Development musical ability- one of the main tasks of musical education of children. The fundamental question for pedagogy is the question of the nature of musical abilities: whether they are innate properties of a person or develop as a result of environmental influences, upbringing and training. Another important theoretical aspect of the problem, on which the practice of musical education essentially depends, is the definition of the content of concepts musical ability, musicality, musical talent. The direction of pedagogical influences, the diagnosis of musical abilities, etc., depend to a large extent on what is used as the basis for the content of these concepts.
At different historical stages of the formation of musical psychology and pedagogy (foreign and domestic), as well as at the present time, there are different approaches to the development of theoretical and, consequently, practical aspects of the problem of developing musical abilities, there are discrepancies in the definition of the most important concepts.
B.M. Teplov in his works gave a deep, comprehensive analysis of the problem of the development of musical abilities. He compared the points of view of psychologists representing the most diverse trends in psychology, and expounded his view on the problem.
B.M. Teplov clearly defined his position on the issue of innate musical abilities. Based on the work of the outstanding physiologist I.P. Pavlov, he recognized the innate properties nervous system of a person, but did not consider them only as hereditary (after all, they can form during the period of intrauterine development of a child and for a number of years after birth). Innate properties of the nervous system B.M. Teplov separates from the mental properties of a person. He emphasizes that only anatomical and physiological features can be innate, that is, the inclinations that underlie the development of abilities.
Abilities B.M. Teplov defines as individual psychological characteristics of a person related to the success of any one activity or many. They are not limited to the presence of skills, abilities or knowledge, but can explain the legitimacy and speed of their acquisition.
Musical ability required for successful exercise musical activity, are united in the concept of "musicality".
Musicality, as B.M. Teplov, this is a complex of abilities required for practicing musical activity, unlike any other, but at the same time associated with any type of musical activity.
In addition to musicality, which includes a complex of special, namely musical, abilities of B.M. Teplov indicates that a person has more general abilities manifested in musical activity (but not only in it). This is creative imagination, attention, inspiration, creative will, a sense of nature, etc. A qualitative combination of general and special abilities forms a broader than musicality the concept of musical talent.
B.M. Teplov emphasizes that each person has a peculiar combination of abilities - general and special. Features of the human psyche suggest the possibility of a wide compensation of some properties by others. Therefore, musicality is not reduced to one ability: "Each ability changes, acquires a qualitatively different character, depending on the presence and degree of development of other abilities."
Each person has an original combination of abilities that determines the success of a particular activity.
“The problem of musicality,” emphasizes B.M. Teplov, is a problem, first of all, qualitative, not quantitative. Every normal person has some musicality. The main thing that should interest the teacher is not the question of how musical this or that student is, but the question of what his musicality is and what, therefore, should be the ways of its development.
Thus, B.M. Teplov recognizes certain features, predispositions of a person, inclinations as innate. The abilities themselves are always the result of development. Ability by its very essence is a dynamic concept. It exists only in motion, only in development. Abilities depend on innate inclinations, but develop in the process of education and training.
An important conclusion made by B.M. Thermal, is the recognition of dynamism, developed abilities. "That's not the point- the scientist writes, - that abilities are manifested in activity, but that they are created in this activity.
Therefore, when diagnosing abilities, any tests, tests that do not depend on practice, training, and development are meaningless.
So, B.M. Teplov defines musicality as a complex of abilities developed on the basis of innate inclinations in musical activity, necessary for its successful implementation.
In order to highlight the complex of abilities that make up musicality , it is important to determine the specifics of the content of music (and, therefore, the qualities necessary for its perception), as well as the features of the difference between musical sounds from other sounds encountered in life (and, therefore, the qualities necessary to distinguish and reproduce them).
Answering the first question (about the specific content of music), B.M. Teplye argues with the representative of German aesthetics E. Hanslik, who defends the view of musical art as an art that cannot express any content. Musical sounds, according to Hanslick, can only meet the aesthetic needs of man.
B.M. Teplov contrasts this with the point of view of music as an art that has various possibilities for reflecting the life content, conveying life phenomena, the inner world of a person.
Highlighting two functions of music - visual and expressive, B.M. Teplov notes that programmatic visual music, which has specific, "visible" prototypes (onomatopoeia, natural phenomena, spatial representations - approximation, removal, etc.), a certain name or literary text, plot, conveying specific life phenomena, while always expresses a certain emotional content, an emotional state.
It is emphasized that both visual, program music (the share of which in the musical art is negligible) and non-graphic, non-program music always carry emotional content - feelings, emotions, moods. The specificity of musical content is determined not by the visual possibilities of music, but by the presence of emotional coloring of musical images (both program-pictorial and non-program). Thus, the main function of music is expressive. The wide possibilities of musical art to convey the finest nuances of human feelings, their change, mutual transitions determine the specifics of the musical content. B.M. Teplov emphasizes that in music we experience the world through emotion. Music is emotional knowledge. Therefore, the main feature of the musicality of B.M. Teplov calls the experience of music, in which its content is comprehended. Since musical experience is, by its very nature, an emotional experience, and the content of music cannot be understood otherwise than by emotional means, the center of musicality is the ability of a person to respond emotionally to music.
What opportunities does the art of music have to convey a certain emotional content?
Music is the movement of sounds, different in height, timbre, dynamics, duration, organized in a certain way in musical modes (major, minor), having a certain emotional coloring, expressive possibilities. In each mode, the sounds correlate with each other, interacting with each other (some are perceived as more stable, others less). In order to perceive the musical content more deeply, a person must have the ability to differentiate moving sounds by ear, to distinguish and perceive the expressiveness of rhythm. Therefore, the concept of "musicality" includes an ear for music, as well as a sense of rhythm, which are inextricably linked with emotions.
Musical sounds have different properties: they have pitch, timbre, dynamics and duration. Their discrimination in individual sounds forms the basis of the simplest sensory musical abilities. The last of the listed properties of sounds (duration) is the basis of musical rhythm. The feeling of emotional expressiveness of musical rhythm and its reproduction form one of the musical abilities of a person - a musical-rhythmic feeling. The first three named properties of musical sounds (pitch, timbre and dynamics) form the basis of pitch, timbre and dynamic hearing, respectively.
In a broad sense, musical ear includes pitch, timbre and dynamic ear.
All of the listed properties (height, timbre, dynamics and duration) are inherent not only in musical sounds, but also in others: speech sounds, noises, voices of animals and birds. What is the uniqueness of musical sounds? Unlike all other sounds and noises, musical sounds have a definite, fixed pitch and length. Therefore, the main carriers of meaning in the music of B.M. Teplov names pitch and rhythmic movement.
Musical ear in the narrow sense of the word B.M. Teplov defines it as pitch hearing. Giving theoretical and experimental substantiations, he proves that pitch plays a leading role in the sensation of musical sound. Comparing the perception of height in noise sounds, speech and music sounds, B.M. Teplov comes to the conclusion that in the noises and sounds of speech, the height is perceived in a total, undivided way. The timbre components are not separated from the pitch ones themselves.
The feeling of height is initially merged with the timbre. Their division is formed in the process of musical activity, since only in music does pitch movement become essential for perception. Thus, a feeling of musical height is created as the height of sounds that form a certain musical movement, standing to each other in one or another height ratio. As a result, it is concluded that the musical ear, by its very nature, must be a pitch ear, otherwise it will not be musical. There can be no musicality without hearing the musical pitch.
Understanding musical ear (in the narrow sense) as a pitch ear does not diminish the role of timbre and dynamic ear. Timbre and dynamics allow you to perceive and reproduce music in all the richness of its colors and shades. These properties of hearing are especially important for a performing musician. Since the pitch of sounds is fixed in notes, and there are only general instructions of the author regarding timbre and dynamics, it is the choice of different colors of sounds (timbre and dynamic) that largely determines the possibilities creative freedom performer, originality of interpretation. However, B.M. Teplov advises cultivating timbre hearing only when the foundations of pitch hearing are available: pitch, hearing.
Thus, musical ear is a multi-component concept. There are two varieties of pitch hearing: melodic and harmonic. Melodic ear is pitch ear in its manifestation to a monophonic melody; harmonic ear - pitch ear in its manifestation in relation to consonances, and consequently, to polyphonic music. Harmonic hearing can significantly lag behind melodic hearing in development. In preschool children, harmonic hearing is usually underdeveloped. There are observational data showing that at preschool age many children are indifferent to the harmonic accompaniment of a melody: they cannot distinguish false accompaniment from non-false. Harmonic hearing involves the ability to feel and distinguish consonance (harmony), which, apparently, is developed in a person as a result of some musical experience. In addition, for the manifestation of harmonic hearing, it is necessary to hear several sounds at the same time, different in height, to distinguish by hearing the simultaneous sounding of several melodic lines. It is acquired as a result of the activity that cannot be carried out without it, when working with polyphonic music.
