Russian school of masters of musical instruments. Dynasties of masters of the village of Shikhovo, Odintsovo district, Moscow region
Musical instruments are magical devices. Their sound captivates not only those who listen to them, but also those who make them sound.
In fact, it may seem strange that an instrument has such capabilities, since it is nothing more than a device that makes the air vibrate in a certain way. However, this method also produces music, before the spell of which no one can resist. At the same time, music is the most fleeting of all art forms. As soon as it is no longer played, it ceases to exist. Therefore, every moment when the instrument sounds is priceless and unique. People all over the world know this, so musical instruments have been part of every culture since ancient times.
I learned that percussion instruments appeared before everyone else - of course, the simplest ones. Then - wind: pipes, whistles, and then flutes made of reed and bone. Later, people learned how to make flutes, then stringed instruments appeared, and last of all, bowed instruments.
To the wind group musical instruments include all those musical instruments in which the sound is formed with the help of air. A man noticed that the wind, buzzing in a chimney or in a large hollow, makes low, bass sounds, and high, whistling sounds are heard from narrow reed trunks. So gradually varieties of wind instruments appeared.
Stringed musical instruments can be compared to a hunting bow.
It was possible to make several bows of different sizes and play a melody of three or four sounds on them. But then it is more convenient to string the strings on a wooden frame. This is how a musical instrument is born.
The history of the development and existence of Russian folk musical instruments is one of the least studied areas of Russian musical science.
The first special descriptions of Russian folk instruments, which appeared in the last third of the 18th century, belong to foreigners who lived and worked in Russia.
The very fact that studies so different in subject matter unanimously pay attention to folk musical and instrumental practice speaks of an unconditional revival of interest in it on the part of leading scientists. "Centuries of Russian Enlightenment" . It is difficult to overestimate the importance of this first special information, which gives an idea of the composition of the Russian instrumentation of the middle of the 18th century, the device and some names, the nature of the sound, sometimes the conditions of existence of domestic folk instruments, and the methods of playing them.
Balalaika.
Famous chronicler of Russian musical life Jakob Stehlin (1712-1785) - Member of the St. Petersburg Academy of Sciences since 1738 - devoted a whole section of his book to the balalaika "Music and ballet in Russia of the 18th century" . He called the balalaika "the most common instrument in the entire Russian country" and attributed to her Slavic origin. J. Shtelin gives the most complete and accurate description of the appearance, manner of playing and picture of the existence of this instrument for the 18th century. “It is not easy to find a home in Russia,” he writes, “wherever a young worker plays his little things to the servants on this ... instrument. This tool is available in all petty shops, but even more contributes to its distribution, the fact that you can make it yourself " .
Later A. Novoselsky in "Essays on the history of Russian folk musical instruments" it is written that the balalaika is a modified domra. The triangular body of which in handicraft production is simpler and more convenient. He gives an even more simplified interpretation: “... under inept hands, the instrument did not go well, instead of sound, some kind of strumming was obtained, and as a result, the instrument began to be called brunka, balabayka, balalaika. So the Russian balalaika came out of the Asian domra" .
Many works in literature are devoted to the balalaika. These are proverbs, and sayings, and riddles.
Here are some riddles:
Have fun playing everyone!
And just three strings
She needs music.
Who is she, guess what?
This is our… (balalaika)
Very few strings have been given to me,
but have I had enough?
You are my strings behind
and you will hear: long, long, long.
Well, who am I? Guess? - Well, of course… (balalaika).
At the beginning of the 19th century, the popularity of the balalaika was dealt a blow by the spread of the seven-string Russian guitar in Russia.
The guitar is one of the most widely used instruments. The origin of the guitar is unknown. It is believed that it originated in Ancient Greece, but found a second home in Spain, where already in the 8th - 9th centuries it became widespread.
The guitar is a stringed plucked instrument. In shape, it resembles jet strings, but differs from them in the number of strings and in the way of playing. Guitars are six- and seven-string. Seven string guitar, which is most suitable for vocal accompaniment. The six-string guitar also became a solo instrument.
According to scientists, the domra is a foreign instrument, and according to others, it existed even before the formation of the all-Russian state.
Researchers agree on the title "domra" . Probably the term "domra" Turkic origin (tanbur, dombur, dunbara, dumbra, dombra, domra).
Instruments of this type appeared in those distant times not only in Russia, but also in other neighboring states that occupied an intermediate geographical position between the Slavic peoples and the peoples of the East. Having undergone significant changes over time, these instruments began to be called differently among different peoples: among Georgians - panduri and chonguri, Tajiks and Uzbeks - dumbrak, Turkmen and Uzbeks - dutar, Kyrgyz - komuz, Azerbaijanis and Armenians - tar, saz, Kazakhs and Kalmyks - dombra, Mongols - dombur, Ukrainians - bandura, etc., however, they all retained much in common in the contours of the form, methods of sound production, device, etc.
It is known that references to domra are found in decrees, letters, messages of the 16th-17th centuries. as an instrument of buffoons. It was with domra that funny jokers - musicians - buffoons went around cities and villages 400 years ago. However, it is impossible to say exactly what the domra looked like at that time, because in 1648 it was declared a demonic instrument.
Domra has a body in the form of a hemisphere, consisting of a body (lower case) and a deck that covers the body from above. Then a long neck stretches, and at the end of the screws, the strings are attached to them. Above the neck, which is connected to the body, the strings are stretched.
Domra is the soul of the orchestra of Russian folk instruments. She is as irresistible here as a violin in a symphony orchestra. Today, in the orchestras of Russian folk instruments, it is domras that lead the most important melodies. The group of three-string domra includes seven instruments: piccolo domra, small domra, alto domra, mezzo-soprano domra, tenor domra, bass domra and contrabass domra.
The violin is the most widely used string instrument. She is often referred to as the queen of tools. The meaning of the violin was understood back in the 17th century, and they said: “She is an instrument in music as necessary as daily bread in human existence” .
All of you, probably, saw the violin someone in reality, someone in the picture. Now imagine yourself. Does a violin look like a person? Yes, it does. By the way, even the parts have similar names: the head, the neck, what smooth roundings it has, how thin "waist" . See how interesting it is. Once upon a time, man created the most perfect of his creations - the violin and made it look like the most perfect creation of nature - himself.
