What is the name of a small piece for a symphony orchestra. Genres of musical works

Facilities musical expressiveness

Music genres:

Genre(in translation from French - gender, type, manner) - an art form with certain, historically

established features.

1. vocal-choral genre- includes works created for the performance

cantata, oratorio, mass, etc.

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

Elements of musical speech:

1. Melody(in translation from Greek - song) - a musical thought expressed in one voice.

Melody types:

Cantilena (singing chant) - a leisurely melody

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

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

2. Lad(translated from Slavic - harmony, harmony, order, peace) - relationship

musical sounds, their coherence and coherence. Of the many ways

Major and minor are the most widely used.

1. Harmony(in translation from Greek - proportionality, connection) - combining sounds into consonances and their

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

1. Meter(in translation from Greek - measure) - continuous and even alternation strong and weak parts. Size - digital designation of the meter.

Basic meters: two-part (polka, gallop, ecossaise),

triple (polonaise, minuet, mazurka, waltz), quadruple (march, gavotte).

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

Types of rhythm:

Even - an infrequent change in durations with a predominance of the same.

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

Syncopation (in translation from Greek - omission, reduction) - a mismatch of rhythmic and dynamic accents with metric. (shift of a strong beat to a weak one).

Ostinato (in translation from Italian - stubborn, stubborn) - repeatedly repeated

rhythmic or melodic turn.

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

the sound that an instrument or voice can make.

1. Register- part of the sound range of a musical instrument or voice, containing

sounds similar in color (distinguish between upper, middle and lower registers).

1. Dynamics- the strength of the sound, its loudness. dynamic shades - special terms

determining the degree of loudness of a piece of music.

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

tempo is indicated by special terms.

1. Hatch(in translation from Italian - direction, line) - a way to extract sound when singing, playing musical instruments.

Basic strokes:

Legato - coherently, smoothly

Staccato - jerky, sharp

Non legato - separating every sound

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

way of expressing music. Invoice elements: melody, chords, bass, middle voices,

Main types of invoice:

Monody (translated from Greek - a song of one singer) - monophony or one melodic

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

consists of a combination of several melodic voices. Every voice is

standalone melody.

Homophonic-harmonic texture or homophony (in translation from Greek - the main leader

sound) - the leading voice is clearly distinguished in it - a melody, and the rest of the voices

accompany.

accompaniment types:

chordal, bass-chord, harmonic figurations.

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

is a melody.

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

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

Soprano variety - Coloratura soprano.

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

serving to decorate the solo vocal part.

Mezzo-soprano - middle female singing voice with a range of "la" of a small octave - "la"

("si flat") of the second octave. Performers: Nadezhda Obukhova, Irina Arkhipova,

Elena Obraztsova and others.

Contralto - the lowest female singing voice with a range of "fa" of a small octave - "fa"

second octave. Performers: Tamara Sinyavskaya and others.

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

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

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

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

vocal music

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

Vocal music can be performed:

Solo - by one singer

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

Choir - a large group of performers from 15 people or more.

Choirs

choirs can be different in composition of performers:

Men's

Women's

Baby

mixed

choirs can be different in the manner of performance:

Academic - performing classical music And contemporary works singing

"covered" "round" sound.

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

Genres vocal music

Song - the most widespread genre of vocal music.

Folk songs were born and lived among the people. No one recorded orally passed down from generation to generation. The performer was at the same time a creator: he brought something new, something new to each song. The most famous types folk song creativity- these are lullabies, children's play songs, jokes, dance, comic, round dance, game, labor, ritual, historical, epics, lyrical songs.

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

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

stage performers are professionals.

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

Romance - vocal work for voice with accompaniment.

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

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

Cantata and oratorio.

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

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

J.S. Bach wrote many wonderful cantatas.

At present, the distinction between oratorio and cantata is blurred:

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

Aria - the brightest solo number in the opera.

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

The varieties of aria include: arioso, arietta, cavatina.

Opera arias are usually preceded by a recitative.

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

It is built freely, approaching speech.