In addition to melodic and harmonic hearing, there is also concept of absolute pitch. This is the ability of a person to distinguish and name sounds without having a real standard for comparison, that is, without resorting to comparison with the sound of a tuning fork or a musical instrument. Absolute pitch is a very useful quality, but even without it, successful music lessons are possible, so it is not included in the number of basic musical abilities that make up the structure of musicality.
As already noted, musical ear is closely related to emotions. This connection is especially pronounced when perceiving music, distinguishing emotional, modal coloring, moods, feelings expressed in it. When playing melodies, a different quality of hearing operates - it becomes necessary to have ideas about the location of sounds in height, that is, to have musical and auditory representations of sound-altitude movement.
These two components of pitch hearing - emotional and auditory proper - are distinguished by B.M. Teplov as two musical abilities, which he called modal feeling and musical-auditory representations. Ladovoye feeling, musical and auditory representations and sense of rhythm make up the three basic musical abilities that form the core of musicality.
Consider the structure of musicality in more detail.
Lazy feeling. Musical sounds are organized in a certain way. Major and minor modes differ in emotional coloring. Sometimes major is associated with an emotionally positive range of moods - a cheerful, joyful mood, and minor - with sadness. In some cases this is the case, but not always.
How is the modal coloring of music distinguished?
A modal feeling is an emotional experience, an emotional ability. In addition, the modal feeling reveals the unity of the emotional and auditory aspects of musicality. It has its own color not only as a whole mode, but also individual sounds of the mode (having a certain height). Of the seven steps of the mode, some sound stable, others - unstable. The main steps of the mode (first, third, fifth) sound stable, and especially the tonic ( first stage). These sounds form the basis of the mode, its support. The rest of the sounds are unstable, in the melody they tend to be stable. A modal feeling is a distinction not only of the general nature of music, the moods expressed in it, but also of certain relationships between sounds - stable, complete (when the melody ends on them) and requiring completion.
The feeling of harmony manifests itself when perception music as an emotional experience, "felt perception". B.M. Teplov calls him perceptual, emotional component of musical ear. It can be detected when recognizing a melody, determining whether a melody has ended or not, in sensitivity to the accuracy of intonation, modal coloring of sounds. At preschool age, an indicator of the development of modal feeling is love and interest in music. Since music by its very nature is an expression of emotional content, the ear for music must obviously be an emotional ear. The modal feeling is one of the foundations of emotional responsiveness to music (the center of musicality). Since the modal feeling manifests itself in the perception of pitch movement, it traces the relationship of emotional responsiveness to music with a sense of musical pitch.
Musical and auditory performances. In order to reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory ideas of how the sounds of the melody move - up, down, smoothly, jumps, whether they repeat, i.e., have musical and auditory ideas of pitch (and rhythmic) movement. To play a melody by ear, you need to remember it. Therefore, musical-auditory representations include memory and imagination. Just as memorization can be involuntary and voluntary, musical and auditory representations differ in the degree of their arbitrariness. Arbitrary musical and auditory representations are associated with the development of internal hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but arbitrarily operate with musical auditory representations.
Experimental observations prove that for the arbitrary presentation of a melody, many people resort to internal singing, and piano learners accompany the presentation of the melody with finger movements (real or barely recorded) that imitate its playback on the keyboard. This proves the connection between musical and auditory representations and motor skills. This connection is especially close when a person needs to arbitrarily memorize a melody and keep it in memory. "Active memorization of auditory representations, - notes B.M. Teplov, - makes the participation of motor moments especially significant. one .
The pedagogical conclusion that follows from these observations is the ability to involve vocal motor skills (singing) or playing musical instruments to develop the ability of musical and auditory representations.
Thus, musical and auditory representations are an ability that manifests itself in playback by hearing melodies. It is called auditory, or reproductive, component of musical ear.
Sense of rhythm is the perception and reproduction of temporal relationships in music. Accents play an important role in the division of the musical movement and the perception of the expressiveness of rhythm.
As observations and numerous experiments testify, during the perception of music, a person makes noticeable or imperceptible movements corresponding to its rhythm, accents. These are movements of the head, arms, legs, as well as invisible movements of the speech and respiratory apparatus. Often they arise unconsciously, involuntarily. Attempts by a person to stop these movements lead to the fact that either they arise in a different capacity, or the experience of the rhythm stops altogether. The ego speaks about the presence of a deep connection between motor reactions and the perception of rhythm, about the motor nature musical rhythm.
The experience of rhythm, and therefore the perception of music, is an active process. The listener experiences the rhythm only when he reproduces, creates... Any full-fledged perception of music is an active process that involves not just listening, but also making. and making includes a wide variety of movements. As a result, the perception of music is never only an auditory process; it is always an auditory-motor process.”
The feeling of musical rhythm has not only a motor, but also an emotional nature. The content of the music is emotional.
Rhythm is one of the expressive means of music, with the help of which the content is conveyed. Therefore, the sense of rhythm, like the modal sense, forms the basis of emotional responsiveness to music. The active, active nature of musical rhythm makes it possible to convey in movements (which, like music itself, are temporary) the smallest changes in the mood of music and thereby comprehend the expressiveness of the musical language. Characteristics musical speech (accents, pauses, smooth or jerky movements, etc.) can be conveyed by movements corresponding in emotional coloring (clapping, stomping, smooth or jerky movements of the hands, feet, etc.). This allows you to use them to develop emotional responsiveness to music.
Thus, the sense of rhythm is the ability to actively (motorly) experience music, feel the emotional expressiveness of the musical rhythm and accurately reproduce it. Musical memory does not turn on B.M. Thermal among the main musical abilities, since "immediate memorization, recognition and reproduction of pitch and rhythmic movements are direct manifestations of musical ear and sense of rhythm.
So, B.M. Teplov distinguishes three main musical abilities that make up the core of musicality: modal feeling, musical and auditory representations, and a sense of rhythm.
ON THE. Vetlugina names two main musical abilities: pitch hearing and a sense of rhythm. This approach emphasizes the inseparable connection between the emotional (modal feeling) and auditory (musical-auditory representations) components of musical hearing. The combination of two abilities (two components of musical ear) into one (tone pitch) indicates the need for the development of musical ear in the relationship of its emotional and auditory foundations.
The concept of "musicality" is not limited to the named three (two) basic musical abilities. In addition to them, the structure of musicality can include performing, Creative skills etc,
The individual originality of the natural inclinations of each child, the qualitative originality of the development of musical abilities must be taken into account in the pedagogical process.
Topic 1. Music as a phenomenon. Types musical creativity.
Music(from the Greek musike, lit. - the art of muses) - a type of art in which meaningful and specially organized (in height and time) sound sequences serve as a means of embodying artistic images. Expressing thoughts and feelings in an audible form, music, along with speech, serves as a sound means of human communication.
In a developed musical culture, creativity is represented by many intersecting varieties that can be differentiated according to different criteria.
Classification of musical phenomena by types of musical creativity:
1. Folklore or folk art.
Characteristics of creativity:
1) Oral. Passed from mouth to mouth.
2) Unprofessional.
3) Canonical (canon - a model according to which this or that work is created)
2. Creativity minstrel type. Or urban entertainment music from the early Middle Ages to modern pop or pop music.
Characteristics of creativity:
1) Oral.
2) Professional.
3) Canonical.
4) Theoretically meaningless.
3. Canonical improvisation(religious music).
Characteristics of creativity:
1) Oral.
2) Professional.
3) Canonical.
4) Theoretically meaningful.
4. Opus - music(opus is the original composition recorded in the musical text). Opus - music is also called - composer, autonomous, serious, classical, academic.
Characteristics of creativity:
1) Written.
2) Professional.
3) Original (requirements - originality, individuality).
4) Theoretically meaningful.
Classification characteristics of music as an art:
1. Non-pictorial.
2. Temporal (not spatial).
3. Performing.
Topic 2. Properties of musical sound. Expressive means of music.
V musical language individual musical sounds meaningful and organized so that they form complex of expressive means of music. The expressive means of music serve to embody artistic images that can evoke a certain range of associations in the listener, through which the content of a musical work is perceived.
Music sound properties:
1. Height.
2. Duration.
3. Volume.
Expressive means of music:
1. Melody.
2. Harmony.
3. Invoice.
5. Dynamics.
Melody. Organizes sounds by pitch in their sequence.
