of an expanded and mixed composition), and variety orchestras developed. The forms of instrumentation of folk instruments are diverse. A special phenomenon was represented by the Horn Orchestra, to which the concept of "O." not quite applicable.

Having originated at the turn of the 16th and 17th centuries, symphonic orchestration went through a long path of development. The compositions of the first instruments were dominated by stringed bowed instruments (the families of violins and viols) and plucked instruments (lutes and harps); the harpsichord or organ formed the basis of the so-called. continuo groups (keyboard, cello, double bass, sometimes bassoon). Wind instruments appeared occasionally. Only to horse. 18th century the classical orchestra, which is also called the small symphonic orchestra, took shape. Typically, such an orchestra included 8-10 first and 4-6 second violins, 2-4 violas, 3-4 cellos, 2 double basses, woodwind instruments - 2 flutes, oboe, clarinet, bassoon each (the so-called double composition ), 2 horns, later 2 trumpets and timpani were added. The late symphonies of Haydn and Mozart, most of Beethoven's symphonies, some of Glinka's symphonic works were written for such a composition. The subsequent development of symphonic orchestra in the 19th century. for a long time followed the path of expanding its composition and increasing the number of performers. The so-called. large symphonic O., which differs from the small one by the inclusion of 2-3 trombones and a tuba. G. Berlioz, R. Wagner, R. Strauss, G. Mahler, and also P. I. Tchaikovsky, N. A. Rimsky-Korsakov, and I. F. Stravinsky made important contributions to the development of orthography. For the sake of enriching the coloristic possibilities, additional instruments with the sound of a special timbre began to be introduced into O. - small, alto and bass flutes, English horn, oboe d "cupid, huckelphone, small clarinet, baset horn, bass clarinet, saxophone, contrabassoon, harp, celesta, pianoforte, organ, etc., various percussion and folk instruments. R. Wagner introduced a quartet of horn (so-called Wagner) tubas and bass trumpets into Der Ring des Nibelungen. To perform many orchestral scores of the early 20th century, for example, some operas by R. Strauss, a concerto of more than 100 people is envisaged. The concerto reaches even greater proportions with G. Mahler, one of whose symphonies (No. 8) is nicknamed “the symphony of a thousand participants” (includes a large symphonic orchestra, soloists and 3 choirs) In the 20th century, the opposite trend developed - towards the use of modest orchestral compositions.At the same time, due to the differentiation of parts of homogeneous instruments, the score often turns out to be no less complex.

The location of the performers of modern symphonic orchestration is aimed at achieving a coherent sonority. In the 50-70s. 20th century the “American seating arrangement” became widespread: the first and second violins are placed to the left of the conductor, violas and cellos are placed to the right, woodwinds and brass, double basses are placed in the depth, and drums are placed to the left.

Lit.: Kars A., History of orchestration, trans. from English, M., 1932; Rogal-Levitsky Dm., Modern orchestra, vol. 1-4, M., 1953-56; Bekker P., The orchestra, 2 ed., N. Y., 1963.

I. A. Barsova.

Great Soviet Encyclopedia. - M.: Soviet Encyclopedia. 1969-1978 .

Synonyms:

See what "Orchestra" is in other dictionaries:

- (Greek orchestra). 1) everything is connected. multiple instruments together. 2) a place in the theater where the musicians are placed. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. ORCHESTRA Greek. orchestra. a) The composition of the choir of musicians ... Dictionary of foreign words of the Russian language

orchestra- a, m. orchestre m., German. Orchester lat. orchestra gr. 1. Ensemble of musical instruments. BAS 1. Piece for string orchestra. BAS 1. 2. A group of musicians performing a piece of music together on different instruments. BASS 1.… … Historical Dictionary of Gallicisms of the Russian Language

- (from the orchestra) a group of musicians (12 people or more) playing various instruments and performing musical works together. the term orchestra in the 17th and 18th centuries. replaced the common European term chapel. According to the composition ... ... Big Encyclopedic Dictionary

