Texture, musical warehouse, texture transformation of harmony, non-chord sounds. What is the musical texture Types of polyphony of Russian folk songs

Texture

Texture (factura - processing from facio - I do - lat.) - the structure of the musical fabric, taking into account the nature and ratio of its constituent voices. As synonyms, the terms warehouse, presentation, musical fabric are used ”(Kholopova V.N.). The texture is considered as an individual phenomenon. The concept of "warehouse" has a generalized meaning.

The main types of textures of European music, taken in chronological order, are as follows: monody, sub-voice, heterophony, imitative polyphony, polyphonic polyphony, homophony, chord warehouse, homophonic-polyphonic warehouse, polyphony of layers, pointillism, super-polyphony. These species are not the same in their historical role and artistic achievements.

monodic texture - the most ancient in origin. Samples of monody are ancient Greek music, Gregorian and Znamenny singing.

Monodic texture is not always monophonic. Several voices or timbres can merge in doublings and duplications, such a musical fabric is still perceived as one-line.

Polyphony implies a developed system of textural varieties. Polyphony- polyphony, in which voices gravitate towards equality and independent expressive meaning. The subvoice and heterophony characteristic of folk polyphony are similar to each other as types of variant polyphony and differ in the degree of voice independence.

heterophony (from Greek - another sound) genetically goes back to unison, subjected to a kind of "splitting". In heterophony, the voices are equal. Heterophony occurs when a melody is played together, in which one or more voices deviate from the main melody. Digressions are due to the natural differences in the performance capabilities of voices and instruments, as well as the imagination of the performers.

subvocal texture - an original folk-song polyphony that arose among the Slavic peoples. During choral singing, a branch from the main melody occurs, independent variants of the melody are formed - undertones. An undertone can support the main melody from below (bass), can set it off by ornamenting it from above (dishkant, padvodchyk), can resist it, forming a temporary contrast. The subvocal texture is characterized by a variable number of voices, their free switching on and off, the simultaneous pronunciation of syllables of the text, the free use of dissonances with the predominance of consonances, unison (octave) endings. Russian folk song "Ivan got into the habit"

Imitation polyphony It is based on alternate performance of the same melody in different voices. Despite the thematic identity, the voices are unequal: the first leader (proposta, dux - leader), the rest are subordinates.

Multi-dark polyphony involves a combination of independent voices, reaching varying degrees of contrast. The distinction between imitative and polyphonic polyphony is conditional due to the great fluidity inherent in polyphonic music.

Music The 20th century has for centuries given rise to new types of polyphonic texture, which are associated with super polyphony. Complementary-sonor polyphony consists of non-individualized melodic lines that form mobile cluster tutti. Complementary-sonor polyphony may have an imitation basis (Shostakovich Symphony No. 8, part 1, c. 28) or contrapuntal, non-imitation. Another innovation of music XXcentury - rhythmic polyphony. Each line includes a minimum of sounds that constantly vary rhythmically. Linear mobility creates an aleatory improvisational effect. Rhythmic polyphony was discovered by Stravinsky and first used in The Rite of Spring.

AT chord texture the voices monorhythmically duplicate the line of either the upper voice or the bass. There are only two voice functions: bass and harmonic voices. In such a texture, various forms of register arrangement of chords, duplication of chord layers, various structures of the chords themselves, contrasts in the texture sequence of chord complexes are possible.

homophonic texture relies on the leading formative role of harmony, as well as on the desire for a stable location in space of melodic relief and accompanying background. The normative attributes of the homophonic texture are the leading solo voice, the bass line and the harmonic voices filling the fabric. Homophony opens the era of domination of individualized melos. The homophonic-harmonic warehouse has two main types:

1. homophonic texture with various types of figurative content;

2. homophonic texture with the participation of duplications.

Figuration (lat. - to give a look or shape, to form, to make) - a textured pattern of the voices of a musical fabric. Three main types of figurations: harmonic, melodic and rhythmic, as well as numerous mixed combinations . harmonic figuration- the movement of the voice along the sounds of the chord.

melodic figuration - the movement of the voice along chord and non-chord sounds of various types (retention, passing sound, auxiliary sound, rise). Melodic figuration enhances the expressiveness of accompanying voices.

Rhythmic figuration used to give a peculiar pattern to the accompanying voices. Uniform rhythmic figuration is one of the most typical textural formulas for the accompaniment of vocal music and its implementation in the instrumental sphere (Rakhmaninov "Melody", Schumann "I'm not angry"). Along with this genre-typed application, there are rhythmic figurations that are clearly individual, characteristic, and pictorial. Characteristics arise even when relying on uniform rhythmic movements.

The most important feature of texture is duplications- doubling by some kind of consonance - an interval or a chord. The most common doubling is an octave doubling of various voices of texture, which is used to enhance the sonority and fullness of the sound. Dubbing can also be multi-octave (Glinka "Ivan Susanin", the beginning of the overture).

