What are the genres of music? Features of different musical genres Types and genres of musical works

Comedy, satire and tragedy as genres Eighty-eight professors - Fatherland, you are dead! A satirical folk couplet about the German Frankfurt Parliament of 1849

Genres, genres, genres, subgenres… Look into any Internet library, usually the same set of novels is presented everywhere, divided into groups: Prose Action, thrillers, detective stories (sometimes in a bunch, sometimes in separate groups), Horror Erotic Romance Science

Division into genres As you know, in addition to such words as "prose", "poetry", "fantastic" and others, there are also such seemingly understandable ones as "comedy", "tragedy", "drama". Why, it seems? Isn't it clear from the start? Since the school bench, these have been stuck between the ears

Commercial and non-commercial genres in modern literature If you are not a graphomaniac, but a writer and write "quite nothing to yourself", it is far from a fact that your work will be of interest to a publisher. There may be several reasons:? First, poetry, dramaturgy, diaries, notes,

We immediately warn you that it is very difficult to answer the question of what genres of music are in one article. Throughout the history of music, so many genres have accumulated that it is impossible to measure them with a yardstick: chorale, romance, cantata, waltz, symphony, ballet, opera, prelude, etc.

For more than a dozen years, musicologists have been “breaking spears” trying to classify musical genres (by the nature of the content, by functions, for example). But before dwelling on typology, let's clarify the very concept of genre.

What is a musical genre?

A genre is a kind of model to which specific music is related. It has certain conditions of execution, purpose, form and nature of the content. So, the goal of a lullaby is to calm the baby, so “swaying” intonations and a characteristic rhythm are typical for it; c - all expressive means of music are adapted to a clear step.

What are the genres of music: classification

The simplest classification of genres is according to the way of performance. These are two large groups:

• instrumental (march, waltz, etude, sonata, fugue, symphony)
• vocal genres (aria, song, romance, cantata, opera, musical).

Another typology of genres is related to the setting of the performance. It belongs to A. Sohor, a scientist who claims that the genres of music are:

• ritual and religious (psalms, mass, requiem) - they are characterized by generalized images, the dominance of the choral principle and the same mood among the majority of listeners;
• mass household (varieties of song, march and dance: polka, waltz, ragtime, ballad, anthem) - they are distinguished by a simple form and familiar intonations;
• concert genres (oratorio, sonata, quartet, symphony) - characteristic performance in a concert hall, lyrical tone as the author's self-expression;
• theatrical genres (musical, opera, ballet) - require action, plot and scenery.

In addition, the genre itself can be divided into other genres. Thus, opera-seria (“serious” opera) and opera-buffa (comic) are also genres. At the same time, there are several more varieties that also form new genres (lyric opera, epic opera, operetta, etc.)

Genre names

One can write a whole book about what are the names of genres of music and how they appear. The names can tell about the history of the genre: for example, the dance owes the name “kryzhachok” to the fact that the dancers were located in a cross (from the Belarusian “kryzh” - a cross). Nocturne ("night" - translated from French) was performed at night in the open air. Some names originate from the names of instruments (fanfare, musette), others from songs (Marseillaise, Kamarinskaya).

Often music gets the name of a genre when it is transferred to another environment: for example, folk dance - to ballet. But it also happens the other way around: the composer takes the theme “Seasons” and writes a work, and then this theme becomes a genre with a certain form (4 seasons as 4 parts) and the nature of the content.

Instead of a conclusion

Talking about what genres of music are, one cannot fail to mention a common mistake. This is a confusion in terms when such as classical, rock, jazz, hip-hop are called genres. Here it is important to remember that the genre is the scheme on the basis of which the works are created, and the style rather indicates the features of the musical language of creation.

Compiled by:

Solomonova N.A.

In musicological literature, scientists turn to the development of such concepts as style and genre less frequently than, for example, in literary criticism, which has been repeatedly pointed out by many researchers. It is this circumstance that prompted us to turn to writing this abstract.

The concept of style reflects the dialectical relationship between the content and form of a work, the commonality of historical conditions, the worldviews of artists, and their creative method.

The concept of "style" arose at the end of the Renaissance, at the end of the 16th century, and it includes many aspects:

Individual features of the work of a particular composer;

general features of writing by a group of composers (school style);

features of creativity of composers of one country (national style);

features of works included in any genre group - the style of the genre (this concept was introduced by A.N. Sohor in his work “The aesthetic nature of the genre in music”).

The concept of "style" is widely used in relation to the performing apparatus (for example, Mussorgsky's vocal style, Chopin's piano style, Wagner's orchestral style, etc.). Musicians and conductors also contribute their own unique interpretation to the style of the work being performed, and we can also recognize especially gifted and brilliant performers by their unique interpretation, by the nature of the sound of the work. These are such great musicians as Richter, Gilels, Sofronitsky, Oistrakh, Kogan, Kheifets, conductors Mravinsky, Svetlanov, Klemperer, Nikish, Karoyan and others.