One of the most important (along with rhythm) means of expression. The word "melody" can act as a synonym for the word "music". (Pushkin A. S. “From the pleasures of life, music yields to one love, But love is a melody”). Melody is also called musical thought.
The expressiveness of the melody is based on the fact that its analogue outside of musical phenomena is speech. Melody plays the same role in music as speech plays in our Everyday life. Common between melody and speech - intonation. In speech, intonation carries mainly emotional coloring, in music - both semantic and emotional.
Harmony. Organizes sounds by pitch (vertical) in simultaneity.
Harmony organizes sounds into consonance.
Consonances are divided into consonances(nice sound) and dissonances(sharp sound).
Consonances can sound stable and unstable. These qualities are a colossal means of expression. They convey the growth of tension, the decline in tension, create a sense of development.
Texture. This is a musical fabric that organizes sounds both horizontally and vertically.
Invoice types:
1. Monody (melody without accompaniment).
A) polyphony is the simultaneous sounding of equal melodies.
3. Melody with accompaniment ( homophonic texture).
4. Chord and Chord figuration.
Rhythm is the organization of sounds in time. Sounds have different duration. Sounds have an accent (accent and non-accent). Rhythm Functions:
a) rhythm arranges musical time, divides it into proportionate sections from accent to accent. The section from accent to accent is a measure. This is the metric function of rhythm (called "meter");
b) rhythm conveys forward movement, creates a feeling of life, uniqueness, since sounds of different duration are superimposed on the metric grid.
The associative field of rhythm is very wide. The main association is with the movement of the body: the plasticity of the gesture, the rhythm of the step. It can also be associated with heartbeat, breathing rhythm. Reminds me of the countdown. Through rhythm, music is connected with other art forms, primarily with poetry and dance.
Dynamics– organization of sounds by loudness. Forte is loud, piano is quiet. Crescendo - decrease in dynamics, tension and diminuendo - increase.
Timbre- the coloring of the sound that distinguishes this or that instrument, this or that singing voice. To characterize the timbre, visual, tactile, taste associations are most often used (bright, shiny or matte timbre, warm or cold timbre, juicy timbre), which once again indicates the associative nature of music perception.
Men's: tenor, baritone, bass
Women's: soprano, mezzo-soprano, contralto
Compound symphony orchestra:
4 main groups
(the order of listing instruments in groups is by pitch, from top to bottom):
Strings (violin, viola, cello, double bass).
Woodwinds (flute, oboe, clarinet, bassoon).
Brass wind instruments (trumpet, horn, trombone, tuba).
Percussion (timpani, bass drum, snare drum, cymbals, triangle).
The composition of the string quartet:
2 violins, viola, cello
Kholopova VN Music as a form of art. SPb., 2000
Gusev V. E. Aesthetics of folklore. L., 1967
Konen V.J. The third layer: New mass genres in the music of the XX century. M., 1994
Martynov V.I. Zone Opus Posth, or Birth new reality. M., 2005
Orlov G. A. The Tree of Music. SPb., 2005
What is the essence, musical content (2 hours)
- Generalization is the most important property of musical content (on the example of Part I " moonlight sonata L. Beethoven).
Music material:
- L. Beethoven. Sonata No. 14 for piano. Part I (hearing); II and III parts (at the request of the teacher);
- L. Beethoven. Symphony No. 7, parts I and II (at the request of the teacher);
- L. Beethoven, Russian text by E. Alexandrova. "Friendship" (singing).
Characteristics of activities:
- Analyze ways of translating content into musical works.
- Perceive and evaluate musical works from the point of view of the unity of content and form (taking into account the criteria presented in the textbook).
- To master outstanding examples of Western European music (the era of Viennese classicism).
In search of understanding of the musical content, logical laws and methods of analysis are powerless. We believe music just in spite of all logic, we believe only because it influences us indisputably and obviously. Is it possible not to believe what exists in ourselves?
Everyone who has had to think about the mystery that the musical content contains, probably felt: music tells us about something more, which is immeasurably wider and richer than our experience, our knowledge of life.
So, listening, for example, to Beethoven's "Moonlight" sonata, we can imagine a picture moonlit night: not just one night in a specific area, with a specific landscape, but the spirit of a moonlit night with its mysterious rustles and aromas, with an endless starry sky incomprehensible, mysterious.
However, is the content of this work exhausted only by landscape associations? After all, listening to this sonata, we can imagine the dreary torment of unrequited love, separation and loneliness, all the bitterness of human sadness.
And all these such different ideas will not contradict the nature of Beethoven's sonata, its concentrated contemplative mood. For it tells us about sadness - not just the sadness of a moonlit night, but all the sadness of the world, all its tears, suffering and anguish. And everything that can cause these sufferings can become an explanation of the content of the sonata, in which everyone guesses their own spiritual experience.
Most of you know Moonlight Sonata and really love it. No matter how many times we listen to this magical music, it conquers us with its beauty, deeply excites us with the mighty power of the feelings embodied in it.
In order to experience the irresistible impact of the music of this sonata, one may not know under what life circumstances it was composed; one may not know that Beethoven himself called it a “fantasy sonata”, and the name “Lunar”, after the composer’s death, was assigned to it with the light hand of one of Beethoven’s friends, the poet Ludwig Relshtab. In poetic form, Relshtab expressed his impressions of the sonata, in the first part of which he saw a picture of a moonlit night, the quiet expanse of a lake and a boat serenely sailing on it.
I think that after listening to this sonata today, you will agree with me that such an interpretation is very far from the actual content of Beethoven's music, and the name "Lunar" - no matter how we get used to it - does not at all correspond to the character and spirit of this music.
And is it even necessary to “compose” some own programs to the music, if we know the real life circumstances under which it was created, and, consequently, what thoughts and feelings the composer had when it was created.
Now, if you know, at least in general terms, the history of the emergence of the Moonlight Sonata, I have no doubt that you will listen and perceive it differently than you have listened to and perceived so far.
I have already spoken about the deep spiritual crisis that Beethoven experienced and which was captured in his Heiligenstadt will. It was on the eve of this crisis and, undoubtedly, bringing it closer and sharpening it, that an important event for him took place in Beethoven's life. Just at this time, when he felt the approach of deafness, he felt (or, at any rate, it seemed to him) that for the first time in his life a true love. He began to think of his charming student, the young Countess Juliet Guicciardi, as his future wife. “... She loves me, and I love her. These are the first bright minutes in the last two years,” Beethoven wrote to his doctor, hoping that the happiness of love would help him overcome his terrible illness.
And she? She, brought up in an aristocratic family, looked down on her teacher - albeit of a famous, but humble origin, and besides, deafening. “Unfortunately, she belongs to a different class,” Beethoven admitted, realizing what an abyss lies between him and his beloved. But Juliet could not understand her brilliant teacher, she was too frivolous and superficial for this. She gave Beethoven Double punch: turned away from him and married Robert Gallenberg - a mediocre music composer, but a count ...
Beethoven was a great musician and a great person. A man of titanic will, a mighty spirit, a man of lofty thoughts and deepest feelings. Imagine how great must have been his love, and his sufferings, and his desire to overcome these sufferings!
"Moonlight Sonata" was created in this difficult time of his life. Under its real name "Sonata quasi una Fantasia" that is, "Sonata like a fantasy", Beethoven wrote: "Dedicated to Countess Giulietta Guicciardi" ...
Listen now to this music! Listen to it not only with your ears, but with all your heart! And perhaps now you will hear in the first part such immeasurable sorrow as you have never heard before;
in the second part - such a bright and at the same time such a sad smile, which had not been noticed before;
and, finally, in the finale - such a stormy boiling of passions, such an incredible desire to break out of the shackles of sadness and suffering, which only a true titan can do. Beethoven, struck by misfortune, but not bent under its weight, was such a titan.
The Moonlight Sonata brought us closer to the world of Beethoven's sorrow and Beethoven's suffering, to that profound Beethoven's humanity that has been stirring the hearts of millions of people for more than a century and a half, even those who have never seriously listened to real music.
In the same way, joyful music reveals to us all the joys of the world, everything that makes people laugh and have fun.
The theme of joy is heard in many of Beethoven's works, including the famous Ninth Symphony, in the finale of which (for the first time in history symphonic music!) Beethoven introduced a choir and soloists singing a mighty hymn - "Ode to Joy" to the words of Schiller.
But the Seventh Symphony is one of the few works by Beethoven where joy, enthusiastic, exuberant joy arises not as the end of a struggle, not in the process of overcoming difficulties and obstacles, but as if the struggle that led to this victorious joy had passed somewhere earlier, not seen and not heard by us.