The parallel octaves and fifths that arise in this case are not perceived as a violation of the norms of voice leading, since they serve as a phonic effect. Fifth and fourth duplications, which constitute the essence of early polyphony, only by the beginning of the 20th century became normative again, along with the introduction of parallel consonances by Debussy and Ravel. Duplications in dissonant intervals became the norm of the 20th century, together with the establishment of a dissonant style in harmony. Examples: Scriabin Etudes op.65 - dubbing in major non and major seventh, Stravinsky's "Petrushka", "Oh, you canopy, my canopy" - dubbed in tritone. Similar to interval duplications, chord layers are also used. Examples: Shostakovich Symphony No. 7, one of the variations of the development - doubling with major triads, Prokofiev Third Concerto, part 1, side part - doubling with incomplete major and minor seventh chords. The design of harmony in the form of polyphonic duplications, not characteristic of the classical style, became the property of European harmony, starting from the turn of the 19th - 20th centuries and in many styles of the 20th century (Puccini, Debussy, Ravel, Prokofiev, Stravinsky, Bartok, Messiaen and other composers).

Homophonic-polyphonic texture also relies on a functional triad: main voice, secondary voices and bass. A feature is the rich development of side voices, which can be melodic or figurative counterpoints that imitate voices, undertones, harmonic sounds, organ point, doubling, characteristic voice or layer.

Layer polyphony

What is the musical texture

1. Texture as a way of expressing music.
2. Various variants of textural embodiment (on the example of musical notation fragments)
3. One-voice, texture (on the example of Lel's First Song from the opera "The Snow Maiden" by N. Rimsky-Korsakov).
4. Melody with accompaniment (on the example of S. Rachmaninov's romance "Lilac").
5. "Textural pattern": visual similarity of the textured pattern in accompaniment with the shape of a lilac flower.

Music material:

1. N. Rimsky-Korsakov. Lel's first song from the opera "The Snow Maiden" (listening);
2. S. Rachmaninov, poems by E. Beketova. "Lilac" (hearing);
3. G. Struve, verses by S. Marshak. "Wish to friends" (singing);
4. E. Krylatov, poems by Y. Entin. "What progress has come!" (singing).

Characteristics of activities:

1. Explore the diversity and specificity of texture incarnations in musical works.
2. Compare musical works in terms of their textural embodiment.
3. Find associative links between artistic images of music and fine arts.

The “face” of any piece of music is formed from the main means of musical expression. But each face can have many expressions. And additional means “know” the “expression of the face”. Invoice is one of them.

Literally, “texture” means “processing”. We know that the texture is, for example, in the fabric. By touch, by texture, you can distinguish one fabric from another. Each piece of music also has its own "sonic fabric". When we hear a beautiful melody or unusual harmony, it seems to us that these means are expressive in themselves. However, in order for a melody or harmony to sound expressive, composers use different techniques and methods of processing musical material, different types of musical texture.

Before understanding what the expression "musical texture" means, let's look at musical examples.

We see that all examples differ in their graphic presentation.

The first example is a vertical “chord pillars”, the second is a wavy line, the third is a kind of three-story building, the fourth is a musical pattern similar to a cardiogram (cardiogram is a graphic representation of the work of the heart).

It is the way music is presented that is called texture.

Perhaps because the texture most clearly expresses the field of musical art - lines, drawings, musical graphics - it has received many different definitions.

"Musical fabric", "pattern", "ornament", "contour", "textural layers", "textural floors" - these figurative definitions indicate visuality, picturesqueness, spatial texture.

The choice of a certain texture depends on many reasons - on the musical content, on where this music is performed, on the timbre composition. For example, polyphonic music intended to be played in a temple requires a significant amount of textural space. Lyrical music associated with the transfer of human feelings, as a rule, is monophonic. Its sound is a compression of the texture to a single voice singing its lonely song.

Sometimes a monophonic presentation of a melody is used by composers to express the beauty of a particular timbre. Thus, the shepherd's horn is the soloist in the introduction to Lel's First Song from N. Rimsky-Korsakov's opera The Snow Maiden, introducing the listener into the atmosphere of a wonderful pagan fairy tale.

The young shepherd Lel is the personification of the art of music and the sunny, irresistibly attractive love power. Love and art are the gifts of Yarila and at the same time an expression of the inexhaustible creative forces of man.
The fact that Lel is a simple shepherd, that his songs are folk, has a deep meaning. In the image of Lelya, Ostrovsky and Rimsky-Korsakov glorified folk art and emphasized its life-affirming essence. It is no coincidence that Lel, the only one of the leading characters in the opera, is characterized almost exclusively by songs - solo and choral, where he acts as the lead singer. The instrumental side in Lel's musical characterization is represented by numerous shepherd tunes. Some of them are truly folk.
The sound of woodwind instruments and most often the solo clarinet (imitation of a shepherd's horn) gives Lel's music a bright folk coloring.
Lel's first song "Strawberry Berry" is a long, mournful song. In it, Rimsky-Korsakov conveyed with remarkable skill the character and musical features of lyrical folk songs: smooth chant, frequent vocalization, incomplete (without a third) consonances and unisons at the ends of phrases. Numerous "divorces" - flute and English horn tunes with their folk timbre coloring - give the song great charm and originality.

