Variety genre specificity. Types and forms of pop programs Selected discography for the course

Topic 6. Panorama of the main directions in the field of world stage

Theme 7 Pop music in the 90s and early 21st century

Control lesson

SECTION III. rock culture
Topic 1. Rock music as a phenomenon of the musical culture of the twentieth century.

Topic 2. US rock music in the 1950s.

Topic 4. Review of the directions of rock music in the 1970s-1980s.

Topic 5. Overview of rock music trends in the 1990s.

Topic 6. Overview of the directions of rock music of the XXI century.

Topic 7. Rock music in the USSR

Topic 8. Panorama of the main directions of modern domestic rock

Section IV Mass genres of musical theater

Topic

Topic 4. Rock musical

Topic 5. Rock opera

Student reports

Differentiated offset

TOTAL:

1. 3. CONDITIONS FOR THE IMPLEMENTATION OF THE DISCIPLINE PROGRAM

3.1. Minimum Logistics Requirements

An educational institution implementing a program for training mid-level specialists in the specialty of secondary vocational education must have a material and technical base that ensures the conduct of all types of practical classes, disciplinary, interdisciplinary and modular training, educational practice provided for by the curriculum of the educational institution. The implementation of the discipline program requires the presence of a study room for group classes.

Study room equipment: tables, chairs (according to the number of students), demonstration board, video and audio equipment (TV, DVD player, vinyl and CD player, projector, laptop, piano)

Teaching aids: TV, DVD player, vinyl and CD player, projector, laptop (Internet access)

1. 3.2. Information support of training

2. Bibliography

1. Konen V. The Birth of Jazz.-M., 1984.
2. Menshikov V. Encyclopedia of rock music. – Tashkent, 1992.
3. Sargent W. Jazz.-M., 1987.
4. Feofanov O. Rock music yesterday and today.-M., 1978.
5. Schneerson G. American song.-M., 1977.
6. Erisman Guy. French song.-M., 1974.

Topic 1. Jazz as a phenomenon of musical art

Jazz definition. Mixed nature of jazz culture. Historical, social and artistic prerequisites for the birth of jazz. Periodization of jazz history.

Communicative openness of jazz culture. Interaction with academic music ("Third Current"), with the folklore of the peoples of the world ("Fourth Current").

The use of expressive means and techniques of jazz by academic composers.

Topic 2. The origins of jazz

The mixed nature of the origins of jazz music.

Negro roots (improvisational music-making, a special rhythmic organization - swing, specific techniques of vocal - labile - intonation. Dirty tones, shout, groul, holler effects).

European traditions in jazz (tradition of concert music-making, performing compositions, tonal harmony, metro-rhythmic organization, squareness of compositional structures)

American household culture. Minstrel Theatre.

Topic 3. Genres of African American folklore

Common genre features are the responsor principle, labile intonation, the role of the rhythmic principle.

Spiritual genres - spirituals, gospel, ring-shout, jubilee.

Labor songs - work-song: street, field, plantation.

Theme 4 Blues: stages of genre development

Archaic (“rural”) blues is a folklore genre of an improvisational nature.

Classic blues - genre features (figurative content, blues form, blues harmony, blues intonation, blue area, blues square harmony). Blues performers - B. Smith, I. Cox, A. Hunter and others.

Blues in modern jazz. Instrumental blues; the development of the genre in various styles of modern jazz.

Topic 5. Ragtime

The origins of the genre; rag music, cake walk.

Genre features: "a syncopated melody against the background of a metronomically accurate movement of eighths in the accompaniment", "suite" principle of form organization. Features of performing technique.

Ragtime composers: Scott Joplin, Thomas Tarpen, James Scott and others.

Development of ragtime - genres Advanced, Novetly.

Ragtime opera. Trimonisha (S. Joplin)

Topic 6. Styles of early jazz

Migration of African Americans from the countryside to the cities, and the formation of the first jazz centers (New Orleans, Chicago, Kansas City, New York).

New Orleans style. Marching band, their role in the formation of the first jazz ensembles. Instrumental composition of jazz orchestras, functions of instruments.

The work of D. R. Morton, S. Bechet, L. Armstrong.

The spread of jazz on the East Coast and the Midwest (Kansas City, Memphis, etc.)

Chicago style. Dixieland and its role in the development of jazz. Activities of the "Original Dixieland Jazz Band" (leader Jack Lane). Barrel house style. Boogie-woogie genre.

Topic 7. 1920-1930s. The rise of jazz. Swing era

The 1920s is the "jazz age" (F. S. Fitzgerald). Relocation of the jazz development center to New York.

Sympho-jazz as an example of the convergence of jazz with the traditions of academic music. Creativity J. Gershwin. Porgy and Bess is the first opera based on Negro folklore.

Sweet music is a direction of dance-entertaining jazz. Creativity of J. Kern, K. Porter and others.

The 1930s is the swing era. Expansion of the sphere of existence of jazz (dancing halls, restaurants, hotels; musical arrangement of shows, musicals, films). Dance and entertainment function of jazz music, as a result of its commercialization.

The dominant position of the big bands. Principles of sectional grouping of tools. Functions of arranger and improviser. "Standardized" musical language.

"Nominal" big bands (F. Henderson, K. Basie, D. Ellington, B. Goodman, G. Miller, V. Herman, etc.)

Topic 8. The beginning of the era of modern jazz. 1940s. Bebop style.

Socio-political reasons for the formation of bebop - the first style of modern jazz. Reorientation of jazz from the field of mass culture to the status of an elite art.

Orientation to chamber music-making, as a result of which the formation of small performing ensembles is a combo. Strengthening the role of improvisation.

The complication of the system of musical expressive means of jazz due to the "borrowing" of the achievements of modern academic music. Revival of the traditions of labile folklore intonation and their manifestation in the harmonic field of jazz.

Bebop luminaries - D. Gillespie, C. Parker, T. Monk.

Topic 9. 1950s. Cool style and other trends

Cool (cool) - as a reaction to hot-stile bebop. The development of the tendencies of the 1940s - the inclination towards chamber music, the renewal of the musical language, the strengthening of the improvisational beginning. Intellectualization of jazz, bringing it closer to the music of the academic tradition.

Representatives of the cool style are D. Brubeck, P. Desmond, B. Evans. "Modern jazz quartet".

Progressive style is a style of concert jazz based on the traditions of the swing big band. Orchestra leaders S. Kenton, V. Herman, B. Raeburn and others.

Topic 10. 1960s. avant-garde styles of jazz

Free jazz is the first avant-garde style of jazz. Social prerequisites for the emergence of style. The inclination to use modern complex means of the musical language with a free attitude to shaping, thematism, harmonic "grid", uniform metric pulsation.

"Modal" jazz, as a kind of free jazz. The main setting of the style is improvisation on the chosen scale.

Representatives of free jazz - O. Cowelman, J. Coltrane, C. Mingus, A. Shepp and others.

Topic 11. Jazz styles of 1960-1970

The interaction of jazz with various musical cultures, in order to find sources of enrichment of the jazz language.

Ethno styles. Afrocuba and bossa nova - jazz music of Latin American flavor. Characteristic features - dance-genre rhythm, expansion of the percussion group through the use of various exotic instruments.

Jazz-rock is a direction based on the synthesis of jazz with rock style. Enrichment of the jazz sound by attracting specific electric musical instruments. Jazz-rock in the music of M. Davis, C. Corea and others.

"Third Current" - a direction that combines academic musical traditions ("First Current") with jazz ("Second Current"). Setting on writing orchestral compositions in large forms, relegation of improvisation to the background. Representatives of the "third current" - G. Schuller, "Swingle Singers".

The "fourth current" or "world music" is a new wave of ethno-jazz since the 1970s. It is based on the original national world folklore. Creativity of John McLaughlin, Jan Garbarek, John Zorn, San Ra.