But Beethoven would not have been Beethoven if he had surrendered to the power of elemental joy thoughtlessly, forgetting about the complexities and vicissitudes of real life.
The Seventh Symphony, like most of Beethoven's other symphonies, has four movements. The first of these movements is preceded by a long, slow introduction. Many critics heard in this introduction echoes of that love for nature, which Beethoven himself often spoke about. For example, much is connected with nature in his Sixth Symphony, which, in his own words, he was helped to compose by cuckoos, orioles, quails and nightingales.
In the introduction to the Seventh Symphony, it is indeed not difficult to hear a picture of the morning awakening of nature. But, like everything in Beethoven, nature here is also powerful, and if the sun is rising, then its first rays illuminate everything around with a bright and burning light. Or maybe these are also distant echoes of that struggle, which nevertheless was and was, obviously, not easy ...
But now the introduction is over, and Beethoven literally brings down the elements of joy on us. The three parts of the symphony are filled with it. If there were such an instrument that could measure the strength of the tension of music, the strength of the feelings expressed by it, then in Beethoven's Seventh Symphony alone, we would probably find as much joy as it does not exist in all the works taken together by many other composers.
What a miracle of art and, if you like, a miracle of life! Beethoven, whose life was completely devoid of joy, Beethoven, who once said in despair: “Oh, fate, give me at least one day of pure joy!” - he himself gave humanity with his art an abyss of joy for many centuries to come!
Isn't it a miracle, really: to melt boundless suffering into violent joy, to bring to life dazzling bright sounds from dead deafness! ..
But the three joyful movements of the Seventh Symphony are the first movement, the third and the fourth. And the second one?
It was here that Beethoven remained true to the truth of life, which he learned from his personal hard experience. Even those of you who have never heard the Seventh Symphony before may recognize the music of its second movement. This is mournful music - not a song, not a march. There are no heroic or tragic notes in it, which are usually heard in Beethoven's funeral marches. But it is full of such sincere, heartfelt sadness that it is often performed at civil memorial services, on the mournful days of the funeral of outstanding people dear to all of us.
Even a lighter episode that appears in the middle of this movement (in fact, it also happens in Chopin's funeral march, written half a century later), does not deprive this music of its general mournful tone.
This part of the whole symphony gives an amazing vital truthfulness, as if saying: we all strive for joy, joy is wonderful! But, alas, our life is woven not only out of joy...
It was this part that was repeated twice at the request of the public during the first performance of the symphony. This part is one of the most beautiful and most popular pages of Beethoven's music. (D. B. Kabalevsky. Conversations about music for youth).
We see that music has the ability to generalize all similar phenomena of the world, that, expressing any state in sounds, it always gives immeasurably more than the experience of the soul of one person can accommodate.
Not only joys and sorrows, but all fabulous miracles, all the riches of fantasy, all the mysterious and magical that is hidden in the incomprehensible depths of life - all this is contained in music, the main exponent of the invisible, wonderful, intimate.
Questions and tasks:
- Name the musical works known to you, which would embody the main human feelings- joy, sadness, anger, delight, etc.
- Listen to these poems. What do you think, which of them most closely matches the image of Beethoven's Moonlight Sonata? Explain your choice.
Presentation
Included:
1. Presentation, ppsx;
2. Sounds of music:
Beethoven. Symphony No. 7:
1 part. Poco sostenuto-Vivace, mp3;
2 part. Allegretto, mp3;
Beethoven. Symphony No. 9, Ode to Joy (final), mp3;
Beethoven. Sonata No. 14:
1 part. Adagio sostenuto (2 versions: symphony orchestra and piano), mp3;
2 part. Allegretto (piano), mp3;
3 part. Presto agitato (piano), mp3;
3. Accompanying flock, docx.
The medium of which is sound and silence. Probably, any person in his life heard at least once the murmur of a stream in the forest. Does it remind you of melodic music? And the sound of spring rain on the roof - doesn't that sound like a melody? Just when a person began to notice such details around him, he realized that he was surrounded by music everywhere. It is the art of sounds creating together a unique harmony. And man began to learn from nature. However, in order to create a harmonious melody, it was not enough to simply understand that music is an art. Something was missing, and people began to experiment, look for means of transmitting sounds, express themselves.
How did music come about?
Over time, a person has learned to express his emotions through a song. The song was thus the first music created by man himself. He wanted for the first time with the help of a melody to tell about love, this wonderful feeling. The first songs were written about her. Then, when grief came, the man decided to perform a song about him, to express and show his feelings in it. This is how memorial services, funerary songs, and church hymns arose.
To maintain the rhythm, since the development of the dance, music performed by the body of the person himself has appeared - snapping fingers, clapping, hitting a tambourine or a drum. It was the drum and tambourine that were the first musical instruments. Man with their help learned to produce sound. These tools are so ancient that their appearance is difficult to trace, since they can be found in all peoples. Music today is fixed with the help of notes, and it is realized in the process of performance.
How does music affect our mood?
Characteristics of music in terms of sound and construction
Also, music can be characterized by sound and structure. One sounds more dynamic, the other is calm. Music can have a clear harmonious rhythmic pattern, or it can have a broken rhythm. Many elements determine the overall sound of various compositions. Let's take a look at four terms that are most frequently used: mode, dynamics, backing track, and rhythm.
Dynamics and rhythm in music
Dynamics in music - musical concepts and designations associated with the loudness of its sound. Dynamics refers to sudden and gradual changes in music, loudness, accent, and several other terms.
Rhythm is the ratio of the length of notes (or sounds) in their sequence. It is built on the fact that some notes last a little longer than others. They all come together in a musical flow. Rhythmic variations give rise to the ratio of the duration of sounds. Combining, these variations form a rhythmic pattern.
Lad
Mode as a concept in music has many definitions. It occupies a central place in harmony. Here are some definitions of mode.
Yu.D. Engel believes that this is a scheme for constructing a certain sound range. B.V. Asafiev - that this is the organization of tones in their interaction. I.V. Sposobin pointed out that mode is a system of sound connections, united by some tonic center - one sound or consonance.
The musical mode was defined in its own way by various researchers. However, one thing is clear - thanks to him, a piece of music sounds harmoniously.
backing track
Consider the following concept - backing track. It should certainly be revealed when talking about what music is. The definition of a backing track is as follows - this is a composition from which the vocals have been removed, or the sound of some musical instrument is missing in it. One or more parts of instruments and / or vocals are missing from the backing track, which / which were present in the original version before the composition was changed. Its most common form is the removal of words from a song so that the music sounds alone, without lyrics.
In this article, we told you about what music is. The definition of this beautiful art form has been presented only briefly. Of course, for those who are interested in it on a deep, professional level, it makes sense to study its theory and practice, laws and foundations. Our article answers only some of the questions. Music is an art that can be studied for a very long time.
L.P. Kazantseva
Doctor of Arts, Professor of the Astrakhan State Conservatory
and Volgograd State Institute of Arts and Culture
THE CONCEPT OF MUSICAL CONTENT
Since ancient times, human thought has tried to penetrate the secrets of music. One of these secrets, or rather, the key one, was the essence of music. There was no doubt that music can strongly influence a person due to the fact that it contains something in itself. However, what exactly is this meaning, what does it “speak” to a person, what is heard in the sounds - this differently varied question, which has interested many generations of musicians, thinkers, scientists, has not lost its sharpness even today. It is not surprising that the key question for music of its content received very different, sometimes mutually exclusive answers. Here are just a few of them, conditionally grouped by us.
