MUSICAL GLOSSARY

ACCENT - highlighting, emphasizing a single sound or chord by dynamically amplifying it.

ACCOMPANIMENT - accompaniment to a melody, performed by voice or on a musical instrument.

ALTO - a stringed, bowed instrument, slightly lower in the sound of the violin. Alto – low female voice.

ARIA - literally translated from Italian - song. Occurs in opera, operetta, oratorio, cantata.

HARP - plucked string instrument.

BALALAIKA - Russian folk stringed plucked instrument.

DRUM This is a very ancient percussion instrument.

BALLET - this is a musical performance. In it, all the characters dance, accompanied by an orchestra. BALLET is a musical performance in which the main characters of the ballet express their feelings, experiences, emotions and actions through facial expressions and dance movements.

BARCAROLE - a song on the water. Song of the boatman in Venice.

BELCANTO - this style of vocal singing was born in Italy. In translation, the word means "beautiful singing."

ACCORDION It is a kind of accordion. The instrument got its name from the legendary old Russian singer-storyteller Bayan.

EPIC - one of the most ancient genres of Russian song folklore. Folk singer-storytellers performed epics to the accompaniment of the harp, in a singsong voice.

FRENCH HORN - a brass wind instrument sounding just below the trumpet. Translated from German means - forest horn.

WALTZ - the name of a ballroom dance, especially popular both in Europe and in Russia in the 19th century.

VARIATIONS means change. There is a musical form of variation A A1 A2 A3 A4 ...

CELLO - a stringed, bowed instrument, low in sound.

VOCALYSIS - Works for singing without words. This word means a vowel sound that sings.

HARMONY - a sequence of chords along with a melody.

HYMN - a solemn song, adopted as a symbol of the state.

GUITAR - stringed instrument. Homeland Spain. There are six-string and seven-string.

GUSLI - an old Russian folk plucked musical instrument.

RANGE is the distance from the lowest sound that a voice or musical instrument can make to the highest.

DYNAMICS - sound power.

CONDUCTOR leader of an orchestra or choir.

GENRE - a word related directly to art, means its variety, genus, type.

ZAPEV - part of the song. The words of the singalong usually do not change, but remain the same

ZAPEVALO - the person who starts the song.

LEGATO

JAZZ – genre of music, which appeared in the 20th century in America. Its first creators are Negroes. A feature of jazz is that performers compose music during the performance itself, improvise on a variety of instruments. Jazz has favorite tunes: SPIRITUAL, BLUES.

RANGE - the distance from the lowest sound of an instrument or voice to the highest.

DYNAMICS - means of musical expression. The power of sound.

DUET - an ensemble of two performers.

INTONATION - a melodic turnover, small in length, but having an independent meaning.

EXECUTOR A musician who performs a piece of music with the voice or on an instrument.

IMPROVISATION - composing music while performing it.

CANTATA - This is a large vocal-instrumental work, consisting of several parts. It is usually performed in a concert hall by a choir, an orchestra and solo singers.

QUARTET - an ensemble of four performers.

QUINTET - an ensemble of five performers.

KIFARA

KEYBOARD - a family of black and white keys.

CONSERVATORY - higher School of Music, in which musicians, future performers and composers, receiving certain knowledge, improve their skills.

DOUBLE BASS - a stringed, bowed instrument is the lowest in sound from this group.

CONCERT - a virtuoso piece for a solo instrument with orchestra accompaniment.

COMPOSITION - view artistic creativity, composing music.

CONCERT The word means "compete". Performing a concerto, the soloist, as it were, competes with the orchestra.

LULLABY - This is a smooth song of a calm nature that a mother sings while rocking her baby.

COUNTRY DANCE - translated from English - rural dance.

COUPLET A section of a song where the lyrics change.

XYLOPHONE - percussion instrument, translated from Greek means "sounding tree". It consists of wooden blocks, which are played with two wooden sticks.

LAD - means the relationship of sounds to each other, their consistency. Frets of music: major, minor, variable.

LEGATO - a stroke characteristic of a smooth game.

Timpani - instrument member of a symphony orchestra, percussion instrument. Has a pitch unlike other drums.

LIRA - an ancient instrument, the predecessor of the guitar.

LUTE - An old instrument.

MAZURKA - an old Polish dance that conquered kings and nobles, and also sounded at rural holidays.

MELODY - "the soul of music", unanimously expressed musical thought.

MINUET is an old French dance.

MINIATURE - a little play.

MUSICAL IMAGE- a generalized reflection in a piece of music of the inner world of a person, his perception of the environment. The musical image can be lyrical, dramatic, tragic, epic, comedic, lyric-dramatic, heroic, etc.

MUSICIAN - a person who is professionally engaged in any kind of musical activity: composing music, playing an instrument, singing, conducting, etc.

MUSICAL - an entertaining performance that appeared in the 19th century in America, which combined music, dance, singing, stage action.

NOCTURNE - which in French means night. This is a melodious, lyrical piece of a sad, dreamy character.

OH YEAH - translated from Greek - song. It is performed on folk holidays, during solemn processions, praised the victorious heroes.

OPERA - this is a musical performance. In it, the characters sing accompanied by an orchestra.

OPERETTA is a musical comedy in which the characters not only sing, but also dance and talk. "Operetta" is an Italian word and means literally a small opera.

ORGAN - ancient musical instrument big tool in the world.

ORCHESTRA - a group of people who perform instrumental works together.

ORCHESTRA OF RUSSIAN FOLK INSTRUMENTS- was created in the 19th century. It included balalaikas and domras, psaltery, pity and button accordions.

SCORE - a special musical notation that unites all the voices of the instruments of the orchestra.

THE CONSIGNMENT - a part of a piece of music assigned to a separate voice or instrument.

PASTORAL - from the Latin pastoralis - shepherd.

PRELUDE - a short instrumental piece

PROGRAM MUSIC- music with a certain name, written mainly on a literary plot.

SONG is the most widespread genre of vocal music.

POLONAISE - Polish old dance - procession. Opened balls.

PLAY - This is a complete piece of music in a small size.

REGISTER - segment of the range. There are registers low, medium, high.

REQUIEM - a mournful choral multi-part work, which is usually performed with the participation of an orchestra, organ and soloists.

RECITATIVE - from Italian - recitare - to recite, read aloud. A kind of music that reproduces speech intonation. Half-talk, half-talk.

RHYTHM - the ratio and alternation of the durations of sounds and accents.

ROCOCO is a style in architecture and arts and crafts.

ROMANCE - solo song with instrumental accompaniment.

SVIREL - Russian folk instrument.

SYMPHONY - translated from Greek means consonance. Work for symphony orchestra.

VIOLIN It is a stringed, bowed musical instrument. She has a gentle high voice.

SONATA - comes from the Italian word sonare - to sound. An instrumental genre of music, it is defined as a form that embraces all characters. It has its own plot, its own characters - musical themes.

STACCATO - a touch characteristic of a jerky game.

THEATRE - this is the world of fairy tales, amazing adventures and transformations, the world of good and evil wizards.

PACE - the speed of the performance of a piece of music.

KEY - means of musical expression. Fret height.

TRIO - ensemble of three performers.

PIPE One of the oldest brass instruments.

TROMBONE - a brass wind instrument sounds lower than the trumpet and horn in height.

TUBA - a brass wind instrument is the lowest sounding of this group.

OVERTURE - translated from French - opening, beginning. The overture opens the performance, in which we get an idea of ​​the performance as a whole.

TEXTURE It is a way of expressing musical material.

FRAGMENT is a piece of music.

FLUTE - woodwind instrument The instrument is the highest sounding of the woodwind group.

THE FORM - the structure of the work. The ratio of the individual parts of a musical work. There are one-part, two-part, three-part, variation, etc.

CHELESTA is a percussion instrument invented in France. Externally, the celesta is a small piano. The keyboard is a piano, but instead of strings in the celesta, metal records sound. The sound of the celesta is quiet, beautiful, gentle. You can play a tune on it.

HATCH - a way of extracting a musical sound by voice or on an instrument.

ETUDE - a small instrumental work for the development of finger technique of a performing musician.

Music lessons: Music vocabulary

BUT

A cappella - performance of a piece of music without instrumental accompaniment.

A chord is a simultaneous combination of several sounds.

Ensemble - a small group of musicians performing one piece ( from 2 to 8 people: from two - a duet, from three - a trio,

of four - a quartet, of five - a quintet, of six - a sextet, of seven - a septet, of eight - an octet)

Aria - a solo number in the opera, a complete musical episode, where the hero expresses his thoughts and feelings, and also given

characterization of the character.

Alto is a low female and childish voice.

B

Ballet is a musical performance where all the actors only dance.

Baritone - medium-range male voice.

Barcarolle is a song on the water.

Bass - low range male voice.

Bach I.S. (1685-1750) - German composer of the Baroque era, considered one of the greatest composers in the history of music, author of organ works, vocal music (Masses, cantatas, oratorios, passions - Matthew Passion), orchestral and chamber music (Brandenburg concertos, Italian concerto), clavier works (Well-Tempered Clavier, Inventions, suites, etc.)

Beethoven L.V. ( 1770-1827) - German composer, conductor and pianist, one of the three " Viennese classics”, a key figure in Western classical music between classicism and romanticism, one of the most respected and performed composers in the world. He wrote in all the genres that existed in his time, including opera, music for dramatic performances, choral compositions. Instrumental works are considered to be the most significant in his heritage: piano, violin and cello sonatas, piano and violin concertos, quartets, overtures, symphonies. Beethoven's work had a significant impact on symphonic music in the 19th and 20th centuries.

Characteristic creativity - heroism, struggle, victory.

Belcanto (Italian)- beautiful, beautiful singing.

Blues (from a combination of two words: “blue” - blue, “devl” - melancholy, blues) - a folk song of American blacks with a sad, sad undertone. The blues was usually sung with banjo or guitar accompaniment.

AT

Variation form- a form of music based on the repetition of the same theme with various changes.