The violin emerged as a professional instrument at the end of the 15th century. Then the masters of different countries improved it. The Italians - the violin makers of the Amati, Guarnenri and Stradivari families - sacredly kept the secrets of their craftsmanship. They knew how to make the sound of the violins especially melodious and gentle, similar to the human voice. Famous Italian violins not so many have survived to our time, but they are all strictly registered. Play on them best musicians peace.
The bow is also important detail. It largely depends on the nature of the sound. The bow consists of a cane or shaft, at the lower end of which a block is attached. It serves to stretch the hair, which, on the other hand, is fixedly attached to the cane. If we hook a string with our finger and then release it, the sound will quickly die out. The bow, on the other hand, can be drawn continuously along the string for a long time, and the sound will also be drawn continuously. Therefore, the violin is very melodious.
Keyboard stringed instruments are piano and grand piano.
piano.
Keyboard stringed musical instruments - piano and grand piano - are called in one word "piano" (from it. forte - "loudly" and piano- "quiet" ) .
A very, very long time ago, in ancient Greece, back in the time of Pythagoras, there was a musical instrument called the monochord. (monos - in Greek one, chorde - string). It was a long and narrow wooden box with a string stretched on top.
Centuries passed, the instrument continued to improve. The drawer became rectangular, and on one of its sides there was a keyboard, that is, a row of keys (from Latin clavis - key). Now the player pressed the keys, and they set in motion the so-called tangents - metal plates. The tangents touched the strings, and they began to sound.
This instrument became known as the clavichord. (from Latin clavis and Greek chorde). It was supposed to be placed on the table and played standing up. But the clavichord also had a big drawback, it was not possible to achieve greater volume.
Of course, only very rich people could have a clavichord. It was a luxury item, decoration of living rooms and dining rooms.
The clavichord was not the only keyboard instrument. Simultaneously with it, another harpsichord similar to it arose and developed.
The harpsichord was not only a domestic instrument. He was included in various ensembles, even in the orchestra, where he played the accompaniment part.
The sound of the harpsichord is rather weak, not very suitable for playing music in large halls. In harpsichord pieces, composers included many embellishments so that long notes could sound long enough. Usually the harpsichord was used for accompaniment.
All musical instruments have been continuously improved. The clavier masters also continued their search. And in 1711, in the Italian city of Padua, the harpsichord master Bartolomeo Cristofori invented a new instrument. The sound in it was extracted by wooden hammers with heads upholstered with elastic material. Now the performer could play quieter or louder - piano or forte. Hence the name of the instrument - pianoforte, and later - pianoforte. This name has survived to our time and is unifying for all stringed keyboard instruments.
During the 19th century, two main types of piano developed: horizontal - grand piano (in French royal - royal) wing-shaped and vertical - piano (Italian pianino - small piano).
Wind musical instruments.
Saxophone.
Invented in 1841, the saxophone is one of the woodwind instruments, although it is made of metal - silver or a special alloy. The saxophone got its name from the name of the inventor - the Belgian master Adolf Sax.
At first, the saxophone was used only in military bands. Gradually began to introduce a opera and symphony orchestras. But a full member symphony orchestra the saxophone never did. But in the 20th century, its sound attracted the attention of jazz musicians. And the saxophone became the true master of jazz.
This is one of the most ancient wind instruments. Archaeologists find images of flutists in the frescoes of ancient Egypt and Greece.
Originating from a reed pipe, the flute was at first a simple wooden pipe with holes. Over the centuries, it has been improved until it acquired a modern look. Previously, the flute was longitudinal, and it was held in an upright position. Then came the so-called transverse flute held horizontally by the musician.
The flute took part in instrumental ensembles already in the 15th century. Composers were attracted by its melodious sound. One of the varieties of this instrument used in the orchestra is the piccolo flute. It is half the size of a regular flute and sounds an octave higher.
Keyboard- wind instruments.
Bayan and accordion.
Bayan and accordion are varieties of harmonica. The harmonica was invented in Berlin in 1822. She is a relative of the most majestic musical instrument - the organ. All varieties of harmonica are also keyboards - wind instruments. Only the accordion on one side, and the button accordion on both sides, the keys are not the same as on the piano, but in the form of buttons.
The peculiarity is also that, unlike other keyboard instruments, by pressing one button - the keys for the left hand, it is not a sound that is extracted, but a whole chord. This makes it easier to perform simple pieces of music - songs, dances, but makes it impossible to perform classical music.
Just one of these tools. So-called "elective" The button accordion has in the bass not only chords prepared in advance, but also a full scale, like on a piano. Complex classical works are played on such an accordion.
Musical instruments are an extension of man, they transform something unusual into the common. This list will show the ancient beliefs of people around the world, as well as tell about their traditions, connecting the secrets of our subconscious with the world that we perceive with our ears.
10. TANBUR
Tanbur belongs to the category of strings. it wooden tool with a long neck and a resonant body. He is known by various names including: tambur, tanbur, tar and lira and is the forefather of modern guitars. Was invented in Mesopotamia, South and Central Asia thousands of years ago.
Although many cultures have adapted the sound of this instrument for various purposes, the earliest known use of the tanbur is healing, calming and creating inner balance. This practice has an important place in the religious cult known as Zaar in North Africa and the Middle East during the 18th century. This belief is based on the dualism of good and evil and the possession of human souls by evil forces.
Zaar rituals often included ceremonies accompanied by wild, "humming" music that drove the possessed mad, purifying their souls. Preference then was given not to one, but to a set of instruments, including tanbur, tambourine, and drums.
9. KONH
The conch is a wind instrument made from sea shells or large snails. It was used by different peoples: from the Caribbean to Mesoamerica, as well as in India, Tibet, New Zealand and the Pacific Islands. The shells were simply blown into and produced a loud trumpet-like sound.
In India, according to Hindu tradition, the horn is sacred symbol the god Vishnu, representing female fertility, prosperity and life. Here, even shells can be considered sacred, depending on their color and the direction of the curls, for example, shells curled clockwise, since their curls are a reflection of the movement of the Sun, Moon, stars and heavens.