Significantly stands out the area of opinions about music as an imprint human:
music is an expression of human feelings and emotions(F. Bouterwek: the musical arts express "feelings without knowledge of the external world according to the laws of human nature. All these arts can indicate only vaguely, paint only very remotely"; L.R. d'Alembert; V.G. Wackenroder; K. M, Weber, F. Chopin, F. Thiersch, J.J. Engel, J. Sand: "The field of music is emotional unrest"; R. Wagner: music "remains even in its extreme manifestations only to in s t v about m "; S. Kierkegaard; R. Rolland; Stendhal; R. Wagner; V. P. Botkin; L. N. Tolstoy: "Music is shorthand for feelings"; B. M. Teplov: "Content music are feelings, emotions, moods"; L. Berio; A.Ya. Zis; S. Langer; S.Kh. Rappoport; E.A. Sitnitskaya); thinkers of the 17th - 18th centuries. (A. Kircher, I. Mattheson, D. Harris, N. Diletsky and others): music is an expression of affects;
music is an expression of feelings(I. Kant: it “speaks through sensations alone without concepts and, therefore, unlike poetry, leaves nothing for reflection”);
music is an expression of intelligence(I.S. Turgenev: “Music is the mind embodied in beautiful sounds”; J. Xenakis: the essence of music is to “express intelligence with the help of sounds”; R. Wagner: “Music cannot think, but it can to embody a thought"; G. W. Leibniz: "Music is an unconscious exercise of the soul in arithmetic");
music is an expression of the inner world of a person(G.W.F. Hegel: “Music makes subjective inner life its content”; V.A. Sukhomlinsky: “Music unites the moral, emotional and aesthetic spheres of a person”; K.Kh.F. Krause; A.A. Farbshtein ; M. I. Roitershtein: “The main thing that music tells about is the inner world of a person, his spiritual life, his feelings and experiences, his thoughts and moods in their comparison, development”; V. N. Vladimirov; Golovinsky, I. V. Nestiev, A. A. Chernov);
music is an expression of mysterious depths human soul (J.F. Rameau: “Music should appeal to the soul”, “Genuine music is the language of the heart”; A.N. Serov: “Music is the language of the soul; it is the area of feelings and moods; it is the life of the soul expressed in sounds”; F. Grillparzer: "It is precisely vague feelings that are the own field of music"; F. Garcia Lorca: "Music in itself is passion and mystery. Words speak of the human; music expresses what no one knows, no one can explain, but what is more or less in everyone"; H. Riemann: "The content ... of music is formed by melodic, dynamic and agogic ups and downs, bearing the imprint of the spiritual movement that gave rise to them"; A.F. Losev: "Music turns out to be the most intimate and most adequate expression of the elements of spiritual life”);
music is an expression of the inexpressible, the subconscious(V.F. Odoevsky: “Music in itself is an unaccountable art, the art of expressing the inexpressible”; S. Munsch: “Music is an art that expresses the inexpressible. The possession of music is a sphere of the subconscious that cannot be controlled by the mind and touch”; G. G. Neuhaus: "Everything "insoluble", inexpressible, indescribable that constantly lives in the soul of a person, everything "subconscious" (...) is the realm of music. Here are its sources").
The field of ideas about music as an imprint is many-sided extrahuman:
music is an expression of the existential, the Absolute, the Divine(R. De Conde: music calls for the “irrational absolute”; R. Steiner: “The task of music is to embody the spirit that is given to man. Music reproduces the ideal forces that lie behind the material world”; A.N. Scriabin; K.V. .F. Solger: the meaning of music is “the presence of the deity and the dissolution of the soul in the divine…”, Franz Fischer: “Even good dance music is religious”);
music is an expression of the essence of Being(A. Schopenhauer: “Music in any case expresses only the quintessence of life and its events”, other arts “speak only about the shadow, it is about the essence”; V.V. Medushevsky: “The true content of music is the eternal secrets of being and human soul"; G.V. Sviridov: "Word ... carries the Thought of the World ... Music carries the Feeling, Sensation, Soul of this world"; L. Z. Lyubovsky: "Music is a kind of reflection of the composer's comprehension of Nature, the Universe, Eternity, God. This is her majestic Object»);
music is a reflection of reality(Yu.N. Tyulin: “The content of music is the reflection of reality in specific musical images”; I.Ya. Ryzhkin: music “gives a complete and multifaceted reflection public life... and leads us to a holistic knowledge of reality”; T. Adorno: "The essence of society becomes the essence of music"; A. Webern: “Music is a pattern of nature perceived by the ear”);
music is movement(A. Schelling: music “represents pure movement, as such, in abstraction from the subject”; A.K. Butskoy; R. Arnheim; N.A. Goryukhina: “Question: what is meant by the content of a musical work? Answer: its dialectics own movement"; A.F. Losev: "... pure music has the means to convey ... the ugly element of life, i.e. its pure becoming”; VC. Sukhantseva: "The subject of music ... is the area of re-creation of the procedural nature of being in its actual socio-cultural development..."; L.P. Zarubina: “Music mainly and predominantly depicts the formation”);
music is an expression of the positive(A.V. Schlegel: “Music absorbs only those of our feelings that can be loved for their own sake, those on which our soul can voluntarily linger. Absolute conflict, a negative principle has no way into music. Bad, vile music does not can express, even if she wanted to"; A.N. Serov: "Ambition, stinginess, deceit, like Iago, the malice of Richard III, the sophistication of Goethe's Faust are not musical subjects").
The transitional zone between the first and second regions is also visible, into which the following installations fall:
music is an expression of man and the world(N.A. Rimsky-Korsakov: “The content of works of art is life human spirit and nature in its positive and negative manifestations, expressed in their mutual relations”; G.Z. Apresyan: it is “capable of reflecting the essential phenomena of life by its inherent means, primarily the feelings and thoughts of people, the spirit of its time, certain ideals”; Yu.A. Kremlin; L.A. Mazel; L.M. Kadtsyn: "The content of musical works is a world of ideas... about the work itself, about the surrounding world, about the listener in this world and, of course, about the author and performer in this world"; B.L. Yavorsky: "Music expresses: a) schemes of motor processes... b) schemes of emotional processes... 3) schemes of volitional processes... 4) schemes of contemplative processes"; A.A. Evdokimova highlights the emotional, intellectual and subject aspects of the musical content);
music is a reflection of reality in the emotions and ideas of a person(Yu.B. Borev; G.A. Frantsuzov: the content of music is “the image emotional experiences, acting as one of the forms mental reflection in the mind of a person of objective reality - the subject of musical art").
Finally, it is important, although somewhat paradoxical, to understand music as an imprint sound:
music is a specific self-valuable world(L.N. Tolstoy: “Music, if it is music, has to say something that can only be expressed by music”; I.F. Stravinsky: “Music expresses itself”; L.L. Sabaneev: “This is a closed a world from which a breakthrough into logic and ideology ... is made only by a violent and artificial way"; H. Eggebrecht: "Music does not mean something extramusical; it means itself");
music - aestheticized sounds (G. Knepler: “Music is everything that functions as music”; B.V. Asafiev: “The subject of music is not a visible or tangible thing, but is the embodiment, or reproduction, of processes-states of sound, or, proceeding from perception, - giving oneself to the state of hearing. What? Complexes of sound in their relationship ... ");
music is a combination of sounds(E. Hanslik: “Music consists of sound sequences, sound forms that have no content other than themselves ... there is no content in it, except for the sound forms we hear, for music not only speaks with sounds, it speaks only sounds”; M. Benze, V. Viora, E. Garni, G. A. Laroche, A. Mol, D. Proroll, N. Ringbom, V. Fuchs, T. Zielinsky: she is a “soundscape”);
music is everything that sounds(I.G. Herder: “Everything that sounds in nature is music”; J. Cage: “Music is sounds, sounds that are heard around us, regardless of whether we are in a concert hall or outside it "; L. Berio: "Music is everything that is listened to with the intention of hearing music").
Of course, a very conditional grouping of thoughts about the essence of music cannot cover the palette of opinions that has developed today. This obviously does not include positions, say, arising from the interpretation of music in the Middle Ages as a science, from the distinction in music between the composer's opus and the improvisational process of music-making, statements of the ontological nature of music as an art form, transferring the concept of the content of music to the field of perception, etc.
Some of them also offer their own, sometimes original, approaches. modern definitions musical content, given by V.N. Kholopova - "... its expressive and semantic essence"; A.Yu. Kudryashov - "... a complex system of interactions of musical-semantic genera, types and types of signs with their objectively established meanings, as well as subjective-specified meanings refracted in the composer's individual consciousness, which are further transformed into new meanings in performance interpretation and listener's perception"; VC. Sukhantseva - "... the area of \u200b\u200bbeing and evolution of rhythmic-intonational complexes in their fundamental conditionality and mediation by the creative subjectivity of the composer"; Yu.N. Kholopov, who believes that the content of music as art is “the inner spiritual image of the work; what music expresses" and includes "feelings and experiences in a special aesthetic esk and e ”and“ sound quality that ... is subjectively perceived as one or another pleasantness of the sound material and sound design (in the negative case - a nuisance) ”. The positions of E. Kurt also require comprehension - “... the true, original, moving and shaping content [of music. - L.K.] is the development of mental stress, and music only conveys it in a sensual form ... "; G.E. Konyus - there is technical content (“all the diverse material used for its [musical creation. - L.K.] production”) and artistic content (“impact on the listener; mental experiences caused by sound perceptions; ideas, images, emotions, etc. .P.") .
It is easy to get lost in these and numerous other judgments about the content of music that are not given here, because the understanding of the essence of music known to science today is very different. Nevertheless, we will try to understand this most complicated issue.