Vocalise- a genre of vocal music, a song performed by a voice without words (song without words)

vocal music- music performed by voice ( genres of vocal music: song, romance, aria, vocalise, opera, oratorio, cantata, mass, requiem)

Vivaldi A. (1678-1741) - Venetian composer, violinist, teacher, conductor, Catholic priest, one of the largest representatives of the Italian violin art XVIII century, during his lifetime he received wide recognition throughout Europe, the creator of the instrumental concerto genre, the author of 40 operas, the most famous work is a series of 4 violin concertos "The Seasons".

G

Harmony (consonance)- a means of musical expressiveness, a chord chain that accompanies a melody.

Gavrilin V.A. (1939-1999) - Soviet and Russian composer, author of symphonic and choral works, songs, chamber music, film music.

Glinka M.I. (1804-1857)- Russian composer of the 19th century, founder of Russian music, creator of the first Russian opera ("Ivan Susanin") and the first symphonic work(Waltz fantasy).

Homophony is a type of polyphonic presentation in which one voice is the main one, and the rest act as an accompaniment.

D

two part form - musical form consisting of the music of two different characters(2 parts).

Debussy K. ( 1862-1918) - French composer, founder of impressionism in music, author of piano preludes, symphonic suite "Sea"

Jazz (eng. Jazz) - a form of musical art that arose in late XIX- the beginning of the 20th century in the USA as a result of the synthesis of African and European cultures.

Dynamics - a means of musical expression, the power of sound.

Conductor ( French manage, manage) - the head of the learning and performance of ensemble (orchestral, choral, opera, etc.) music, who owns the artistic interpretation of the work, carried out under his control by the entire ensemble of performers.

Descant - high children's voice.

Duet- an ensemble consisting of two performers.

spiritual concert- This is a polyphonic polyphonic vocal work for ichor soloists. D. Bortnyansky, M. Berezovsky wrote in the genre of spiritual concert

W

Znamenny chant- the main type of ancient Russian liturgical singing. The name comes from the word banner (other Russian "banner", that is, a sign).

Hook-like signs were used to record the chant. The peculiarity of his sound-masculine monophonic sound a capella.

And

Instrumental music- music played on musical instruments genres of instrumental music- sonata, symphony, concerto, prelude, nocturne, suite, dance, march, etude, etc.).

Art is a creative reflection of reality in artistic images artistic means.

Impressionism ( French impression)- a trend in art of the last third of the 19th - early 20th centuries, which originated in France and then spread throughout the world, whose representatives sought to most naturally capture real world in its mobility and variability, to convey their fleeting impressions. Usually, the term "impressionism" means a direction in painting, although its ideas have also found their embodiment in literature and music.

To

Chamber music is music intended to be performed in a small room by a small group of musicians.

Canon - two-voice, in which one voice leads the melody, and the other catches up with it.

Cantata is a large vocal and symphonic work of a solemn nature with soloists, a choir and a symphony orchestra.

Chapel -

• in the Middle Ages, the choir was called, performing sacred music,
• large choir group.

Card de ballet- mass scene in ballet.

Quartet - an ensemble consisting of four people.

A quintet is an ensemble of five people.

Kikta V. G. (1941) - composer, professor of the Moscow Conservatory, author of the concert symphony "Frescoes of St. Sophia of Kyiv"

Contralto - low range female voice.

Counterpoint - a type of polyphony, polyphony with the simultaneous sounding of several melodic lines that do not violate the overall harmony.

Concert(competition) - a work for a solo instrument with orchestral accompaniment.

Couplet form - a form of music based on the alternation of a verse and a chorus, used in the song genre

L

Fret - means of musical expression the relationship of musical sounds, different in height (major mode - light sound, minor mode - darker)

Libretto (Italian little book) - the literary basis of musical performances: a brief literary summary of the plot ballet, opera, musical,

operettas)

Lyadov A.K. (1855-1914) - Russian composer, created several symphonic miniatures (small plays) based on the plots of Russian folklore, fairy-tale fantasy (a picture for the Russian folk tale "Baba Yaga", a fairy-tale picture "Magic Lake", a folk tale " Kikimora")

M

Melody is a means of musical expression, the main idea of ​​a musical work, expressed by sound.

Mezzo-soprano is a medium-range female voice.

Mozart W.A.(1756-1799 ) - Austrian composer, virtuoso violinist, harpsichordist, organist. Belongs to the most significant representatives of the Viennese classical school.Characteristic features of his work: sunshine, cheerfulness, elegance, lightness. Works: 41 symphonies, "Rondo in the Turkish style", symphonic suite "Little Night Serenade", operas ("The Marriage of Figaro", "Don Giovanni", "Magic Flute"), Requiem

musical form- the construction of a musical work based on the alternation of contrast and repetition (one-part form, two-part form, three-part form, native form, variation form, couplet form)

musical image- creative reflection of reality in music. this is a living generalized idea of ​​reality, expressed in sounds, musical intonations.

Mussorgsky M.P. (1839-1881) - Russian composer, was a member of the community of Russian composers "The Mighty Handful", the author of the operas "Khovanshchina" and "Boris Godunov", the piano suite "Pictures at an Exhibition", romances and songs

Musical ( English musical comedy) - a musical stage work in which dialogues, songs, music are intertwined, choreography plays an important role. This is an entertaining performance that combines various genres of art - pop and everyday music, choreography and modern dance, drama and visual arts.

The miniature is a small piece.

H

Nocturne- a piece of music depicting images of the night.

O

One part form - a musical form consisting of music of one character (1 part)

Opera - (ital. work, writing) a musical performance in which all the characters only sing.

The orchestra is a large group of instrumental musicians (symphony orchestra, brass band, jazz orchestra, orchestra of Russian folk instruments, chamber orchestra).

P

Paganini N. (1782-1840) - Italian violinist and composer, author of Caprice No. 24.

Partes singing ( from the words partes – voices) - a type of Russian polyphonic vocal music that became widespread in Orthodox worship in the 17th century and the first half of the 18th century. Number of votes can be from 3 to 12, and can reach 48. The most characteristic genre of music in which partes singing was reflected - partes choral concert.

Song - genre of vocal music.

Pergolesi D. (1710-1736) - Italian composer, violinist and organist, representative of the Neapolitan opera school and one of the earliest and most important composers of opera buffa ( comic opera), author of the cantata "Stabat mater".

Polyphony is a type of polyphonic presentation in which all voices are equivalent.

Program music- musical works in which ideas, images, plots are explained by the composer himself. The author's explanations can be given in the text - an explanation attached to the work, or in its title.

Prokofiev S. (1891-1953) - one of the largest and most performed composers of the 20th century (cantata "A. Nevsky", ballets "Cinderella" and "Romeo and Juliet", operas "War and Peace" and "The Tale of a Real Man", symphonic fairy tale "Peter and the Wolf" , 7 symphonies, piano miniatures "Fleeting"

Prelude (introduction) - a short piece of music that does not have a strict form.

R

Rhapsody ( rhapsode) - a wandering musician singing his homeland) - a genre of instrumental music, a piece of music built in free form on the basis of folk melodies.

Rachmaninov S.V. (1873 - 1943) - Russian composer, virtuoso pianist and conductor, author vocal music- romances, choral works, operas; piano music- preludes, concertos, sonatas, etc.; symphonic music.

Register - means of musical expressiveness, relative height of sounds, range.

ragtime (broken rhythm)- dance music of a special warehouse is an attempt by Negro musicians to use the cross-rhythms of African music in the performance of polkas, square dances and other dances. This is a piano genre, founded by Scott Joplin.

Rhythm - a means of musical expressiveness, a regular alternation of sounds of various durations .

Romance - a genre of vocal music, a piece of music for voice with an accompanying instrument, written on a small poem of lyrical content (love song). The romance reveals the feelings of a person, his attitude to life and nature.

Rondo - a musical form based on the alternation of a constantly repeating fragment and a new episode (refrain and episode)

Requiem(lat. peace)- mournful piece of music for choir and orchestra.

Rimsky-Korsakov N.A. ( 1844-1908) - Russian composer, a naval officer by profession, was a member of the community of Russian composers "Mighty Handful",

wrote 15 operas, most of them on a fairy tale plot (Sadko, Snegurochka, Golden Cockerel, etc.)

FROM

Sviridov G (1915-1998) - outstanding Soviet and Russian composer, pianist, student of Dmitri Shostakovich. He wrote vocal and instrumental music (musical illustrations for A.S. Pushkin's story "The Snowstorm", cantatas - "Poem in memory of S. Yesenin", "It's snowing")

Symphony (consonance ) is a large instrumental multi-part work for a symphony orchestra.

Sonata - genre of chamber music for solo instrument.

Composition of the symphony orchestra:

1. bowed string instruments- violin, viola, cello, double bass.
2. wind group - woodwind instruments (flute, clarinet, oboe, bassoon); brass instruments (trumpet, trombone, horn, tuba).
3. percussion group - large and snare drums, brass cymbals, triangle, bells, timpani, celesta.
4. a special place is occupied by the harp.

The composition of the orchestra of Russian folk instruments:

1. stringed plucked instruments- balalaika, domra, gusli, bass balalaika.
2. wind instruments- flute, horn, zhaleyka, birch bark, whistles.
3. percussion group - tambourine, wooden spoons, ratchet, box, xylophone, rubel.
4. bayan occupies a special place.

Soprano - high female voice

Means of musical expression(musical language of the work)- intonation, melody, rhythm, tempo, dynamics, timbre, mode, register, harmony, orchestration, character.

Sympho-jazz (English sympho-jazz) is a style that combines elements of jazz and light symphonic music.

Spirituals - songs of North American blacks of religious content, gospels (labor songs).

Suite - a piece of music, consisting of several parts, united by a common name.

T

Timbre is a means of musical expressiveness, the coloring of sound.

Tempo is a means of musical expression, the speed of sound.

Tenor is a high male voice.

three-part form- a musical form consisting of music of three characters (non-repeatedtripartite

form - ABC, repeated three-part form - ABA)

At

Overture -

• orchestral piece, introduction to opera, ballet, which prepares the listener, introduces into the atmosphere of the work, into the circle of ideas and images
• an independent work of a program nature, carrying the idea of ​​​​a name.