Basic information Genres ... Wikipedia

- (from the Greek orchestra), a group of musicians (12 people or more) playing various instruments and performing musical works together. The term orchestra in the 17th and 18th centuries. replaced the common European term chapel. By… … Modern Encyclopedia

ORCHESTRA, orchestra, man. (from the Greek orchestra a place for dancing in front of the stage). 1. Ensemble of musical instruments. Symphony orchestra concert. Piece for string orchestra. Brass band. || A group of instrumental music performers. ... ... Explanatory Dictionary of Ushakov

Chapel, gamelan, taraf, orchestra, gang, persimfans, ensemble Dictionary of Russian synonyms. orchestra n., number of synonyms: 10 ensemble (38) ... Synonym dictionary

- (orchestra Greek) in a modern theater a room for performers, between the stage and the auditorium. This name passed to the performers of instrumental music, as well as to the composition of the instruments played by those participating in O. ... ... Encyclopedia of Brockhaus and Efron

ORCHESTRA, a, husband. 1. A group of musicians who jointly perform musical works on various instruments. Symphonic, brass, string, jazz o. Chamber about. O. folk instruments. 2. A place in front of the stage where ... ... Explanatory dictionary of Ozhegov

Husband, Italian a complete assembly of musicians, for playing together, that in voice music a choir; | fenced off in the theater and generally arranged somewhere for musicians. Orchestrate music, decompose voices into all musical instruments. Dictionary… … Dahl's Explanatory Dictionary

A large group of musicians performing musical works together. Depending on the composition of musical instruments, orchestras are distinguished: symphony, consisting of bowed, wind and percussion instruments; string (or chamber) - ... ... Encyclopedia of cultural studies

Fedorov Veronica and Vasyagin Alexandra

The presentations were made as part of the project "In the world of musical instruments"

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Varieties of orchestrators Performed by a student of grade 7 B Fedorov Veronika

Symphony Orchestra A symphony is an orchestra composed of several heterogeneous groups of instruments - a family of violins, winds and percussion. The principle of such unification took shape in Europe in the 18th century. Initially, the symphony orchestra included groups of bowed instruments, woodwinds and brass instruments, which were joined by a few percussion musical instruments. Subsequently, the composition of each of these groups expanded and diversified. Currently, among a number of varieties of symphony orchestras, it is customary to distinguish between a small and a large symphony orchestra.

The small symphony orchestra is an orchestra of predominantly classical composition (playing music of the late 18th - early 19th century, or modern stylizations). It consists of 2 flutes (rarely a small flute), 2 oboes, 2 clarinets, 2 bassoons, 2 (rarely 4) horns, sometimes 2 trumpets and timpani, a string group of no more than 20 instruments (5 first and 4 second violins, 4 violas, 3 cellos, 2 double basses).

A large symphony orchestra includes obligatory trombones in the brass group and can have any composition. Often wooden instruments (flutes, oboes, clarinets and bassoons) reach up to 5 instruments of each family (clarinets sometimes more) and include varieties (pick and alto flutes, cupid oboe and English oboe, small, alto and bass clarinets, contrabassoon). The copper group can include up to 8 horns (including special Wagner tubas), 5 trumpets (including small, alto, bass), 3-5 trombones (tenor and tenorbass) and a tuba.

Brass Band A brass band is an orchestra consisting solely of wind and percussion instruments. Brass instruments form the basis of the brass band, the wide-scale brass instruments of the flugelhorn group - soprano-flugelhorns, cornets, altohorns, tenorhorns, baritone-euphoniums, bass and contrabass tubas, have a leading role in a brass band among brass wind instruments (in a symphony orchestra only one contrabass tuba).