However, an exclusively monophonic texture is a rather rare phenomenon. Much more often we see another type of texture - a melody with accompaniment, which, as a rule, complement each other. Remember F. Schubert's song "On the Road". It contains not only a cheerful melody, but also the rotation of a millstone in the piano part, creating a vivid visual impression.

F. Schubert's song "On the Road" opens the cycle "The Beautiful Miller's Woman". It tells about how the miller set off on a journey, about the love of a young simple-hearted hero - this is another romantic story of a lonely soul. The happiness of a person is so close, his hopes are so bright, but they are not destined to come true, and only the stream, which has become a friend of the miller from the first minutes, consoles him, grieving with him. He seems to be pulling the young man on his way. Against the background of this murmur, a simple, folk melody sounds.

The richness of musical images allows you to use different methods of texture. So, in S. Rachmaninov's romance "Lilac", the accompaniment pattern has a purely visual resemblance to the shape of a lilac flower. The music of the romance is bright and pure, like youth, like the flowering of a spring garden:

In the morning, at dawn, on the dewy grass
I'll go fresh in the morning to breathe;
And in the fragrant shade
Where the lilac crowds
I'm going to find my happiness...
In life, I am destined to find happiness alone,
And that happiness lives in lilacs;
On green branches
On fragrant brushes
My poor happiness blooms.

Writer Yuri Nagibin in the story "Lilacs" writes about one summer that seventeen-year-old Sergei Rachmaninov spent in the Ivanovka estate. In that strange summer, the lilac blossomed "all at once, in one night it boiled in the yard, and in the alleys, and in the park." In memory of that summer, one early morning, when the composer met his young first love, he wrote, perhaps, the most tender and agitated romance "Lilac".

What else, what feelings and moods make the texture either shrink, or take shape in space, or take the form of a lovely spring flower?

Probably, the answer to this question should be sought in the lively charm of the image, in its breath, colors, unique appearance, and most importantly, in the experience of the image that the composer himself brings into his music. A musician never addresses a topic that is not close to him and does not resonate in his soul. It is no coincidence that many composers admitted that they never wrote about what they did not experience, did not feel themselves.

Therefore, when lilac blossoms or the earth is covered with snow, when the sun rises or jets of fast water begin to play with multi-colored highlights, the artist experiences the same feelings that millions of people have experienced at all times.

He also rejoices, sad, admires and admires the boundless beauty of the world and its wonderful transformations. He embodies his feelings in the sounds, colors and drawings of music, filling it with the breath of life.

And if his music excites people, it means that it not only vividly captures the images of lilacs, the morning sun or the river, but guesses those experiences that people have experienced in contact with beauty since time immemorial.

Therefore, it would probably not be an exaggeration to say that each such work, no matter how intimate the feelings that inspired the author, is a monument to all the colors of the world, all its rivers and sunrises, all the immense human admiration and love.

Questions and tasks:

1. What does the word texture mean in music?
2. What figurative definitions are applicable to different types of texture?
3. Why is Lel's First Song from the opera The Snow Maiden by N. Rimsky-Korsakov using a monophonic texture?
4. How does the content of a piece of music affect its texture recording? Tell us on the example of the romance "Lilac" by S. Rachmaninov.

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Debussy. Paspier (from the Bergamas suite cycle), mp3;
Denisov. Cry-notification (from Cry cycle), mp3;
Messiaen. Etude No. 2 (from the cycle of 4 rhythmic studies), mp3;
Rakhmaninov. Lilac. (in Spanish by T. Sinyavskaya), mp3;
Rimsky-Korsakov. Lel's first song (from the opera The Snow Maiden), mp3;
Shostakovich. Prelude C-dur (from the cycle of 24 preludes and fugues), mp3;
Schubert. On the Road (from the series Beautiful Miller's Woman), mp3;
3. Accompanying article, docx.

Musical thought can be expressed in various ways. Music, like a fabric, is made up of various components, such as melody, accompanying voices, sustained sounds, etc. This whole complex of means is called an invoice.
Texture is a way of expressing musical fabric.
In artistic practice, the texture is different in density. It depends on the number of votes composing it (from one to several dozen).
Often the word invoice is replaced by the word warehouse, which is similar in meaning. Currently, two main types of texture are known: homophony and polyphony. Mixed
type appears when the first two interact.

Monody (unison) (from the Greek "mono" - one) is the oldest monophonic texture, which is a monophonic melody, or holding a melody by several voices in unison, or in octave doubling.

heterophony- also an ancient type of texture (originated in the 9th century).

homophony- (from the Greek "homo" - a person, "background" - sound, voice). Homophony or homophonic-harmonic texture is one and the same.