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

escort

Mass is a memory of suffering, death on the cross and the resurrection of Christ. There is a Christian sacrament - thanksgiving, and bread and wine turn into the body and blood of Christ.

The mass consists of obligatory chants:

Kirie eleison - Lord, have mercy

Gloria - glory to God in the highest

Credo - I believe

Sanctus - holy

Benedictus - blessed

Agnus Dei - the Lamb of God (a reminder of the tradition of sacrificing a lamb, because Christ also sacrificed himself)

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

Instrumental music

Ensemble instrumental

(Ensemble - jointly, according to)

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

Invented in 1711 by John Shore.

With the help of a tuning fork, all musicians tune their instruments for playing together.

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

The most common chamber ensembles are:

String quartet - it consists of 2 violins, viola and cello

String trio - violin, viola and cello

Piano trio - violin, cello and piano

There are ensembles consisting only of violinists or only of harps, and so on.

Types of orchestras

Orchestra - a group of musicians who perform instrumental music together.

Conductor - leader of the orchestra

Over the years, the methods of conducting have changed many times:

conductors were behind the stage, in front of the orchestra, behind the orchestra, in the middle of the orchestra. During the game, they either sat or walked. Conducted silently, sang, shouted at the top of their voices, played one of the instruments.

They conducted with a huge rod; a roll of paper rolled into a tube; kicks of the foot, shod in sandals, the soles of which were upholstered in iron; bow; conductor's baton - battuta.

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

Score - a musical notation of a polyphonic musical work, in which the parts of individual instruments are combined

Symphony Orchestra:

The birth of the first orchestras is associated with the appearance of opera in the 16th - 17th centuries. A group of musicians was placed separately on a special small platform in front of the stage, which was called the "orchestra". The set of instruments in the first orchestras was inconsistent: viols (the forerunners of the violin and cello), 2-3 violins, several lutes, trumpets, flutes, harpsichord. At the same time, all these instruments sounded only in the opening piece, which in those days was called "symphony". Until the 18th century, composers were looking for the best combination of instruments in the orchestra.

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

A modern symphony orchestra has up to 100 musicians.

The four main groups of the symphony orchestra

Sometimes the orchestra includes: harp, organ, piano, celesta

Brass band

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

Variety Orchestra

It is the most diverse in composition of instruments and sizes - from a large one, similar to a symphony, to a very small one, more like an ensemble. Variety bands often feature ukuleles, saxophones, and many percussion instruments. The variety orchestra performs: dance music, various varieties songs, musical works of an entertaining nature, simple in content popular classical works.

Famous pop orchestras led by O. Lundstrem, P. Moriah, B. Goodman, and others.

Orchestra of Folk Instruments

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

Stringed plucked instruments: domra, balalaika, gusli,

Wind instruments - pipes, zhaleyka, horns, nozzles, flutes

Bayans, harmonicas

Large group of percussion instruments

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

Jazz - orchestras

Unlike a symphony orchestra, a jazz orchestra does not have a fixed composition of instruments. Jazz is always an ensemble of soloists. Jazz orchestras include piano, saxophones, banjos, and guitars. Strings - bowed strings, trombones, trumpets and clarinets can be included. The group of percussion instruments is very large and diverse.

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

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

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

Structure musical works. musical form. Music theme.

Subject (in translation from Greek - what is the basis) - the main musical idea of ​​\u200b\u200bthe work. In one work there can be one or several (usually contrasting) themes.

keynote (in translation from German - guiding motive) - a phrase or whole topic, repeatedly

repeated in the work.

repetition - such a carrying out of a topic in which it passes several times without changes or with minor changes.

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

variance - repeated repetition of the theme with significant changes.

Motive development (development) - isolation from the theme of bright elements (motives) and their

sequential, register, timbre, tonal development.

musical form

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

Elements of musical form: motive, phrase, sentence.

Motive (in translation from Italian - base) is the smallest element of a musical form. As a rule, the motif contains one accent and is equal to one measure.

A phrase (in translation from Greek - an expression) is an element of a musical form that contains two or

several motives. The length of the phrase is from two to four measures. Sometimes phrases are not divided into motives.