Among the most famous studies devoted to the problems of musical style, in this vein, the following works should be mentioned: “Beethoven and his three styles” by A.N. Tarakanova, “To the problem of style of I. Brahms” by E.M. Tsareva, or “Artistic principles of musical styles” by S.S. Self-awareness of the era and musical practice "L.V. Kirillina," Studies on Chopin "by L.A. Mazel, where he rightly notes that the analysis of a particular work is impossible without taking into account the general historical patterns of this style, and disclosure of the content of the work is impossible without a clear idea about the expressive meaning of certain formal techniques in this style. An exhaustive analysis of a musical work that claims to be scientifically flawless, according to the scientist, should have a deep and comprehensive acquaintance with this style, its historical origin and meaning, its content and formal techniques.

Scholars offer a number of definitions.

Musical style is a system of artistic thinking, ideological and artistic concepts, images and means of their implementation arising on a certain socio-historical soil. (L.A. Mazel)

Musical style is a term in art history that characterizes a system of expressive means that serves to embody one or another ideological and figurative content. (E.M. Tsareva)

Style is a property (character) or main features by which one can distinguish the works of one composer from another or a work of one historical period ... from another (B.V. Asafiev)

Style is a special property, or better to say, the quality of musical phenomena. It has a work or its performance, edition, sound engineering decision or even a description of the work, but only when in one, another, third, etc. the individuality of the composer, performer, interpreter behind the music is directly felt and perceived.

Musical style is a distinctive quality of musical creations that are part of a particular genetic community (the legacy of a composer, school, direction, era, people, etc.), which allows you to directly feel, recognize, determine their genesis and manifests itself in the totality of all without exception, the properties of perceived music, united in an integral system around a complex of distinctive characteristic features. (E.V. Nazaikinsky).

According to the scientist, the most stylistic means and features of music are distinctive and can be attributed to the characteristic features of style.

The individual style of the composer's work is, as a rule, the most attractive for researchers. “Style in music, as in other forms of art, is a manifestation of the character of a creative person who creates music or interprets it” (E.V. Nazaykinsky). Scientists pay serious attention to the evolution of the composer's style. In particular, the three styles of Beethoven that attracted Serov's attention were pointed out above. Researchers carefully study the early, mature and late style of Scriabin, etc.

“The effect of stylistic certainty” (E. Nazaikinsky) provides the most vivid means and features of music in terms of style, which are distinctive and can be attributed to the characteristic features of style. According to them, listeners will recognize the stylistic affiliation of this or that work, the composer's handwriting, the performing style of this or that interpreter. For example, the harmonic turn characteristic of Grieg is the transition of the introductory tone not to the tonic, but to the fifth degree of the mode (Piano Concerto with an oschestre - introductory chords, the famous "Solveig Song" from the Peer Gynt suite, or the descending move to fifth step through the sixth raised step (Lyric pieces, "Waltz" in A minor), or the famous "Rakhmaninov harmony" - a chord formed in minor by the fourth, sixth, seventh raised and third steps with resolution to the tonic in the melodic third position (initial phrases his famous romance “Oh, do not be sad!” - there are a lot of examples, they can be continued endlessly.

A very important feature of the style is the fixation and expression of a certain content, as pointed out by E.V. Nazaikinsky, M.K. Mikhailov, L.P. Kazantseva, A.Yu. Kudryashov.

The specifics of the national style can be seen primarily in the way the folklore origins and professional composer's work correlate within the framework of the national style. As E.V.Nazaikinsky rightly notes, both folklore material, and the principles of folk music, and its specific elements can serve as a source of originality of the general national style. The measure and the very nature of awareness of belonging to a particular nation, as well as its reflection in creativity, largely depend on the interaction of native culture with foreign cultures and their elements, on what other nations and cultures a person comes into contact with. Even the strongest, brightest individual style in the process of its formation and development is mediated by the styles of the school, era, culture, people. I recall the remarkable words of V. G. Belinsky, - “if the process of development of the culture of one people goes through borrowing from another, it nevertheless takes place nationally, otherwise there is no progress.”

An analysis of the musical language of a particular work - the features of melody, harmony, rhythm, form, texture - is a prerequisite for characterizing the style.

In the musicological literature, many theories have developed that describe individual historical stages in the formation of various styles - baroque, rococo, classicism, romanticism, impressionism, expressionism, etc. The content of these studies reveals the leading, fundamental principles that unite musical works within one historical era, created in different countries, different national schools, etc. , which gives an idea of ​​the aesthetics of a certain historical stage, the musical language and the era itself as a whole. In his well-known book “The Chronicle of My Life”, I.F. Stravinsky wrote: “any doctrine requires for its implementation a special way of expression, and, consequently, a special technique; after all, it is impossible to imagine a technique in art that would not follow from a certain aesthetic system.