Homophonic - harmonic texture consists of melody and accompaniment. It established itself in the music of the Viennese classics (second half of the 18
century) and is the most common texture to this day.

chord texture- is a chord presentation without a pronounced melody. Examples are church hymns - chorales
(quite often such a texture is called choral), it includes instrumental and choral works of a chordal warehouse.

Polyphony(from the Greek "poly" - a lot and "background" - sound, voice) - older than homophonic, it flourished in the Baroque era (XVII century -
first half of the 18th century). This is a type of polyphony in which two or more voices have an independent melodic meaning (“equality” of all voices).
in).

polyphonic texture There are three varieties: contrast, imitation, subvocal.

Contrasting (different-dark) polyphony o It is formed if the themes (melodies) in polyphony are different, contrasting.

Imitation (from lat. - imitation)- is formed in that case. When the melodies of a polyphonic warehouse are the same or similar, they enter into a relationship with a shift in time. Imitative polyphony reached its peak in the work of J.-S. Bach.

heterophony- also an ancient type of texture (it appeared in the 9th century), it is the most primitive kind of polyphony. In it, the voices move parallel to each other (tape movement - in fourths, fifths, thirds, sixths).

mixed texture- arose as a result of the interaction of textures of different types, it can be polyphonic-harmonic, heterophonic-harmonic

lat. factura - manufacturing, processing, structure, from facio - I do, I carry out, I form; German Faktur, Satz - warehouse, Satzweise, Schreibweise - writing style; French facture, structure, conformation - device, addition; English texture, texture, structure, build-up; ital. structure

In a broad sense - one of the sides of the musical form, is included in the aesthetic and philosophical concept of the musical form in unity with all means of expression; in a narrower and more common sense - a specific design of the musical fabric, a musical presentation.

The term "texture" is revealed in connection with the concept of "musical warehouse". Monodic. the warehouse assumes only a "horizontal dimension" without any vertical relationship. In strictly unison monodich. samples (Gregorian chant, Znamenny chant) single-headed. music fabric and F. are identical. Rich monodic. F. distinguishes, for example, the music of the East. peoples who did not know polyphony: in Uzbek. and taj. Makome singing dubbed instr. ensemble with the participation of drums performing usul. Monodic. Warehouse and F. easily pass into a phenomenon intermediate between monody and polyphony - into a heterophonic presentation, where unison singing in the process of performance becomes more complicated decomp. melodic-textural options.

The essence of polyphony. warehouse - correlation at the same time. sounding melodies. lines are relatively independent. the development of which (more or less independent of the consonances arising along the vertical) constitutes the logic of the muses. forms. In polyphonic music The tissues of the voice show a tendency towards functional equality, but they can also be multifunctional. Among the qualities of polyphonic F. creatures. density and rarefaction ("viscosity" and "transparency") are important, to-rye are regulated by the number of polyphonic. voices (masters of a strict style willingly wrote for 8-12 voices, preserving one type of F. without a sharp change in sonority; however, in masses it was customary to set off magnificent polyphony with light two- or three-voices, for example, Crucifixus in the masses of Palestrina). Palestrina only outlines, and in free writing, polyphonic techniques are widely used. thickening, thickening (especially at the end of the piece) with the help of increase and decrease, strettas (fugue in C-dur from the 1st volume of Bach's Well-Tempered Clavier), combinations of different themes (the code of the finale of Taneyev's symphony in c-moll). In the example below, the textural thickening due to the rapid pulse of the introductions and the textural growth of the 1st (thirty-second) and 2nd (chords) elements of the theme are characteristic:

J. S. Bach. Fugue in D-dur from the 1st volume of the Well-Tempered Clavier (bars 23-27).

For polyphonic F. is typical of the unity of the pattern, the absence of sharp contrasts in sonority, and a constant number of voices. One of the notable properties of polyphonic P. - fluidity; polyphony. F. is distinguished by constant updating, the absence of literal repetitions while maintaining the full thematic. unity. Defining value for polyphonic. F. has rhythmic. and thematic ratio of votes. With the same durations, a choral F. appears in all voices. This F. is not identical to chord-harmonic, since the movement here is determined by the deployment of melodic. lines in each of the voices, and not by the functional relationships of the harmonics. verticals, for example:

F. d "Ana. An excerpt from a motet.

The opposite case is polyphonic. F., based on the full metrorhythm. independence of voices, as in the mensural canons (see the example in v. Canon, column 692); the most common type of complementary polyphonic. F. is determined thematically. and rhythmic. like themselves. voices (in imitations, canons, fugues, etc.). Polyphonic F. does not exclude a sharp rhythmic. stratification and an unequal ratio of voices: contrapuntal voices moving in relatively short durations form the background for the dominant cantus firmus (in masses and motets of the 15th-16th centuries, in Bach's organ choral arrangements). In the music of later times (19th and 20th centuries), polyphony of different themes developed, creating unusually picturesque F. (for example, the textured interweaving of the leitmotifs of fire, fate, and Brünnhilde's dream at the conclusion of Wagner's opera The Valkyrie). Among the new phenomena of music of the 20th century. should be noted: F. linear polyphony (the movement of harmonically and rhythmically uncorrelated voices, see Milhaud's Chamber Symphonies); P., associated with complex dissonant duplication of polyphonic. voices and turning into polyphony of layers (often in the work of O. Messiaen); "dematerialized" pointillistic. F. in op. A. Webern and the opposite polygon. gravity orc. counterpoint by A. Berg and A. Schoenberg; polyphonic F. aleatory (in V. Lutoslavsky) and sonoristic. effects (by K. Penderecki).