A sentence is a relatively complete element of a musical form, consisting of several phrases. The volume of the offer is from four to eight cycles. There are sentences that are not divisible into phrases.

Period- the simplest musical form, which contains a complete or relatively

finished thought. A period consists of two (rarely three) sentences. Period volume

eight to sixteen bars. Periods are:

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

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

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

There are simple and complex forms:

Simple - call a form in which each part is not more than a period.

complex - call the form in which at least one part is greater than the period.

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

Simple two-part form

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

Varieties:

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

For example:

Tchaikovsky "Old French song". Scheme: A B

a + a 1 b + a 2

Non-reprise - consisting of two different periods. For example:

Tchaikovsky "The Organ Grinder Sings" Scheme: A B

a + b c + c 1

Simple three-part form

A musical form consisting of three movements, each no longer than a period.

Varieties:

Reprise - where the third part is a repetition of the first part literally or with small

changes. For example:

Tchaikovsky "March of the Wooden Soldiers" Scheme: A B A

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

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

Tchaikovsky "Neapolitan song". Diagram: A B C

a + a 1 b + b c + c 1

Complex three-part form

A three-part reprise form in which the extreme parts are a simple two-part or three-part form, and the middle part contrasts with the extreme and is any simple form.

For example: Tchaikovsky "Waltz". Scheme:

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

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

Rondo shape

Rondo (in translation from French - circle, round dance) - musical form in which the main theme is repeated

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

The main theme is called refrain (in translation from French - chorus).

The refrain and episodes can be presented in any simple form.

Scheme: A B A C A

Variation Form

Variation Form - a musical form in which the theme is repeated with changes.

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

diversity).

In variations, any elements of musical speech can change.

The number of variations is from two to several dozen.

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

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

Theme 1 var. 2 var. 3 var. 4 var.

sonata form

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

contrasting.

Sonata form consists of three sections.

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

The exhibition focuses on two main themes - home And side .

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

home And side themes connect Binder topic.

Completes the exposition Final subject.

Section 2 - development - the dramatic center of the sonata form;

comparison, clash and development of the topics presented in the exposition. The development is characterized by a frequent change of keys. The main technique for developing topics is motivated development.

Section 3 - reprise - decoupling action.

Carrying out the exposition material in the main key.

Exposition Development Reprise

Gl.t. Communication Pob.t. Bookmark Gl.t. Communication Pob.t. Bookmark

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

Cyclic forms

Cycle - in lane. from Greek - circle.

Cyclic forms - musical forms, consisting of several independent

contrasting parts, united by one idea.

The most important cyclical forms are the suite, the sonata cycle.

Suite.

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

tonality.

Main dances of the old suite:

Moderate alemande (German quadruple)

lively chimes (French tripartite)

slow sarabande (Spanish tripartite)

Fast jig (English tripartite)

sometimes the minuet, gavotte, bure and other dances were included in the old suite, as well as non-dance pieces - prelude, fugue, aria, rondo.

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

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

The new suite is dominated by non-dance pieces.

Examples of the New Suite:

P.I. Tchaikovsky "The Seasons";

MP Mussorgsky "Pictures at an Exhibition";

E. Grieg "Peer Gynt";

N.A. Rimsky - Korsakov "Scheherazade";

K. Sen-Sans "Carnival of the Animals".

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

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

for three performers trio;

for four performers quartet;

for five performers - quintet.

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

for solo instrument and orchestra - concert.

Three-part cycles - sonata, concerto.

Four-part cycles - symphony, quartet, quintet.

Polyphonic forms

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

Imitation means "imitation", that is, the repetition of a melody in another voice.

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

The first is the exposition, where the theme is carried out by all voices. Each time the theme is carried out, it is accompanied by a melody in a different voice, called counterposition . There are sections in the fugue where the theme is missing, these are - interludes, they are located between the topic.
The second part of the fugue is called development, the theme is developed there, passing alternately through different voices.
The third section is a reprise, here the themes are held in the main key. In reprise, to speed up musical development, a technique is often used stretta. This is such an imitation, where each subsequent passage of the theme enters before it ends in another voice.
The reprise is adjoined by a coda summing up the development of the fugue.
There are fugues in the musical literature written not on one, but on two or even three themes. Then they are called, respectively, double and triple. Very often a fugue is preceded by a small piece - a fantasy, a variation or a chorale. But the cycles "prelude and fugue" were especially popular. I.S. Bach wrote 48 preludes and fugues and combined them into two volumes under the title The Well-Tempered Clavier.