Each style has its own special features. Thus, the baroque is characterized by monumental forms, including large-scale cyclical forms, multifaceted contrasts, and a comparison of the polyphonic and homophonic principles of musical writing. The baroque suite of dances, as noted by A.Yu. Kudryashov, generally represented the movement simultaneously in two forms - as the embodiment of the four main human temperaments and as stages in the flow of human thought (melancholic allemande - "thesis", choleric chimes - "development of the thesis", phlegmatic sarabande – “anti-thesis”, sanguine jig – “refutation of the thesis.” To amaze the listener, the viewer, to surprise him, to enchant him became the goal of the art of the 11th century.

As O. Zakharova noted, the public performance of soloists began to play an important role, their allocation to the first places visible to the public, while the choir and instrumental ensemble, which were previously directly in front of the eyes of the audience, are moved to the background.

In the Baroque era, the opera genre is rapidly developing, and as V. Martynov rightly notes, opera has become a way of existence of music, its substance ... And when baroque composers write masses and motets, their masses and motets are the same operas, or opera fragments, with the only difference that they are based on sacred canonical texts, which become the object of "musical performance".

The core of baroque music is affect, understood in that era as an expression of a feeling containing the idea of ​​eternity. “The purpose of music is to give us pleasure and excite various affects in us,” R. Descartes wrote in his treatise “Compendium of Music”. The classification of affects was made by A. Kircher - love, sadness, courage, delight, moderation, anger, greatness, holiness, then - by I. Walter - love, suffering, joy, anger, compassion, fear, cheerfulness, amazement.

Composers of the Baroque era paid great attention to the intonational pronunciation of the word according to the laws of r and tor and k and. According to Y. Lotman, “the rhetoric of a baroque text is characterized by a clash within a whole area marked by different measures of semioticity. In the collision of languages, one of them invariably appears as "natural" (not a language), and the other as emphatically artificial.

Here are the most famous musical and rhetorical figures in baroque art:

ascending movement of the melody (as a symbol of ascension, resurrection);

the downward movement of the melody (as a symbol of sinfulness or the transition to the "lower world");

the circular movement of the melody (as a symbol of "infernal whirlwinds" (Dante), or, on the contrary, divine enlightenment);

scale-like ascending or descending movement of the melody at a fast pace (as a symbol of inspiration, on the one hand, or anger, on the other);

the movement of the melody along narrow chromatic intervals (as a symbol of horror, evil);

the progress of the melody for a wide chromatic, increased or decreased interval, or a pause in all voices (as a symbol of death).

The rococo style is characterized by a world of fragile, graceful or scherzo images of a gallant, salon character, and the musical language is replete with fragmentation of a melodic pattern, melismas, and transparency of texture. Composers strive to embody not settled moods, but their development, not a calmly flowing affect, but a feeling with sharp changes in tension and discharge. For them speech clarity of expression of musical thought becomes habitual. Unshakable, static images give way to variability, peace to movement.

Classical style - according to academician D. Likhachev, is one of the possible "great styles of the era." In the aesthetic aspect of the classical style, it is important to emphasize the carefully adjusted balance of the sensory-direct, rational-logical and ideologically sublime, embedded in the work, the classical self-consciousness of the artist, overcoming the "power of dark vitality" and turned to "light, sensual beauty" (E. Kurt) , and therefore consonant with the classical examples of the art of the past, first of all - ancient, the activation of interest in which is one of the indicative signs of the formation of any classicism (A.Yu. Kudryashov). Of particular importance in the era of classicism is the formation of a four-movement sonata-symphony cycle. According to M.G. Aranovsky, he defines the semantics of the four main hypostases of the human personality: Active Man, Thinking Man, Playing Man, Public Man. The four-part structure, as N. Zhirmunskaya writes, acts as a universal model of the world - spatial and temporal, synthesizes the macrocosm - the universe - and the microcosm - man. “Various refractions of this model are united by emblematic and symbolic connections, sometimes translated into the language of familiar mythological images and plots: the elements symbolically reflect the seasons, days, periods of human life, the countries of the world (for example: winter - night - old age - north - earth, etc.). P.)"

A whole group of semantic figures with a Masonic meaning appears, which were revealed by E. Chigareva in the works of Mozart “Melody and me: the rise to a major sixth is hope, love, joy; detentions, pairs of ligated notes - bonds of brotherhood; grupupto - Masonic joy; rhythmic: dotted rhythm, ... accentuated staccato chords followed by a pause - boldness and determination; harmony: parallel thirds, sixths and sixth chords - unity, love and harmony; "modal" chords (side steps - VI, etc.) - solemn and religious feelings; chromatisms, diminished seventh chords, dissonances - darkness, superstition, halo and discord.

The central content complex of Beethoven's artistic world is the beauty and balance of form, a strictly organized flow of musical and rhetorical eloquence, a high ethical idea, the great role of opposites - both at the level of musical syntax and at the level of form.