In the Mesoamerican and Caribbean tribes, this musical instrument was important for hunting, warfare and other rituals. In the life of the ancient city of Teotihuacan (near Mexico City), conch was used everywhere: when creating works of art, in ceremonies dedicated to water and male fertility. Its shape gave the impression of water flowing outward, giving life to crops and people, creating new life. In this context, the horn represents male power and sexuality. Warriors and men holding high social status in society, they were buried along with shells, which were subsequently found on headdresses or near the pelvis.
In addition, in numerous Pacific island cultures, the conch was used to announce the arrival of guests in the village or at funeral ceremonies, in which their sound accompanied the body of the deceased until the end of his life. life path- burials.
8. OCARINA
The ocarina is a small hand-held wind instrument that was invented around 10,000 BC. Traditionally it is made from bones or clay, but it has also been made from stones, wood or metal. This instrument consists of a hollow chamber, a mouthpiece, and 4-12 holes that are closed with fingers to create different sounds. Ocarinas were given various forms: animals, people, gods or monsters, which were discovered in Central and South America.
Historically, they have been used in the rituals of Mesoamerican cultures. They made unusual, beautiful sounds that allowed them to speak with the gods, enchant birds and animals, and even put people into a trance-like state. The ocarina gained popularity thanks to the video game The Legend of Zelda: Ocarina of Time, in which the player gets a tool that allows them to control the weather, move between locations, open doors, and even travel through time.
7. MBIRA
Mbira is a handmade musical instrument created over 1000 years ago by the Shona tribes (now Zimbabwean territory). It consists of several metal prongs or a plucked metal grate mounted on a wooden board. This tool comes in a variety of sizes and variations.
Traditionally, he played a key role in the rituals of the Shona, whose connection with the spirits of their ancestors was especially strong. Mbira allowed to communicate with the dead souls and ask them for help, all this action was accompanied by songs and prayers. The most common is the Bira ceremony, a rite in which people and spirits unite in memory of the traditions and wisdom of the tribe. The Shona also used mbira music to control the cycles of rain and drought, which was important for Agriculture and also to scare away evil spirits.
6. Vargan
The jew's harp, also known as the mouth harp, is a plucked instrument consisting of a frame that holds a vibrating tongue made of metal, reed or bamboo. The frame is held with teeth, and the tongue is played with fingers, its vibrations change along with the change in the shape of the mouth. It first appeared in the 4th century in China, but its metal counterpart appeared in a number of European, Oceanic and Asian cultures in the 13th century.
The jew's harp has been used for centuries in shamanic rituals and spells in Mongolian and Siberian tribes, as well as for inducing trances and curing illnesses. It was also used for soul therapy and connection with nature, for example, in Malaysia and Indonesia, where the sound of the jew's harp helped to communicate with birds, insects, toads and rainforest plants, in addition, they were treated for melancholy and melancholy.
5. GONG
The gong is a metal percussion instrument that was invented in China around 3500 BC. Subsequently, it was adopted by peoples throughout South Asia and Africa. It is a large metal disk, often bronze or copper, that was suspended and struck with a hammer to produce a sound.
Traditionally it was used during festivals, prayers and announcements sacred ceremonies. Its loud, distinctive sound is also ideal for conveying messages. For example, in the coastal province of Zhejiang, gongs were used to attract guests disembarking from ships and even to signal ships in poor visibility. Playing the gong has been associated in Buddhism with healing rituals, prayers and meditation. Throughout Chinese history the gong was considered a sacred instrument, it was also believed that the spirit of the master who made the gongs was imbued with his products. If a person touched the gong, it was believed that he would be granted joy, good luck and good health.
4. Didgeridoo
The natives of Northern Australia invented this strange wind instrument over 1500 years ago. Each tribe has its own name, and besides, it is still in use. The didgeridoo is a long, wooden, trumpet-like instrument. A person blows into one end of the pipe, creating a low, slightly eerie, but at the same time harmonious rumble. Experienced musicians can even use circular breathing techniques to keep the sound going for up to 45 minutes.
The didgeridoo is also used as the embodiment of the voice of the earth itself; this instrument has long been featured by the natives in their song and dance rituals, personifying the connection with nature and the invisible spiritual world. According to Aboriginal traditions, by understanding the sounds of weather, nature and animals, imitating them with a didgeridoo melody, mutual understanding between the earth and people is recreated.
3. VIOLIN
The violin, a wooden stringed instrument played with a bow, has existed in American folklore and has its roots in the Old Testament. In the old Abrahamic religions, it was believed that the voices of angels represent a connection with God, while the voice of the devil manifests itself through the sounds of man-made instruments. This myth mysteriously developed in Western culture most likely due to the Protestant and Catholic Reformations.
The image of the devil as the "evil violinist" developed and became generally accepted. This is most vividly described in the 1979 song "The Devil Went Down to Georgia", which tells the story of an experienced violinist named Johnny, who competed with the devil in the ability to play the violin, putting his soul on the line against his magical golden violin.
2. DRUM
Among the oldest and most diverse musical instruments, drums have analogues in all ancient cultures. A simple instrument made of wood, metal or leather and played with sticks or hands, drums have been used for tens of thousands of years in ritual, warfare, communication and dance.
AT ancient Mesopotamia Over 8,000 years ago drums were believed to create sacred sounds during tribal meetings, ceremonies and battles. Besides, in different parts In Africa, "talking drums" were used as a communication tool, creating music that could be heard for miles between villages. Drum players have used various techniques to represent the human voice, creating sounds that convey words and phrases. This was often used in the ritual of prayer, where the sounds made by the drums were perceived as the speech of the gods, who communicated with them in a language understandable to the entire tribe.
1. DEATH WHISTLE
This amazing and, at the same time, terrifying musical instrument appeared in the culture of the ancient Aztecs and its main purpose is intimidation. These whistles were often in the form of a skull made of clay, bones, stone, and even jade. Their shape meant that whoever heard their sound had to experience fear. When blown into it, it made a terrible, screaming sound.
Death whistles were widely used in ceremonies dedicated to the wind god Eekatl and Mictlantecuhtli (lord of the underworld). Aztec clerics used these whistles during human sacrifice rituals and believed that the sound of the whistles would guide the victim's soul into other world and appease the gods. Also, these whistles could be used in healing rituals or in war to intimidate the enemy at the time of the attack.
Art - project
"Secrets of Musical Instruments"
Target: introduction to musical instruments
Tasks:
1) organize the activities of students to study the history of the emergence of musical instruments, poems about them;
2) listen to musical works performed by students of the branch of the Children's Art School and participants of the school vocal studio.