Topic 18. Jazz in Soviet Russia

1920s in Russia - "jazz boom". Tours in the USSR of foreign jazz bands and jazz soloists. The first jazz bands: V. Parnakh's Eccentric Jazz Band (1922), A. Tsfasman's Orchestra (1926), L. Utyosov-Ya's Tea Jazz. Skomorovsky (1929). Popularization of jazz with the help of cinema (“Merry Fellows” by G. Aleksandrov, with the orchestra of L. Utesov). Creation of the State Jazz of the USSR (under the direction of M. Blanter and V. Knushevitsky) and the Jazz Orchestra of the All-Union Radio (under the direction of A. Varlamov, later - A. Tsfasman)

Variety and entertainment orientation of jazz music in the 1930s-1940s; rapprochement with the Soviet mass song. "Song Jazz" The activities of orchestras under the direction of O. Lundstrem, E. Rosner. Creativity of composers I. Dunayevsky, N. Bogoslovsky and others.

The 1940s-1950s were a time of sharp criticism and prohibition of jazz as a reflection of the ideology of the state and the foreign policy life of the USSR. Underground Jazz. Creativity of Yu. Saulsky.

1950-1960s - "Khrushchev thaw" - the time of the creation of jazz clubs, the organization of jazz festivals. Tours of foreign jazzmen. Participation of Soviet musicians in foreign jazz festivals.

Gradual legalization of jazz in the 1980s. The appearance of the first independent jazz club in Leningrad (1986), publications about jazz in the magazine "Musical Life", the release of the film "We are from Jazz" (directed by K. Shakhnazarov) with the participation of the orchestra conducted by A. Kroll (1983).

Topic 19. Jazz in post-Soviet Russia

Domestic jazzmen who advanced in 1960-1980: A. Kuznetsov, A. Kozlov, G. Holstein, I. Bril, L. Chizhik, D. Kramer, V. Ganelin, V. Chekasin, A. Kondakov and others. Vocalists - L. Dolina, I. Otieva, V. Ponomareva.

The variety of styles in the activities of domestic bands and soloists of the 1980s: Retro styles (Leningrad Dixieland), bebop (D. Goloshchekin), cool jazz (G. Lukyanov and his Kadans ensemble), free jazz (V. Gaivoronsky , V. Volkov).

The emergence of new figures in Russian jazz in the 1990s - A. Rostotsky, A. Shilkloper, V. Tolkachev, N. Kondakov, A. Podymkin and others.

Section 2

Topic 1. Genre of a popular song as a component of pop music

The song, as one of the most widespread pop genres. The origins of the popular song. Chronology of the development of the genre: Ancient era (synthesis of poetry and music), Middle Ages (songs of troubadours, trouveurs, minnesingers, minstrels, etc.), Renaissance (songs with instrumental accompaniment in professional art and everyday music making), the second half of the 18th-20th centuries. - an offshoot of the song genre of the romance, XIX century. division of the song genre in two directions - pop (oriented to the mass listener) and "serious" (field of activity of academic composers).

The specific features of the genre are communicativeness, democracy, features of the text (“song poetry”). Variety of song genres:

By forms of existence (children's, student's, soldier's, city, etc.)

by genre guidelines (anthem, lament, anthem, etc.)

The Central Position of the Song Genre in Pop Music Culture

Topic 2. French chanson

The origins of chanson are in folk songs, in the work of troubadours and trouveurs. In the 15th-16th centuries. chanson is a polyphonic song that summarized the national song traditions of French music.

XVII century - the performance of urban songs by professional musicians - Gros Guillaume, Jean Solomon, etc.) Variety of topics.

XVIII century - the activity of "chansonnier theaters". Chanson performers - Jean Joseph Vade, Pierre-Jean-Gara and others.

XIX century - the work of the chansonnier. Variety of artistic masks - "country guy" (Chevalier), "dandy" (Frant), etc. The emphasis in the performing style is not so much on vocal art, but on artistry.

The twentieth century is a chanson in the work of Jacques Brel, Gilbert Beco, Charles Aznavour, Edith Piaf, Yves Montana. Traditions of chanson in the work of Joe Dassin and Mireille Mathieu.

Topic 3. Soviet mass song

The role of the song genre in the Soviet musical art of the 1920-1930s.

Mass song as an example of social order; means of mass propaganda. Democracy of the genre, mass distribution. Cinema as a means of genre massification. "Film Songs" by I. Dunayevsky.

The meaning of mass song during the Great Patriotic War and the post-war period.

1950-1060s. Strengthening the influence of the song genre on the field of academic genres (song opera) and mass music (song jazz).

The work of Soviet songwriters - M. Blanter, S. Tulikov, V. Solovyov-Sedoy, Ya. Frenkel, A. Pakhmutova and others.

Topic 4. Pop song genre: stages of development in the national stage

The emergence of the genre at the turn of the XIX-XX centuries. The first genres of pop music in Russia were couplets, "cruel" and gypsy romance. Popular singers of the first half of the twentieth century - I. Yuryeva, A. Vyaltseva, P. Leshchenko and others.

The development of pop songs in Soviet Russia - in the work of L. Utesov, M. Bernes, M. Kristallinskaya, E. Piekha and other performers. Creativity VIA ("Earthlings", "Electroclub", "Merry Fellows"). Groups focused on the retro style ("Bravo", "Doctor Watson"), on the folklore specifics of the Union republics ("Yalla", "Pesnyary", "Mziuri").

Modern pop song performers - A. Pugacheva, S. Rotaru, L. Vaikule, F. Kirkorov, V. Leontiev and others. The defining setting in the modern stage at the show, visual brightness and showiness, devaluation of vocal skills (singing to the soundtrack).

Author's song as an alternative to pop art. Chamber performance, maximum proximity to the listener. The performers of the author's song are Alexander Galich, Yuri Vizbor, Novella Matveeva, Sergey and Tatiana Nikitin, Alexander Dolsky, Yuli Kim and others.

Creativity of Bulat Okudzhava. "Theme of Moscow"; songs-memories, songs-stylizations.

The originality of the song creativity of Vladimir Vysotsky; extreme emotionality, vivid characterization of characters, satire. The "cyclicality" of songs - military, historical, everyday and others.

Topic 6. Panorama of the main directions in the field of domestic modern stage

The genre of the song, as dominant in the modern stage. The main orientation of songwriters to the hit; stereotyped, simplistic musical language. Changes in the genre specificity of the author's song under the influence of pop music (A. Rosenbaum, O. Mityaev), "Russian chanson" (M. Shufutinsky, A. Novikov). Modern pop song as a background part of everyday life.

An alternative way of pop song development is E. Kamburova's "song theater", in synthesis with folk-rock (I. Zhelannaya).

Section 3

Topic 1. Rock as a phenomenon of the musical culture of the twentieth century

Rock culture as a socio-cultural phenomenon; a form of contemporary urban folklore that provides an opportunity for self-expression. The specific means of rock music is reliance on models (country, blues, commercial music), but at the same time the content is problematic, striving for the depth of themes and images.

Electronic instruments as defining a specific rock sound.

Topic 2. US rock music of the 1950s

Explosion of rock and roll in the USA in the 1950s. Origins - rhythm and blues, country, western.

Rock and roll performers - B. Haley, J. Lewis, E. Presley. The specificity of the style is the timbre composition (three electric guitars and drums), dance orientation.

Topic 3. British beat of the 1960s

Beat music as one form of youth dance and entertainment music of the 1960s. Musical characteristics of beat music.

Varieties of beat music (hard beat, soft beat, mainstream beat and others). Distribution in the US and Europe.

Creativity of the Beatles. Formation of original performing style. Creative trends that determined the main directions of the development of rock.

Topic 4. Overview of the directions of rock music in the 1970s - 1980s

The end of the 1960-1970s is a mature period in the development of rock music. "Branching" of creative currents.

Psychedelic rock as a reflection of the hippie ideology. The meditativeness of the compositions, the complication of the musical language. Creativity of the Pink Floyd group.

Progressive rock is the theme of protest, against government policy, racism, war, unemployment. Album Pink Floyd

"The Wall".

Art rock is a direction characterized by the complication of the musical language due to convergence with the traditions of academic music and jazz. Creativity of the groups "Emerson, Lake & Palmer", "King Crimson".

"Hard rock" - amplification of electronic sound, rigidity of the rhythm, heaviness of the sound. Creativity groups "Uriah Heep" "Black Sabbath".