Romanticism is the style that prevails in the 19th century. One of the researchers of musical romanticism, Yu.Gabai, identifies three ways of interpreting the romanticism of the 19th century: in contrast to the classical one, it denotes Christian art; secondly, it is associated with the Romance language tradition, namely, the old French poetic novel; thirdly, it defines a truly poetic animation, what makes great poetry always alive (in the latter case, the romantics, peering into history as a mirror of their ideals, found them and Shakespeare, and Cervantes, and Dante, and Homer, and Calderon).

In the musical language, researchers note an increase in the expressive and colorful role of harmony, a synthetic type of melody, the use of free forms, the desire for through development, new types of piano and orchestral texture. Novalis's idea of ​​romantic prose, highly changing, miraculous, with special turns, fast jumps, can be extrapolated to music. The most important way of musical expression of the idea of ​​formation and change, universal for romanticism, is the increased chant, song, cantilena, present in Schubert, Chopin, Brahms, Wagner, etc.

Programming as a Phenomenon of Musical Thinking

romantic era, entails special means of musical expression. One should keep in mind the complex relationship between program and non-program music, since, according to Chopin, "there is no real music without a hidden meaning." And Chopin's Preludes - according to the statements of his students - is a confession of their creator. Sonata in B-flat minor with the famous “funeral march”, according to Schumann, “is not music, but something with the presence of a terrifying spirit”, according to A. Rubinstein - “the wind blowing at night over the coffins in the cemetery” ...

In the music of the twentieth century, we observe a special variety of musical composition techniques: free atonality, undifferentiated sonoristics in pitch, timbre-noise effects, aleatorics, as well as a twelve-tone system, neomodality, seriality, seriality. The openness of the individual components of the music of the 20th century is a hallmark of modern culture as a whole, as the French culturologist A. Mol rightly said: “modern culture is mosaic, ... a truly general concept, but on the other hand, there are many concepts that have great weight.

In music, the sing-song-cantilena thematism is destroyed, other means of musical expression are also liberated (Stravinsky, Bartok, Debussy, Schoenberg, Messiaen, Webern, etc.) and unusual performing features appear that shock contemporaries, as, for example, in the play by G. Cowell " Harmonic adventures” - the use of clusters (chords consisting of seconds), techniques for extracting the piano with a fist, palm or entire forearm ...

New modernist tendencies appear in music, coming from painting and other arts. So, at the origins of such a phenomenon as bruit and tizm, or the art of noises (from the French word bruit - noise) was the Italian painter Luigi Russolo, who in his manifesto “The Art of Noises” wrote that “musical art seeks an amalgam of the most dissonant, strangest, and harshest sounds… we will have fun orchestrating shop doors creaking perfectly on the blocks, the hum of the crowd, various noises of railway stations, forges, spinning mills, printing houses, electric workshops and underground railways… we should not forget completely new noises modern warfare…, turn them into music and regulate them harmonically and rhythmically"

Another modernist trend is yes and sm. The modernist essence of Dadaism can be traced in the statements of the artist G. Gross: a circle that hovered above the classroom and was alien to a sense of responsibility and participation in everyday life. Active participation in the work of the Berlin club "Dada" was taken by the composer and artist, a native of Russia, Efim Golyshev, one of the champions of the twelve-tone method of composition of the twentieth century. Among his musical and stage works are "Dada dance with masks", "Puffing Maneuver", "Rubber" for two timpani, ten rattles, ten ladies and one postman. There are urbanistic works by Honegger (Pacific-231), Prokofiev (ballet Steel Jump), Mosolov (Symphonic episode "The Factory. Music of Machines" from the ballet "Steel"), Varese ("Ionization" for forty-one percussion instruments and two Sirens) - further these trends were refracted in the directions of the post-war musical avant-garde. These are concrete and electronic music, ensemble happenings and instrumental theatre, sonoristics, multimedia processes (works by P. Schaeffer, K. Stockhausen, M. Kagel, S. Slonimsky, A. Schnittke, S. Gubaidullina, J. Cage, etc.)

At the end of the 19th century, the prerequisites for the emergence of neo-classicism, which, according to L. Raben, was the most universal of the new systems of music of the 20th century, were formed.

There are also polystylistic tendencies in music. P o l and s t and -

l and s t and k a - a conscious combination in one work of various stylistic features. “The definition of polystylistics means the intentional combination of various stylistic phenomena in one work, stylistic heterogeneity resulting from the use of a number of techniques (one of the special cases is collage)” - (Musical Encyclopedia, v.Z, p.338). One of the interesting cases of using vertical polystylistics is found in A. Schnittke’s “Serenade” for five instruments: in the number 17 of the score, the motive of Tchaikovsky’s Violin Concerto and the beginning of the main part of his First Piano Concerto sound at the same time, and the number 19 combines the leitmotif of the Shemakhan Queen from The Golden Cockerel » Rimsky-Korsakov, introductory chords of Beethoven's Pathétique Sonata and passages from Bach's Chaconne for solo violin.