Research activities are carried out in the field of music and history.
Stage 1. High school students are invited to prepare material on how musical instruments appeared (guitar, lute, viola, violin, piano, domra) and demonstrate it in the form extracurricular activities for students in grades 3-5.
stage. Planning. The students are divided into 4 groups.
Group 1 studies literary material.
group 2 is studying historical information about the emergence of tools.
3 group students of the branch music school together with their teachers learn musical works (a task is given).
Group 4 members of the school vocal studio are learning songs.
Stage 3. Research. It is carried out independently, according to the plan adopted by the group. Each has its own task.
Stage 4. Results. Collaboration by combining the information received into a single scenario, preparing a presentation.
Stage 5
Conducting an extra-curricular event "Secrets of Musical Instruments" as part of the subject week of the aesthetic cycle for middle school students.
Stage 6 Evaluation of the results (the activity of each participant, the quality and volume of the sources used, creativity are taken into account). Conclusions.
Event progress
presenter (against the background of quiet, gentle music): Good afternoon, guys!
Good afternoon, dear guests!Slide #1
We are glad to welcome you to the world of music. Yes, yes, do not be surprised, because now you are in music class. It is here that the Muses live - the patron goddesses of poetry, arts and sciences. They are 9 sisters. And their leader is a half-brother, the solar God Apollo. Get to know them:Slide #2
Eutherpa - the patroness of lyrical song and all musical
art.
Melpomene is the muse of tragedy and theatrical art.
TERPSIKHORA - patroness of dances.
ERATO is the muse of lyrical poetry and wedding songs.
POLYHYMNIA - the patroness of hymns and chants in honor of the gods and
heroes.
Urania is the mistress of the stars and astronomy.
THALIA is the muse of comedy and humor.
Clio is the patroness of history.
CALLIOPE - the muse of the epic - a story about events supposed in the past.
Wouldn't you like to visit the past now and learn the secrets of the musical instruments that are in this class today?
What do you think, what instruments did you come up with first: strings or keyboards? (Strings).
Plucked or bowed? (plucked). And their prototype was the very bow from which primitive people hunted. Orpheus also played the lyre in ancient Greece.Slide #3 And on this fragment Ancient Egypt. 3 thousand years BC) depicts a whole musical scene. The pyramid of Cheops, which became one of the reference points of historical time, had not yet risen, and guitar-like instruments were already sounding, sharing the joys and sorrows of human existence. Our first story about the guitar. It will be told to us by the muse of history Clio and the muse of the epic Calliope.
Such instruments have existed for so long that it is impossible to trace their origin without getting lost in time.
Traveling through the museums of Europe you can find ancient images ancestors of the guitar, dating back to 3-4 millennia BC. Arab Bedouin nomads who conquered Greece and Persia in the 7th century AD were subjugated high culture these civilizations are partly due to the art of music. A year later, they also conquer Spain and bring elements of oriental culture to this country and import a guitar. It was in Spain that the guitar gained particular popularity and became a symbol of everything. musical art Spain. Elastic rhythms of Spanish dances and sad melodies - everything turned out to be subject to this instrument.
(video clip Spanish dance)
Gradually the guitar conquers one country after another. Gradually, the design of the instrument itself also changed. In the 16th century, they played music on guitars with 4 double strings (choirs). This turned out to be not enough, so the guitar was temporarily replaced by another stringed musical instrument, the lute (slide number 4) , which had up to ten choirs of strings. It is known that outstanding artists Renaissance - Caravaggio, Paolo Veronese, Tintoretto were good musicians-performers. Learning to play the lute or another instrument was considered "good manners". And Leonardo da Vinci, for example, played a lute of his own design, silver, in the form of a horse's head. However, this instrument soon lost popularity, as it was very "capricious". One journalist in the 18th century, as if not without sarcasm, wrote: “A lute player who lived to be 80 years old probably spent 60 years of them tuning his instrument, and the maintenance of a lute was as expensive as the maintenance of a horse.” Therefore, soon the lute is replaced by its rival - the viola - a kind of hybrid of the lute and the guitar. The shape of the viola was close to the guitar, only large sizes, had 5 choirs and one single string. Viola completely supplanted the guitar, which "went to the people", became a "street" instrument, accompanying folk songs and dancing. There were other hybrids, such as lyre-guitar, harp-lute (Slide #5 ).
And the guitar would have gone, sunk into oblivion... But the pulsating life is fantastic in its intricacies and unexpected plots... The guitar has risen again! And just for her "resuscitation" it was necessary to add the fifth string. And according to legend, this was done not by a musician, but by the poet Vicente Espinola, a friend of the great Cervantes and a teacher of the genius Lope de Vega. In 5-string form, the guitar is regaining popularity. A little later, one of the best guitarists in Spain, Ruiz de Ribayazo, significantly improved the instrument, leaving one row of strings in it, which simplified its tuning and playing technique, and Jacob August Otto, the court lute player and guitarist of the Weimar princess Amelia, was the first to add the sixth to five strings. Since the middle of the 18th century, such an instrument could be found in many European countries. This type of guitar was considered classical.Slide #6
Unfortunately, due to the relatively weak sonority, the guitar was not included in the orchestra, but the 20th century breathed new life into guitar art. After many centuries, the guitar from an accompanying instrument becomes a soloist instrument. In many countries there are virtuoso guitarists performing with solo programs.
Presenter: Later, the bow was invented and our next story about the violin.Calliope: The violin is a string instrument. Bowed instruments have been known for a very long time, but they are still much younger than plucked instruments. It can be considered that the motherland bowed instruments was India. And the time of birth is the initial centuries of our era. From India, they came to the Persians, Arabs, peoples of North Africa, and from there through the Balkan Peninsula in the 8th century - to Europe.
Changed over time, they gave birth new type stringed bowed instrument - FIDEL (Slide number 7). Subsequently, two main branches of European bowed instruments - the viol and the violin (Slide #8 ).
Violas appeared a little earlier. They were built different sizes and held them during the game in different ways (Slide #9 ): between the knees, like a modern cello, or on the knee. Some types of viols were placed on a bench, and they were played while standing. But there was a viola that was held on the shoulder, and it served as the prototype of the violin.