F

Fugue is the highest form of polyphony, a polyphonic polyphonic work, which is based on the implementation of one or more musical themes in all voices.

X

Chorus - big group of musicians-singers. The choir in the opera is a crowd stage in the opera.

choral (choral chant)- monophonic chant, which was part of the service in the church of Western Europe.

Habanera is a Cuban folk dance, similar in rhythm to tango.

H

Tchaikovsky P.I. ( 1840-1893) - Russian composer, conductor, teacher, musical and public figure, music journalist. Considered one of the greatest composers in the history of music. Author of more than 80 works, including ten operas and three ballets. His concertos and other works for pianoforte, seven symphonies, four suites, program symphonic music (Romeo and Juliet overture-ntasia, ballets Swan Lake, Sleeping Beauty, The Nutcracker) represent an extremely valuable contribution to world musical culture.

Chesnokov P.G. (1877-1944) - Russian composer,choral conductor, author of widely performed sacred works.

Chiurlionis M.K. (1875-1911) - Lithuanian artist and composer; founder of professional Lithuanian music.

W

Chopin F. (1810-1849) - Polish composer, outstanding pianist, founder of Polish music, ardent patriot of his homeland, the music is permeated with intonations of Polish folk music. He wrote music for the piano: mazurkas, polonaises, waltzes, nocturnes, preludes, etudes, etc.

Schubert F. (1797- 1828) - German composer, founder of romanticism, created a new type of songs (small music scenes with a certain plot, in which the accompaniment is an active participant in the action) and a new vocal genre - a ballad.

elementary theory music

Accompaniment- musical accompaniment of a soloist (singer, instrumentalist, ensemble, dance, gymnastic exercises, etc.)
Chord(consonance) - the simultaneous sounding of three or more sounds, different in height, name.
Accent(accent) - emphasizing a sound, chord. A. has various graphic designations: >, V, ^, sf, etc. They are affixed in vocal (solo and choral) parts above the staff (in the absence of text); in instrumental works. A. can be affixed between musical lines or above each separately, depending on the expressiveness of the performer.
Alteration- raising or lowering a sound by a semitone or a tone using signs: # (sharp) raises by a semitone; b (flat) lowers a semitone; - (bekar) cancels sharp or flat, etc.
Ensemble(together). 1. Musical work for several performers: duet(two performers) trio or tercet(three), quartet(four), quintet(five), etc. 2. A single artistic team. 3. Unity, consistency of choral performance.
Fingering- designation in the notes of the correct alternation of fingers for the convenience of playing musical instruments.
Arpeggio- successive performance in a chord of sounds one after another.
Volta- a graphic designation of the repetition of the previous musical passage, which is indicated as follows:

Gamma- scale - sequential sounding of the steps of the fret in ascending and descending movements. The most common G. are diatonic (from 7 steps) and chromatic (from 12 steps).
Harmonization- instrumental accompaniment of the melody, written in folk or other styles.
Harmony. 1. A consistent, regular combination of consonances in terms of mode and tonality. 2. Academic subject in music theory.
Range- the sound capabilities of a singing voice or any instrument, the volume between the highest and lowest sounds of the voice (instrument).
Dynamics(strength) - the use of amplification or weakening of the sound as an expressive means of performance. The main graphic symbols of D.: f (forte) - loudly, p (piano) - softly, mf (mezzo forte) - moderately loud, mp (mezzo piano) - moderately quiet, crescendo (crescendo) - amplifying, diminuendo (diminuendo) - weakening, etc.
Duration- the property of sound that determines its length. The main designation for duration is a whole note, equal to two half notes, four quarter notes, eight eighth notes, etc.

share- a unit of musical time (sound), divided into strong (percussion), weak (unstressed).
Dissonance- consonance, in which sounds do not combine, cause a feeling of coherence.
Genre- a concept that defines the content, character, direction of a musical work, for example, the genre of opera, symphony, vocal, chamber music. Genre usually refers to music closely related to everyday life (march, dance, etc.).
Zatakt- the beginning of a piece of music with a weak beat.

Sound musical- vibration of a sounding body, which has the main properties: height, duration, timbre, dynamics (strength).
Scale- the sequence of the main steps of the mode: do, re, mi, fa, salt, la, si.
Improvisation - creative activity directly during performance, i.e. inventing your own versions of songs, dances, marches, etc.
Interval- the distance between two sounds of different pitch, of which the lower one is called the base, the upper one is the top, for example prima(repetition of the same sound) second, third, fourth, fifth, sixth, seventh, octave etc.
Intonation- melodic turn, the smallest musical construction, which has independent expressiveness.
Key - a sign that determines the pitch and name of the sound and is placed at the beginning of the musical notation. Most used:

violin bass

(salt- on the second line), (fa - on the fourth line).

Consonance- consonance, in which sounds merge and, as it were, complement each other.
Lad- ratio, the relationship of stable and unstable sounds.
Legato- related performance of several sounds.
league- a graphic image in the form of an arc (concave or convex), which indicates the associated performance of several sounds of different heights, an increase in the duration of one sound, the combination of sounds performed in a song into one syllable.

Melismas- peculiar musical ornaments of one sound:

Major- modal sound, which most often conveys a bright, joyful mood of music.
Melody- a monophonic sequence of sounds united by semantic content.
Meter- consecutive alternation of strong and weak beats in a measure.
Minor- modal sound, conveying most often thoughtful, sad mood music.
Polyphony- a consonant combination of several independent melodic lines (voices).
Modulation- a logical, intonational transition to a different key.
motive- the smallest musical structure, usually contains one strong beat.
Musical literacy - basic knowledge in the field of music theory.
Note- graphic representation of sound.
stave (stave) - a graphic image of five horizontal parallel lines for recording notes.
Nuance- a shade that emphasizes the character of the sound of music.
Pause- a sign that interrupts the musical sound for a certain period of time and corresponds to the duration of the notes.

Semitone- the smallest distance between two sounds that are different in pitch.
The size- the number of strong and weak beats of a certain duration that form a beat; It is displayed as a fraction, in the denominator of which the duration of one beat is indicated, in the numerator - the number of such shares. It is set at the beginning of the work, on each staff separately, after the key signs, and the value is stored until the end of the work or until the old time signature is changed and a new one is established. For example: 2/4, *, 6/8, etc.
Register- determines the sound range of a musical instrument, a singing voice and differs in high, medium and low.
Rhythm- sequential alternation of sounds (of different heights and durations) that have a semantic and expressive meaning.
Syncope- shifting the sound stress from a strong beat to a weak one.
Staccato- a performance technique characterized by a short, abrupt sound.
Fret steps- sounds with the following designations:

Tact- a small segment of a piece of music enclosed between two strong beats (starts with a strong one and ends before a strong one) T. is divided on a musical line by a bar line (vertical line).
Pace- speed of movement, alternation of metric units. The designations T are put down at the beginning of the work above the first musical line in Russian and Italian, for example: moderately - moderate (moderato), fast - allegro (allegro), lingering - adagio (adagio).
Tone- the distance between two sounds, including two semitones.
Tonality is a specific pitch of sounds of a certain mode, characteristic of a particular work. T. has its own key signs and is determined by the position of the tonic at one or another degree of the scale.
Transposition(transposition) - the performance of a work (song, play) in a different key.
Triad- a chord in which three sounds are arranged in thirds (for example, do-mi-sol). T. can be major or minor and thus determine the mode.
Texture- a combination of various means of musical expression: melody, accompaniment, individual voices, echoes, theme, etc.
Fermata- graphic designation of additional extension, sound for greater expressiveness.

Musical form- in a broad sense, combines expressive means: melody, rhythm, harmony, structure. In a narrow sense, F. is the structure of a work, for example, two-part and three-part forms.
Chromatism- semitone pitch change using accidentals.

Vocal and choral art

A cappella- polyphonic, mostly choral penis without instrumental accompaniment.
Vocalization- singing, performing technique of singing to vowel sounds.
vocal music- Designed for singing. There are three main types of singing: solo (one performer), ensemble (duets, trios, etc.), choral (collective performance, monophonic or polyphonic, with accompaniment or a cappella).
vocal art - Singing skills.
detonation- Wrong, inaccurate sound.
Range- the sound volume of the singing voice.
Diction- clear, intelligible, expressive pronunciation of words.
Chorus- the beginning of a solo or choral song.
Cantilena- melodious, smooth, manner of performance.
Chorus- part of the song (in couplet form), performed on the same text.

Dance

Bulba- a Belarusian folk song-dance of a lively, cheerful character, having a double meter.
Waltz- a ballroom dance of a smooth, moderately fast character, having a triple meter.
Gallop- ballroom dance, the pace is rapidly fast; two quarter size.
Hopak- Ukrainian folk dance, fast, impetuous, based on big jumps; two quarter size.
Krakowiak– Polish folk dance, lively character; size two quarters; rhythm with characteristic syncopations.
Lyavonikha- Belarusian folk song-dance of a lively, cheerful character with underlined stomp at the end of each musical phrase; the pace is fast; two quarter size.
Mazurka- Polish folk dance with a characteristic sharp rhythm; triple size.
Minuet- an old French ballroom dance of a smooth, somewhat flirty character; three quarter size; the pace is accelerated.
Polka- Czech folk pair dance of a cheerful, light, mobile character; double size; the pace is fast.
round dance- mass game, with singing and movements in a circle.