Musical genres are the types and types of musical works that have historically developed in connection with certain functions of music, its life purpose, the conditions for its performance and perception. A very voluminous definition is given by Ye. artistic function), b) conditions and means of performance, c) the nature of the content and the form of its implementation. A genre is a multi-component, cumulative genetic (one might even say gene) structure, a kind of matrix, according to which this or that artistic whole is created. If the word style refers us to the source, to the one who gave birth to the creation, then the word genre refers to the genetic scheme by which the work was formed, born, created. A genre is a holistic typical project, a model, a matrix, a canon, with which specific music is related.

In the works of T.V. Popova, two criteria are given as the basis for the classification of genres: the conditions for the existence of music and the features of performance. V.A. Zuckerman identifies three main genre groups: lyrical genres, narrative and epic genres, and motor genres associated with movement. A.N. Sohor takes the conditions of existence, the environment of performance as the main criterion. The scientist distinguishes four main groups of genres: cult or ritual genres, mass genres, concert genres, theatrical genres. The systematization of genres, made by O.V. Sokolov, is based on the connection of music with other arts or non-musical components, as well as its function. It is pure music, interacting music, applied music, applied interacting music.

T.V. Popova systematizes the main genres of classical music as follows:

Vocal genres (song, anthem, choir, recitative, romance, ballad, aria, arietta, arioso, cavatina, vocalise, ensemble);

Dance music. Old dance suite;

Genres of instrumental music (prelude, invention, etude, toccata, impromptu, musical moment, nocturne, barcarolle, serenade, scherzo, hummoresque, capriccio, rhapsody, ballad, novelette);

Symphonic and chamber music;

Sonata-symphony cycles, Concerto, Symphonic suite of the 19th - 20th centuries;

One-movement (not cyclic) genres of the 19th-20th centuries (overture, fantasy, symphonic poem, symphonic picture, one-movement sonata;

Musical and dramatic works. Opera and ballet

Cantata, oratorio, requiem.

Literature

Main

1. Bonfeld M. Sh. Analysis of musical works. Structure of tonal music:

at 2 pm M.: Vlados, 2003.

2. Bonfeld M. Sh. Introduction to musicology. M.: Vlados, 2001.

3. Berezovchuk L. Musical genre as a system of functions: Psychological and semiotic aspects // Aspects of theoretical musicology. Problems of musicology. Issue 2. L., 1989. S.95-122.

4. Gusev V. Aesthetics of folklore. L., 1967.

5. Kazantseva L.P. Fundamentals of the theory of musical content: textbook. allowance for students of music universities. Astrakhan, 2001.

6. Kazantseva L.P. Polystylistics in music: a lecture on the course "Analysis of musical works". Kazan, 1991.

7. Kolovsky O. P. Analysis of vocal works: textbook. manual for students of music universities / O. P. Kolovsky [and others]. L .: Music, 1988.

8. Konen V.D. The third layer: New mass genres in the music of the twentieth century. M., 1994.

9. Mazel L., Zukkerman V. Analysis of musical works: textbook. allowance. M.: Music, 1967.

10. Musical-encyclopedic dictionary. M., 1998.

11. Nazaikinsky E. V. Styles and genres in music: textbook. allowance for students of higher educational institutions. M.: Vlados, 2003.

12. Popova T.V. Musical genres and forms. 2nd ed. M., 1954.

13. Reuterstein M. Fundamentals of musical analysis: textbook. M.: Vlados, 2001.

14. Ruchevskaya E. A. Classical musical form. St. Petersburg: Composer, 1998.

15. Sokolov A. S. Introduction to the musical composition of the twentieth century: textbook. allowance for universities. M.: Vlados, 2004.

16. Sokolov O.V. To the problem of typology of musical genres // Problems of music of the XX century. Gorky, 1977.

17. Tyulin Yu. N. Musical form: textbook. allowance / Yu. N. Tyulin [and others]. L .: Music, 1974.

18. Kholopova VN Forms of musical works. St. Petersburg: Lan, 2001.

Additional

1. Alexandrova L. V. Order and symmetry in musical art: a logical and historical aspect. Novosibirsk, 1996.

2. Grigorieva GV Analysis of musical works. Rondo in the music of the twentieth century. M.: Music, 1995.

4. Kazantseva L.P. Analysis of musical content: method. allowance. Astrakhan, 2002.

5. Krapivina I. V. Problems of shaping in musical minimalism. Novosibirsk, 2003.

6. Kudryashov A.Yu. The theory of musical content. M., 2006.

7. Mazel L. Free forms of F. Chopin. M.: Music, 1972.

8. Musical encyclopedia. M., 1974–1979. T. 1–6

9. Ovsyankina G. P. Piano cycle in Russian music of the second half of the twentieth century: the school of D. D. Shostakovich. St. Petersburg: Composer, 2003.

10. Zuckerman V. Analysis of musical works. Variation form: textbook. for stud. musicologist. otd. music universities. M.: Music, 1987.