O. Messiaen. Epouvante (Rhythmic canon. Example No 50 from his book "The Technique of My Musical Language").

Most often the term "F." applied to harmonica music. warehouse. In an immeasurable variety of harmonic types. F. The first and simplest is its division into homophonic-harmonic and proper chordal (which is considered as a special case of homophonic-harmonic). Chordal F. is monorhythmic: all voices are set out in sounds of the same duration (the beginning of Tchaikovsky's overture-fantasy Romeo and Juliet). In homophonic harmonic. F. drawings of melody, bass and complementary voices are clearly separated (the beginning of Chopin's c-moll nocturne). The following are distinguished. harmonic presentation types. consonances (Tyulin, 1976, ch. 3rd, 4th): a) harmonic. a figuration of a chord-figurative type, representing one or another form of successive presentation of chord sounds (prelude C-dur from the 1st volume of Bach's Well-Tempered Clavier); b) rhythmic. figuration - the repetition of a sound or chord (poem D-dur op. 32 No 2 by Scriabin); c) diff. duplicates, eg. in an octave with orc. presentation (a minuet from Mozart's symphony in g-moll) or a long doubling into a third, sixth, etc., forming a "tape movement" ("Musical Moment" op. 16 No 3 by Rachmaninov); d) various types of melodic. figurations, the essence of which is in the introduction of melodic. movements in harmony. voices - complication of chord figuration by passing and auxiliary. sounds (Etude in c-moll op. 10 No 12 by Chopin), melodicization (choir and orchestra presentation of the main theme at the beginning of the 4th painting "Sadko" by Rimsky-Korsakov) and polyphonization of voices (introduction to Wagner's "Lohengrin"), melodic-rhythmic "revival" org. point (4th painting "Sadko", number 151). The given systematization of harmonic types. F. is the most common. In music, there are many specific textural techniques, the appearance of which and the methods of use are determined by stylistic. the norms of this music-historical. eras; therefore, the history of F. is inseparable from the history of harmony, orchestration (more broadly, instrumentalism), and performance.