Parts of narrow-scaled brass instruments, trumpets, horns, trombones, are superimposed on their basis. Also in brass bands, woodwind instruments are used: flutes, clarinets, saxophones, in large ensembles - oboes and bassoons. In large brass bands, wooden instruments are doubled many times (like strings in a symphony orchestra), varieties are used (especially small flutes and clarinets, English oboe, viola and bass clarinet, sometimes contrabass clarinet and contrabassoon, alto flute and amurgoboe are used quite rarely).

The wooden group is divided into two subgroups, similar to the two subgroups of brass: clarinet-saxophone (single-reed instruments are bright in sound - there are a little more of them in number) and a group of flutes, oboes and bassoons (weaker in sound than clarinets, double-reed and whistle instruments) . The group of French horns, trumpets and trombones is often divided into ensembles, specific trumpets (small, rarely alto and bass) and trombones (bass) are used. In such orchestras there is a large group of percussion, which are based on all the same timpani and the "Janissary group" small, cylindrical and large drums, cymbals, a triangle, as well as a tambourine, castanets and tam-tam.

String Orchestra A string orchestra is essentially a group of bowed string instruments of a symphony orchestra. The string orchestra includes two groups of violins (first violins and second violins), as well as violas, cellos and double basses. This type of orchestra has been known since the 16th-17th centuries.

In various countries, orchestras made up of folk instruments have become widespread, performing both transcriptions of works written for other compositions and original compositions. An example is the orchestra of Russian folk instruments, which includes instruments of the domra and balalaika families, as well as psaltery, bayans, zhaleika and other instruments. The idea to create such an orchestra was proposed at the end of the 19th century by the balalaika player Vasily Andreev. In some cases, such an orchestra additionally introduces instruments that are actually not related to folk: flutes, oboes, various percussion instruments.

Variety Orchestra Variety Orchestra is a group of musicians performing pop and jazz music. The variety orchestra consists of strings, wind instruments (including saxophones), keyboards, percussion and electric musical instruments.

A variety symphony orchestra is a large instrumental ensemble capable of combining the performing principles of various types of musical art. The pop part is represented in such compositions by a rhythm group (drum set, percussion, piano, synthesizer, guitar, bass guitar) and a full big band (groups of trumpets, trombones and saxophones); symphonic - a large group of stringed bowed instruments, a group of woodwinds, timpani, harp and others.

The forerunner of the variety symphony orchestra was symphonic jazz, which arose in the USA in the 1920s. and created a concert style of popular entertainment and dance-jazz music. L. Teplitsky's domestic orchestras ("Concert Jazz Band", 1927), the State Jazz Orchestra under the direction of V. Krushevitsky (1937) performed in the mainstream of symphojazz. The term Variety Symphony Orchestra appeared in 1954.

Jazz Orchestra Jazz orchestra is one of the most interesting and original phenomena of contemporary music. Arising later than all other orchestras, it began to influence other forms of music - chamber, symphony, music of brass bands. Jazz uses many of the instruments of a symphony orchestra, but has a quality that is radically different from all other forms of orchestral music.

The main quality that distinguishes jazz from European music is the greater role of rhythm (much greater than in a military march or waltz). In this regard, in any jazz orchestra there is a special group of instruments - the rhythm section. Jazz orchestra has another feature - jazz improvisation leads to vagueness of its composition. However, there are several types of jazz orchestras (approximately 7-8): chamber combo (although this is the area of ​​​​the ensemble, but it must be indicated, since it is the essence of the action of the rhythm section), the dixieland chamber ensemble, and the scarlet jazz orchestra - a big band of small composition , large jazz orchestra without strings - big band, large jazz orchestra with strings (not symphonic type) - extended big band, symphonic jazz orchestra.

The rhythm section of all types of jazz orchestra usually includes percussion, stringed plucked and keyboard instruments. This is a jazz drum kit (1 player) consisting of several rhythm cymbals, several accent cymbals, several tom-toms (either Chinese or African), pedal cymbals, a snare drum and a special kind of bass drum of African origin - the "Ethiopian (Kenyan) kick drum (its sound is much softer than the Turkish bass drum).