ADAGIO- 1) slow pace; 2) the title of a work or part of a cyclic composition in adagio tempo; 3) slow solo or duet dance in classical ballet.
ACCOMPANIMENT- musical accompaniment of a soloist, ensemble, orchestra or choir.
CHORD- a combination of several (at least 3) sounds of different heights, perceived as a sound unity; sounds in a chord are arranged in thirds.
ACCENT- stronger, percussive extraction of any one sound compared to others.
ALLEGRO- 1) pace corresponding to a very fast step; 2) the title of a piece or part of a sonata cycle in allegro tempo.
ALLEGRETTO- 1) tempo, slower than allegro, but faster than moderato; 2) the title of a play or part of a work in allegretto tempo.
alteration- raising and lowering the degree of the modal scale without changing its name. Accidentals - sharp, flat, double-sharp, double-flat; the sign of its cancellation is bekar.
ANDANTE- 1) a moderate pace, corresponding to a calm step; 2) the title of the work and part of the sonata cycle in andante tempo.
ANDANTINO- 1) pace, more lively than andante; 2) the title of a work or part of a sonata cycle in andantino tempo.
ENSEMBLE- a group of performers acting as a single artistic group.
ARRANGEMENT- processing of a piece of music for performance on another instrument or other composition of instruments, voices.
ARPEGGIO- the performance of sounds sequentially, usually starting with a lower tone.
BASS- 1) the lowest male voice; 2) musical instruments of low register (tuba, double bass); 3) the lower sound of the chord.
BELCANTO- a vocal style that arose in Italy in the 17th century, distinguished by the beauty and ease of sound, the perfection of the cantilena, the virtuosity of the coloratura.
VARIATIONS- a piece of music in which the theme is stated several times with changes in texture, tonality, melody, etc.
VIRTUOSO- a performer who is fluent in voice or the art of playing a musical instrument.
VOCALYSIS- a piece of music for singing without words to a vowel sound; usually an exercise to develop vocal technique. Vocalises for concert performance are known.
VOCAL MUSIC - works for one, several or many voices (with or without instrumental accompaniment), with few exceptions associated with a poetic text.
HEIGHT SOUND - the quality of sound, determined by a person subjectively and associated mainly with its frequency.
GAMMA- the succession of all sounds of the mode, located from the main tone in ascending or descending order, has the volume of an octave, can be continued into neighboring octaves.
HARMONY- expressive means of music, based on the combination of tones into consonances, on the connection of consonances in their sequential movement. It is built according to the laws of mode in polyphonic music. The elements of harmony are cadences and modulations. The doctrine of harmony is one of the main sections of music theory.
VOICE- a set of sounds of different height, strength and timbre, resulting from the vibration of elastic vocal cords.
RANGE- sound volume (interval between the lowest and highest sounds) of a singing voice, a musical instrument.
DYNAMICS- differences in the degree of sound strength, loudness and their changes.
CONDUCTING- management of a musical and performing group during the learning and public performance of a musical composition. It is carried out by the conductor (bandmaster, choirmaster) with the help of special gestures and facial expressions.
TREBLE- 1) a form of medieval two-part singing; 2) a high children's (boy's) voice, as well as the part he performs in a choir or vocal ensemble.
DISSONANCE- unfused, tense simultaneous sounding of various tones.
DURATION- the time occupied by the sound or pause.
DOMINANT- one of the tonal functions in major and minor, which has an intense attraction to the tonic.
WIND INSTRUMENTS - a group of instruments whose sound source is vibrations of an air column in the bore (tube).
GENRE- a historically established unit, type of work in the unity of its form and content. They differ in the method of performance (vocal, vocal-instrumental, solo), purpose (applied, etc.), content (lyrical, epic, dramatic), place and conditions of performance (theatrical, concert, chamber, film music, etc.).
ZAPEV- the introductory part of a choral song or epic.
SOUND- characterized by a certain pitch and loudness.
IMITATION- in polyphonic musical works, an exact or modified repetition in any voice of a melody that was previously sounded in another voice.
IMPROVISATION- composing music during its performance, without preparation.
INSTRUMENTAL MUSIC - intended for performance on instruments: solo, ensemble, orchestral.
INSTRUMENTATION- presentation of music in the form of a score for a chamber ensemble or orchestra.
INTERVAL- the ratio of two sounds in height. It happens melodic (sounds are taken alternately) and harmonic (sounds are taken simultaneously).
INTRODUCTION- 1) a brief introduction to the first part or finale of a cyclic instrumental piece of music; 2) a kind of short overture to an opera or ballet, an introduction to a separate act of the opera; 3) a choir or vocal ensemble following the overture and opening the action of the opera.
CADENCE- 1) harmonic or melodic turn, completing the musical structure and giving it more or less completeness; 2) a virtuoso solo episode in an instrumental concerto.
CHAMBER MUSIC - instrumental or vocal music for a small group of performers.
FORK- a special device that emits a sound of a certain frequency. This sound serves as a standard for tuning musical instruments and singing.
CLAVIERE- 1) the general name of stringed keyboard instruments in the 17th-18th centuries; 2) an abbreviation of the word klaviraustsug - an arrangement of the score of an opera, oratorio, etc. for singing with a piano, as well as for one piano.
COLORATURA- fast, technically difficult, virtuoso passages in singing.
COMPOSITION- 1) construction of the work; 2) the title of the work; 3) composing music; 4) a subject in musical educational institutions.