harmonic warehouse and F. originate in polyphony; for example, Palestrina, who perfectly felt the beauty of soberness, could use the figuration of emerging chords over many measures with the help of complex polyphonic (canons) and the chorus itself. means (crossings, duplications), admiring the harmony, like a jeweler with a stone (Kyrie from the Mass of Pope Marcello, bars 9-11, 12-15 - five counterpoint). For a long time in instr. prod. composers of the 17th century chorus addiction. The style of strict writing was obvious (for example, in the organ. op. by J. Sweelinka), and composers were content with relatively uncomplicated techniques and drawings of mixed harmonica. and polyphonic. F. (for example, J. Frescobaldi). The expressive role of F. is enhanced in the production. 2nd floor. 17th century (in particular, spatial-textural juxtapositions of solo and tutti in A. Corelli's works). The music of J. S. Bach is marked by the highest development of F. (chaconne d-moll for solo violin, "Goldberg Variations", "Brandenburg Concertos"), and in some virtuoso op. ("Chromatic Fantasy and Fugue"; Fantasy G-dur for organ, BWV 572) Bach makes textural discoveries, subsequently widely used by romantics. The music of the Viennese classics is characterized by the clarity of harmony and, accordingly, the clarity of textured patterns. Composers used relatively simple textural means and were based on general forms of movement (for example, figures such as passages or arpeggios), which did not conflict with the attitude to F. as a thematically significant element (see, for example, the middle in the 4th variation from the 1st movement of Mozart's sonata No 11 A-dur, K.-V. 331); in the presentation and development of the themes from Allegri sonatas, motivic development occurs in parallel with textural development (for example, in the main and connecting parts of the 1st movement of Beethoven's Sonata No 1). In the music of the 19th century, primarily among the Romantic composers, exceptions are observed. a variety of types of F. - sometimes lush and multi-layered, sometimes cozy at home, sometimes fantastically bizarre; strong textural and stylistic differences arise even in the work of one master (cf. the diverse and powerful F. sonatas in h-moll for piano and the impressionistically refined drawing of the pianoforte of Liszt's play "Grey Clouds"). One of the most important trends in music of the 19th century. - individualization of textured drawings: the interest in the extraordinary, inimitable, characteristic of the art of romanticism, made it natural to reject typical figures in F. Special methods were found for the multi-octave selection of a melody (Liszt); The musicians found opportunities for updating F. primarily in the melody of a wide harmonica. figurations (including in such an unusual form as in the finale of the piano sonata b-moll Chopin), sometimes turning almost into polyphonic. narration (the theme of a side part in the exposition of the 1st ballad for FP Chopin). Textured variety supported the interest of the listener in the wok. and instr. cycles of miniatures, it to a certain extent stimulated the composition of music in genres directly dependent on F. - etudes, variations, rhapsodies. On the other hand, there was a polyphonization of F. in general (the finale of Frank's violin sonata) and harmonica. figurations in particular (an 8-head canon in the introduction to Wagner's "Gold of the Rhine"). Rus. musicians discovered a source of new sonorities in the textural techniques of the East. music (see, in particular, "Islamei" by Balakirev). One of the most important. achievements of the 19th century in the field of F. - strengthening its motive richness, thematic. concentration (R. Wagner, I. Brahms): in some Op. in fact, there is not a single measure of non-thematic. material (e.g. symphony in c-moll, piano quintet by Taneyev, late operas by Rimsky-Korsakov). The extreme point in the development of individualized Ph. was the emergence of P.-harmony and F.-timbre. The essence of this phenomenon is that at a certain Under conditions, harmony, as it were, passes into F., expressiveness is determined not so much by the sound composition as by the picturesque arrangement: the correlation of the "floors" of the chord with each other, with the registers of the piano, with the orchestra takes precedence. groups; more important is not the pitch, but the texture filling of the chord, that is, how it is taken. Examples of F.-harmony are contained in Op. M. P. Mussorgsky (for example, "Clock with Chimes" from the 2nd act of the opera "Boris Godunov"). But in general, this phenomenon is more typical of the music of the 20th century: F.-harmony is often found in the production of. A. N. Scriabin (the beginning of the reprise of the 1st part of the 4th piano sonata; the culmination of the 7th piano sonata; the last chord of the piano poem "To the Flame"), C. Debussy, S. V. Rachmaninov. In other cases, the merger of F. and harmony determines the timbre (fp. play "Skarbo" by Ravel), which is especially pronounced in orc. the technique of "combining similar figures", when the sound arises from the combination of rhythmic. variants of one textured figure (a technique known for a long time, but brilliantly developed in the scores of I. F. Stravinsky; see the beginning of the ballet "Petrushka").

In the suit of the 20th century. different ways of updating the F. coexist. As the most general trends are noted: the strengthening of the role of F. in general, including polyphonic. F., in connection with the predominance of polyphony in the music of the 20th century. (in particular, as a restoration of F. of past eras in the production of the neoclassical direction); further individualization of textural techniques (film is essentially "composed" for each new product, just as an individual form and harmony are created for them); opening - in connection with the new harmonics. norms - dissonant duplications (3 etudes, op. 65 by Scriabin), the contrast of especially complex and "refinedly simple" F. (1st part of Prokofiev's 5th piano concerto), improvisational drawings. type (No 24 "Horizontal and Vertical" from Shchedrin's "Polyphonic Notebook"); combination of original textural features of nat. music with the latest harmony. and orc. technique prof. art-va (brightly colorful "Symphonic Dances" Mold. Comp. P. Rivilis and other works); continuous thematization of F. c) in particular, in serial and serial works), leading to the identity of thematism and F.

Emergence in the new music of the 20th century. non-traditional warehouse, not related to either harmonic or polyphonic, determines the corresponding varieties of Ph.: the following fragment of the product. shows the discontinuity characteristic of this music, the incoherence of F. - register stratification (independence), dynamic. and articulation. differentiation:

P. Boulez. Piano Sonata No 1, beginning of the 1st movement.

The value of F. in the art of music. avant-garde is brought to logic. limit, when F. becomes almost the only one (in a number of works by K. Penderetsky) or unities. the goal of the actual composer's work (vocal. Stockhausen's "Stimmungen" sextet is a texture-timbre variation of one B-dur triad). F. improvisation in given pitch or rhythmic. within - main. reception of controlled aleatorics (op. V. Lutoslavsky); the field of F. includes an uncountable set of sonoristic. inventions (collection of sonoristic techniques - "Coloristic fantasy" for the opera Slonimsky). To electronic and concrete music created without tradition. tools and means of execution, the concept of F., apparently, is not applicable.

F. disposes means. shaping possibilities (Mazel, Zuckerman, 1967, pp. 331-342). The connection between the form and the form is expressed in the fact that the preservation of this pattern of the form contributes to the fusion of the construction, its change - dismemberment. F. has long served as the most important transformative tool in sec. ostinato and neostinatny variational forms, revealing in some cases large dynamic. possibilities ("Bolero" by Ravel). F. is able to decisively change the appearance and essence of the muses. image (carrying out the leitmotif in the 1st part, in the development and code of the 2nd part of the 4th piano sonata by Scriabin); textural changes are often used in reprises of three-movement forms (2nd part of the 16th piano sonata of Beethoven; nocturne c-moll op. 48 by Chopin), in the refrain in the rondo (finale of the piano sonata No. 25 of Beethoven). The formative role of F. is significant in the development of sonata forms (especially orc. compositions), in which the boundaries of sections are determined by a change in the method of processing and, consequently, F. thematic. material. F.'s change becomes one of the main. means of dividing the form in the works of the 20th century. ("Pacific 231" by Honegger). In some new compositions, the form turns out to be decisive for the construction of the form (for example, in the so-called repetitive forms based on the variable return of one construction).