Elements of dance movements

Runner I. p .: feet in the main stance (heels together, toes apart). Push off with your left foot and make a small jump forward with your right foot (counting “times”), gently lowering yourself onto it; then move forward on an easy run: left foot (count "and"), right foot (count "two"). After that, start the same movements with the left leg (jump, run, etc.).
Lateral gallop- an element of dance, is learned into the account: "one and, two and." I. p .: main stand. The movements are light and springy. On “one” - a small step with a jump with the right foot to the side (from the toe, slightly bending the knees); on "and" - land on the left; on "two and" - repeat the movement.
Fractional step. I. p .: feet parallel, knees slightly bent. It is performed rhythmically, on the spot, on the entire foot with rapidly alternating stomps: right, left, right, etc.
Picker is an element of dance. I. p .: legs in the main stance. It is performed on the account of "one and, two and." On “time and” - a small jump on the left leg, at the same time take the right leg to the side, touching the toe of the floor, turn the slightly bent knee inward; on “two and” - make the second jump on the left leg, put the right on the heel, turn the knee outward.
pas de basque is an element of dance. I. p .: legs d main stance. It is performed at the expense of "and one, and two." On the “and” - a small jump, with a push of the left foot, move the right foot forward and to the right (low above the floor); on “time” - land on the right leg, bend the left, knee out; on “and” - step with the left foot, slightly bending the knee, raise the right one; on "two" - step with the right foot, slightly bending the knee, raise the left and slightly bend.
Russian variable pitch. I. p .: main stand. It is performed on the account of “one and two and” On “one” - step with the right foot forward from the toe; on "and" - a small step with the left foot on the toe (the heel is raised low); on "two and" - a small step with the right foot forward from the toe. Then the movements are performed from the left leg.
Russian round dance step. I. p .: legs in the third position (the heel of the right foot is attached to the middle of the left foot). The movements are a smooth alternate step with each leg from the scythe.
Waltz step(gymnastic). I. p .: toe stand. It is performed on the account - “one two three”. On “time” - step with the right foot forward from the toe to the entire foot, slightly bending the knee (gently springing); on “two, three” - two small steps forward with the left, then with the right foot on the toes (legs are straight).
Waltz step(dance). I. p .: toe stand. It is performed, like the previous step, but on the run, rapidly.
Polka step. I. p .: legs in third position. Performed at the expense of “and one, and two” On “and” - a small sliding jump on the left leg forward, slightly lift the right one forward; on "one" - step right forward on the toe; on "and" - put the left foot behind the right (third position); on "two" - step with the right foot forward.
Drop step. I. p .: legs in the main stance. It is performed at the expense of "and one, and two." On "and" - raise the right leg to the side, to the right; on “one” - take a small step from the toe to the entire foot, slightly bending the knee, at the same time lift the left leg bent at the knee; on the “and” - straightening the legs, stand on the toe of the left leg (behind the right), take the right one to the side; on "two and" - repeat the movement.
Step with a tide. I. p .: feet parallel, knees slightly bent. Performed at the expense of "one, two." On "one" - a small step with a blow of the right foot on the floor, on "two" - the same step with the left foot.

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BRIEF GLOSSARY OF MUSICAL TERMS

Accompaniment(French accompagnement - accompaniment) - musical background to the main melodies, which is of secondary importance in the work.

Chord(it. accordo, fr. accord - agreement) - consonance, the sound of several (at least three) musical tones, taken, as a rule, simultaneously. A. are divided into consonant and dissonant (see. consonance and dissonance).

Act(lat. actus - action) - a relatively completed part of the theatrical performance ( operas, ballet etc.), separated from another of the same part by a break - intermission. Sometimes A. is divided into paintings.

Ensemble(fr. ensemble - together) - 1. The name of a relatively independent musical episodes in opera, representing the simultaneous singing of two or more singers, vocal parts which are not identical; according to the number of participants A. are divided into duets, trio or tercetes, quartets, quintets, sextets etc. 2. Play, intended for joint performance by several musicians, most often instrumentalists. 3. The quality of joint performance, the degree of coherence, unity of the overall sound.

Intermission(French entr'acte - letters, interaction) - 1. Break between acts theatrical performance or branches concert. 2. Orchestral introduction to one of the acts, except for the first (cf. overture)

Arietta(it. arietta) - small aria.

Arioso(it. arioso - like an aria) - a variety arias, characterized by a freer construction, more closely connected with the previous and subsequent musical episodes.

Aria(it. aria - song) - developed vocal episode in opera, oratorios or cantata sung by one singer accompanied by orchestra, which has a wide range melody and completeness of the musical forms. Sometimes A. consists of several contrasting(see) sections. Varieties A. - arietta, arioso, cavatina, cabaletta, canzone, monologue etc.

Ballet(fr. ballet from it. ballo - dance, dance) - a major musical choreographic(cm.) genre, in which the main artistic means is dance, as well as pantomime, presented on the theater stage in a picturesque decorative design, accompanied by orchestral music. B. in the form of independent dance scenes is sometimes part of operas.

Ballad(French ballade, Italian ballare - to dance) - originally the name of the Provencal (France) dance songs; then - literary and poetic genre associated with folk legends or telling about the events of the past. From the beginning of the XIX century. - designation vocal and instrumental plays narrative warehouse.

Baritone(Greek barytono - heavy-sounding) - male voice of the middle between bass and register tenor; Another name is high bass.

Barcarolle(from it. barca - boat, barcaruola - song of the boatman) - genus songs, common in Venice, and also the name vocal and instrumental plays contemplative melodious character with a smooth, swaying accompaniment; size 6/8. Another name for B. is a gondolier (from the Italian gondola, a Venetian boat).

Bass(it. basso - low, Greek basis - basis) - 1. The lowest male voice. 2. Common name for low register of orchestral instruments (cello, double bass, bassoon, etc.).

Bolero(Spanish bolero) - Spanish dance, known since the end of the 18th century, moderately fast movement, accompanied by castanets; size 3/4.

Bylina- a work of Russian folk epic, a story about the old days, about the exploits of folk heroes-bogatyrs. B. has the character of a leisurely smooth recitative like a sung speech; sometimes accompanied by playing the harp and other musical instruments.

Waltz(French valse, German Walzer) is a dance that originated from Austrian, German and Czech folk dances. V. is danced in pairs in a smooth roundabout; size 3/4 or 3/8, pace varying from very slow to very fast. Thanks to its special figurative and expressive possibilities, dance became widespread from the middle of the 19th century not only as a dance and concert(cm.) genre but also how important component music operas, ballet, symphonies and even chamber — solo and ensemble(see) works.

Variations(lat. variatio - change) - a piece of music based on a gradual change set out at the beginning Topics, during which the original image is developed and enriched without losing its essential features.

Virtuoso(it. virtuoso - lit. valiant, courageous) - a performing musician who is fluent in his instrument or voice, easily, brilliantly overcoming any technical difficulties. Virtuosity is the skill and technical perfection of musical performance. Virtuoso music is music replete with technical difficulties, requiring brilliant, spectacular performance.

Vocal music(from it. vocale - voice) - music for singing - solo, ensemble or choral(see) with accompaniment or without it.

Introduction- the initial section, directly introducing into any vocal or an instrumental piece, painting or Act musical and theatrical performance.

Gavotte(fr. gavotte) - an old French dance folk origin; subsequently, from the 17th century, it entered into court use, in the 18th century it took its place in the dance suite. G.'s music is energetic, moderately fast movement, meter 4/4 with a characteristic two-quarter upbeat.

Harmony(Greek harmonia - proportionality, consistency) - 1. One of the expressive means of musical art, associated with chordal(see) combinations of tones and their sequences accompanying the main tune. 2. The science of chords, their movement and connections. 3. The name of individual chord sound combinations when characterizing their expressiveness (“hard harmony”, “light harmony”, etc.). 4. The general designation of the range of chordal means characteristic of a particular work, composer, musical style(“Mussorgsky's harmony”, “romantic harmony”, etc.).

Hymn(Greek hymnos) - a solemn laudatory chant.

Grotesque(French grotesque - bizarre, ugly, strange) - an artistic device associated with a deliberate exaggeration or distortion of the real features of the image, which gives it a bizarre, fantastic, often caricature-humorous, sometimes frightening character.

Gusli(from Old Russian gusel - string) - an old Russian folk instrument, which is a hollow flat box on which are stretched metal strings. Playing the G. was usually accompanied by the performance of epics. The performer in G. is a harpist.

Declamation- artistic reading of poetry or prose in an emotionally elevated manner. D. musical - correct reproduction in recitative characteristic intonations - rises, falls, accents, etc. - expressive human speech.

woodwind instruments- the general name of a group of instruments that includes a flute (with varieties of flute-piccolo and alto flute), oboe (with varieties of alto oboe, or English horn), clarinet (with varieties of clarinet-piccolo and bass clarinet), bassoon (with variety of contrabassoon). D. d. i. are also used in brass bands, various chamber ensembles And How soloists(see) tools. In the orchestral score group D. d. and. occupies the top lines, placed in the above order.

Decimet(from lat. decimus - tenth) - operatic or chamber ensemble ten participants.

Dialog(Greek dialogos - a conversation between two) - scene- a conversation between two characters operas; roll call of alternating short musical phrases as if responding to each other.

Divertissement(French divertissement - entertainment, entertainment) - a piece of music built like suites, consisting of several diverse, mainly dance, rooms. D. is also called a separate instrumental play entertaining character.

Dynamics(from the Greek dynamikos - power) - 1. Strength, loudness of sound. 2. Designation of the degree of tension, the effective aspiration of the musical narrative (“the dynamics of development”).

Dramaturgy- Literature that involves the stage incarnation; the science of the laws of the construction of a dramatic play. In the 20th century, the term D. began to be applied also to the musical and theatrical art, and then to large instrumental and symphonic works that were not connected with the stage. D. musical - a set of principles for the construction and development of music operas, ballet, symphonies etc. with the aim of the most logical, consistent and effective embodiment of the chosen plot, ideological concept.

Thought, thought— narrative Ukrainian folk song free recitative-improvisational warehouse with tool support. Usually D. is devoted to the story of historical events, but sometimes it acquires the features of a sincere, sad song of a purely lyrical content.

Brass band— orchestra, consisting of copper and woodwinds and percussion tools. Before. has a powerful, bright sonority.

Wind instruments- instruments, different in shape, size and material, which are a tube or a set of tubes that sound due to the vibrations of the air column enclosed in them. According to the material and method of sound extraction D. and. divided into copper and wooden. Among D. and. belongs also organ.