Glam rock is a direction of rock associated with increased entertainment, theatricalization of concert performances. Representatives of glam rock - Freddie Mercury, Frank Zappa.

Topic 5. Rock music in the USSR

The end of the 1960s was the time of the penetration of Western rock music into the USSR. The perception of rock as a form of protest against the official ideology of the state system.

"Legalized" rock performed by philharmonic VIA ("Merry Fellows", "Singing Guitars", "Pesnyary"); lyrical themes, dance and entertainment orientation of songs.

The opposition to "philharmonic rock" is the group "Time Machine".

Folklore direction in rock culture - "Pesnyary", "Syabry", "Yalla".

VIA and musical theater. "Singing Guitars" - "Orpheus and Eurydice" (music by A. Zhurbin), "Ariel" - "The Legend of Emelyan Pugachev" (music by V. Yarushin), "Araks" - "The Star and Death of Joaquin Murieta" (music by A. Rybnikov ), "Rock Studio" - "Juno and Avos" (music by A. Rybnikov).

Rock underground - clubs in Leningrad (groups "Aquarium", "Alisa", "Kino"), Moscow ("Sounds of Mu", "Brigada S"), Ufa "DDT" and other cities. Sverdlovsk is one of the centers of Russian rock (groups "Urfin Juice", "Nautilus Pompilius", "Chayf", "Agatha Christie", "Samsara", "Sahara", "Semantic hallucinations" and others).

Topic 6. Panorama of the main directions of modern rock.

Branching directions of modern rock. Influence on the development of rock culture of computer technology. The standardization of the musical language, the leveling of the author's principle, the dominance of studio forms of music existence over concert ones.

Modern techno directions:

Hip-hop is a direction that combines murals - graffiti, dance break dance, musical direction - rap.

House is a trend based on the combination of techno music and disco. It is based on a mixture of embossed percussion basses (disco) and "heavy" electronic sound (bass, beats, various sound effects, etc.)

Rave is a direction that represents a lifestyle in general. A rave party is a massive club disco. Rave is a kind of techno music, characterized by the dominance of rhythm over melody, maximum volume.

Section 4

Topic 1. Musical: history of origin, stages of development of the genre

The musical is one of the leading mass genres of musical theater. The origins of the genre are minstrel theatre, revues, vaudeville, music hall, musical scenes. The variety of genres of expressive means used in the musical (operetta, vaudeville, modern pop and rock culture, choreography). The role of jazz art in the formation of genre specifics of the musical.

Stages of genre development (1920-1930s, 1930s-1960s, 1970s-1980s, contemporary musical).

Formation of the genre in the 1920s, as a reflection of the public's increased demand for entertainment culture. The features of mass art in the musical are the sketchiness of the plot, the spectacle, the “template” of the language, and the simplification of vocabulary.

Features of the dramaturgy of a classical musical on the example of the works of J. Gershwin ("Lady, please"), J. Kern ("Excellent, Eddie"), K. Porter "Kiss me, Kat"), I. Blakey and others.

Topic 3. The rise of the musical genre (1940-1960s)

New genre features

Topic expansion; "mastering" the plots of classical literary works - K. Porter "Kiss Me, Kate" (based on "The Taming of the Shrew" by W. Shakespeare, F. Lowe "My Fair Lady" (based on "Pygmalion B. Shaw"), L. Bernstein "West Side Story "(Based on "Romeo and Juliet" by W. Shakespeare), etc.

Strengthening the role of dance. Involvement of well-known choreographers in the production: B. Foss in Chicago and Cabaret, J. Robbins and P. Gennaro in West Side Story

Film musicals - transferring theatrical musical to the cinema, as well as creating a musical based on a film (Oliver!, My Fair Lady, The Man from La Mancha)

Topic 4. Rock opera

1960s-1070s - the emergence of rock opera. The tradition of combining compositions based on a single storyline into an album (“The Wall” by Pink Floyd).

Early rock operas - "Hair" by G. McDermot, "Salvation" by T. Lin, etc.

The Specificity of Rock Opera on the Example of "Jesus Christ Superstar" by E. L. Webber. Other rock operas of the composer are Evita, Cats, Phantom of the Opera.

Topic 5. Rock musicals

Rock musicals in Russia - "Orpheus and Eurydice" by A. Zhurbin, "The Star and Death of Joaquin Murieta", "Juno and Avos" by A. Rybnikov, "Giordano" by L. Quint and others.

Modern jazz and pop music is in constant development. It includes both established musical genres and forms, as well as new stylistic trends. Therefore, the specified course is constantly supplemented and updated according to the material. The program is divided into several sections. The first section is devoted to the development of jazz music. Students should get an idea of ​​the main stages in the development of jazz music, understand the general patterns in the development of its styles, get acquainted with the best examples of foreign and domestic jazz classics, as well as with the work of composers, arrangers and outstanding jazz performers. The second part of the program is devoted to an overview of the main directions of pop song creativity. In the third section we will trace the development of rock music and the fourth and final rock opera and musical.

The objective of the course "History of Music Variety Styles" in a secondary professional educational institution is to expand the artistic horizons of students, as well as to develop their ability to navigate various musical styles and directions in their artistic practice. Therefore, the main requirement for the student's independent work is to study the recommended literature and listen to the audio material for the lesson.

This subject complements the cycle of special and theoretical disciplines. Studying the courseHistory of musical stage styles” implies interdisciplinary connections with such disciplines as musical literature, specialty, ensemble, orchestra.

Mastering the subject contributes to the development of students' creative thinking. Planned, systematic homework will contribute to the disclosure of the student's creative abilities, broadening their horizons.

1. Questionnaire work.
2. Work with additional literature recommended by the teacher (involves note-taking).
3. Making abstracts.
4. Listening to music.

1. 4. CONTROL AND EVALUATION OF THE RESULTS OF MASTERING THE DISCIPLINE

1. Control and evaluation of the results of mastering the discipline is carried out by the teacher in the process of conducting practical classes and laboratory work, testing, as well as the implementation by students of individual tasks, projects, research.

5. LIST OF BASIC AND FURTHER LITERATURE

Main literature

1. Ovchinnikov, E. History of jazz: a textbook. In 2 issues. / E. Ovchinnikov. - Moscow: Music, 1994. - Issue. one.
2. Klitin, S. Variety art of the 19-20th century / S. Klitin. - St. Petersburg: SPbGATI, 2005.
3. Konen, V. The Birth of Jazz / V. Konen. - Moscow: Soviet composer, 1990.
4. Rock music in the USSR: the experience of a popular encyclopedia / comp. A. Troitsky. - Moscow: Book, 1990.