The musical content characterizes music as an art form, therefore, it should state the most general patterns. Here is how A.N. Sohor: “The content of m[usic] is made up of artistic intonation images, that is, the results of reflection, transformation and aesthetic evaluation of objective reality in the mind of a musician (composer, performer) imprinted in meaningful sounds (intonations)” .
True in principle, this definition is still far from complete - and we have just seen this many times - it characterizes what music is strong in. So, obviously lost or unjustifiably carefully hidden behind the phrase " objective reality»subject - a person whose inner spiritual world is invariably attractive to the composer. From the situation of communication between the composer-performer-listener, the last link fell out - the interpretation of what is sounded by the listener - without which the musical content cannot take place.
Given the above, we will give the following definition of musical content: it is the spiritual side of music embodied in the sound, generated by the composer with the help of the objectified constants (genres, pitch systems, composition techniques, forms, etc.) that have developed in it, updated by the performing musician and formed in listener's perception.
Let us characterize the terms of the multicomponent formula presented by us in somewhat more detail.
The first component of our definition informs that musical content is the spiritual side of music. It is generated by the system of artistic representations. Representation- say psychologists - this is a specific image that arises as a result of the complex activity of the human psyche. Being a union of the efforts of perception, memory, imagination, thinking and other properties of a person, the image-representation has a generality (distinguishing it from, say, a direct impression in the image-perception). It absorbs the human experience not only of the present, but also of the past and possible future (which distinguishes it from the image-perception that is in the present and the imagination directed to the future).
If the music is system representations, it is logical to ask the question: about what exactly?
As we saw earlier, subject side musical representations are seen in different ways, and almost every statement is true in some way. In many judgments about music appears Human. Indeed, musical art (as, indeed, any other art) is intended for a person, is created and consumed by a person. Naturally, it tells first of all about a person, that is, a person, almost in all the richness of his self-manifestation, has become a natural “object” displayed by music.
A person feels, thinks, acts in relations with other people in the center of the philosophical, moral, religious laws of being developed by society; he lives among nature, in the world of things, in geographic space and historical time. Habitat person in broad sense words, that is, the macrocosm (relative to the world of the person himself) is also a worthy subject of music.
We will not discard as untenable those statements in which the essence of music is linked with sound. The most polemical, they are also legitimate (in particular for contemporary creativity), especially if they are not focused specifically on sound, but expanded to the entire apparatus of influence that has developed within the boundaries of music. Thus, the meaning of music can lie in its self-knowledge, in ideas about its own resources, that is, about the microcosm (again, relative to the human world).
The large subject “spheres of competence” (A.I. Burov) of music that we have named - ideas about a person, the world around us and music itself - testify to a wide range of its topics. The aesthetic possibilities of music will be realized by us as even more significant if we remember that the delineated subject areas are by no means necessarily carefully isolated, but are prone to various interpenetrations and mergers.
Formed into musical content, performances are generated and coexist according to the laws of musical art: they are concentrated (say, in the exposition of intonations) and discharged (in intonation development), correlate with the “events” of musical dramaturgy (for example, they replace each other when a new image is introduced) . In full agreement with the spatio-temporal foundations of the integrity of a musical work, the temporal development of some representations (corresponding to musical intonations) thickens and compresses into more capacious (musical images), which, in turn, give rise to the most general ideas(semantic "concentrates" - musical and artistic themes and ideas). Subordinate to artistic (musical) laws, ideas generated by music gain the status artistic(musical).
Musical content is not a single performance, but a system of them. This means not just a certain set of them (a set, a complex), but their certain interconnectedness. In terms of their objectivity, representations can be heterogeneous, but ordered in a certain way. In addition, they can have different significance - be primary, secondary, less significant. On the basis of some, more particular, representations, other, more generalized, global ones arise. Combining multiple and heterogeneous representations gives a rather complexly organized system.
The peculiarity of the system lies in its dynamism. A piece of music is arranged in such a way that in the unfolding of the sound fabric, meanings are constantly being created, interacting with those that have already taken place and synthesizing more and more new ones. The content of a musical work is in constant motion, "playing" and "flickering" with facets and shades, revealing its various layers. Inconstantly changeable, it slips away and entails.
Let's go further. Some perceptions arise composer. Since the view is the result mental activity of a person, it cannot be limited only to an objectively existing subject area. It certainly includes subjective-personal beginning, human reflection. Thus, the representation underlying music is an indissoluble unity of objective and subjective principles. Let's show their unity on such a difficult phenomenon as musical-thematic borrowings.
The musical-thematic material borrowed by the composer, that is, already existing musical statements, finds itself in a difficult situation. On the one hand, it keeps a connection with an already established artistic phenomenon and exists as an objective reality. On the other hand, it is intended to convey other artistic thoughts. In this regard, it is advisable to distinguish between its two statuses: autonomous musical thematism (located in the primary artistic opus) and contextual (acquired through its secondary use). They correspond to autonomous and contextual meanings.
Musical-thematic borrowings can retain their primary meanings in a new work. The semantic side of the fragment from "The Enlightened Night" by A. Schoenberg in the Third Sonata for button accordion by Vl. Zolotarev, despite the arrangement of the orchestral fabric for a solo instrument; in the play “Moz-Art” for two violins by A. Schnittke, the author also manages to draw an easily recognizable initial musical theme symphonies g minor Mozart in a violin duet without distorting its meaning. In both cases, the autonomous and contextual meanings almost coincide, leaving priority for "objectively given".
However, even the most careful handling of borrowing (not excluding the mentioned examples) is under the pressure of a new artistic context, which is aimed at forming semantic layers in the borrowing composer's opus that are not achievable without someone else's music. Thus, at the end of Zolotarev's piece, a fragment from Schoenberg's music acquires an elevated idealization that is unusual for him in the original source, and the key intonation of Mozart's symphony is involved in a witty game played by two violins by Schnittke. Even more obvious is the subjective activity of the composer in those cases when the borrowings are not given "verbatim", but are preliminarily ("pre-context") dissected. Consequently, even such a detail as the musical thematic material used by the composer bears the stamp of a diverse unity of the "objectively" given and the author's individuality, which is actually natural for art as a whole.
To outline a particular subject area and express their own vision to the composer allow objectified constants- Traditions developed by musical culture. An essential feature of the musical content is that it is not created by the composer each time "from scratch", but incorporates certain semantic clots developed by generations of predecessors. These meanings are honed, typified and stored in genres, pitch systems, compositional techniques, musical forms, styles, well-known intonation-signs (intonation formulas like Dies irae, rhetorical figures, symbolism of musical instruments, semantic roles of keys, timbres, etc. ). Getting into the attention of the listener, they evoke certain associations and help to "decipher" the composer's intention, thereby strengthening mutual understanding between the author, performer and listener. Resorting to them as fulcrums, the author layers new semantic layers on this foundation, conveying his artistic ideas to the audience.
The ideas that arise in the composer are formed into an artistic opus, which becomes full-fledged music only if it is interpreted by the performer and perceived by the listener. For us, it is important that the representations that make up the spiritual side of music are formed not only in the composer's opus, but also in performance and perception. The author's ideas are corrected, enriched or impoverished (for example, in cases of loss of the "connection of times" with a large time distance between the composer and the performer or the composer and the listener, a serious genre and style transformation of the "original source" opus, etc.) by the ideas of other subjects and only in this form do they turn from the potential of music into true music as a real phenomenon. Since the situations of interpretations and perceptions are countless and individually unique, it can be argued that the musical content is in continuous motion, that it is a dynamically developing system.
Like any other representation that arises in music, it is “reified”. His "material form" sound, therefore, the representation "materialized" by him can be called sound or auditory. The sound way of being representations distinguishes music from other forms of art, in which representations are "reified" by line, paint, word, etc.
Of course, any sound is capable of causing a performance, but it does not necessarily create music. In order to get out of the depths of primordial "noises" and become musical, that is, "tone", the sound must be aestheticized, "raised" above the ordinary by its special expressive effect on a person. This is achievable when sound is included (by special means and techniques) in the musical and artistic process. In such a situation, the sound acquires specific - artistic - functions.
However, the recognition of the sound nature of music does not absolutize exclusively auditory representations as purely musical. Others are quite acceptable in it - visual, tactile, tactile, olfactory. Of course, in music they by no means compete with auditory representations and are called upon to generate additional, additional associations that clarify the basic auditory representation. However, even such a modest, auxiliary role of optional performances allows them to coordinate music with other types of art and, more broadly, with other ways of being a person.