Duet(from lat. duo - two) - operatic or chamber ensemble two participants.

duetino(it. duettino) - small duet.

Genre(French genre - type, manner) - 1. The type of musical work, determined by various criteria: by the nature of the subject (for example, Zh. epic, comic), the nature of the plot (for example, Zh. historical, mythological), the composition of the performers (e.g., F - operatic, ballet, symphonic, vocal(see), instrumental), the circumstances of the performance (for example, J. concert, chamber(see), household), features of the form (for example, Zh. romance, songs, instrumental or orchestral miniatures), etc. 2. Genre (in music) - associated with characteristic features folk household musical genres. 3. Genre scene - everyday scene.

Chorus- Start choral song, performed by one singer - the lead singer.

Singspiel(German Singspiel from singen - to sing and Spiel - game) - kind comic opera, which combined colloquial dialogues with singing and dancing; Z. received the greatest development in Germany and Austria in the 2nd half of the 18th and early. XIX centuries.

Improvisation(from lat. improvisus - unforeseen, unexpected) - creativity in the process of execution, without prior preparation, by inspiration; also a characteristic of a certain kind of musical works or their individual episodes, characterized by whimsical freedom of presentation.

Instrumentation- the same as orchestration.

Sideshow(lat. intermedia - located in the middle) - 1. A small musical play, placed between the more important parts of a large work. 2. Plug-in episode or scene in a major theatrical work, suspending the development of the action and not directly related to it. 3. Binder episode between two Topics in fugue, a passing episode in an instrumental piece in general.

Intermezzo(it. intermezzo - pause, intermission) - play linking more important sections; also the name of separate, mainly instrumental, pieces of various nature and content.

Introduction(lat. introductio - introduction) - 1. Small size opera overture, directly put into action. 2. The initial section of any plays, which has its own pace and the nature of the music.

cabaletta(from it. cabalare - fantasize) - a small opera aria, often of a heroically upbeat nature.

Cavatina(it. cavatina) - a kind of opera arias, characterized by a freer construction, lyrical melodiousness, lack of tempo(see) contrasts.

Chamber music(from it. camera - room) - music for soloists(see solo) instruments or voices, small ensembles designed for performance in small concert halls.

Canon(Greek kanon - rule, pattern) - a kind of polyphonic music based on the alternate entry of voices from the same melody.

Kant(from lat. cantus - singing) - in Russian, Ukrainian and Polish music of the 17th-18th centuries, lyrical songs for a three-part choir without accompaniment; in the era of Peter I, greetings to K. vigorous marching(cm. march) character, performed on the occasion of official celebrations.

Cantata(from it. cantare - to sing) - a great work for singers - soloists, chora and orchestra, consisting of a number of numbers - aria, recitatives, ensembles, choirs. K. differs from the oratorio in the absence of a detailed and consistently embodied plot.

Cantilena(lat. cantilena - chanting) - wide melodious melody.

Canzona(it. canzone - song) - the old name of the Italian lyric songs with instrumental accompaniment; later - the name of the instrumental plays melodious lyrical character.

canzonetta(it. canzonetta - song) - small canzone, melodious vocal or instrumental play small size.

Painting- 1. In a musical and theatrical work, a part act, separable not intermission, but a brief pause during which the curtain falls briefly. 2. The designation of instrumental-symphonic works, which are characterized by a special concreteness, visualization of musical images; sometimes such works belong to genre of program music.

Quartet(from lat. quartus - fourth) - opera-vocal or instrumental (most often string) ensemble four participants.

Quintet(from lat. quintus - fifth) - opera-vocal or instrumental ensemble five participants.

Clavier(abbr. German Klavierauszug - piano extract) - processing, arrangement for piano work written for orchestra or ensemble, as well as operas, cantatas or oratorios(with preservation vocal parties).

Koda(it. coda - tail, end) - the final section of a musical work, usually of an energetic, impetuous nature, asserting its main idea, the dominant image.

Coloratura(it. coloratura - coloring, decoration) - coloring, variation vocal melodies in a variety of flexible, moving passages, virtuosic decorations.

Coloring(from lat. color - color) in music - the predominant emotional coloring of an episode, achieved using various registers, timbres, harmonic(see) and other expressive means.

Carol- the general name of the Slavic folk ritual songs pagan origin associated with the celebration of Christmas (new year's eve).

Composer(Latin compositor - composer, compiler, creator) - the author of a musical work.

Composition(lat. compositio - composition, arrangement) - 1. Musical creativity, the process of creating a musical work. 2. The internal structure of a musical work, the same as a musical form. 3. A separate piece of music.

Contralto(it. contralto) - the lowest female voice, the same as in choir viola.

Counterpoint(from Latin punctumcontrapunctum - point against point, that is, note against note) - 1. The simultaneous combination of two or more melodically independent voices. 2. The science of the laws of the combination of simultaneously sounding melodies, the same as polyphony.

Contrast(fr. contraste - opposite) - a bright expressive means of music, which consists in the rapprochement and direct opposition of dissimilar, sharply differing in character musical episodes. Musical figurative-emotional K. is carried out with the help of tempo, dynamic, tonal, register, timbre(see) and other oppositions.

Concert(from lat. concertare - to compete, it. concerto - consent) - 1. Public performance of musical works. 2. A large, usually three-part, work for soloist(see) tool with orchestra, brilliant, spectacular, with developed elements virtuosity, in some cases approaching in richness and significance of the ideological and artistic content to symphonies.

climax(from lat. culmen - top, peak) - moment higher voltage in musical development.

Couplet(fr. couplet - stanza) - repeated part songs.

Banknote(fr. coupure - clipping, reduction) - reduction of a piece of music by removing, skipping any episode, in opera — scenes, paintings or act.

Lezginka- a dance common among the peoples of the Caucasus, temperamental, impetuous; size 2/4 or 6/8.

Leitmotif(German Leitmotiv - leading motive) - musical thought, melody associated in opera with a certain character, memory, experience, phenomenon or abstract concept that arises in music when it appears or is mentioned in the course of a stage action.

Landler(German: Ländler) is a German and Austrian dance of folk origin, the predecessor of waltz, lively, but not fast movement; size 3/4.

Libretto(it. libretto - notebook, little book) - full literary text operas, operettas; verbal presentation of content ballet. The author L. is a librettist.

Madrigal(it. madrigale) - a European polyphonic secular song of the 16th century, of an exquisite nature, usually of love content.

Mazurka(from Polish. mazur - a resident of Mazovia) - a Polish dance of folk origin, lively, with a sharp, sometimes syncopated(cm.) rhythm; size 3/4.

March(fr. marche - walking, procession) - genre, Related to rhythm walking, characterized by a clear, measured, energetic movement. M. is marching, solemn, mourning; size 2/4 or 4/4.

Brass instruments— wind instruments, made of copper and other metals, forming a special group in the symphony orchestra, which includes horns, trumpets (sometimes partially replaced by cornets), trombones and tuba. M. d. and. are the basis brass band. In the symphony score group M. d. and. written under the group woodwind instruments, placed in the above order.

Meistersingers(German Meistersinger - master of singing) - in medieval Germany (XIV-XVII centuries) shop musicians.

Melodeclamation(from Greek melos - song and Latin declamatio - recitation) - expressive reading (most often poetry), accompanied by music.

Melody(Greek melodia - singing a song from melos - song and ode - singing) - the main idea of ​​a musical work, expressed in a monophonic melody, the most important means of musical expression.

Melodrama(from the Greek melos - song and drama - action) - 1. Part of a dramatic work, accompanied by music. 2. A negative characterization of works or episodes, characterized by exaggerated sensitivity, sentimentality, bad taste.

Minuet(French menuet) - an old French dance, originally of folk origin, in the 17th century - a court dance, at the end of the 18th century it was introduced into the symphony cycle(cm. symphony). M. is distinguished by smooth and graceful movements; size 3/4.

Mass(fr. messe, lat. missa) - a large multi-part work for chora with instrumental accompaniment, sometimes with the participation of singers- soloists written in religious latin text. M. - the same as the Catholic mass, liturgy.

Mezzo-soprano(from it. mezzo - median and soprano) - a female voice, in register occupying an intermediate position between soprano and contralto. mezzo-soprano in chore- the same as alt.

Miniature(it. miniatura) - small orchestral, vocal(see) or an instrumental piece.

Monologue(from the Greek monos - one, speech uttered by one person) in music - one of the most effective solo vocal forms in opera, which usually captures the process of intense experience or reflection, leading to a decision. M., as a rule, is built from several non-identical, contrasting episodes.

Motive(from it. motivo - reason, motivation, and lat. motus - movement) - 1. Part melodies, which has an independent expressive meaning; a group of sounds is a melody united around one accent - stress. 2. In the common sense - a melody, a melody.

musical drama- originally the same as opera. In a common sense, one of genres opera, which is characterized by the leading role of a tense dramatic action that unfolds on the stage and determines the principles of musical embodiment.

Musical comedy- cm. operetta.

Nocturne(fr. nocturne - night) - the name of relatively small instrumental instruments that spread in the 19th century (rarely - vocal) plays lyrical-contemplative character with expressive melodious melody.

Number- the smallest, relatively complete, allowing separate, independent execution opera episode, ballet or operettas.

But no(from lat. nonus - ninth) - a relatively rare type of opera or chamber ensemble for nine participants.

Oh yeah(Greek ode) - the name of a piece of music borrowed from literature (more often - vocal) solemn laudatory character.

Octet(from lat. octo - eight) - ensemble eight participants.

Opera(it. opera - action, work, from lat. opus - labor, creation) - synthetic genre musical art, including dramatic action, singing and dancing, accompanied by orchestral music, as well as picturesque and decorative design. The opera is made up of solo episodes — aria, recitatives, as well as ensembles, choirs, ballet scenes, independent orchestral numbers (see overture, intermission, introduction). O. is divided into acts and paintings. O. as an independent genre spread in Europe in the 17th century, and in Russia from the middle of the 18th century. Further development led to the formation of various national styles and ideological and artistic types of opera art (see. O. big french, O.-buffa, O. comic, O. lyrical-dramatic, O. lyrical French, O. beggars, O.-series, O. epic, singspiel, musical drama, operetta). As a result of its diverse historical development, music became the most democratic genre among the complex monumental genres of musical art.