additional literature

1. Ayvazyan A. Rock 1953/1991.- St. Petersburg, 1992
2. Batashev A. Soviet Jazz.-M., 1972.
3. Benson Ross. Paul McCartney. Personality and myth. - M., 1993.
4. Bril I. A practical guide to jazz improvisation.-M., 1979.
5. Bychkov E. Pink Floyd (Legends of Rock).-Karaganda, 1991.
6. Vorobieva T. History of the Beatles Ensemble.-L., 1990.
7. Dmitriev Yu. Leonid Utesov.-M., 1983.
8. Davis Hunter. The Beatles. Authorized biography.-M., 1990.
9. Kozlov, A. Rock: history and development / A. Kozlov. - Moscow: Syncope, 2001.
10. Kokorev, A. Punk-rock from A to Z / A. Kokorev. - Moscow: Music, 1991.
11. Collier J. Louis Armstrong. M., 1987
12. Collier J. Formation of Jazz.-M., 1984.
13. Korolev, O. Brief Encyclopedic Dictionary of Jazz, Rock and Pop Music: Terms and Concepts / O. Korolev. - Moscow: Music, 2002 Collier J. Duke Ellington. M., 1989
14. Kurbanovsky A. Rock notebook. S.-Pb., 1991
15. Markhasev L. In the light genre.-L., 1984.
16. Menshikov V. Encyclopedia of rock music. – Tashkent, 1992
17. Moshkov, K. Blues. Introduction to history / K. Moshkov. - St. Petersburg: Lan, 2010
18. Moshkov, K. Jazz Industry in America / K. Moshkov. - St. Petersburg: Lan, 2008
19. Music of our days / ed. D. Volokhin - Moscow: Avanta+, 2002
20. Panasie South. The history of authentic jazz.-M., 1990
21. Pereverzev L. Essays on the history of jazz. // Musical life.-1966.-№3,5,9,12
22. Pereverzev L. Duke Ellington and his Orchestra // Musical Life.-1971.-№22.
23. Pereverzev L. Charlie Parker.// Musical life.-1984.-№10.
24. Pereverzev L. Oleg Lundstrem Orchestra // Musical Life.-1973.-№12.
25. Let's talk about jazz: reflections of great musicians about life and music / transl. from English. Y. Vermenich. - Rostov-on-Don: Phoenix, 2009.
26. Sargent W. Jazz.-M., 1987.
27. Simonenko P. Jazz Melodies.-Kyiv, 1984
28. Sky Rick. Freddie Mercury.-M., 1993.
29. Soviet Jazz: Problems. Developments. Masters.-M., 1987.
30. Troitsky A. Youth music of the 80s // Musical life.-1980.-№12.
31. Fedorov E. Rock in several faces.-M., 1989.
32. Feizer L. A book about jazz. Translation by Y. Vermenich. Voronezh, 1971
33. Feofanov O. Music of rebellion.-M., 1975.
34. Feiertag, V. Jazz in Russia. Brief encyclopedic reference book / V. Feiertag. - St. Petersburg: SCIFIA, 2009.
35. Fischer, A. Bebop jazz style and its luminaries: study guide) / A. Fischer, L. Shabalina. - Tyumen: RIC TGAKIST, 2010.
36. Chugunov Yu. Harmony in Jazz.-M., 1980.
37. Schmidel G. The Beatles. Life and songs.-M., 1977.

1. Selected discography by course

1. "AVBA" s60-08353-54
2. Ensemble "Arsenal". Second wind s60-2369002
3. Anthology of Soviet Jazz. First steps М6045827006
4. Armstrong Louis. с60-05909-10
5. Basie Count and the Kansas City Seven c60-10279-80
6. Basie Count. When the sun goes down М60-47075-009
7. Basie Count. 14 golden melodies (2pl). c60-18653-4
8. The Beatles. A Taste of Honey. с60-26581-006
9. The Beatles. Hard day's Night. с60-23579-008
10. The Beatles. Love songs BTA 1141/42
11. Bril Igor, jazz ensemble. The orchestra arrived from 60-14065-66
12. Brubeck Dave in Moscow (2pl.) s60-301903007, s60-30195-001
13. Gershwin George. Popular ringtones c60-08625-26
14. Disco club-9. Jazz compositions s60-19673-000
15. Goloshchekin David. Leningrad Jazz Ensemble. 15 years later. с60-20507-007
16. Goodman Benny. What can moonlight do. М6047507006
17. Davis Miles and the Giants of Contemporary Jazz М60-48821-006
18. James Harry and his orchestra. The person I love М60-49229-006
19. deep purple. In Rock П91-00221-2
20. John Elton. City tramp. с60-24123-002
21. John Elton. Your song c60-26003-002
22. John Elton. The one BL1027
23. Donegan Dorothy c60-20423-005
24. "Queen". Greatest Hits A60-00703-001
25. Credence Group. Wandering Orchestra. С60-27093-009
26. "Led Zeppelin" group. Stairway to Heaven с60-27501-005
27. Lundstrem Oleg and his orchestra. In memory of Duke Ellington с60-08473-74
28. Leningrad Dixieland 33CM02787-88
29. Lundstrem Oleg and his orchestra. In rich colors c60-1837-74
30. Lundstrem Oleg and his orchestra. Sun Valley Serenade c60-18651-52
31. Paul McCartney. Again in the USSR. А6000415006
32. Miller Glenn and his orchestra. In the mood М60-47094-002
33. A music shop. In memory of L. Utesov М6044997-001
34. Parker Charlie. М60-48457-007
35. Pink Floyd. Live А60 00543-007
36. Peterson Oscar and Dizzy Gillespie c60-10287-88
37. Peterson Oscar. O. Peterson Trio. c60-16679-80
38. Presley Elvis. Everything is in order М60-48919-003
39. Rolling Stones group. Playing with fire M60 48371 000
40. Rolling Stones group. Lady Jane s60 27411-006
41. Ross Diana c60-12387-8
42. Whiteman Paul, orchestra p/u M60 41643-44
43. Wonder StevieSun of my life C60 26825-009
44. Fitzgerald Ella С60-06017-18
45. Ella Fitzgerald Sings Duke Ellington C90 29749004
46. Fitzgerald Ella. Dancing in the Savoy. С6027469006
47. Hendrix Barbara. Negro spirituals A 1000185005
48. Tsfasman Alexander. Meetings and partings М6047455-008
49. Webber Andrew Lloyd. Jesus Christ Superstar P9100029
50. Winter Paul. Concert Earth c6024669003
51. Charles Ray. Selected songs. BTA 11890
52. Ellington Duke Dating Coleman Hawkins c60-10263-64
53. Ellington Duke and his orchestra. Concert (pl. 2) с6026783007

Annex 2

Questionnaire

1. African American roots of jazz.
2. What is improvisation.
3. Periodization of the stylistic evolution of jazz.
4. Spirituals:

Time of occurrence;

Definition;

1. Early African-American Folklore:

2 groups;

Brief description of genres;

1. labor songs
2. Poetic images (texts) of spirituals.
3. Musical style or characteristic genre features of spirituals.
4. Gospel:

A brief description of;

Difference from spirituals;

1. Performers of labor songs and spirituals.
2. Ragtime:

Definition;

Characteristic (occurrence, time);

1. "Sporting life":

Meaning of the word;

1. Scott Joplin
2. When was Maple Leaf Ragtime published?

Explain appearance.

1. The entertainment districts of New Orleans, Chicago,

New York.

1. Features of the minstrel (black) stage.
2. What dances ended the evolution of ragtime.
3. What works of classical music show the features of spiritual and ragtime.
4. List genres and titles of spirituals.
5. The meaning of the word "blues".
6. The timing of the early blues.
7. Varieties of blues (classification).
8. Famous representatives and performers of rural blues.
9. Characteristics of rural blues.
10. Characteristics of urban blues (time of occurrence).
11. The first blues singer.
12. "Kings" and "Queens" of the Blues.
13. Characteristics of the urban blues (time of occurrence).
14. The difference between blues and spiritual.
15. Blues genre.
16. Poetic images of the blues and its content.
17. Blues performers.
18. First printed blues. Composers. Names.
19. The name of the work of J. Gershwin, which uses blues themes.
20. Genre and stylistic modifications of the blues. Representatives.
21. Jazz is the meaning of the word. Origin.
22. The city is the Cradle of Jazz.
23. early jazz styles. Differences.
24. Euro-American type of jazz music. Dixieland. Representatives.
25. Marching bands and street bands of New Orleans.
26. New Generation Jazzmen (New Orleans, Chicago).
27. Street jazz:

Time of occurrence;

Characteristic;

representatives;

Annex 3

List of terms for terminological dictation

SECTION I. Jazz Art

Archaic Blues, Archaic Jazz, African American Music, Barbershop Harmony, Barrel House Style, Big Beat, Big Band, Block Chords, Wandering Bass, Blues, Blues Scale, Brass Band, Break, Bridge, Boogie Woogie, Background , Harlem Jazz, Groul, Ground Beat, Dirty Tones, Jazzing, Jazz Form, Jungle Style, Dixieland, Cake Walk, Classic Blues, Corus, Minstrel Theatre, Off Beat, Off Pitch Tones, Riff , swing, symphojazz, stride style

Avant-garde jazz, Afro-Cuban jazz, baroque jazz, be-bop, vers, west coast jazz, combo, mainstream, progressive, scat, modern jazz, stop-time technique, "third stream", folk jazz, for- beat, free jazz, fusion, hard bop, oler, hot jazz, "fourth current", Chicago jazz, shuffle, electronic jazz, "jazz era".