Representatives of the viol and violin families occupied different "social" positions in former times. Viola was an instrument associated with the life of aristocratic circles. Her predecessors, and then herself, sounded in churches, palaces, castles, rich houses. The very soft, as if muffled sound of the viola was well heard only in a small room. The game on it was combined with the ideas of that time about beauty, with all the refined atmosphere of the salon of the 17th-18th centuries: beautiful furniture, beautiful paintings, magnificent clothes and poetic, sublime mood of people passionate about art.
With the violin, things were different. Instruments of the violin family were distributed primarily among the people. The violin was a favorite instrument of wandering musicians who entertained the people at festivities, fairs, weddings, in taverns and taverns. Many works of painting and graphics by old masters tell about this (Slide No. 10).
Listen to Frida's "Waltz" performed by an ensemble of junior violinists.
special role in the fate of the violin was played by a new born at the turn of the 16-17 centuries musical genre- OPERA. The violins in the orchestra took leading place, as they naturally combined with other instruments, with the singing of vocalists. Along with singing voices, the violin often performs as a soloist and leads important melodic lines. But the viola was not taken to the orchestra, because its sound could not fill great hall and would have disappeared in the overall sound of the orchestra.
Starting from the 16th century, the instrument itself has undergone a number of changes, giving new opportunities and perspectives to the performer: its size, structure, position of the instrument during the game have been more clearly defined; the shape of the bow has changed, as a result of which it has become lighter and more mobile.
of his heyday violin art reaches in Italy: wonderful composers create works for violin (Antonio Vivaldi, Nicolo Paganini, Corelli), wonderful masters make amazing, magical-sounding instruments: Amati, Guarneri, Stradivari. They are still considered unsurpassed, and the secret of their sound is still shrouded in legends.
Baklanov's "Romance" is performed by Zhenya Shulyaeva
Presenter: You will probably agree with me that all tools are good in their own way. Each has its own unique timbre (sound coloring), its own attractive features. But, perhaps, none of them can compare with the piano. As a soloist, he is number one. It is indispensable in an ensemble with a voice and with other instruments, as you have already seen today. How did this tool appear and what distinguishes it from others?
The earliest ancestor of the piano is the MONOCHORD. Yes, the same monochord, which, according to legend, was invented by Pythagoras (6th century BC) and used for his musical theoretical and acoustic experiments. It would seem that what is common between a primitive single-string box and a piano - a complex musical instrument with dozens of strings, pedals and keys?
The keyboard has long been used in musical instruments. Although it is difficult to determine exactly when it appeared. There are two versions explaining this. The first is related to the evolution of the organ(Slide number 11) . Primitive organs had a system of bulky levers, pushing which the player extracted sound. It is believed that over time, retractable levers were replaced by push, that is, keys. At first they were large (over 30 cm long and about 10 cm wide), and in order to make a sound, they were hit with a fist with their elbows.
According to the second version, the keyboard first appeared on keyboard-stringed instruments. Historians who have studied the origins have found that the word is close in spelling and sound to what chess was called in the East. Then there was an assumption that the prototype of the keyboard was a chessboard. Well, maybe the black and white keyboard really originates from the alternation of black and white squares on a chessboard.
Main types keyboard string instruments There were two: the clavichord and the harpsichord. (slide number 12) However, by the end of the 17th century, there were dozens of keyboards, differing appearance, variety of forms and names. One French traveler of this time wrote: “Having traveled in continuation recent months through dozens of large and small cities in Europe and showing every interest in musical instruments - ordinary and outlandish - I cannot help but note how colorful and diverse the family of instruments in which the sound is extracted by means of the key. And, indeed, what kind of tools were not common at that time! (slide number 13) Huge wing-shaped flugels and small, box-sized spinets, table-like virginels, pyramidal claviers, various harmoniums, on which the sound was obtained from air pumped by bellows with the help of two foot pedals(Slide number 14).
The art of the clavichord flourished in Germany, while the harpsichord and its varieties spread to all European countries. The sound of the harpsichord - clear, crisp, sharp - was much stronger than the sound of the clavichord. However, regardless of the strength of the blow, he remained unchanged. So it turned out that on any bowed string instrument, the performer could easily increase and decrease the volume, but this was not available to the harpsichordist. Of course, such a situation could not satisfy musicians and keyboardists, so in different countries of Europe there was a relentless search for the design of a new keyboard instrument that would have a strong, flexible, dynamically changing sound.
The first to solve this problem was the Italian Bartolomeo Cristofori. In 1709, he invented a keyboard instrument, which he called "harpsichord with a soft and loud sound." This was the piano. And soon the idea of \u200b\u200bcreating a piano came to other European countries. Of course, the sound on the first models was somewhat far from modern. Gradually, as the new instrument improved, composers and performers are becoming more and more interested in it. By the end of the 18th century, the piano completely replaced the harpsichord, becoming, thanks to the work of Haydn, Mozart, Beethoven, and later Chopin, Schumann, Liszt and many other composers, the most popular musical instrument.
The piano in its present form appeared only at the beginning of the 19th century. It was intended for a room where a small-sized instrument is needed and from which the fullness of the sound of a large concert grand piano was not required. Well, the piano - a kind of piano - is truly the "king" of all instruments (Slide No. 15). And so the piano lives next to us today - the most versatile instrument, most often helping us to feel the great joy of communicating with music.(Slide number 16)
Listen musical composition in the sound of this instrument.
Mechigan "Minor Scene". Performed by Anna Galkina.
Clio: Since ancient times, it has been said on Russian soil that all the holidays were accompanied by the balalaika and its sister domra. This tradition has been preserved and has come down to our days. Dances, songs, games - everything merged into one colorful picture of a merry festivity.
"Domrachka - sings,
Balalaika - strumming,
accordion - poured -
In the spring meadow, the fun begins.
And strumming, playing these instruments, the Russian people forgot about their hard lot.