Grand Opera French(French grandopéra) - a variety that became widespread in the middle of the 19th century, which is characterized by the embodiment of historical themes in a monumental, colorful performance rich in effective moments.

opera buffa(it. opera-buffa) - Italian comic opera that emerged in the first half of the 18th century. About. based on everyday stories, often acquiring a satirical coloring. Developed from the Italian folk "comedy of masks" (comediadelarte), O.-b. reflected the progressive democratic tendencies of the late 18th and first half of the 19th centuries.

Opera comic- the general specific name of the opera genre that arose in Europe from the middle of the 18th century under the influence of democratic ideas as opposed to courtly aristocratic art. O. to. in different countries had different names: in Italy - opera buffa, in Germany and Austria singspiel, in Spain - tonadilla, in England - beggar's opera, or ballad, song opera. O. c. is the generally accepted name for the proper French variety of this genre, which is characterized by the inclusion of colloquial dialogues.

Opera lyrical-dramatic- a variety developed in operatic art second half of the XIX century. For O. l.-d. characteristic is the foreground of dramatic, often tragic personal destinies and human relationships, shown against a realistically truthful life background, in-depth attention composer to mental life characters, their feelings, psychological contradictions and conflicts.

French lyric opera- own name French lyric-dramatic opera.

Beggar's Opera(English beggarsopera) - English variety comic opera, in which folk songs were widely used - ballads.

Opera series(Italian operaseria - serious opera, as opposed to comic) - Italian opera of the 18th century, associated with the court-aristocratic environment. Based, as a rule, on mythological and historical-legendary subjects, O.-s. distinguished by the splendor of the production, masterly glitter vocal parts, but in its development was constrained by the conventions of plots, situations and characters.

Opera epic- a kind of classical opera, predominantly developed in Russia, characterized by the use of plots from the folk epic - legends, legends and examples of folk songwriting. Stage action and music of O. e. maintained in the spirit of a majestic, unhurried narrative. To genre O. e. adjoins also the opera-fairy tale.

Operetta(it. operetta - small opera) - a theatrical performance that combines singing and dancing, accompanied by orchestra with conversational scenes, deriving from comic opera XVIII century. European O. of the 19th century is characterized by an abundance of comedic situations of a satirical or purely entertaining nature. In Soviet musical and theatrical art, O. is more often referred to as musical comedy.

Oratorio(from lat. oratoria - eloquence) - a large vocal and symphonic genre musical art, the works of which are intended to be performed chorus, soloists-singers and orchestra. O. is based on a certain plot that generally tells about historical or legendary events. folk life, usually possessing an exalted, heroic coloring. The plot of O. is embodied in a number of completed solo, choral and orchestral(see) numbers sometimes shared recitatives.

Organ(from the Greek organon - instrument, tool) - the largest of modern musical instruments that has existed and improved over many centuries. O, is a system of pipes that sound due to the blowing of a jet of air into them, produced mechanically. The presence of pipes of different sizes and shapes allows you to extract sounds of different heights and timbre. O. control is carried out using keyboards, manual (up to three manuals) and foot (pedal), as well as numerous switches registers. In terms of power and colorful richness of sound, the O. competes with the symphonic orchestra.

Orchestra(from the Greek. orchestra - in the ancient Greek theater, the place in front of the stage, which housed the choir) - a large group of performing musicians, intended for the joint performance of musical works. Unlike ensemble, some parties in O. are performed simultaneously by several musicians like a monophonic chora. According to the composition of instruments, orchestras are divided into symphonic, wind, folk instruments, pop, jazz, etc. Opera opera, as well as symphony, consists of four main groups of instruments - groups woodwinds, brass, percussion, strings bowed, and also includes some single instruments that are not included in any of the groups (harp, occasionally piano, guitar, etc.).

Orchestration- creating an orchestral scores, the embodiment of musical thought by means of orchestral expressiveness. O. - the same as instrumentation.

Parody(Greek parodià, from para - against and ode - song, singing, letters, singing vice versa) - imitation for the purpose of distortion, ridicule.

Score(it. partitura - division, distribution) - musical notation ensemble, orchestral, operatic, oratorio-cantata(see) and other music that requires many performers. The number of P. lines is determined by the number of parties included in it - instrumental, solo vocal and choral, which are in a certain order.

The consignment(from lat. pars - part) - part of the music ensemble, operas etc. performed by one or a group of musicians or singers.

Pastoral(from lat. pastoralis - shepherd) - music, musical play or theatrical scene, expressed in gentle, lyrically soft contemplative tones, painting calm pictures of nature and an idealized serene rural life (cf. idyll).

Song- basic vocal genre folk musical creativity and related genre of vocal music in general. P. is characterized by the presence of a clear, convex, expressive and slender melodies, which has a generalized figurative and emotional content, embodying the feelings and thoughts of not an individual, but a people. The combination of these features is included in the concept of songwriting as a special means of musical expression, a special warehouse of musical thinking. Folk music, reflecting the most diverse aspects of the life of the people in an innumerable variety of varieties and genres, is the main source of musical art. In the development of folk poetry and the highly artistic refraction of its national characteristics, the greatest merit belongs to the Russians. classical composers. P. is widely represented in their works as household genre, at the same time song, song beginning was for them the leading artistic technique. In the narrow sense, P. is a small vocal piece with or without accompaniment, distinguished by its simplicity and melodically expressive melodiousness, usually in couplet form, as well as an instrumental piece of similar size and character.

subvoice- more or less independent melody accompanying the main tune in polyphonic music. The presence of developed P. — salient feature Russian folk choral(see) music.

Polyphony(from Greek poly - many and phone - voice, letters, polyphony) - 1. Simultaneous combination of two or more independent melodies having independent expressive meaning. 2. The science of polyphonic music, the same as counterpoint.

prelude, prelude(from lat. prae - before and ludus - game) - 1. Introduction, introduction to the play or completed musical episode, opera stage, ballet etc. 2. A common name for small instrumental pieces of various content, character and structure.

Premiere- first show operas, ballet, operettas at the theater stage; the first public performance of a musical work (applies to major works only).

Chorus- part songs, invariably, together with the same verbal text, repeated after each of its couplet.

Lamentations, lamentations— song- crying, one of the most common in pre-revolutionary Russia genres folk songs; usually has the character of a mournfully agitated recitative.

Prologue(from lat. prae - before and Greek. logos - word, speech) - an introductory part in a drama, novel, opera etc., introducing into the story; sometimes P. introduces the events that preceded the depicted.

musical development- the movement of musical images, their changes, collisions, mutual transitions, reflecting the processes that take place in the mental life of a person or the hero of a musical and theatrical performance, as well as in the environment reality. R. m. is an important factor in the musical dramaturgy, directing the listener's attention to the most significant parts of the story. R. m. is carried out using a variety of compositional and expressive techniques; all means of musical expression are involved in it.

Requiem(from lat. requiem - peace) - a monumental work for chora, soloists-singers and orchestra. Initially, R. is a mourning Catholic mass. Subsequently, in the works of Mozart, Berlioz, Verdi, R. lost its ritual and religious character, turning into a dramatic, philosophically significant musical genre animated by deep universal human feelings and great thoughts.

Recitative(from lat. recitare - read, recite) - musical speech, the most flexible solo form singing in opera, characterized by a large rhythmic(see) diversity and freedom of construction. Usually R. introduces into aria, emphasizing its melodious melody. R. often reproduces the characteristic intonations of living human speech, which makes it an indispensable tool in creating a musical portrait of the character. The main varieties of R. - R.-secco ("dry", accompanied by rare jerky orchestra chords or chembalo), R.-accompagnato ("accompanied", sounding against the background of a coherent chord accompaniment) and R.-obligato ("mandatory", which indicates the need for an independent melodic thought in the orchestral accompaniment).

Rigaudon(fr. rigodon, rigaudon) - an old Provencal (France) dance of the 17th-18th centuries, a lively, vigorous movement; time signature 4/4 or 2/3 with one-quarter advance.

Rhythm(from Greek rythmos - dimensional flow) - organization musical movement in time, periodic alternation and the ratio of strong and weak parts. A periodically repeating group of strong and weak beats is called a measure. The number of beats in a measure is called the time signature. R. is an important expressive means of musical art, reaching a special richness and variety in dance music, associated with the plasticity of the movement of the human body.

Romance(fr. romance) - solo lyrical song with instrumental accompaniment, characterized by an intimate structure of feelings, individualized content, special subtlety and expressive variety accompaniment. Vocal melody R. often includes elements recitative.

Rondo(French rondeau from ronde - round, the name of an old French choral song) - the form building a musical plays, consisting of several (at least three) contrasting episodes, separated by a periodically returning first episode (refrain).

Sarabande(Spanish zarabanda) - an old Spanish dance in the nature of a slow majestic procession; size 3/4. Genre S. was often used to create images of deep mournful reflection, a funeral procession.

Seguidilla(Spanish seguidilla) - fast Spanish dance, accompanied by whimsical rhythm castanets; size 3/4 or 3/8.

Sextet(from lat. sextus - sixth) - operatic-vocal or instrumental ensemble seven participants.

Serenade(from Italian sera - evening, letters, "evening song") - originally in Spain and Italy, a love song sung with accompaniment guitars or mandolins under the sweetheart's window. Then - works of a welcoming nature for instrumental ensembles and orchestra. Subsequently, S. is the name of lyrical solo songs with instrumental accompaniment, stylized in the spirit of a guitar accompaniment, as well as the name of the lyrical instrumental or orchestral cycle.