SECTION II. Pop music

SECTION III. rock culture

Avant-garde rock, alternative rock, underground rock, art rock, beatnik, black metal, breakdance, hitter rock, glam rock, grunge, industrial rock, intellectual rock, mainstream rock, punk rock, progressive rock, rhythm and blues, rockabilly, rock and roll, reggae, rave, rap, symphonic rock, folk rock, hard rock, heavy metal,

Appendix 4

Approximate tickets for differentiated standings

Ticket number 1

1. The origins of jazz music

2. French chanson

Ticket number 2

1. Genres of African American folklore

2. Stages of development of pop songs in domestic and foreign pop music

Ticket number 3.

1. Ragtime

2. US rock music in the 1950s and 1960s

Ticket number 4

1. Blues: stages in the development of the genre

2. Soviet mass song

Ticket number 5

1. Classic jazz. swing style

2. Rock music in the USSR

Ticket number 6

1. Cool style and other jazz movements of the 1950s

Ticket number 7

1. Jazz styles 1960-1970

2. British Beat 1960s

Ticket number 8

1. Bebop style.

2. Rock opera and rock musical

Ticket number 9

1. Ways of development of jazz in post-Soviet Russia

2. Classical musical (1920-1930s)

Ticket number 10

1. Avant-garde styles of jazz. free jazz

2. Classical musical (1920-1930s)

Ticket number 11

1. Jazz in Soviet Russia

2. Genre of the musical: history of origin, stages of development

Appendix 5

Criteria for evaluating students' answers in the test:

The mark "excellent" is set if the answer on the theoretical material is meaningful, logically built, reveals the issue under discussion with a sufficient degree of detail, is based on the correct interpretation of terminology, is equipped with musical and illustrative examples.

The mark "good" is given if the answer on the theoretical material is not detailed enough, there are minor errors in the use of terminology.

The rating "satisfactory" is given if the theoretical answer is based on discretely presented information that does not create a complete picture of the issue under consideration, poor knowledge of terminology is revealed.

The roots of the stage go back to the distant past, traced in the art of Egypt, Greece, Rome; its elements are present in the performances of itinerant comedians-buffoons (Russia), shpilmans (Germany), jugglers (France), dandies (Poland), mascarabozes (Central Asia), etc.

Satire on urban life and customs, sharp jokes on political topics, a critical attitude to power, couplets, comic skits, jokes, games, clown pantomime, juggling, musical eccentricity were the beginnings of future pop genres that were born in the noise of carnival and public entertainment.

Barkers, who, with the help of jokes, witticisms, funny couplets, sold any product in the squares and markets, later became the forerunners of the entertainer. All this was of a massive and intelligible nature, which was an indispensable condition for the existence of all pop genres. All medieval carnival artists did not play performances.

In Russia, the origins of pop genres manifested themselves in buffoons, fun and mass creativity of folk festivals. Their representatives are raus grandfathers-jokers with an indispensable beard, who entertained and beckoned the audience from the upper platform of the booth-raus, parsleys, raeshniks, leaders of "learned" bears, actors-buffoons, playing "sketches" and "reprises" among the crowd, playing the pipes , harp, snot and amusing the people.

Variety art is characterized by such qualities as openness, conciseness, improvisation, festivity, originality, entertainment.

Developing as an art of festive leisure, pop music has always strived for unusualness and diversity. The very feeling of festivity was created due to external entertainment, the play of light, the change of picturesque scenery, the change in the shape of the stage, etc. Despite the fact that the variety of forms and genres is characteristic of the stage, it can be divided into three groups:

• - concert stage (previously called "divertissement") combines all types of performances in variety concerts;
• - theatrical stage (chamber performances of the theater of miniatures, cabaret theatres, cafe-theaters or a large-scale concert revue, music hall, with a large performing staff and first-class stage equipment);
• - festive stage (folk festivals, holidays at stadiums, full of sports and concert numbers, as well as balls, carnivals, masquerades, festivals, etc.).

There are also these:

• 1. Variety theaters
• 2. Music halls

If the basis of a variety performance is a finished number, then the review, like any dramatic action, required the subordination of everything that happens on the stage to the plot. This, as a rule, did not organically combine and led to the weakening of one of the components of the presentation: either the performance, or the characters, or the plot. This happened during the production of "Miracles of the 20th Century" - the play broke up into a number of independent, loosely connected episodes. Only the ballet ensemble and several first-class variety and circus performances had success with the audience. The ballet ensemble staged by Goleizovsky performed three numbers: "Hey, let's go!", "Moscow in the rain" and "30 English girls". Particularly spectacular was the performance of "The Snake". Among the circus numbers the best were: Tea Alba and "Australian Lumberjacks" Jackson and Laurer. Alba simultaneously wrote different words with chalk on two boards with her right and left hands. The lumberjacks at the end of the race were chopping two thick logs. An excellent balance number on the wire was shown by the German Strodi. He performed somersaults on a wire. Of the Soviet artists, as always, Smirnov-Sokolsky and the ditties V. Glebova and M. Darskaya had great success. Among the circus numbers, the number of Zoya and Martha Koch stood out on two parallel wires.

In September 1928, the opening of the Leningrad Music Hall took place.

• 3. Theater of Miniatures - a theater group that works mainly on small forms: small plays, skits, sketches, operas, operettas along with pop numbers (monologues, couplets, parodies, dances, songs). The repertoire is dominated by humor, satire, irony, and lyrics are not excluded. The troupe is small, the theater of one actor, two actors is possible. The performances, laconic in design, are designed for a relatively small audience; they represent a kind of mosaic canvas.
• 4. Conversational genres on the stage - a symbol of genres associated mainly with the word: entertainer, interlude, skit, sketch, story, monologue, feuilleton, microminiature (staged anecdote), burime.

Entertainer - entertainer can be paired, single, mass. A colloquial genre built according to the laws of "unity and struggle of opposites", that is, the transition from quantity to quality according to the satirical principle.

A pop monologue can be satirical, lyrical, humorous.

An interlude is a comic scene or a play of humorous content, which is performed as an independent number.

A sketch is a small scene where intrigue is rapidly developing, where the simplest plot is built on unexpected funny, sharp situations, turns, allowing a whole series of absurdities to arise in the course of action, but where everything, as a rule, ends in a happy denouement. 1-2 actors (but no more than three).

Miniature is the most popular colloquial genre in pop music. On the stage today, a popular anecdote (not published, not printed - from Greek) is a short topical oral story with an unexpected witty ending.

A pun is a joke based on the comical use of similar-sounding but different-sounding words to play on the sound similarity of equivalent words or combinations.

Reprise is the most common short colloquial genre.

Couplets are one of the most intelligible and popular varieties of the colloquial genre. The coupletist seeks to ridicule this or that phenomenon and express their attitude towards it. Must have a sense of humor

The musical and colloquial genres include a couplet, a ditty, a chansonette, a musical feuilleton.

A parody common on the stage can be "colloquial", vocal, musical, dance. At one time, recitations, melodeclamations, literary montages, "Artistic reading" adjoined speech genres.

It is impossible to give a precisely fixed list of speech genres: unexpected syntheses of the word with music, dance, original genres (transformation, ventrology, etc.) give rise to new genre formations. Live practice continuously supplies all sorts of varieties, it is not by chance that on old posters it was customary to add "in his genre" to the name of an actor.

Each of the above speech genres has its own characteristics, its own history, structure. The development of society, social conditions dictated the emergence of one or another genre to the forefront. Actually, only the entertainer born in the cabaret can be considered a "variety" genre. The rest came from the booth, the theater, from the pages of humorous and satirical magazines. Speech genres, unlike others, inclined to master foreign innovations, developed in line with the national tradition, in close connection with the theater, with humorous literature.