F.'s types are quite often connected with def. genres (eg, dance music), which is the basis for combining in production. different genre features that give the music an artistically effective ambiguity (expressive examples of this kind in Chopin's music: for example, Prelude No. 20 c-moll - a mixture of the features of a chorale, a funeral march and a passacaglia). F. retains signs of one or another historical or individual muses. style (and, by association, era): so-called. guitar accompaniment enables S.I. Taneev to create a subtle stylization of early Russian. elegies in the romance "When, whirling, autumn leaves"; G. Berlioz in the 3rd part of the symphony "Romeo and Julia" to create nat. and historical color skillfully reproduces the sound of the madrigal a cappella of the 16th century; R. Schumann in "Carnival" writes authentic music. portraits of F. Chopin and N. Paganini. F. - the main source of music. descriptiveness, especially convincing in cases where k.-l. traffic. With the help of F. visual clarity of music is achieved (introduction to Wagner's "Gold of the Rhine"), at the same time. full of mystery and beauty ("Praise to the Desert" from "The Tale of the Invisible City of Kitezh and the Maiden Fevronia" by Rimsky-Korsakov), and sometimes of amazing trepidation ("the heart beats in rapture" in M. I. Glinka's romance "I remember a wonderful moment" ).

Literature: Sposobin I., Evseev S., Dubovsky I., Practical course of harmony, part 2, M., 1935; Skrebkov S. S., Textbook of polyphony, parts 1-2, M.-L., 1951, 1965; his own, Analysis of musical works, M., 1958; Milstein Ya., F. List, part 2, M., 1956, 1971; Grigoriev S. S., On the melody of Rimsky-Korsakov, M., 1961; Grigoriev S., Muller T., Textbook of polyphony, M., 1961, 1977; Mazel L. A., Zukkerman V. A., Analysis of musical works, M., 1967; Shchurov V., Features of the polyphonic texture of the songs of South Russia, in collection: From the history of Russian and Soviet music, M., 1971; Zukkerman V.A., Analysis of musical works. Variation form, M., 1974; Zavgorodnyaya G., Some features of texture in the works of A. Onegger, "SM", 1975, No 6; Shaltuper Yu., On the style of Lutoslavsky in the 60s, in: Problems of Musical Science, vol. 3, M., 1975; Tyulin Yu., The doctrine of musical texture and melodic figuration. Musical texture, M., 1976; Pankratov S., On the melodic basis of the texture of Scriabin's piano compositions, in: Issues of polyphony and analysis of musical works (Proceedings of the Gnessin State Musical and Pedagogical Institute, issue 20), M., 1976; his, Principles of textured dramaturgy of Scriabin's piano compositions, ibid.; Bershadskaya T., Lectures on harmony, L., 1978; Kholopova V., Faktura, M., 1979.

4 quarter, 1 lesson (grade 6)

TOPIC OF THE LESSON: Texture space.

Lesson Objectives:

Educational: to form an idea of ​​the polyphonic texture of music

Developing: on the basis of emotional perception and associative thinking, to teach to distinguish the polyphonic sound of the work

Educational: arouse interest in the analysis of musical texture

Tasks:

Know the signs that reveal the meaning of the concept of "texture";

To be able to distinguish texture in music, fine arts, literature and apply knowledge in practice;

Develop an aesthetic culture, worldview.

Planned results:

Personal Outcomes

1. The formulation of an emotional attitude to art, an aesthetic view of the world in its integrity, artistic and original diversity.

Metasubject Results

Subject Results

- formation of the foundations of the musical culture of students as an integral part of their general spiritual culture;

Development of general musical abilities of students, as well as figurative and associative thinking, fantasy and creative imagination, emotional and value attitude to the phenomena of life and art based on the perception and analysis of musical images;

Expansion of musical and general cultural horizons;

Lesson type: generalizing.

Methods: by appointment - the application of knowledge, creative activity;

by type of cognitive activity - partially exploratory, ICT.

Equipment: PC, multimedia

Music material: S. Rachmaninov - "Spring Waters"; J. Bizet "Morning in the mountains".

FORMS OF WORK:

Listening (comparison and analysis) of musical works.

Performance (singing, learning a song)

View visual material.

During the classes:

Planned results

1. Organizational moment

The kids go to the music

Organizational moment: performance and musical greeting.

Hello guys!

Hello teacher!