CONSONANCE- continuous, coordinated simultaneous sounding of various tones, one of the most important elements of harmony.
CONTRALTO- low female voice.
CULMINATION- the moment of the highest tension in a musical construction, a section of a musical work, a whole work.
LAD- the most important aesthetic category of music: a system of pitch connections united by a central sound (consonance), the relationship of sounds.
keynote- a musical turnover that is repeated in a work as a characteristic or symbol of a character, object, phenomenon, idea, emotion.
LIBRETTO- a literary text, which is taken as the basis for the creation of any musical work.
MELODY- monophonically expressed musical thought, the main element of music; a series of sounds organized in a modal-intonational and rhythmic manner, forming a certain structure.
METER- the order of alternation of strong and weak beats, the rhythm organization system.
METRONOME- a tool that helps to determine the correct tempo of performance.
MEZZO SOPRANO- female voice, middle between soprano and contralto.
POLYPHONY- a warehouse of music based on the simultaneous combination of several voices.
MODERATO- moderate tempo, average between andantino and allegretto.
MODULATION- transition to a new tone.
MUSICAL FORM - 1) a complex of expressive means embodying a certain ideological and artistic content in a musical work.
NOTICE LETTER- a system of graphic signs for recording music, as well as its recording itself. In modern musical writing, the following are used: a 5-line musical staff, notes (signs denoting sounds), a key (determines the height of notes), etc.
OVERTONS- overtones (partial tones), sound higher or weaker than the main tone, merge with it. The presence and strength of each of them determine the timbre of the sound.
ORCHESTRATION- Arrangement of a piece of music for orchestra.
ORNAMENT- ways to decorate vocal and instrumental melodies. Small melodic embellishments are called melismas.
OSTINATO- repeated repetition of a melodic rhythmic figure.
SCORE- a musical notation of a polyphonic musical work, in which, one above the other, the parties of all voices are given in a certain order.
THE CONSIGNMENT- an integral part of a polyphonic work, intended for performance by one voice or on a certain musical instrument, as well as by a group of homogeneous voices and instruments.
PASSAGE- the succession of sounds in rapid movement, often difficult to perform.
PAUSE- a break in the sound of one, several or all voices in a piece of music; a sign in musical notation indicating this break.
PIZZICATO- reception of sound extraction on bowed instruments (pinch), gives a jerky sound, quieter than when playing with a bow.
PLECTRUM(mediator) - a device for sound extraction on stringed, mainly plucked, musical instruments.
UNDER VOICE- in a folk song, the voice accompanying the main one, sounding simultaneously with it.
PRELUDE- a short piece, as well as the introductory part of a piece of music.
SOFTWARE MUSIC - musical works that the composer provided with a verbal program that concretizes perception.
REPRISE- repetition of the motive of a musical work, as well as a musical sign of repetition.
RHYTHM- alternating sounds of different duration and strength.
SYMPHONISM- revealing the artistic conception with the help of consistent and purposeful musical development, including confrontation and transformation of themes and thematic elements.
SYMPHONY MUSIC - musical works intended for performance by a symphony orchestra (large, monumental works, small pieces).
SCHERZO- 1) in the XV1-XVII centuries. designation of vocal-instrumental works for humorous texts, as well as instrumental pieces; 2) part of the suite; 3) part of the sonata-symphonic cycle; 4) from the 19th century. independent instrumental work, close to capriccio.
HEARING MUSICAL- the ability of a person to perceive the individual qualities of musical sounds, to feel the functional connections between them.
SOLFEGIO- vocal exercises to develop ear and music reading skills.
SOPRANO- 1) the highest singing voice (mainly female or children's) with a developed voice register; 2) the top part in the choir; 3) high register varieties of instruments.
STRINGS INSTRUMENTS - according to the method of sound production, they are divided into bow, plucked, percussion, percussion-keyboard, plucked-keyboard.
TACT- specific form and unit of musical meter.
TOPIC- construction that forms the basis of a musical work or its sections.
TIMBRE- the color of sound characteristic of a voice or a musical instrument.
PACE- the speed of metric counting units. A metronome is used for accurate measurement.
TEMPERATION- alignment of interval ratios between the steps of the sound system.
TONIC- the main step of the fret.
TRANSCRIPTION- Arrangement or free, often virtuoso, processing of a musical work.
TRILL- iridescent sound, born from the rapid repetition of two adjacent tones.
OVERTURE- an orchestral piece performed before a theatrical performance.
DRUMS INSTRUMENTS - instruments with a leather membrane or made of a material that itself is capable of sounding.
UNISON- simultaneous sounding of several musical sounds of the same pitch.
TEXTURE- a specific sound image of the work.
FALSETTO- one of the registers of the male singing voice.
FERMATA- stopping the tempo, as a rule, at the end of a piece of music or between its sections; expressed as an increase in the duration of the sound or pause.
THE FINAL- the final part of a cyclic piece of music.
CHORAL- religious chants in Latin or native languages.
CHROMATISM- halftone interval system of two types (ancient Greek and new European).
HATCHES- ways of extracting sound on bowed instruments, giving the sound a different character and color.
EXPOSURE- 1) the initial section of the sonata form, which sets out the main themes of the work; 2) the first part of the fugue.
STAGE- a type of musical performing art