The development of speech genres is associated with the level of literature. Behind the actor stands the author, who "dies" in the performer. And yet, the intrinsic value of acting does not detract from the importance of the author, who largely determines the success of the performance. The authors often became the artists themselves. The traditions of I. Gorbunov were picked up by pop storytellers - Smirnov-Sokolsky, Afonin, Nabatov and others created their own repertoire. Actors who did not have literary talent turned to authors for help, who wrote based on oral performance, taking into account the mask of the performer. These authors, as a rule, remained "nameless". For many years, the question has been discussed in the press whether a work written for performance on the stage can be considered literature. In the early 1980s, the All-Union and then the All-Russian Association of Variety Authors were created, which helped legitimize this type of literary activity. The author's "anonymity" is a thing of the past; moreover, the authors themselves took to the stage. At the end of the 70s, the program "Behind the Scenes of Laughter" was released, compiled according to the type of a concert, but exclusively from the performances of pop authors. If in previous years only individual writers (Averchenko, Ardov, Laskin) came up with their own programs, now this phenomenon has become widespread. The phenomenon of M. Zhvanetsky contributed a lot to the success. Having started in the 60s as the author of the Leningrad Theater of Miniatures, he, bypassing censorship, began to read his short monologues and dialogues at closed evenings in the Houses of the Creative Intelligentsia, which, like Vysotsky's songs, were distributed throughout the country.

5. Jazz on stage

The term "jazz" is commonly understood as: 1) a type of musical art based on improvisation and a special rhythmic intensity, 2) orchestras and ensembles that perform this music. The terms "jazz band", "jazz ensemble" are also used to designate groups (sometimes indicating the number of performers - jazz trio, jazz quartet, jazz orchestra, big band).

6. Song on the stage

Vocal (vocal-instrumental) miniature, widely used in concert practice. On the stage, it is often solved as a stage "game" miniature with the help of plasticity, costume, light, mise-en-scenes ("song theater"); Of great importance is the personality, features of the talent and skill of the performer, who in some cases becomes a "co-author" of the composer.

The genres and forms of the song are varied: romance, ballad, folk song, couplet, ditty, chansonette, etc.; the methods of performance are also varied: solo, ensemble (duets, choirs, wok-instr. ensembles).

There is also a group of composers among pop musicians. They are Antonov, Pugacheva, Gazmanov, Loza, Kuzmin, Dobrynin, Kornelyuk and others.

Many styles, manners and trends coexist - from sentimental kitsch and urban romance to punk rock and rap. Thus, today's song is a multi-colored and multi-style panel, which includes dozens of directions, from domestic folklore imitations to inoculations of African-American, European and Asian cultures.

7. Dance on the stage

This is a short dance number, solo or group, presented in group variety concerts, variety shows, music halls, theaters of miniatures; accompanies and complements the program of vocalists, numbers of original and even speech genres. It was formed on the basis of folk, everyday (ballroom) dance, classical ballet, modern dance, gymnastics, acrobatics, on the crossing of various foreign influences and national traditions. The nature of dance plasticity is dictated by modern rhythms, formed under the influence of related arts: music, theater, painting, circus, pantomime.

Folk dances were originally included in the performances of the capital's troupes. The repertoire included theatrical divertissement performances of rural, urban and military life, vocal and dance suites from Russian folk songs and dances.

In the 1990s, dance on the stage sharply polarized, as if returning to the situation of the 1920s. Dance groups engaged in show business, such as Erotic Dance and others, rely on erotica - performances in nightclubs dictate their own laws.

8. Puppets on the stage

Since ancient times, people in Russia have valued handicraft, loved toys, and respected a fun game with a doll. Petrushka dealt with a soldier, a policeman, a priest, and even with death itself, bravely brandished a club, laid on the spot those whom the people did not like, overthrew evil, affirmed people's morality.

Petrushechniks wandered alone, sometimes together: a puppeteer and a musician, they themselves composed plays, they themselves were actors, directors themselves - they tried to preserve the movements of the puppets, mise-en-scenes, puppet tricks. Puppeteers were persecuted.

There were other spectacles in which puppets acted. On the roads of Russia one could meet vans loaded with puppets on strings - puppets. And sometimes boxes with slots inside, along which the dolls were moved from below. Such boxes were called nativity scenes. Puppeteers mastered the art of imitation. They liked to portray singers, copied acrobats, gymnasts, clowns.

9. Parody on stage

This is a number or performance based on ironic imitation (imitation) of both the individual manner, style, characteristic features and stereotypes of the original, as well as entire trends and genres in art. The amplitude of the comic: from sharply satirical (degrading) to humorous (friendly caricature) - is determined by the attitude of the parodist to the original. Parody has its roots in ancient art, in Russia it has long been present in buffoon games, farce performances.

10. Theaters of small forms

Creation in Russia of cabaret theaters "The Bat", "Crooked Mirror", etc.

Both "Crooked Mirror" and "The Bat" were professionally strong acting groups, the level of theatrical culture of which was undoubtedly higher than in numerous theaters of miniatures (Petrovsky, directed by D.G. Gutman, stood out more than others from Moscow , Mamonovsky, cultivating decadent art, where Alexander Vertinsky made his debut during the First World War, Nikolsky - artist and director A.P. Petrovsky. Among St. Petersburg - Troitsky A.M. Fokina - director V.R. Rappoport, where with ditties and how V. O. Toporkov, later an artist of the art theater, successfully performed as an entertainer.

Dance on the stage - a short dance number , solo or group, presented in group variety concerts, variety shows, music halls, theaters of miniatures, accompanies and complements the program of vocalists, numbers are original even in speech genres . It developed on the basis of folk, everyday (ballroom) dance, classical ballet, modern dance, gymnastics, acrobatics , on crossing all sorts of foreign influences and national traditions. The nature of dance plasticity is dictated by modern rhythms, formed under the influence of related arts: music, theater, painting, circus, pantomime.

The history of the development of the dance direction can be conditionally divided into two milestones: the period before the 20th century and the period of time starting from the 20th century up to the present.

In addition to medieval wandering artists and their performances, divertissements can also be considered the progenitors of modern variety dance. They were scenes that were shown in the XVII-XVIII between musical acts or parts of dramatic performances. Opera arias were performed in divertissements, the viewer could see excerpts from ballets, listen to folk songs and, finally, enjoy dancing. In Russia, the origins of the dance stage are found in the performances of dancers in Russian and gypsy choirs, from the middle of the 19th century - at folk festivals. The end of the 19th century was marked by group concerts on the stages of gardens, “voxals”, and cafes.

Popular dance of the 19th century. - cancan(French cancan, from canard - duck), French dance of Algerian origin, 2 beats, fast tempo. Characteristic pas - throwing out legs, jumping. It has been widespread since the middle of the 19th century, it was widely used in classical operetta and variety shows. We can say that with the advent of the cancan, a new dance era begins. The can-can originates in Paris around 1830. It was a women's dance performed on stage, accompanied by a high throw of the legs. In the 1860s, many dance classes were opened in St. Petersburg, where they danced mainly cancan.

Another of the popular dances of the 19th century is the cake walk dance.

Cake Walk -(also cakewalk, cake walk; English cakewalk - walking with a pie) - a popular dance-march of African-American origin since the middle of the 19th century. Characteristic features: fast tempo, time signature - 2-beat, syncopated rhythm, chords reproducing the sound of a banjo, playful comedic (often ironically-grotesque) warehouse. The sharply accented rhythms typical of cake walk later formed the basis of ragtime, and two decades later defined the style of pop jazz. Cake walk was part of the humorous performances of nineteenth-century North American minstrel theater in which it was performed to fast, syncopated music in the vein of later ragtime. In the last years of the 19th century, the cake walk, separated from the minstrel stage, became widespread in Europe in the form of a salon dance. pop dance choreographer dramaturgy

On the minstrel stage, the cake walk had a special symbolic meaning. It was a promenade scene in which dressed-up negro dandies, arm in arm with their equally fashionably dressed ladies, reproduced in comic form the solemn Sunday processions of white ladies and gentlemen. Reproducing the external manner of the planters, black dandies ridiculed their stupid importance, mental dullness, self-satisfied sense of imaginary superiority. The motif of hidden mockery contained in the cake walk found a specific reflection in the sound sphere.

Dance music, the expressiveness of which was based primarily on percussive sounds and a much more complicated metro-rhythm, played a significant innovative role, opened up new ways for the development of modern musical art. In the psychology of the widest audience, at first only in the USA, and then in Europe, new musical principles were introduced, opposing everything that had been affirmed by European composers for centuries. The musical form of the cake walk is found in salon piano pieces, and in pop numbers for traditional instrumental composition, and in marches for a brass band, and sometimes in ballroom dancing of European origin. “Even in waltzes, syncopation appeared, which Waldteuffel and Strauss never dreamed of” (Blesh R., Janis H. They all played ragtime). The cake walk genre was used by many academic composers (for example, Debussy, Stravinsky, etc.).