The earliest mention of domra in Russia is found in chronicles in the era Kyiv state(1068) - during the time of princes Olga and Vladimir. (Ancient Russia). At first, the domra was very imperfect. They made it from a specially grown variety of pumpkin - Goryanka. Inside, the domra was embossed with fine crystal, which is why it sounded loud and clear. The strings were made from animal veins. Domra was a public instrument. The church was worried: “What, isn’t music distracting people from God too much?” These instruments were played by buffoons - itinerant musicians. They roamed the Russian land in a noisy crowd and cheered the people. There were acrobats, singers - harpists, storytellers, tightrope walkers, animal trainers. The buffoons ridiculed the boyars and princes with their sharp word for their hypocrisy, and therefore there was persecution of the buffoons. In 1551, one metropolitan turned to Tsar Ivan 4: "For God's sake, Tsar, send the buffoons to lime so that they are not in your state, otherwise you will not be saved." In 1648, another Tsar Alexei issued a decree on the complete extermination of buffoons. It said: “And where domras, sniffles, psaltery and all sorts of demonic humming vessels appear, they must be broken, burned, and some - in exile.” Five carts loaded to the top with musical instruments were taken to the Moscow River and burned. But from time to time, here and there, these instruments reappeared, because the people needed an instrument and the instrument was revived either in a round shape or triangular, made of five planks with three strings. There was a gradual transformation of domra into a balalaika. So in the 17th century, domra almost completely disappeared from everyday life.
The triangular instrument was called the balaboyka from the word "balabolit" - empty calls. They played such an instrument in the stables, in the doorways of the peasants - the poor. If we look through historical books, it says that the first mention of the balalaika dates back to 1715. Under Peter 1, there was a whole orchestra of instruments that accompanied the procession
Presenter: So our short journey into the history of musical instruments has come to an end. I thank all the artists for giving us the pleasure of listening to live music, and in fact in our life it happens so rarely. I would like to believe that they will please us more than once and become real stars.
(Performance of the song "Constellation of Talents" by a vocal ensemble.)
See you again.
Nicolo Amati (Italian Nicolo Amati) (December 3, 1596 - April 12, 1684) - one of famous masters the Amati family. Creator of many stringed instruments, including cellos. The teacher of such illustrious masters of creation
string instruments like Antonio Stradivari and Giuseppe Guarneri.
Biography
Nicolò Amati was born on December 3, 1596 in Cremona. His father was Girolamo (Jeronimus) Amati, the son of Andrea Amati, the founder of the violin school. He, like his entire family, lived and worked in Cremona. Nicolo is the most famous representative families.
Amati brought the type of violin developed by his predecessors to perfection. In some large-format violins (364-365 mm) of the so-called Grand Amati, he enhanced the sound while maintaining the softness and tenderness of the timbre. With the elegance of form, his instruments make a more monumental impression than the work of his predecessors. Lacquer golden yellow with a slight brown tint, sometimes red. The cellos of Nicolo Amati are also excellent. Very few violins and cellos, created by the most famous of the masters of the Amati family - Nicolo, have survived - just over 20.
Also one of his students was his son Girolamo Amati II (1649-1740). But he did not justify the hopes of his father, and under him the famous school was closed.
STRADIVARI, Stradivarius Antonio (c. 1644-1737) - Italian violin maker, student of the famous N. Amati. From a young ageyears until the last days of his life, Stradivari worked in his workshop, driven by the desire to bring the violin to the highest perfection. More than 1,000 instruments have been preserved, made by the great master and distinguished by the elegance of form and unsurpassed sound qualities. Stradivari's successors were masters C. Bergonzi (1683-1747) and J. Guarneri (1698-1744). "Russian Stradivarius" was called the famous violin maker I. A. Batova.
Ivan Andreevich Batov(1767 - 1841, St. Petersburg) - the first famous Russian master of musical instruments.
He was a serf of Count N. I. Sheremetev. He studied in Moscow with the master Vladimirov. He made musical instruments on the count's estate near Moscow for his orchestra. From 1803 he lived in St. Petersburg. Sheremetev wished that Batov also learned a new craft for those times - piano making. Batov learned this from Master Gauk. Sheremetev allowed him to take orders only from musicians. According to legend, Batov made the violinist and balalaika player Prince Potemkin from an old coffin board a balalaika, for which Count A. G. Orlov offered a thousand rubles. Batov repeatedly repaired instruments for the musicians of the royal court. In 1822 he received from D. N. Sheremetev a free, according to the stories, for the cello of his work. I. A. Batov achieved special skill in the manufacture of stringed instruments - guitars, violins, cellos. He considered the manufacture of double basses to be a thankless task, he made them only in Vladimirov's workshop.
During his life, Batov created 41 violins, 3 violas, 6 cellos and 10 guitars. He restored many old violins of Italian work. Special attention Batov paid attention to the quality of wood for tools. He did not spare money to purchase it and often bought old doors and gates for the material.
Krasnoshchekov I. Ya.
Ivan Yakovlevich (30 I (10 II) 1798, Znamenka village of Zaraisky near Ryazan province - 19 (31) VII 1875, Moscow) - Russian. instr. master.
He studied from 1810 with M. Dubrovin in Moscow, where in 1824 he opened his own. workshop. Produced premium. 7-string guitars as well as violins. The instruments of his work were played by almost all prominent Russian. guitarists. He was friendly with M. T. Vysotsky, he used his advice. Instruments K., distinguished by a soft silvery timbre sound and fine arts. decoration, highly valued. In 1872, the guitar of his work was awarded a gold medal at the Moscow. Polytechnic exhibition.
Semyon Ivanovich Nalimov(1857-1916) - an outstanding Vilgort master of stringed Russian folk instruments, who created wonderful samples of balalaikas, domras and gusli of various sizes and systems and gained fame as "Komi Stradivari".
In 1886, S. I. Nalimov made his first domra, a musical instrument that had long been out of use.
Nalimov gave this instrument a new life. S. I. Nalimov made over 250 instruments. The instruments made by the master were highly appreciated by specialists, they were awarded a bronze medal at the World Exhibition in Paris in 1900 and a gold medal at the Musical World exhibition in St. Petersburg in 1907. An outstanding master in the manufacture of stringed Russian folk instruments, who created wonderful samples of balalaikas, domras and gusli of various sizes and systems. He worked with the Great Russian Orchestra of V. V. Andreev, in a workshop specially equipped for him in the estate of V. V. Andreev (the village of Maryino, Bezhetsky district, Tver province).