Military Band A military band is a special full-time military unit designed to perform military music, that is, musical works during drill training of troops, during military rituals, solemn ceremonies, and also for concert activities. There are homogeneous military bands, consisting of brass and percussion instruments, and mixed ones, which also include a group of woodwind instruments. The military orchestra is led by a military conductor.

In the West, the arrangement of more or less organized military bands belongs to the 17th century. Under Louis XIV, the orchestra consisted of pipes, oboes, bassoons, trumpets, timpani, and drums. All these instruments were divided into three groups, rarely joined together: pipes and drums, trumpets and timpani, oboes and bassoons. In the 18th century, the clarinet was introduced into the military orchestra, and military music acquired a melodic meaning. Until the beginning of the XIX century. military bands in both France and Germany included, in addition to the above-mentioned instruments, horns, serpents, trombones and Turkish music, that is, bass drum, cymbals, triangle. The invention of pistons (a kind of valve, or the so-called standing valve, a button that activates a mechanism that opens spare pipes, or crowns attached to a wind brass instrument) for brass instruments (1816) had a great influence on the development of a military orchestra: pipes, cornets appeared , bugelhorns, ophicleides with pistons, tubas, saxophones. Mention should also be made of an orchestra consisting only of brass instruments (fanfare). Such an orchestra is used in cavalry regiments. The new organization of military bands from the West also moved to Russia.

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"Varieties of the Orchestra". Completed by a student of the 7A class Alexander Vasyagin.

Orchestra. Orchestra (from the Greek ορχήστρα) is a large group of instrumental musicians. Unlike chamber ensembles, in an orchestra some of its musicians form groups playing in unison.

Symphony Orchestra. The Symphony Orchestra is a large group of musicians to perform academic music, predominantly of the Western European tradition. The symphony orchestra consists of instruments whose history is inextricably linked with the history of Western European music. Music that is written with a symphony orchestra in mind (also called "symphonic") tends to take into account the style that has developed within European musical culture. The basis of the symphony orchestra is made up of four groups of instruments: bowed strings, wood and brass wind instruments, and percussion. In some cases, other instruments are included in the orchestra.

Symphony Orchestra.

Brass band. Brass band - an orchestra consisting of wind and percussion instruments. The basis of the brass band is made up of wide-scale and conventional brass instruments - cornets, flugelhorns, euphoniums, altos, tenors, baritones, basses, trumpets, horns, trombones. Also in brass bands, woodwind instruments are used: flutes, clarinets, saxophones, in large ensembles - oboes and bassoons. At the beginning of the 19th century, under the influence of "Janissary music", some percussion musical instruments appeared in brass bands, primarily a bass drum and cymbals, which give the orchestra a rhythmic basis.

Brass band

String orchestra. A string orchestra is essentially a group of bowed string instruments of a symphony orchestra. The string orchestra includes two groups of violins (first violins and second violins), as well as violas, cellos and guitar double basses. This type of orchestra has been known since the 16th-17th centuries.

String orchestra.

Orchestra of folk instruments. In various countries, orchestras made up of folk instruments have become widespread, performing both transcriptions of works written for other compositions and original compositions. As an example, we can name the orchestra of Russian folk instruments, which includes instruments of the domra and balalaika families, as well as psaltery, button accordions, zhaleiki, rattles, whistles and other instruments. The idea to create such an orchestra was proposed at the end of the 19th century by the balalaika player Vasily Andreev. In some cases, such an orchestra additionally introduces instruments that are actually not related to folk: flutes, oboes, various bells and many percussion instruments.

Orchestra of folk instruments.

Stage orchestra. Variety orchestra - a group of musicians performing pop and jazz music. The variety orchestra consists of strings, wind instruments (including saxophones, which are usually not represented in the wind groups of symphony orchestras), keyboards, percussion and electric musical instruments.