Innovative cake walk was not only in music, but also in terms of choreography. This was manifested in special movements of the legs, which seemed to be "independent" of the body of the dancer. Just like in other dances of the minstrel theatre, the performer's body remained in a strictly controlled, balanced state, his hands hung like helpless, shapeless "rags". All the energy of the dancer, all his phenomenal skill and dizzying pace were embodied in the movements of the legs. Precise synchronous accents produced by the heel of one foot and the toes of the other; a kind of "knocking" trampling with wooden soles; running forward on heels; free, as if chaotic "shuffling". The ratio of the “indifferent body” and “wavering” legs, unusual for traditional ballet, emphasized the humorous effect of external equanimity, inseparable from the image of a frozen mask.

Cake walk had a huge impact on the dance art of the late XIX - early XX century. It gave birth to a number of dances that displaced the polka, square dance, country dance and other popular dances of the recent past from cultural use. These newest dances - grizzly bar, bunny hag, texas tommy, tarki trot, etc. were distinguished by a special 2-beat, inseparable from the cake walk, and its characteristic "rocking" effect. Their evolution ended with the well-known two-step and foxtrot, which gained the widest popularity all over the world and remained in the household dance repertoire for many years.

The initial heyday of all these dances coincided with the culmination of the popularity of ragtime and the beginning of the "jazz age".

In our minds, such a concept as "stage" is firmly rooted. What is this? Many associate this term with pop music, although in fact these concepts should not be confused. Pop music is one of the components, and the concept itself includes quite a lot of genres.

Estrada: what is it in the general sense?

In general, if you follow some sources, it is very simple to define the concept of pop music. For example, the same "Wikipedia" claims that the stage is a kind of stage art, mainly an entertainment genre, although in fact this concept is much broader. And that's why.

A more extended interpretation explains that the stage is a kind of elevation of the performer when entering the stage and performing a short number, which includes completely different directions and is accompanied by an entertainer (representation of the artist on stage). To date, pop music includes several main genres:

• song;
• dance (choreography);
• circus art;
• illusion;
• clownery;
• colloquial genre;
• parody;
• pantomime, etc.

As you can see, the concept of stage is quite broad. However, in our understanding of the stage, for some reason, it is associated with music. It shouldn't be like that.

Of course, the song at all times occupied one of the most important places in a person's life. At that very Soviet time, when the concept of variety art arose, there were also a lot of pioneers. These are Muslim Magomayev, Eduard Khil, Edita Piekha, Lev Leshchenko, Iosif Kobzon, Alla Pugacheva, finally. All of them are pop stars of their time.

Of course, you can not ignore the circus. What a noticeable mark in the history of variety and circus art was left by such stars as Oleg Popov and Yuri Nikulin, who made more than one generation laugh in the arena!

At that time, the conversational genre was dominated, not to mention such a master as Arkady Raikin. It was only later that Petrosyan, Zadornov, Zhvanetsky and many others appeared. And what about the Obraztsov Theater?

A special place was occupied by the then What are only "Pesnyary", "Syabry", "Verasy", "Flame", etc. worth. The same "Earthlings" are also pop music, although for some reason they are classified as rock bands.

foreign stage

Abroad, variety art also did not go unnoticed, however, it was subordinated to making money (show business).

For our listener at that time, the stage was two world-famous groups - Boney M and ABBA. Sometimes Eruption is also referred to this pair, but this is purely the brainchild of Frank Farian (the founder of Boney M), who wrote the most famous hits for the group.

By the way, such a popular program as "The Benny Hill Show" can also be equally attributed to the standard pop genre, despite the fact that this program is television. And if you remember the festivals in San Remo, which were once very popular all over the world, it will immediately become clear that the stage is not only music or any other kind of performing art, but a real show.

Interestingly, the beginnings of pop art could be found back in Russia with its buffoons, and in the West - with court jesters.

By the way, we can add that today on Western television you can find a lot of parody programs. In Germany, for example, RTL2 is leading the way in this respect. The undisputed superiority of circus art here belongs to the Du Soleil troupe, in which quite a lot of our compatriots and artists from other countries perform, performing completely unimaginable numbers and tricks that are simply breathtaking.

Instead of total

Of course, far from all aspects related to the concept of variety art are considered here, however, it should be clear that this concept includes a lot of genres and it is completely wrong to talk about it exclusively from the point of view of music. There are so many directions here that it simply does not fit in the head. And it is not for nothing that most of the educational institutions at one time were called circus-variety schools. Apparently, there is some reason for this.

It goes without saying that it will not be possible to describe in detail all the genres (it would take too much time). But even so it is clear that the stage is something more than just pop culture. And the list of genres available in this sense can be very, very long. On the other hand, even such a brief digression into history will help to understand what the variety genre really is.

If there is some unreasonably tall man in the chair in front of me, it begins to seem to me that I am hard of hearing. In any case, such music ceases to be pop music for me. However, it also happens that what is happening on the stage is perfectly visible, however, despite this, it does not become a fact of variety art; after all, other artists and directors concentrate all their efforts on pleasing our ears, caring little about our eyes. Especially often one encounters an underestimation of the spectacular side of pop art in musical genres, but the symptoms of the same disease can be observed in artistic reading and in entertaining.

- Well, - you say, - again we are talking about long-known things, that many pop artists lack stage culture, that their numbers are sometimes devoid of plastic expressiveness and are visually monotonous.

Indeed, all these serious shortcomings, which have not yet been overcome by pop art, often appear in reviews, problematic articles, and creative discussions. To some extent, they will be affected in this article. However, I would like to ask a broader question. The point here, obviously, is not only the lack of skill as such. This shortcoming affected even those pop genres that are addressed only to vision. Acrobats, jugglers, illusionists (even the best of them, great masters of their craft) most often sin precisely with the same visual monotony, a lack of plastic culture. All varieties of the genre are reduced, as a rule, to the alternation within the number of approximately one circle of tricks and techniques performed. Stamps that develop from year to year (for example, an acrobatic male couple, tall and small, working at a slow pace, performing power movements, or a melancholic juggler dressed in a tuxedo with a cigar and a hat, etc.) only reinforce, legitimize spectacular poverty pop genres. Traditions, once alive, become fetters for the development of art.

I will give as an example two jugglers - winners of the recent 3rd All-Russian competition of variety artists. I. Kozhevnikov, who was awarded the second prize, is the type of juggler just described: a bowler hat, a cigar, a cane make up the palette of the performance, performed impeccably in skill. E. Shatov, winner of the first prize, is working with a circus projectile - perch. At the end of it is a narrow transparent tube with a diameter of a tennis ball. Keeping the balance on his head, Shatov throws the balls into the tube. Each time, the perch grows, gradually reaching almost ten meters in height. With each new section of the first, the performance of the number becomes visually sharper, more expressive. Finally, the length of the perch becomes such that it does not fit in the height of the stage (even as high as in the Variety Theatre). The juggler comes to the fore, balancing over the heads of the front row spectators. The ball flies up, almost disappears against the background of the ceiling, and ends up in a tube. This number, in addition to the extraordinary purity with which it is performed, is remarkable in that the visual scales, which change from time to time, are perceived by those sitting in the auditorium in a holistic unity. From this, the spectacular effect becomes extraordinary. Moreover, this is a specifically pop entertainment. Imagine Shatov's number on a TV screen or in a movie! Not to mention the fact that in a pre-filmed television or film plot, an element of unforeseenness is excluded (because of this, the stage and the circus will never become organic to the screen!), The constancy of scale, dictated by the constancy of the size of the screen and our viewing distance from it, will deprive Shatov's number of his charms.