“The technique for making balalaikas and domras by Semyon Ivanovich Nalimov was unattainable, which, in connection with the selection of the bestmaterial makes each instrument released from his hands - the ideal of perfection, ”wrote Nikolai Privalov in the article“ Balalaika Stradivarius ”. In addition to excellent musical and acoustic data, Nalimov's instruments are distinguished by their rare elegance in shape and the beauty of their external finish. In addition to the label pasted inside the case indicating the name of the master, date and serial number, all Nalimov's instruments have the right upper corner heads with a special brand in the form of a coat of arms inlaid with colored wood. “The Great Russian orchestra would never have been brought to the present degree of instrumental perfection if Andreev had not been lucky enough to meet and recruit S. I. Nalimov for himself.” The joint work of Andreev with Nalimov and other masters and musicians led to the fact that Russian folk musical instruments gained worldwide fame.
http://slovari.yandex.ru
ARHUZEN Robert Ivanovich(born October 4, 1844, St. Petersburg, - died January 20, 1920, Moscow), is a famous Russian guitar master. The son of the famous instrumental master I.F. Arhuzen, younger brother of F.I. Arhuzen. Received home education. From the age of fourteen he studied the art of making musical instruments from his father. He worked first in St. Petersburg, and since 1875 - in Moscow. He was one of the best Russian guitar masters. The instruments of his work, distinguished by the strength and variety of sound, the beauty of the timbre, the elegance of the finish, were highly valued and awarded at the All-Russian Industrial Exhibitions in 1871, 1872 and 1882. He began his activity with the manufacture of inexpensive guitars - 25 rubles apiece, and at the insistence of V.A. Rusanova began to design them very High Quality, in connection with which the price has risen - up to 200 rubles. Designing one guitar took up to a month of work. best guitar R.I. Arhuzen is considered to be a large guitar, presented to him in the summer of 1908 by V.A. Rusanov. Among the best tertz guitars is an eleven-string instrument made in 1908, made by order of V.P. Mashkevich. Of the family of guitar makers, Arkhuzenov enjoyed the greatest fame.
ARKHUZEN Ivan (Johann) Fedorovich (born 1795, Copenhagen, Denmark, - d. February 21, 1870, St. Petersburg, Russia), is a famous instrumental master. Father of guitar makers R.I. and F.I.Arkhuzenov. From the age of three until the end of his life he lived in St. Petersburg. In his youth, he worked at the Brel tool factory. In 1818 he opened his own workshop for the manufacture of harps, guitars and pianos, where he made good, but expensive instruments (guitars for 40 rubles apiece and more). In 1856, one of the guitars of I.F. Arhuzen was awarded the second prize (500 francs) for the best instrument on international competition guitarists in Brussels organized by N.P. Makarov (the guitar of the Austrian master I. Scherzer received the first prize).
ARKHUZEN Fedor Ivanovich - guitar master, son and student of I.F. Arhuzen, elder brother of R.I. Arhuzen. After the death of his father, he worked with his brother in St. Petersburg, and after the latter left for Moscow in 1875, he continued to work independently. Instruments F.I. Arhuzen are distinguished by solid construction and clean work. The master imitated the Scherzer model, but made guitars with a very large scale - 66.0 - 66.5 cm with a body length of 46.5 - 48.0 cm, and also went his own way, making various experiments. This is evidenced by the guitar of his work in 1890 with four soundboards (upper, two lower and one inside the body)
http://guitar-nsk.ru/
Guitar masters. Austria
* Scherzer, Johann Gottfried (Scherzer, Johann Gottfried). – Vienna.
Renowned guitar maker. He apparently came from Vogtland. In addition to guitars, he designed mandolins and violins. A very cultured craftsman who introduced many innovations (metal rod inside the body, second bottom soundboard, hidden ivory mechanics, etc.). Designed guitars in three sizes: quart, tertz and large. All the time he strove to enhance the tone of the instrument and in this regard increased the size of its body. Scherzer introduced the Ferrari ten-string guitar into Austria, designed the Petzval harp guitar, kept in the collection of the Vienna Friends of Music Society, and, commissioned by M.D. Sokolovsky, a seventeen-string guitar. He independently set up several experiments on acoustics and contributed a lot to physicists and scientists, willingly going towards the implementation of their ideas. He lived first at 65 Gundstromstrasse and then at 99 Margaretenstrasse.
F. Buek in his book "Die Gitarre und ihre Meiser" says the following about Scherzer:
“Johann Gottfried Scherzer /1834-1870/ seems to have been a student of Johann Georg Staufer. He had his workshop at Gundsturmstrasse, No. 65, and later at Margaretenstrasse, No. 99. His guitars were noted for their large format, clean workmanship and strong tone. He was the first to introduce additional basses on six-string guitar, and also used mechanics instead of wooden pegs. The Russian virtuoso guitarist Makarov, who found and ordered many guitars from him in Vienna, called him the best guitar maker in Germany and preferred his instruments over all the instruments of that time. Therefore, Scherzer's guitars went to Russia in large numbers, and they were used mainly by professional guitarists and virtuosos. The Russian virtuoso guitarist Sokolovsky owned a Scherzer guitar, as did his followers Solovyov and Lebedev. In Brussels, at the Makarov competition, Scherzer received the First Prize for a guitar with three additional basses. The virtuoso guitarist Sokolovsky ordered Scherzer a guitar with fifteen basses. When this instrument passed the Russian border, the customs did not know what to call it, since guitars of this shape and volume were not known. Due to the fact that this instrument could not be attributed to an ordinary guitar, they gave it the name "harp guitar" and considered it a transition from a harp to a guitar. A peculiar pear-shaped guitar with a very wide body and a scale length of 59 cm also belongs to Mr. Kern from the Munich Guitar Quartet. This great sounding and cleanly made instrument is one of the solo guitars that originated in Vienna, were made for small hands and later rebuilt by instrument maker Lux and others. These guitars, which are always pear-shaped, have the same pitch as a prim guitar. Scherzer guitars, as concert guitars, have fallen out of use by modern artists, as the bass character makes them unsuitable for solo playing, and the neck does not match. modern requirements. As an accompaniment instrument, these guitars are of great service, as Sepp Summer testifies."
This note requires some adjustments, namely:
1.) If 1834 is indicated as the date of Scherzer's birth, then this is a mistake, since it cannot be that he worked as an apprentice under the age of 16 with Staufer, who died in 1850. Makarov, who found Scherzer in 1852. does not call him a young man.