The type of works within some kind of art is called the French word genre (genre) - genus, kind.
Not all musical genres originated at the same time. Opera, for example, was born in Italy at the end of the 19th century, and the symphonic poem was created in the middle of the 19th century by Franz Liszt.
During its existence, various genres have changed a lot, but all have retained their main features. Thus, an opera is a work for musical theatre, which has a plot, is set in scenery and is performed by artists, singers and an orchestra. You can't confuse it with ballet and symphony. But after all, operas are also different: historical, heroic, comic, lyrical. All of them have their own characteristic features, although they belong to the same operatic genre. And then, when we need to clarify what kind of opera we are talking about, we again, but in a narrower sense of the word, use the term "genre".
We say: the genre of lyrical opera, the genre of musical drama, the genre of epic opera... Within the general concept (genre) of vocal music, we distinguish the genres of romance, songs, etc.
This term has another meaning. Perhaps you have heard how they say about an artist: he is a genre painter. This means that the artist creates paintings on everyday subjects. Such pictures were painted, for example, by V. Petrov. From painting, the word genre in this sense passed into other arts, including music. If we are talking about some work: it has genre episodes, this means that the composer introduced a song, dance or march into it. Symphony

Symphony in Greek means consonance. It is used not only in relation to the orchestra, to music. For example, the Russian poet Balmont saw "a symphony of colors and rustles" in the autumn beauty of nature. A symphony in music is a great work written for a symphony orchestra. Listening to a symphony, we do not know what the composer is sad about, we are sad about our own. We do not know exactly what pictures of nature arose before his eyes. With the sounds of music, what we ourselves see comes to life.
The symphony has several parts (Listening to Symphony N6 by P.I. Tchaikovsky). Composers wrote concertos for a symphony orchestra and some instrument. Opera

Opera is a performance in which the characters do not speak, but sing. Opera, like a play, is one of the types of theatrical art.
Music is central to opera.
So that the fairy tale can go on stage, it is remade into an “opera play” - the libretto is written.
The actors convey all their thoughts by singing. When one of the characters sings on stage, we call it an aria or arioso. If two people sing, this is a duet, three - a trio, four - a quartet.
Sometimes dance episodes help to reveal the content of the work more fully. Then ballet scenes appear in the opera.
With the help of music, the composer creates in the opera not only portraits of characters, but whole pictures.
Most operas begin with an overture. The word "overture" is French and means opening. It is performed by the orchestra before the curtain opens. The overture contains the leading melodies of the opera. Before acts 1 and 2, “intermissions” (musical introductions) sound.
So, the main thing in the opera is music, the sound of the orchestra and voices. But opera is both drama, and dance, and painting, merged into one. That is why the opera makes a particularly strong impression on the listeners, is the most understandable form of serious music. Ballet

Ballet is a kind of performing art; performance, the content of which is embodied in musical and choreographic images. On the basis of a general dramatic plan (scenario), ballet combines music, choreography (dance and pantomime) and fine arts (decoration, costume, lighting, etc.) Different eras gave rise to various creative collaborations of the composer and choreographer, their own types of interaction between music and choreography. Sometimes the music in the ballet is only an accompaniment, in other cases the choreography seeks to reveal the deep content of the music.
Modern European ballet originated during the Renaissance. The word "Ballet" appeared, which then meant a composition that conveyed in the dance not a plot, but a property or state of character. Art matured within other forms: processions, masquerades, equestrian tournaments, solemn meals. By the end of the 15th century, ballet was part of the spectacle created by famous poets and artists.
By the 16th century, the mask genre had developed in England.
In the 18th century, ballet as a performance began to establish itself in the theaters of Vienna, where a purely choreographic action developed on the basis of the script and music.
Ballet existed in Germany, Sweden, Holland. The forms of ballet borrowed from the Italians and the French were enriched with national colors.
By the middle of the 19th century, the form of a multi-act performance and the forms of ballet music (general dances that complete an act or performance, fair processions, waltzes, polkas, gallops), as well as the structure of dances of soloists, stabilized.
By the beginning of the 20th century, the aesthetics of ballet academism reached its peak in the works of the great Russian masters (A.A. Gorsky, M.M. Fokin), whose work was influenced by the art of A. Duncan, an American dancer, a supporter of free dance.
By the end of 1950, ballet was becoming widespread in all countries of the world.