Shatov's art (to a much greater extent than, say, Kozhevnikov's number) loses if it is transferred to the sphere of another art. This is the first evidence of his real variety. If such a transfer can be easily carried out without obvious losses, we can safely say that the work and its author sin against the laws of pop art. It is especially revealing for the musical and speech genres of pop radio. Many of our pop singers listen best on the radio, where they are freed from the need to look for a plastic equivalent of the melody being played. In front of a radio microphone, the singer, for whom the stage is a real torment, feels great. A pop singer by nature, on the contrary, experiences a certain inconvenience on the radio: he is constrained not only by the lack of contact with the audience, but also by the fact that many of the nuances of the performance that are present in the visual side of the image will be absent in the sound side. This entails, of course, a depletion of the effect. I remember the first recordings of Yves Montand's songs brought by Sergei Obraztsov from Paris. How much deeper, more significant was the artist himself when we saw him singing on the stage: the charm of music and words was added by the charm of an actor who creates the most expressive plasticity of the human image. Stanislavsky liked to repeat: the viewer goes to the theater for the sake of subtext, he can read the text at home. Something similar can be said about the stage: the viewer wants to see the performance from the stage, he can learn the text (and even music) while staying at home. At least listening on the radio. Is it worth it, for example, to go to a concert to hear Yuri Fedorishchev, who is trying with all his might to restore Paul Robeson's performance of the song "Mississippi"? I think that in achieving his goal, Fedorishchev would have succeeded much more on the radio. Listening to "Mississippi" on the radio, we might marvel at how accurately the musical intonations of the Negro singer are captured, and at the same time we would not be able to notice the complete plastic inertia of Fedorishchev, which contradicts the original.

The directors of the program, in which I happened to hear Fedorishchev, tried to brighten up the visual monotony of his singing. During the performance of the French song “At Night Alone”, before the verse, in which the civil theme begins - the theme of the struggle for peace, the lights suddenly go out in the hall, only the red illumination of the backdrop remains. In the most pathetic part of the song, which requires vivid acting means, the viewer is forced to become only a listener, because all he sees is a black motionless silhouette against a dim red background. So directing, seeking to diversify the performance for the audience, renders the performer, and the work as a whole, truly a disservice. The surprising paucity of lighting techniques, which in the case described above led to a shift in emphasis, is one of the diseases of our variety art. The system of lighting effects is built either on a straightforward and illustrative principle (the theme of the struggle for peace is associated without fail with red, not otherwise!), Or on the principle of salon prettiness (the desire to “submit” the performer, regardless of the artistic content of the performance, its style) . As a result, the most interesting lighting possibilities are still not used. The same can be said about the costume: rarely does it serve to enhance the visual image. If there are good traditions in the use of a costume as a means of emphasizing the origins of the role (say, a velvet jacket with a bow by N. Smirnov-Sokolsky or a mime costume by L. Engibarov), then a simple and at the same time helping to reveal the image of the image is extremely rare. Recently, I happened to be a witness to how an unsuccessfully chosen costume significantly weakened the impression made by the number. We are talking about Kapigolin Lazarenko: a bright red dress with large bustles fettered the singer and clearly did not correspond to the gentle, lyrical song “Come Back”.

Lighting, costume and mise-en-scene are the three pillars on which the spectacular side of the variety act rests. Each of these topics is worthy of a special discussion, which, of course, my article cannot claim. Here I will touch only on that side of the specific stage mise-en-scene that cannot be adequately re-created on the TV and cinema screens. Stage has its own laws of space and time: close-up, foreshortening, montage in cinema (and television), violating the unity of these categories, or rather their integrity, create a new space and new time, not fully suitable for the stage stage. Stage deals with a constant plan, since the distance from the performer to each of the spectators varies slightly, only as far as the actor can move into the depths of the stage. The same must be said about montage: it takes place on the stage (if only) within the whole, which is constantly present on the stage. This montage can be produced either by lighting (a technique successfully used in the performances of the variety studio of Moscow State University), or it takes place in the mind of the viewer. Simply put, he singles out some parts in his perception of the visual image, while continuing to keep the whole in his field of vision.

In order not to seem unfounded, I will give an example. The play "Our Home is Your Home" by the Moscow State University Variety Studio. Very interesting searches for the expressiveness of the spectacle are being carried out in this team. At the same time, often lyrical poetry or allegory, based on the associativity of connections, turns out to be the main element of the story. But it is important to note that both poetry and allegory in the performances of the studio turn into a form of figurative, visual narrative (for example, painted geometric figures in one of the numbers help to reveal the satirical meaning of many important concepts). In a scene that tells about the organization of youth leisure ("Youth Club"), four demagogue-screamers, having mounted, as if on a podium, on four massive pedestals, utter in turn fragments of phrases that together make up an amazing abracadabra of idle talk and bureaucracy. The viewer's attention is instantly transferred from one screamer to another: the speaker accompanies his words with a gesture (sometimes in complex counterpoint with the word), the rest at this time remain motionless. I imagine this scene shot in the film. Her text and mise-en-scène, it would seem, immutably anticipate the future montage. Each replica is a close-up. A machine-gun burst of close-ups, replicas, gestures. But there are two significant losses here. Firstly, the lack of accompaniment to each replica: the frozen poses of the other characters. And the second is the transformation of all the lines into an alternation of phrases without transferring our attention from one character to another. Counterpoint, which becomes the author's strongest weapon in this scene, inevitably disappears in the film.

It would be wrong to say that the discrepancy, the counterpoint between the word and the image, is the property of pop art only. Both the theater stage and the screen know him. But there are different ways to achieve this effect. And they are very important in the stage. Here the counterpoint is naked, it is shown as a deliberate clash of opposites, with the aim of striking a spark of laughter. I will cite as an example performers who constantly, from year to year, improve their mastery of this stage weapon. I mean the vocal quartet "Yur" (Yu. Osintsev, Y. Makoveenko, Y. Bronstein, Y. Diktovich; director Boris Sichkin). In the song “Travelers”, the quartet sings, while the hands of the artists, meanwhile, turn into travel certificates (open palm) and institutional stamps (clenched fist), stamps are placed, money is given out, etc. All this does not happen in the form of an illustration -strations of the text, but parallel to it, sometimes only coinciding, but mostly being in the contrapuntal row. As a result, from an unexpected collision of words with gestures, a new, unexpected meaning arises. For example, business travelers traveling in different directions have no business, except for playing dominoes on the train. Hands stirring the knuckles are "imposed" on the text, which says that people's money is recklessly spent on reciprocal business trips. From this, the gesture of the hands, mixing imaginary bones in the air, becomes very eloquent.

The last work of the quartet - "Television" - is certainly its greatest creative success in using the means of visual expressiveness of the stage. Here, the members of the quartet act equally as parodies, as readers, mimes, and as dramatic actors. In addition, they demonstrate an extraordinary choreographic skill: in a word, we are witnessing a synthetic genre in which the word, music are closely intertwined with pantomime, dance, etc. Moreover, the freedom of combination and instantaneous transitions from one medium relationship to another is as great as it can be only in variety art. During the performance in front of us pass in parody almost all the genres that exist on
television. Their change, as well as the change of means used by the artists, creates a very picturesque spectacle. Variety undoubtedly belongs to the spectacular arts. But there are a lot of performing arts: theater, cinema, circus, and now television, which reveals significant aesthetic potentials. What are the relationships within this group of arts? It seems that the variety theater still remains within the framework of theatrical art, although it has many similarities with some other forms. Naturally, the theater (understood in the broad sense of the word) is constantly changing its boundaries, which in some ways are already becoming cramped for the stage. However, some qualities of pop art, despite significant evolution, remain unchanged. First of all, they should include the principle of visual organization of the form of a variety spectacle. And if we talk about form, then the image remains the main thing in the modern stage (up to some musical genres).

In this article it was not possible to consider all aspects of the topic. My task was more modest: to draw attention to some theoretical problems of variety art, which largely determine its position among other arts and explain the nature of the creative searches of our variety art masters. Theoretical rules, as you know, remain rules that are obligatory for everyone only until the day when a bright innovative artist comes and breaks the boundaries that seemed insurmountable just yesterday. Today we are witnessing the synthetic genres of pop art: the canons of the past cannot withstand the pressure of new discoveries. It is important to note that the ongoing changes have on their banner the constantly changing, but fundamentally unshakable principle of the stage as a spectacle.

A. VARTANOV, candidate of art history

Soviet circus magazine. March 1964