2.) The introduction of extra basses on the six-string guitar is attributed to Italian master and guitarist Giambattista Ferrari, who worked in Modena in 1853-1889, although L.Legnani in 1808 already performed in concerts on the guitar with two additional basses (6 + 2). Ferrari is considered the inventor of the ten-string guitar.
3.) Even before Scherzer, Staufer and Panarmo used mechanical splitters.
4.) The guitar of M.D. Sokolovsky had twelve, not fifteen additional basses.
5.) Buek's opinion of Scherzer's guitars is bewildering. Most of The best instruments of this master went to Russia and it may be impossible to judge their quality by the guitars preserved in Austria and Germany. But to declare that Scherzer's guitars are unsuitable for solo performance in concerts "due to their bass character" and "narrowness of the neck" is unreasonable, since by selecting basses of the appropriate thickness, you can achieve the same sound of core and bass strings, and the neck can be expanded or changed to a wider one. After all, he allowed the modernization of the fretboard of his tertz guitar by F. Schenk!
23.09.2013
The history of the emergence of Russian folk instruments goes back to the distant past. The frescoes of St. Sophia Cathedral in Kyiv, iconographic materials, miniatures of handwritten books, popular prints testify to the diversity of the musical instruments of our ancestors. The ancient musical instruments discovered by archaeologists are true material evidence of their existence in Russia. In the recent past everyday life Russian people was unthinkable without musical instruments. Almost all of our ancestors owned the secrets of making simple sound instruments and passed them down from generation to generation. Familiarity with the secrets of craftsmanship was instilled from childhood, in games, in work that was feasible for children's hands. Watching the work of the elders, teenagers received the first skills in creating the simplest musical instruments. Time passed. The spiritual ties of generations were gradually broken, their continuity was interrupted. With the disappearance of the folk musical instruments that once existed everywhere in Russia, mass familiarization with the national musical culture was also lost.
Nowadays, unfortunately, there are not so many craftsmen left who have preserved the traditions of creating the simplest musical instruments. In addition, they create their masterpieces only for individual orders. The manufacture of tools on an industrial basis is associated with considerable financial costs, hence their high cost. Not everyone can afford to buy a musical instrument today. That is why there was a desire to collect materials in one article that will help everyone to make this or that instrument with their own hands. Around us a large number of familiar materials of plant and animal origin, which we sometimes do not pay attention to. Any material will sound if skillful hands touch it:
From a nondescript piece of clay, you can make a whistle or an ocarina;
Birch bark, taken from a birch trunk, will turn into a large horn with a beep;
A plastic tube will acquire sound if a whistle device and holes are made in it;
Many different percussion instruments can be made from wooden blocks and plates.
Based on publications about Russians folk instruments and experience different people in their preparation, recommendations were made that may be useful in the process of working on them.
* * *
For many peoples, the origin of musical instruments is associated with the gods and lords of thunderstorms, blizzards and winds. The ancient Greeks attributed the invention of the lyre to Hermes: he made an instrument by stretching the strings on a tortoise shell. His son, a forest demon and the patron of shepherds, Pan was certainly depicted with a flute consisting of several stems of reeds (Pan's flute).
AT German fairy tales the sounds of a horn are often mentioned, in Finnish - a five-stringed kantele harp. In Russian fairy tales, warriors appear to the sounds of a horn and pipe, against which no force can withstand; miraculous gusli-samoguds themselves play, sing songs themselves, make them dance without rest. In Ukrainian and Belarusian fairy tales, even animals danced to the sounds of bagpipes (duda).
The historian, folklorist A.N. Afanasiev, author of the work "Poetic views of the Slavs on nature", wrote that various musical tones, born when the wind blows in the air, identify "expressions for wind and music": from the verb "to blow" came - duda , pipe, blow; Persian. dudu - the sound of a flute; German blasen - blow, winnow, trumpet, play a wind instrument; beep and harp - from buzz; buzz - the word used by the Little Russians to denote the blowing wind; compare: nozzle, sipovka from snotty, sniffle (hiss), hoarse, whistle - from whistle.
Wind music sounds are created by blowing air into the instrument. The breath of the wind was perceived by our ancestors as coming from the open mouths of the gods. The fantasy of the ancient Slavs brought together the howling of the storm and the whistling of the winds with singing and music. So there were legends about singing, dancing, playing musical instruments. Mythical representations, combined with music, made them a sacred and necessary accessory of pagan rites and holidays.
No matter how imperfect the first musical instruments were, nevertheless, they required the ability of musicians to make and play them.
For centuries, the improvement of folk instruments and the selection of the best samples did not stop. Musical instruments took on new forms. There were constructive solutions for their manufacture, methods for extracting sounds, playing techniques. Slavic peoples were creators and keepers of musical values.
The ancient Slavs honored their ancestors and glorified the Gods. The glorification of the Gods was performed in front of the sacred goddesses in temples or under open sky. Ceremonies in honor of Perun (god of thunder and lightning), Stribog (god of the winds), Svyatovid (god of the Sun), Lada (goddess of love), etc. were accompanied by singing, dancing, playing musical instruments and ended with a common feast. The Slavs revered not only invisible deities, but also their habitats: forests, mountains, rivers and lakes.
According to researchers, song and instrumental art of those years developed in close relationship. It is possible that ritual chanting contributed to the birth of instruments with the establishment of their musical structure, since temple songs-prayers were performed with musical accompaniment.
The Byzantine historian Theophylact Simokatta, the Arab traveler Al-Masudi, the Arab geographer Omar ibn Dast confirm the existence of musical instruments among the ancient Slavs. The latter in his "Book of Precious Treasures" writes: "They have different kind lutes, harps and flutes..."
In Essays on the History of Music in Russia from Ancient Times to the End of the 18th Century, the Russian musicologist N. F. Findeisen notes: splendor, they would not be able to make their own musical instruments, completely regardless of whether there were similar instruments in neighboring regions.
There are few references to the ancient Russian musical culture.
Musical art of Kievan Rus
According to researchers, in Kievan Rus The following musical instruments were known:
Wooden pipes and horns (horns for military and hunting);
Bells, clay whistles (ceremonial);
Pan flute, consisting of several reed tubes of different lengths fastened together (wind ritual);
Gusli (string);
Nozzle and flute (wind instruments yards long);
In preparing the article, materials were used:
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