Understanding this, one should still refrain from extremes - an overly broad interpretation of music, expressed, for example, by S.I. Savshinsky: “The content of a musical work includes not only what is given in its sound fabric. Merge with it, perhaps expressed or even not expressed by the composer, the program - data theoretical analysis etc. For Beethoven, these are the analyzes of A. Marx, the articles of R. Rolland; for the works of Chopin, these are his “Letters”, Liszt’s books about him, Schumann’s articles, Leuchtentritt’s or Mazel’s analyzes, Anton Rubinstein’s statements, for Glinka and Tchaikovsky these are the articles of Laroche, Serov and Asafiev". It seems that “near-musical” materials, which are certainly important for the perception of music, should not blur the boundaries of music itself, which are predetermined by its sound nature. The latter, however, consists not only in sound as a substance, but also in the subordination of sound to the musical laws of being (sound-pitch, tonal-harmonic, dramatic, and others).
Paying tribute to sound in music as an art form, we nevertheless warn you: its embodiment in sound should not be understood straightforwardly, they say, music is only that which sounds directly in this moment. Sound as an acoustic phenomenon - the result of fluctuations in an elastic air medium - may be absent "here and now". However, at the same time, it is, in principle, reproducible with the help of memories (of previously heard music) and internal hearing (according to the existing music notation). These are the works, a) composed and notated by the author, but not yet voiced, b) living an active stage life, and also c) works that are now (temporarily) not relevant “the totality of already accomplished performing realizations”, “the memory of which has been postponed, stored in the public mind. In those cases when the sound "clothing" of the performances was not found and fixed by the composer, or - in improvisation - presented by the performer, who at the same time also takes on the author's functions, it is not necessary to talk about the musical content, and indeed the musical work. Thus, the musical content of L. Beethoven's Thirty-Second Piano Sonata, which does not sound while reading these lines, quite realistically exists. Nevertheless, it is more or less successfully reconstructable, which would be completely impossible in a hypothetical case, for example, with the Thirty-third sonata of the same author, which does not have sound substance.
So, we found out that the result of the mental activity of a person - a composer, performer, listener - acquires sound "shapes" and forms the spiritual principle of music.
STRUCTURE OF THE CONTENT OF A MUSICAL WORK
If the concept of musical content characterizes music as if from the outside, in comparison with other types of art, then the concept of the content of a musical work has an internal orientation. He denotes the sphere of the spiritual, but not in the maximum generalization (typical of music in general), but in a much greater certainty (typical of a piece of music). The musical content is focused in the content of the musical work and provides this (although not the only one, along with, say, improvisation) way of being music. Between them there are relations "invariant - variant". Preserving all the properties of musical content, the content of a musical work adapts the possibilities of music to its existence in a given form and the solution of an artistic task.
The content of a musical work is specified through a number of concepts. Describing the musical content, we talked about the key importance of performances. Not only in their objectivity, which has become quite obvious, but also in their capacity and artistic purpose in music, the performances are diverse. We single out those that are called musical images.
Musical images are given to a person as a mediation of musical sounds (real or imaginary), sound movement, deployment of musical fabric. In a piece of music, the images not only receive their own sound outlines, but also, interacting with each other in a certain way, add up to a complete figurative and artistic picture.
A musical image is a relatively large or (considering the predominantly temporary nature of music) a long semantic unit of a musical work. It can arise only on the basis of meanings of a smaller scale. These are musical intonations. Musical intonations contain lapidary, non-expanded meanings. They can be likened to words in a literary language, forming into verbal units and giving life to a literary image.
Musical intonations also do not exist as “ready-made” meanings and are formed on a certain semantic basis. For them, it becomes the semantic impulses of musical sounds or tones. Standing out in a vast field of sounds, musical sound- tone - very specific, because it is designed to provide life artwork. In music, sound is dual. On the one hand, it "decorates", "embodies" the musical content, as mentioned earlier. Objectively belonging to the environment, sound takes us into the realm of physical and acoustic realities. On the other hand, the sound is selected to solve a certain artistic task, in connection with which it is also endowed with what can be called semantic prerequisites. And although the tone is difficult to attribute to the purely semantic components of music, we include it in the structure of the content of a musical work as an elementary unit that cannot be decomposed into even smaller meanings. In this way, tone limits the lower limit of the content structure rooted in the material substance of music.
Having understood how a musical image is formed from ever smaller semantic units, let's try to go in the opposite direction and consider what content components it, in turn, determines.
Artistic image or their combination in art is found topic works. The same thing happens in music: musical images reveal the theme, understood hereinafter as a general aesthetic category. The theme is distinguished by a high degree of generalization, which allows it to cover the whole work or a large part of it. At the same time, ties with integral sound are weakening in the theme, a tendency is ripening in it to free itself from the "dictatorship" of sound and intrinsically valuable being in the world of abstractions.
The final expression of the tendency to mediate sound by semantic units varying degrees capacity (intonation - images - theme) receives in idea musical work. The idea is the most generalized, abstracted and directed from sounds to the realm of the ideal, where the sound specificity of music is practically leveled in the face of ideas of scientific, religious, philosophical, and ethical origin. Thus, the idea becomes another limit of the structure of the content of a musical work, which is seen as vertically directed from the material to the ideal.
The semantic components that we have identified are lined up in a hierarchy, at each level of which certain semantic units are formed. These levels are represented tone, musical intonation, musical image, theme and idea of a musical work.
The named components of the content of a musical work do not exhaust all the elements of the structure, they represent only its backbone. The structure cannot be complete without some other elements occupying specific places in it. One of these elements is facilities musical expressiveness . On the one hand, the means of musical expression are quite material, because the pitch, dynamics, timbre, articulation and other parameters are associated with a fairly clear sound. On the other hand, they sometimes crystallize meanings that become truly intonational (in some melodic patterns, rhythmic formulas, harmonic turns). Therefore, their position in the structure of the content of a musical work would be correctly called intermediate between tone and musical intonation, moreover, one in which they seem to be partly rooted in tone, and partly “grow” into musical intonation.
Another indispensable element of the structure of the content of a musical work is author's start. A piece of music serves to communicate two personalities - the listener and the composer, therefore it is so important in it how the composer appears in own composition. The author's personality captures itself by no means only in style, but also penetrates deeply into the area of content. We can meet her not only in the musical image (the image of the author), but also in the personally colored musical intonation (by F. Chopin, R. Schumann, F. Liszt, S. Rachmaninov, D. Shostakovich), and in the personally meaningful sound palette (for example, J. Cage, J. Xenakis, S. Gubaidulina), in the subject (self-portrait), etc. It turns out that in the territory of one's own opus, the author's personality is, in principle, ubiquitous. Knowing this, we can assert that the author's principle occupies a special position - it is potentially distributed throughout the entire structure of the content of a musical work and can be localized in one or more of its components.
In the structure of the content of a musical work there is another, not previously named, element. This - dramaturgy. Almost all of its activity is aimed at ensuring the deployment process, although the latter goes through milestones and stages marked by one or another “event”. This process takes place in different planes of a musical work: in the means of musical expression (as “tonal dramaturgy”, “timbre dramaturgy”, etc.), intonation (“intonation dramaturgy”), images (“figurative-artistic” or “musical dramaturgy”). "). Thus, dramaturgy, closely interacting with other elements, takes on the role of an energy force that stimulates the self-movement of musical content.
The presence of a driving component in the structure of the content of a musical work is symptomatic. Behind it stands an essential pattern for music: true content is not a static construction, but a process. It unfolds in the non-stop movement of the continuous creation of new meanings, the slipping away of already manifested meanings, changes in previously held meanings (rethinking), all kinds of interactions of meanings, etc.
As we can see, the hierarchically organized backbone of the structure was replenished with a number of other functionally unique elements. Thus, a universal structure is built that makes possible the existence of musical content in a piece of music.
It is easy to see that the components of the structure are added up in the composer's opus. However, the process of meaning creation, which begins in the activity of the composer, continues, as already mentioned, by the performer and the listener. In performing and listening creative activity, what is intended by the composer is corrected and transformed, which means that no new elements are added to the structure of the content of a musical work. In performing and listening activities, respectively, we should talk about transformation, change in the formed structure.
In the unstoppable deployment of the process of meaning generation, the structure plays the role of a flexible framework that streamlines, “disciplines” this process, that is, a kind of “bearing support” of the semantic flow. Structural units are "nodes" (B.V. Asafiev) of fluid content-becoming. Therefore, the most scrupulous study of the integral structure still does not give grounds for counting on the final solution of the problem of comprehending the phenomenon of content.