Symphony(from the Greek symphonia - consonance) - a monumental work for the orchestra, genre which took shape in the second half of the 18th century. S., as a rule, consists of four large, diverse, contrasting parts, in which a wide range of life phenomena is reflected, a wealth of moods and conflicts is embodied. The first part of S. usually has a conflict-dramatic character and is sustained in fast movement; sometimes it is preceded by a slow introduction. The second is a lyrical chant, imbued with moods of reflection. Third - minuet, scherzo or waltz— in a lively dance move. Fourth - the final, the fastest, often festive, upbeat character. However, there are other principles of construction. The set of parts, united by a common poetic idea, forms a symphonic cycle.

Scherzo(it. scherzo - joke) - a small instrumental or orchestral work of a lively, perky character, which has a sharp, clear rhythm sometimes dramatic. From the beginning of the 19th century, S. entered the symphony cycle, taking place in it minuet.

buffoons- carriers of Russian folk art in the XI-XVII centuries, itinerant actors, musicians and dancers.

Solo(it. solo - one, only) - an independent performance of one performer with a whole play or in a separate episode if the play is written for ensemble or orchestra. Performer S. - soloist.

Sonata(from it. sonare - to sound) - 1. In the 17th century - the name of any instrumental work, in contrast to the vocal one. 2. Since the 18th century - the name of a work for one or two instruments, consisting of three or four parts of a certain nature, which form a sonata cycle, in in general terms similar to the symphony (cf. symphony).

Sonata Allegro- the form in which the first parts are written sonatas and symphonies, - sustained in fast (allegro) tempe. S.'s form and. consists of three large sections: exposition, development and reprise. The exposition is a presentation of two central, contrasting musical images created in the main and secondary parties; development - development topics the main and side parties, the clash and struggle of their images; reprise - a repetition of the exposition with a new ratio of images of the main and secondary parties, achieved as a result of their struggle in development. S.'s form and. the most effective, dynamic, it creates ample opportunities for a realistic reflection of the phenomena of objective reality and the spiritual life of a person in their internal inconsistency and ongoing development. S.'s form and. developed by the middle of the 18th century and soon became widespread not only in the first parts symphonies, sonatas, quartets, instrumental concerts, but also in one-part symphonic poems, concert and opera overtures, and in some cases in extended opera arias (for example, Ruslan's aria in Glinka's opera Ruslan and Lyudmila).

Soprano(from it. sopra - above, above) - the highest female voice. S. is subdivided into coloratura, lyrical and dramatic.

Style(in music) - a set of features that characterize the work of composers of a certain country, historical period, an individual composer.

Stringed instruments- instruments in which sound occurs as a result of vibration (vibration) of stretched strings. According to the method of sound extraction S. and. are divided into bowed (violin, viola, cello, double bass), keyboard ( piano and his predecessors, cf. chembalo) and plucked (harp, mandolin, guitar, balalaika, etc.).

Scene(Latin scena from Greek skene - tent, tent). - 1. Theatrical stage on which the performance takes place. 2. Part of theatrical performance, separate episode act or paintings.

Scenario(it. scenario) - a more or less detailed presentation of the course of action unfolding on stage in opera, ballet and operetta, a schematic retelling of their plot. On the basis of S. is created libretto operas.

Suite(French suite - series, sequence) - the name of a multi-part cyclic work in which parts are compared according to the principle contrast and have a less close internal ideological and artistic connection than in the symphonic cycle (cf. symphony). Usually S. is a series of dances or descriptive and illustrative pieces of a program nature, and sometimes an extract from a major musical and dramatic work ( operas, ballet, operettas, motion picture).

Tarantella(it. tarantella) - very fast, temperamental Italian folk dance; size 6/8.

The theme is musical(Greek thema - the subject of the story) - the main, subject development a musical thought expressed in a relatively small, complete, embossed, vividly expressive and memorable melody (see also keynote).

Timbre(fr. timbre) - a specific quality, characteristic coloring of the sound of a voice or instrument.

Pace(from it. tempo - time) - the speed of performance and the nature of the movement in a piece of music. T. is indicated by the words: very slowly - largo (largo), slowly - adagio (adagio), calmly, smoothly - andante (andante), moderately fast - moderato (moderato), quickly - allegro (allegro), very quickly - presto (presto ). Sometimes T. is determined by reference to the well-known nature of the movement: “at the pace waltz"," at the pace march". From the middle of the 19th century, t. was also designated by the metronome, where the number corresponds to the number of indicated durations per minute. The verbal designation T. often serves as the name of a play or its individual parts that do not have a title (for example, the names of parts in a sonata cycle- allegro, andante, etc., ballet adagio, etc.).

Tenor(from lat. tenere - to hold, direct) - a high male voice. T is subdivided into lyrical and dramatic.

Tercet(from lat. tertius - third) - operatic and vocal ensemble three participants. Another name for T. - trio, also used to denote instrumental ensembles with the same number of performers.

Trio(it. trio from tre - three) - 1. In vocal music, the same as tercet. 2. Instrumental Ensemble three performers. 3. Middle section in march, waltz, minuet, scherzo smoother and more melodious character; this meaning of the term originated in early instrumental music, in which the middle section was performed by three instruments.

Troubadours, trouvers- knights-poets and singers in medieval France.

Overture(French ouverture - opening, beginning) - 1. Orchestral piece performed before the start operas or ballet, usually based on the themes of the work to which it precedes, and concisely embodying its main idea. 2. The name of an independent one-movement orchestral work, often related to program music.

Percussion instruments- musical instruments from which sound is extracted by striking. U. and. there are: 1) with a certain pitch - timpani, bells and bells, celesta, xylophone and 2) with a sound of indefinite pitch - tam-tom, big and snare drums, tambourine, cymbals, triangle, castanets, etc.

Texture(lat. factura - lit. division, processing) - the structure of the sound fabric of a musical work, including tune accompanying her echoes or polyphonic vote, accompaniment etc.

Fandango(Spanish fandango - Spanish folk dance of moderate movement, accompanied by playing the castanets; size 3/4.

Fantasy(Greek phantasia - imagination, fiction in general, fiction) - masterly free forms. 1. In the 17th century improvisational nature of the introduction to fugue or sonata. 2. Virtuoso composition on Topics any operas, the same as transcription (Latin transcriptio - rewriting) or paraphrase (from Greek paraphrasis - description, retelling, paraphrase). 3. An instrumental piece with a whimsical, fantastic character of music.

Fanfare(it. fanfara) - a trumpet signal, usually of a festive solemn nature.

The final(it. finale - final) - the final part of a multi-part work, operas or ballet.

Folklore(from English folk - people and lore - teaching, science) - a collection of works of oral literary and musical folk art.

Musical form(lat. forma - appearance, shape) - 1. Means of embodying the ideological and figurative content, including tune, harmony, polyphony, rhythm, dynamics, timbre, invoice, as well as compositional principles of construction or F. in a narrow sense. 2. F. in the narrow sense - the historically established and developed patterns of the structure of musical works, the layout and relationship of parts and sections that determine the general contours of a musical work. The most common are F. tripartite, couplet, variational, rondo, sonata, as well as F. construction suite, sonata and symphonic(cm.) cycles.

piano(from it. forte-piano - loud-quietly) - the general name of the keyboard string instrument (piano, piano), which allows, unlike its predecessors - the harpsichord, chembalo, clavichord, receive sounds of various strengths. sound range and speakers, expressiveness and colorful variety of sound, great virtuoso and technical capabilities made F. predominantly solo and concert performers (cf. concert) an instrument, as well as a participant in many chamber instrumental ensembles.

Fragment(from lat. fragmentum - fragment, piece) - a fragment of something.

Phrase(Greek phrasis - turn of speech, expression) - in music, a short relatively complete passage, part melodies, framed by pauses (caesuras).

Fugue(it. and lat. fuga - running) - a one-part work, which is polyphonic(see) exposition and subsequent development one melodies, Topics.

Fugato(from fuga) - polyphonic episode in an instrumental or vocal play, built like fugues, but not finished and turning into music of a conventional, non-polyphonic warehouse.

fugetta(it. fugetta - small fugue) - fugue small sizes, with a reduced development section.

Furiant(Czech, lit. - proud, arrogant) - impetuous temperamental Czech folk dance; variable size - 2/4, 3/4.

Habanera(Spanish habanera - letters, Havana, from Havana) - Spanish folk song-dance, characterized by a restrained clear rhythm; size 2/4.

choir(from Greek choros) - 1. A large singing group, consisting of several groups, each of which performs its own party. 2. Compositions for the choir, independent or included in an operatic work, in which they are one of the most important forms often used in the creation of mass folk scenes.

Chorale(from Greek choros) - 1. Church choral singing on a religious text common in the Middle Ages. 2. A choral or other work or episode based on a uniform, unhurried movement chords, characterized by a sublimely contemplative character.

Hota(Spanish jota) - Spanish folk dance of temperamental live movement, accompanied by a song; size 3/4.

Music cycle(from the Greek. kyklos - circle, circuit) - a set of parts of a multi-part work, following one after another in a certain order. C. is based on the principle of contrast. The main varieties are the sonata-symphony ts., suite ts. (see. symphony, suite); cyclic also include the forms masses and requiem.

Chembalo(it. cembalo, claviecembalo) is the Italian name for the harpsichord, the forerunner of the modern piano. In the 17th and 18th centuries Ch. was part of operatic or oratorio orchestra accompanying the performance recitatives.

Ecossaise(fr. écossaise - "Scottish") - Scottish folk dance of fast movement; size 2/4.

Expression(from lat. expressio - expression) in music - increased expressiveness.

Elegy(Greek elegia from elegos - complaint) - play sad, thoughtful character.

Epigraph(Greek epigraphe - letters. inscription on the monument) - a figurative name of the initial musical phrase borrowed from literature, Topics or a passage that defines the predominant character, the leading thought of the entire work.

Episode(Greek epeisodion - incident, event) - a small part of the musical and theatrical action; sometimes a section introduced into a piece of music that has the character of a digression.

Epilogue(Greek epilogos from epi - after and logos - word, speech) - the final part of the work, summing up the events, sometimes talking about events that occurred after some time.

Epitaph(Greek epitaphios) - grave word.