Stage orchestra.

Jazz Orchestra. The jazz orchestra is one of the most interesting and original phenomena of modern music. Arising later than all other orchestras, it began to influence other forms of music - chamber, symphony, music of brass bands. Jazz uses many of the instruments of a symphony orchestra, but has a quality that is radically different from all other forms of orchestral music.

Jazz orchestra.

Military band. Military band, a brass band, which is a regular division of a military unit.

Military band.

School orchestra. A group of musicians consisting of school students, usually headed by a primary music education teacher. For musicians, it is often the starting point of their further musical career.

School orchestra.

Music is, first of all, sounds. They can be loud and quiet, fast and slow, rhythmic and not so…

But each of them, each sounding note in a certain way affects the consciousness of a person listening to music, his state of mind. And if this is orchestral music, then it certainly cannot leave anyone indifferent!

Orchestra. Types of orchestras

An orchestra is a group of musicians who play musical instruments, works that are designed specifically for these instruments.

And from what this composition is, the orchestra has different musical possibilities: in terms of timbre, dynamics, expressiveness.

What types of orchestras are there? The main ones are:

• symphonic;
• instrumental;
• orchestra of folk instruments;
• wind;
• jazz;
• pop.

There is also a military band (performing military songs), a school band (which includes schoolchildren), and so on.

Symphony Orchestra

This type of orchestra contains string, wind and percussion instruments.

There is a small symphony orchestra and a large one.

Maly is the one that plays the music of composers of the late 18th - early 19th centuries. His repertoire may include modern variations. A large symphony orchestra differs from a small one by adding more instruments to its composition.

The composition of the small necessarily contains:

• violins;
• alto;
• cellos;
• double basses;
• bassoons;
• horns;
• pipes;
• timpani;
• flutes;
• clarinet;
• oboe.

The big one includes the following tools:

• flutes;
• oboes;
• clarinets;
• contrabassoons.

By the way, it can include up to 5 instruments of each family. And also in the large orchestra there are:

• horns;
• pipes (bass, small, alto);
• trombones (tenor, tenorbass);
• tube.

And, of course, percussion instruments:

• timpani;
• bells;
• small and big drum;
• triangle;
• plate;
• Indian tom-tom;
• harp;
• piano;
• harpsichord.

A feature of a small orchestra is that there are about 20 string instruments in it, while in a large one there are about 60.

The conductor directs the symphony orchestra. He artistically interprets the work performed by the orchestra with the help of the score - a complete musical notation of all parts of each instrument of the orchestra.

Instrumental orchestra

This type of orchestra differs in its form in that it does not have a clear number of musical instruments of certain groups. And also he can perform any music (unlike a symphony orchestra, which performs exclusively classical).

There are no specific types of instrumental orchestras, but conventionally they include a variety orchestra, as well as an orchestra performing classics in modern processing.

According to historical information, instrumental music began to actively develop in Russia only under Peter the Great. She, of course, had Western influence on herself, but she was no longer under such a ban as in earlier times. And before it came to such a point that it was forbidden not only to play, but to burn musical instruments. The Church believed that they had neither soul nor heart, and therefore they could not glorify God. And therefore instrumental music developed mainly among the common people.

They play in an instrumental orchestra on a flute, lyre, cithara, flute, trumpet, oboe, tambourine, trombone, pipe, nozzle and other musical instruments.

The most popular instrumental orchestra of the 20th century is the Paul Mauriat Orchestra.

He was its conductor, leader, arranger. His orchestra played a lot of popular musical works of the 20th century, as well as his own composition.

Folk Orchestra

In such an orchestra, the main instruments are folk.

For example, for the Russian folk orchestra, the most typical are: domras, balalaikas, psaltery, button accordions, harmonicas, zhaleika, flutes, Vladimir horns, tambourines. Also, additional musical instruments for such an orchestra are a flute and an oboe.