Inventions

The word invention in Latin means "invention". In fact, the theme of the invention is an invention - a short expressive melody. Further, the structure of the invention almost does not differ from the structure of the fugue, only everything is much simpler and more accessible for the performance of novice musicians.

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

Counterposition - a melody in a different voice, accompanying the theme.

Sideshows - are located between the topics.

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Slides captions:

The game "Guess the musical instrument" Task: Name the instruments that perform the themes of the heroes of S.S. Prokofiev's fairy tale "Peter and the Wolf."

Oboe Which instrument plays the Bird theme? Flute

Which instrument plays the Grandfather theme? Bassoon Oboe

Flute What instrument plays the theme of the Cat? Clarinet

Flute What instrument plays the Duck theme? Oboe

Bowed strings What instruments play Petit's theme? Woodwinds

I invite you to the fairy tale "Peter and the Wolf"

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Slides captions:

"A fairy tale is walking through the forest" Muz. V. Pshenichnikova

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

What is this round dance? This is a fairy tale round dance! Fairy tale - clever and charming, Lives next to us.

So that, so that the Good Evil wins again. To, Good to Zlova Become good convinced.

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

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

So that, so that the Good Evil wins again. To, Good to Zlova Become good convinced.

So that, so that the Good Evil wins again. To, Good to Zlova Become good convinced.

So that, so that the Good Evil wins again. To, Good to Zlova Become good convinced.

So that, so that the Good Evil wins again. To, Good to Zlova Become good convinced.

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Slides captions:

"The instruments of the symphony orchestra in S. Prokofiev's fairy tale "Peter and the Wolf" Answers to the tests:

Bowed Strings Woodwinds Percussion No. 1: Which instruments play Petya's theme? Task number 2:

Think more! Think more!

Right! String strings

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

Do not hurry!

Right! CLARINET

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

Think more!

FLUTE Right!

Activity #5: Clarinet Bassoon What instrument plays the Grandfather theme? No. 4: Flute

Think more!

Right! BASSOON

Which instrument plays the Duck theme? Clarinet Oboe No. 5: Flute

Oh no no no! Do not hurry!

OBOE That's right!

Preview:

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

Music teacher MBU "Gymnasium No. 39" Malova Daria Anatolyevna

Subject: "Image of the Great Patriotic War in D. Shostakovich's Seventh Symphony.

Lesson type: a lesson in discovering new knowledge

Class 7

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

Lesson objectives:

1) Educational: to form the concept of Shostakovich's music as music corresponding to the spirit of the time;give an idea of ​​the genre of the symphony on the example of D. Shostakovich's 7th symphony

2) Developing: develop skills of emotionally-conscious perception symphonic music, the ability to analyze a piece of music, to realize the inextricable link between composer activity And historical events, control your learning activities.

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

Basic concepts:symphony, culmination, expressive means (dynamic shades, tempo, instruments, timbre…)

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

Equipment: Toolkit, historical references, excerpts from the biography of D. Shostakovich, compiled by the teacher, cards with assignments in groups. screen, projector, video fragments from the life of besieged Leningrad, music center, recordings of fragments of the 7th symphony by D. Shostakovich, audio cutting of songs of the war years, photograph of the Broken Ring monument (A3), presentation, bay leaves for a wreath.

During the classes:

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

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

Centuries have passed. And now the word "orchestra" itself has no definite meaning. Nowadays, there are different orchestras: brass, folk, accordion orchestras, chamber orchestras, pop-jazz, etc. But none of them can compete with the "sound miracle"; so often and, of course, quite rightly called a symphony orchestra.