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sign; musical composition; musical text; signal; symbol; language

Annotation:

Musicologists often equate a piece of music and a musical text, which is wrong. The article attempts to define the boundaries of the semantic field of the concept of "musical text" through language, sign and symbol. The correlation of musical and natural languages ​​is considered. The problem of the absence of a permanent signified in a musical sign is posed, which can be solved with the help of the concept of "signal".

Article text:

Traditionally, the main object of study in Russian musicology is a piece of music. The concept of "musical work" is central in most scientific works. Within the framework of domestic musicological research, it does not always have clear semantic boundaries and often acts as a synonym for a musical text, while, in my opinion, such an identification is unacceptable due to the fact that these concepts belong to different research strategies. In view of the fact that musicians and musicologists continue to use the phrase "musical text" without proper reflection, it is necessary to identify the main boundaries of its understanding.

Due to the fact that the period of terminological reflection of two or three decades is not enough to develop common views on the musical text, in the specialized literature there is a certain scatter of opinions about this concept.

A musical text is a type of artistic text that is reduced to a text in a broad sense as a signal embodied in objects of physical reality that transmits information from one consciousness to another and therefore does not exist outside the consciousness that perceives it. And since any text is “any coherent sign complex”, then a musical text is a specific sign structure, the purpose of which is to convey artistic information of sound-temporal properties.

If the work is concrete, material and has an author, then the text is not a substantial characteristic of the object, but certain angle view of it - "the field of methodological operations" . The text cannot have an author, since it exists only in discourse, it is felt only in the process of its production. The image of the author, if present in the text, is constructed by the reader, the listener. The composer himself coincides with his creation only at the moment when he objectifies the creative intention. And the subsequent existence of the work includes the author in its existence on a par with the performer or listener as a guest, an interpreter. "Author" is a concept, a thought about the author, which is also constructed by the interpreter (including the composer himself), as well as the thought about the content of a musical work. And Bach every time at the moment of performance of his work is “my Bach”, “your Bach”, “Bach” of everyone sitting in the concert hall and thinking about Bach.

The cultural context, which in the case of a musical work is the environment of creation, in relation to the text is a condition of perception - cultural, historical and social conditions in which the listener lives and thinks. Thus, the focus of the text is not the author, but the addressee.

Musical text (handwritten or printed) primarily acts as an intermediary between the composer and the listener. Usually, a musical text is considered as a fixed side of a work, expressed in the form of musical notation. Some researchers tend to think artistic text objective material given, sensually perceived part of the work. Hence the common misconception of many musicians who identify the musical text with the musical text. In general, within the framework of musicology, there is a dual understanding of a musical text: the first is as “a system of rigid fixation of the author’s intention - a musical text”, the second is a kind of structured field of meaning, updated in the act of sounding. In reality, a musical text is not a part of a work, not a musical notation.

Musical text is a system of conventional signs that visually express the structure, architectonics of a musical work. The musical text only begins with the musical text, the procedure for deobjectification of meaning in real sounding and in the process of perception of this text by the listener is also required, and the interpreter’s thinking in a certain way about this musical work is also necessary.

A musical text, like a musical text, has semiotic structures: language, syntax, semantics and pragmatics. However, the interaction of the recipient with these structures is different in both cases. The language of musical text is a set of graphic signs (notes, keys, alliteration signs, indications of volume, tempo, etc.) and the rules for their combination. The denotation of musical signs is the sound that occupies its specific place in the temperament system. With the language of the musical text, the situation is much more complicated.

Based on the textbook definition of language (“any ordered system that serves as a means of communication and uses signs”), musicologists are arguing about the presence or absence of signs in a musical text that are similar to those of a natural language. Representatives of traditional music science, following linguists, attribute music to a secondary modeling system and identify musical language with a complex of means of musical expression (rhythm, tempo, intonation, harmony, timbre). M.Sh. Bonfeld.

M.Sh. Bonfeld is not inclined to reduce the musical language to the natural language due to the lack of independent sign formations with a stable field of signified meaning: “... musical works do not single out such units-signs that, out of context, like the words of a natural language, preserve the established unity of the signifier-signified” . Therefore, it is fundamentally impossible to compile a kind of “intonation dictionary”, a dictionary of musical “words”-signs, however, musicians continue to use this concept as a term, while this is just a good metaphor: “The expression “intonation dictionary” existing in musicological literature means nothing more than a circle of intonations characteristic of an era, style, direction, creativity of an individual composer, but does not imply either the cataloging of these intonations inherent in dictionaries according to any generally accepted (formal) feature, much less their stable (limited in number) meanings) interpretation".

Nevertheless, the musical text is not chaotic, it is structured and "articulate" (M.Sh. Bonfeld's term), but not discrete. The structural units of a musical text are not signs, but sub-signs (similar to natural language morphemes): “... a musical work is speech mediated not by language (a semiotic system of word-signs), but by a system of sub-signs, outside speech (i.e. outside the work) not possessing a stable meaning and acquiring it only as particles of an integral sign. Thus, the antinomy between the text (statement, discourse) and the sign in the art of music is removed. Thus, a sounding musical text is not a sign system, but a text-sign that correlates not with language, but with speech - a single, and therefore unique, act of translating meaning.

The opposite position is taken by G. Orlov. If M.Sh. Bonfeld, with reservations, but recognized the right of semiotics to interfere in the musical text, then G. Orlov considers music as a fundamentally non-linguistic sphere of human existence. Despite the common sound roots, music and language exist and develop in parallel and are not reducible to each other: “... language implies a predominant orientation towards analytical rationality, the logic of static conceptual distinctions and timeless descriptions of phenomena at a certain chosen moment of their existence. Music relies on a syncretic all-encompassing sensibility, concentrates perception on the qualitative completeness of the sound phenomenon in its diachronic, temporal deployment.

Music in his concept does not have a symbolic nature, therefore, the structural-semiotic approach is not applicable to it. The concepts of "musical text" and "musical language" are useless. Instead, G. Orlov proposes to use the concept of “symbol” in the sense of a kind of “portal” in the act of participation (the term is understood in the context of L. Levy-Bruhl’s theory), which opens access to hidden levels of reality: “the sound of music is one of the purest symbols: part and the herald of that nameless reality with which we come into contact through music and musical experience.

G. Orlov’s position is essentially ethnomusicological — music correlates with myth as a form of a mystical act of participation in being: “Such contact with music arises only when it becomes his reality, when, leaving judgments, he loses his “I” in it, becomes identified with it, ceases to perceive it as something external, other than himself, - becomes a part, identical to the whole. Within the framework of G. Orlov's theory, music ceases to be both a text and a work, remaining only a symbol. A means of communication without language - this is how the scientist defines music - serves as a means of self-understanding of a person within the framework of collective cultural experience.

G. Orlov, criticizing the theory of information, writes: “For it, sound is just a material carrier of a message. The qualities and meanings that sound has in the eyes of the listener are not its own properties, but are assigned to it in a certain coding system, as is characteristic of any communication. And further: “The message does not contain meaning: it is just signal sequence(emphasis mine - Sat.), managing the choice of meanings from the stock available to the recipient. Denying the sign of music, G. Orlov, nevertheless, touches on a curious topic - music as a sequence of sound signals - but does not develop it.

In my opinion, the problem of the absence of a stable signified in a musical text, which musicologists unanimously talk about, can be solved with the help of the concept of “signal”. It was to him that the participants of the round table "Text about the text" S. Dolgopolsky, S. Zimovets and V. Kruglikov eventually came. Despite the etymology (from the Latin signum - a sign), within the framework of a musical text, a signal can be accepted as a vector (in space and time) organized physical impulse, which is filled with meaning only in a certain act of sounding. In the opinion of the participants in the discussion, it is the sign as a signal that can form the basis of the structure of a text without a signifier. This concept is close to the understanding of the musical text by M.Sh. Bonfeld as a system of subsigns.

A similar position is taken by A.M. Pyatigorsky. The text is considered by him not as a set of signals, but as one signal. The text as a signal has the properties of the integrity of the translation in time and space, clarity, purposefulness, that is, it implies a transmission channel from the author to the addressee. Signal, according to A.M. Pyatigorsky, there is a physically more specific form of the sign, which implies the absence of the need for decoding (which is typical for the perception of a musical text), which is inevitable in the case of working with a sign.

B. Norman also separates signal and sign. The procedure of distinction is based on the recognition of the biological nature of the former. The signal, in his opinion, belongs to the environment of animals, the sign - to the society of people. In his work "Language as a system of signs" B. Norman proposes criteria for determining a sign and a signal. The sign presupposes the presence of four properties: premeditation (the goal is to deliver information), two-sidedness (the plan of expression and the plan of content), conventionality, conditionality (the sign is inscribed in the system). Musical sound has three of these properties, with the exception of two-sidedness (provided there is no intentional onomatopoeia). The plane of expression and the plane of content are so merged that it is not possible to draw a line between them. This leads to unceasing disputes about the presence/absence of a fixed signified in a musical sign.

B. Norman distinguishes between a sign and a signal according to one more feature - temporality. The sign is located in the ternary time system - past, present and future, and can be perceived intermittently without losing the semantic core. The signal is relevant here and now, neither the past nor the future communication in this case does not apply.

In a sense, B. Norman's position is close to G. Orlov's reflections on the extra-linguistic and pre-linguistic nature of music. The "solidarity" of researchers is also manifested in the opinion about the absence of text at the signal/symbolic level.

In my opinion, a musical text has the characteristics of both systems - sign and signal: having a syntax, a hierarchy of elements, a purposefulness of communication, a musical text is at the same time a holistic signal that sounds and is perceived only in the present, acting both at the level of consciousness and on body level of the recipient. The musical text, of course, has language as an ordered system that serves as a means of communication. But this system is specific and only partly correlates with the natural, primary, sign system of human communication, since it does not have signs similar to the words of a natural language that would constitute a musical dictionary.

One can also agree with G. Orlov's opinion about the pre-linguistic nature of human musical practice. In this case, further research in this area should be carried out precisely at the level of studying the signal as the simplest carrier of information or the "stimulator" of thought.

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