If we proceed from the chronotope (spatio-temporal nature) of a musical work, then the most important feature of the process of creating the content of a musical work will be revealed. It lies in its dual orientation. Meanings are incremented not only in the sequentially-temporal, horizontal, more clearly conscious movement of musical thought, but also spatially - along the "vertical". The vertical vector reveals itself in the formation of hierarchically correlated meanings, that is, in the crystallization by semantic units of a lower level - meanings of a higher level. It is described in detail by V.V. Medushevsky. The researcher gives seven types of interaction of means of musical expressiveness, tracing the corresponding paths from the meanings of the elements of music to musical intonation or musical image :
interpretation relation: impulsive movements (texture) + joyful, light coloring (mode, register) \u003d glee, or impulsive movements + sad colors \u003d despair, or expectation + tension \u003d longing, attraction;
detail ratio: mournful intonations (descending chromaticisms or minor triads with aching retention) + tension, languor (aggravated modal relations) = sorrow;
metaphorical transfer: fullness of texture, as a phonic quality, as the fullness of space with sounds and voices + tension, aspiration, languor = fullness of feeling (“flood of feelings”, “sea of flowers”);
suppression of semantics, reversal of meaning: joy, light (major) + sadness, darkness (low register, etc.) = sadness, darkness;
cutting off polysemy, highlighting hidden values : liberation from peripheral semantic nuances in favor of a few main ones;
interlevel contradictions, inconsistencies, exaggerations: deformations in the structure of emotion (“one-time contrast”, discovered by T.N. Livanova);
parallel interaction (synonymy): mournful sighs (in the part of the soloist) + mournful sighs (in the part of the orchestra) \u003d amplification, brightening of the meaning or aspiration (functional inclinations) + aspiration (melodic, linear inclinations) \u003d amplification of the meaning.
The "algebra of semantic interactions" developed by Medushevsky, it would seem, solves a modest particular problem - it systematizes the ways of meaning formation. But for the study of musical content, it means much more. Firstly, we see that although the scientist studies the interaction of the means of musical expressiveness, leading to the embodiment of emotion, in fact, the range of action of the formulas given by him can be extended to other results, that is, extended to images of mental processes, images-landscapes, etc. .d. In other words, we have before us universal schemes for the formation of meanings in music.
Secondly, “algebra” makes it possible to understand that “the content of a musical work is not formally deducible from the linguistic meanings of the means used,” since the elements of music also synthesize meanings that are quite different from their own. This idea can be developed and expanded: the content of a musical work is not reducible to any of the components of the structure (musical image, theme, intonation, etc.), no matter how deeply it is developed. It certainly implies the interconnectedness of a whole complex of components.
The third conclusion allowed by the formulas described above is as follows: the mechanism of formation of new meanings that they reveal “works” not only at the levels of means of musical expressiveness and images, but also at other “levels” of the structure of the content of a musical work.
Another conclusion follows from the foregoing considerations. When synthesizing new meanings, there is a “ejection” to a higher level hierarchical structure, thereby turning on the mechanism of transitions from a lower level to a higher one, from it to a higher one, etc. At the same time, each lower level turns out to be the “soil”, the foundation for the one above it. Resorting to the general philosophical categories of "content" and "form", which are essentially different from the musical and aesthetic categories of the same name, which we will constantly use later, we can say that each lower level correlates with a higher one both in form and content, and transitions with from one level to another are equivalent to transitions of form into content.
The structure of the content of a musical work that we discovered contains the most general patterns. As such, it is universal. Any work complies with these patterns, but in its own way overcomes the schematic structure. The invariant structure is detailed, filled with specifics that correspond to the individuality of each individual opus.
Since a musical work incorporates, in addition to the results of composer creativity, also the activities of the performer and listener, the content of a musical work is unthinkable without taking them into account. However, as soon as it became clear that the structure formed in the composer's opus is individualized in performance and perception, but not replenished with new elements, it is legitimate to call it not only the structure of the composer's content (on which we subsequently actually focus our attention), but also the structure of the content of a musical work. .
Even the most detailed structure is not able to capture the holistic content of the work. Music always hides something elusive, “indescribable”. Penetrating into the smallest "cells" and "pores" of the opus, becoming its "air", it practically does not lend itself not only to analysis, but, as a rule, to awareness, which is why it received the name "unconscious". Therefore, undertaking the task of comprehending the content of a musical work, we must understand that in its entirety it can hardly be grasped by the mind. There always remain those "beyond" depths of content that are still inaccessible to consciousness, and therefore mysterious. Mastering the structure of the content of a musical work, we must remember that the content is unlikely to be revealed to us in all its integrity and depth, because it is in principle inexhaustible. No matter how carefully we analyze it, we still remove only the surface layer, behind which lies a lot of artistically valuable, aesthetically affecting the listener.
“If someone is content with knowing the thoughts, tendencies, goals and edifications contained in a poem or story, then he is content with very little, and he simply did not notice the secrets of art, its truth and authenticity,” the modern writer and thinker Herman once said. Hesse. But can't his words also apply to music? Isn't a piece of music an intriguing, alluring mystery? By studying the musical content and its connection with the form, we are trying to lift the veil of this mystery.
NOTES
1. Two fragments from the book: Kazantseva L.P. Fundamentals of the theory of musical content. - Astrakhan: GP JSC IPK "Volga", 2009. 368 p.
2. Kholopova V.N. Theory of Musical Content as a Science // Problems of Musical Science. 2007. No. 1. S. 17.
3. Kudryashov A.Yu. The theory of musical content. - SPb., 2006. S. 37-38.
4. Sukhantseva V.K.. Music as a human world (from the idea of the universe to the philosophy of music). - Kiev, 2000. S. 51.
5. Kholopov Yu.N. Musical form // Musical encyclopedia. - M., 1981. T. 5. Stb. 876.
6. Kholopov Yu.N. To the problem of musical analysis // Problems of musical science: Sat. Art. - M., 1985. Issue. 6. S. 141.
7. Kurt E. Romantic harmony and its crisis in Wagner's Tristan. - M., 1975. S. 15.
8. Konyus G.E. Scientific substantiation of musical syntax. - M., 1935. S. 13, 14.
9. Sohor A.N. Music // Musical Encyclopedia. - M., 1976. T. 3. Stb. 731.
10. Recall: spirit - “ philosophical concept, meaning the non-material beginning "(Philosophical encyclopedic Dictionary. - M., 1989. S. 185).
11. Savshinsky S.I.. The work of a pianist on a piece of music. - M., L., 1964. S. 43.
12. N.P. Korykhalova calls the composition, which has not yet been performed, but recorded with notes, a “potential” (“possible”) form of being a musical work, and “already sounded earlier ... which has become a fact of culture, but now not performed ...” - a “virtual” form, rightly believing that “ virtual being is the real being of a musical work" ( Korykhalova N.P. Music interpretation. - L., 1979. S. 148).
13. The structure of the content of a musical work as a kind of hierarchy is considered by G.B. Zulumyan ( Zulumyan G.V. The content of a musical work as an aesthetic problem: Dis. … cand. philosophy Sciences. - M., 1979); M.G. Karpychev (Karpychev M.G. Theoretical problems of the content of music. - Novosibirsk, 1997), I.V. Malyshev ( Malyshev I.V. Musical composition. - M., 1999), N.L. Ocheretovskaya (Ocheretovskaya N.L. Content and form in music. L., 1985), V.N. Kholopova ( Kholopova V.N. Music as an art form. - St. Petersburg, 2000), E.I. Chigareva ( Chigareva E.I. The organization of expressive means as the basis of the individuality of a musical work (on the example of Mozart's work of the last decade): Abstract of the thesis. dis. … cand. art history. - M., 1975).
14. The role of performing interpretation and listener's perception in the formation of musical content is shown in the book: Kazantseva L.P. Musical content in the context of culture. - Astrakhan, 2009.
15. Medushevsky V.V.. On the problem of semantic syntax (on the artistic modeling of emotions) // Sov. music. 1973. No. 8. S. 25-28.
16. Ibid. C. 28.
17. Nevertheless, musicology tries to unravel its riddle. Let us point out, in particular, the publications of M.G. Aranovsky ( Aranovsky M.G. On two functions of the unconscious in the composer's creative process // Unconscious: nature, functions, research methods. - Tbilisi, 1978. Vol. 2; Aranovsky M.G. Conscious and unconscious in the creative process of the composer: To the formulation of the problem // Questions of musical style. - L., 1978), G.N. Bloodless ( Beskrovnaya G.N. The interaction of intentional and unintentional (improvisational) began as a source of multivariate musical interpretation // Questions of musical performance and pedagogy: Sat. tr. - Astrakhan, 1992), V.N. Kholopova ( Kholopova V.N.. The area of the unconscious in the perception of musical content. - M., 2002).
18.Hesse G. Letters in a circle. - M., 1987. S. 255.
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