The possibilities of a symphony orchestra are truly endless. At his disposal are all shades of sonority from barely audible vibrations and rustles to powerful thunderous peals. And the point is not even in the very breadth of dynamic shades (they are accessible to any orchestra in general), but in that captivating expressiveness that always accompanies the sound of genuine symphonic masterpieces. This is where timbre combinations come to the rescue, as well as powerful wavy rises and falls, and expressive solo cues, and fused "organ" layers of sounds.

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

The well-known Soviet musicologist B. Asafiev wrote that in this "poetic contemplative musical picture ... Lyadov's work takes possession of the sphere of the lyrical symphonic landscape." The colorful palette of the "Magic Lake" consists of veiled, muffled sounds, rustles, rustles, barely noticeable splashes and fluctuations. Fine openwork strokes prevail here. Dynamic buildup is kept to a minimum. All orchestral voices carry an independent visual load. There is no melodic development in the true sense of the word; separate short phrases-motifs glow like flickering highlights... Lyadov, who was able to sensitively "hear silence", paints with amazing skill a picture of an enchanted lake - a smoky, but inspired picture, full of fabulous aroma and pure, chaste beauty. Such a landscape could only be “drawn” with the help of a symphony orchestra, because no instrument and no other “orchestral organism” is able to depict such a clear picture and find such subtle timbre colors and shades for it.

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

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

Now let's look at another kind of example. The second part of the Eleventh Symphony by D. Shostakovich has a subtitle - "January 9th". In it, the composer tells about the terrible events of "Bloody Sunday". And at that moment, when the cries and groans of the crowd, the volleys of rifles, the iron rhythm of the soldier’s step merge into a sound picture of amazing strength and power, the deafening squall suddenly breaks off ... And in the ensuing silence, in the “whistling” whisper string instruments the quiet and mournful singing of the choir is clearly heard. According to the apt definition of the musicologist G. Orlov, one gets the impression that “as if the air of the Palace Square groaned with grief at the sight of the accomplished atrocity”. Possessing exceptional timbre flair and brilliant skill in instrumental writing, D. Shostakovich was able to create the illusion of choral sound using purely orchestral means. There were even cases when, at the first performances of the Eleventh Symphony, the audience kept rising from their seats, thinking that there was a choir on the stage behind the orchestra...

The symphony orchestra is also capable of transmitting a wide variety of naturalistic effects. Yes, outstanding German composer Richard Strauss in the symphonic poem "Don Quixote", illustrating famous episode from the novel by Cervantes, surprisingly “visually” depicted the bleating of a flock of sheep in the orchestra. in suite French composer C. Saint-Saens' "Carnival of the Animals" wittily conveyed the cries of donkeys, and the clumsy gait of an elephant, and the restless roll call of hens with roosters. The Frenchman Paul Dukas in the symphonic scherzo "The Sorcerer's Apprentice" (it was written based on the ballad of the same name by W. Goethe) brilliantly painted a picture of the wild water element (in the absence of the old magician, the student decides to turn the broom into a servant: he makes him carry water, which gradually floods the whole house ). Needless to say, how many onomatopoeic effects are scattered in opera and ballet music; here they are also conveyed by means of a symphony orchestra, but prompted by the immediate stage situation, and not literary program as in symphonic compositions. Suffice it to recall such operas as The Tale of Tsar Saltan and The Snow Maiden by N. Rimsky-Korsakov, I. Stravinsky's ballet Petrushka, and others. Excerpts or suites from these works are often performed in symphony concerts.

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

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

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

Perhaps, so much wonderful music has not been created for any of the musical groups! In the brilliant galaxy of symphonic composers, the names of Haydn and Mozart, Beethoven and Schubert, Mendelssohn and Schumann, Berlioz and Brahms, Liszt and Wagner, Grieg and Dvorak, Glinka and Borodin, Rimsky-Korsakov and Tchaikovsky, Rachmaninov and Scriabin, Glazunov and Taneyev, shine, Mahler and Bruckner, Debussy and Ravel, Sibelius and R. Strauss, Stravinsky and Bartok, Prokofiev and Shostakovich. In addition, the symphony orchestra, as you know, is an indispensable member of opera and ballet performances. And therefore, to hundreds of symphonic works, one should add those fragments from operas and ballets in which it is the orchestra (and not soloists, choir or just stage action) that plays the primary role. But that's not all. We watch hundreds of films and most of them are "voiced" by a symphony orchestra.