A folk orchestra first appeared at the end of the 19th century, organized by V.V. Andreev. This orchestra toured a lot and gained wide popularity in Russia and abroad. And at the beginning of the 20th century, folk orchestras began to appear everywhere: in clubs, at palaces of culture, and so on.

Brass band

This type of orchestra suggests that it includes various wind and percussion instruments. It comes in small, medium and large.

jazz orchestra

Another orchestra of this type was called a jazz band.

It consists of such musical instruments: saxophone, piano, banjo, guitar, percussion, trumpets, trombones, double bass, clarinets.

In general, jazz is a direction in music that has developed under the influence of African rhythms and folklore, as well as European harmony.

Jazz first appeared in the southern United States at the beginning of the 20th century. And soon spread to all countries of the world. At home, this musical direction developed and was supplemented by new characteristic features that appeared in one region or another.

At one time in America, the terms "jazz" and "popular music" had the same semantic meaning.

Jazz orchestras began to actively form in the 1920s. And they remained so until the 40s.

As a rule, participants entered these musical groups as early as adolescence, performing their specific part - memorized or from notes.

The 1930s are considered the peak of glory for jazz orchestras. The leaders of the most famous jazz orchestras at that time were: Artie Shaw, Glenn Miller, and others. Their musical works sounded everywhere at that time: on the radio, in dance clubs and so on.

Nowadays, jazz orchestras and melodies written in the jazz style are also very popular.

And although there are more types of musical orchestras, the article discusses the main ones.

ORCHESTRA
Meaning:

ORCHESTRA, -a, m.

1. A group of musicians who play music together on various instruments. Symphonic, brass, string, jazz o. Chamber about. O. folk instruments.

2. The place in front of the stage area where the musicians are placed.

| adj. ~ new, th, th. Orchestral music. Orchestra pit(recessed place for ~a in front of the stage).

S.I. Ozhegov, N.Yu. Shvedova Explanatory Dictionary of the Russian Language

Meaning:

orc e str

m.

1) A group of musicians performing a piece of music together on various instruments.

a) An ensemble of musical instruments.

b) The part of an ensemble of musical instruments in complex musical works.

3) The place in front of the stage where the musicians are placed.

Modern explanatory dictionary ed. "Great Soviet Encyclopedia"

ORCHESTRA

Meaning:

(from the orchestra), a group of musicians (12 people or more) playing various instruments and performing musical works together. The term "orchestra" in the 17-18 centuries. replaced the common European term "chapel". The composition differs in the orchestra of strings, folk instruments, wind, symphony, etc.; by genre - pop, jazz, military. The chamber orchestra is distinguished by a small number of performers.

Dictionary of foreign words

ORCHESTRA

Meaning:

1. A group of musicians who play music together on various instruments. Symphonic about. Chamber about. O. folk instruments. Orchestrator - a musician from the orchestra.

Orchestrate - present (set out) a piece of music for performance by an orchestra or choir.||Cf. ENSEMBLE, CAPELLA I, CHOIR.

2. A place in the theater in front of the stage where the musicians are placed. Sit in the orchestra. Orchestral - relating to the orchestra, orchestras.

Small academic dictionary of the Russian language

orchestra

Meaning:

BUT, m.

A set of musical instruments involved in the performance of a piece of music, as well as a group of musicians who jointly perform a piece of music on various instruments.

Brass band. Symphony Orchestra. String orchestra.

The regiment stretched out in a long column and marched measuredly to the sounds of the regimental band, which thundered a cheerful march. Garshin, From the memoirs of Private Ivanov.

The place in front of the stage in the theater where the musicians are placed.

(French orchestre from Greek "ορχήστρα - a platform in front of the stage in the ancient Greek theater)

Compiled dictionary of foreign words of the Russian language

orchestra

Meaning:

ORCHESTRA

(Greek orchestra). 1) everything is connected. multiple instruments together. 2) a place in the theater where the musicians are placed.