Personal Outcomes

1. Formulation of an emotional attitude to art, an aesthetic view of the world in its integrity,

2. Actualization of basic knowledge.

Play, sing, compose, record, draw….

A piece of music .... How many of them, and how diverse they are! But they all “live” according to the same laws. How can a piece of music be brought to life, what needs to be done and what can be done?

artistic and original diversity.

2. Development of motives for musical and educational activities and the realization of creative potential in the process of collective (individual) music-making.

3. Statement of the learning task. Lesson topic message

about musical texture.

If the sound could materialize, it could become such a fabric - light, transparent, or soft, voluminous, or embodied in a dense, multi-layered, opaque fabric.

I suggest you listen to a piece of music and determine which type of fabric it is more suitable for and mark the necessary characteristics in the worksheet.

So today we will talk

Metasubject Results

1. The use of sign-symbolic and speech means for solving communicative and cognitive tasks.

2. Participation in joint activities on the basis of cooperation, search for compromises, distribution of functions and roles.

4. Learning new material

Writer Yuri Nagibin in the story "Lilac" writes about one summer, which was spent by seventeen-year-old Sergei Rachmaninov in the Ivanovka estate. In that strange summer, the lilac blossomed "all at once, in one night it boiled in the yard, and in the alleys, and in the park." In memory of that summer, one early morning, when the composer met his young first love, he wrote, perhaps, the most tender and agitated romance "Lilac"

In "Spring Waters" - the feeling is bright, open, enthusiastic, captivating listeners from the very first bars. The music of the romance seems to be deliberately constructed in such a way as to avoid everything soothing, lulling; there are almost no melodic repetitions in it, with the exception of those phrases that are emphasized by the whole meaning of musical and poetic development: "Spring is coming, spring is coming!"

Hearing

Listen to another romance by S. Rachmaninov - "Spring Waters". Written to the words of F. Tyutchev, it conveys the image of the poem, at the same time introducing new dynamics into it, swiftness, accessible only to musical expression.

The snow is still whitening in the fields,
And the waters are already rustling in the spring -
They run and wake up the sleepy shore,
They run and shine and say...
They say all over the place:
Spring is coming, spring is coming!
We are messengers of young spring,
She sent us ahead!”
Spring is coming, spring is coming!
And quiet, warm, May days
Ruddy, bright round dance
Crowds merrily after her.

What does it represent?

A joyful foreboding of the imminent spring literally permeates the romance. The tonality of E-flat major sounds especially bright and sunny, the movement of the musical texture is swift, seething, covering a huge space, like a powerful and cheerful stream of spring waters breaking all barriers. There is nothing more opposite in feeling and mood to the recent numbness of winter with its cold silence and fearlessness.

Spirit of life, strength and freedom
Raises, envelops us! ..
And joy flooded into my soul
As a response to the triumph of nature,
Like God's life-giving voice!

These lines from another poem by F. Tyutchev - "Spring" sound like an epigraph to a romance - perhaps the most joyful and exultant in the history of Russian vocal lyrics.

Unusual expressiveness is achieved by the texture in the works addressed to fabulous-fantastic images. After all, the field of musical fantasy is the world of fairy tales and fabulous nature, a bizarre interweaving of the lyrical and mysterious, this is the world of supernatural beauty - the beauty of fairy forests and mountains, underground caves and underwater kingdoms. Everything that the composer's poetic imagination could create was embodied in sounds, their modulations and combinations, in the movement of texture - either numbly motionless, or endlessly changing.

Rachmaninov has the living power of living water, rushing, bubbling, unstoppable.

The endings of almost all melodic phrases are ascending; they contain even more exclamations than the poem. It is also important to note that the piano accompaniment in this work is not just an accompaniment, but an independent participant in the action, sometimes surpassing even the solo voice in terms of expressiveness and pictorial power!

Subject Results

- formation of the foundations of the musical culture of students as an integral part of their general spiritual culture; - development of general musical abilities of students, as well as figurative and associative thinking, fantasy and creative imagination, emotional and value attitude to the phenomena of life and art based on the perception and analysis of musical images;

Formation of a motivational focus on productive musical and creative activity

Expanding musical and general cultural horizons

6. Reflection of activity Summing up the lesson.

Lesson grades.

We see that the texture certainly captures everything that is connected with the expressiveness of the musical sound. A lonely voice or a powerful choir, a poignant outburst of an experienced feeling or a drawing of a spring flower, a rapid movement or extreme numbness - all this, like many other things that inspire and live music, gives rise to its own musical fabric, this “patterned cover” of texture, always new , unique, deeply original.

Children's answers

So, what do we see that is connected in the texture?

1. Name the different types of texture.
2. Recall the musical works known to you, in which the texture would be distinguished by vivid depiction.
3. In what musical genres is the textural space of a significant range used? What do you think it is connected with?
4. Why does the word texture have such synonyms as fabric, pattern, pattern?
5. Compare the different types of invoices given at the beginning of this section.

7. Homework

8. Chanting and learning

Work on the song "Song about the giraffe"