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

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

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

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

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

The classic (double or double) composition of a small symphony orchestra has developed in the work of J. Haydn (brass pairs, timpani and string quintet). A modern small symphony orchestra may have an irregular composition.

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

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

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

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

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

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

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

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

What are the names of the musical instruments below?

What instruments play solo in these pieces of music?

1. K. Saint-Saens. "Swan" from the suite "Carnival of the Animals"

2. I. Bach. "Joke" from Orchestral Suite in B minor

3. N. Rimsky-Korsakov. "Flight of the Bumblebee" from the opera "The Tale of Tsar Saltan"

4. A. Lyadov. "Comic" from "Eight Russian Songs for Orchestra"

5. P. Tchaikovsky. "Waltz of the Flowers" (main theme) from the ballet "The Nutcracker"

6. N. Rimsky-Korsakov. Scheherazade theme from symphonic suite"Scheherazade"

7. K. Saint-Saens. "Elephant" from the suite "Carnival of the Animals"

8. P. Tchaikovsky. "Dance of the Dragee Fairy" from the ballet "The Nutcracker"

9. S. Prokofiev. Grandfather's theme from the symphonic fairy tale "Peter and the Wolf"

Instruments: horns, cello, clarinet, double bass, violin, bassoon, flute, piccolo, celesta.

Crossword

Horizontally. 3. The speed of performance of a piece of music. 4. Copper wind instrument with a retractable tube-swing. 5. Low male voice. 6. The ratio of sounds in length, the alternation of durations. 8. Coloring of sound inherent in a voice or instrument. 10. Copper wind instrument, the name of which is translated as "forest horn". 12. High male voice.

Vertically. 1. The sequence of chords, their combination with each other.

2. High bowed string instrument. 5. Average male voice. 7. The lowest of the group bowed string instruments. 9. Noise percussion instrument. 11. Woodwind instrument.

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

Arioso- a small aria with a melodious declamatory or song character.

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

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

Ballet- view performing arts, the content of which is revealed in dance and musical images.

Blues- a jazz song of sad, lyrical content.

Bylina- Russian folk epic song-tale.

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

Hymn- solemn song

Jazz- a kind of improvisational, dance music.

Disco — musical style with a simplified melody and a hard rhythm.

Invention- small piece of music, in which any original find in the field of melodic development, shaping is essential.

Sideshow- a piece of music played between parts of a piece.

Intermezzo- a small free-form play, as well as an independent episode in an opera or other piece of music.

Cantata- big vocal instrumental work solemn nature, usually for soloists, choir and orchestra.

Cantilena— melodious, smooth melody.

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

capriccio- a virtuoso instrumental piece of an improvisational warehouse with an unexpected change of images, moods.

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

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

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

Musical- a piece of music that combines elements of opera, operetta; ballet, pop music.

Nocturne— in xviii — early xix V. multipart instrumental piece, for the most part for wind instruments, usually performed outdoors in the evening or at night, from the 19th century. a small lyrical instrumental piece.

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

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

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

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

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

choir - a work for a large singing group. choral compositions are divided into two large groups - with or without instrumental (or orchestral) accompaniment (a cappella).

Song- a piece of poetry meant to be sung. its musical form is usually couplet or strophic.

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

Play- a finished musical work of small size.

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

Requiem- mourning choral work(requiem mass).

Romance- a lyrical work for voice with musical accompaniment.

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

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

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

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

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

Consonance- a combination in the simultaneous sounding of several sounds of different heights.

Sonata- a musical work of three or four parts of different tempo and character.

Sonatina- little sonata

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

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

Toccata- a virtuoso piece of music for keyboard instrument at a fast pace and at a fast pace.

Tone- a sound of a certain pitch.

tush- a short musical greeting.

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

Fantasy is a free-form piece of music.

Elegy- a piece of music of a sad nature.

Etude- a piece of music based on virtuoso passages.