Homophonic-harmonic texture. Definition

Texture in music

(from Lat. facere - to do) - manner of technical and artistic work in musical presentation by composers, for example. F., or work, contrapuntal - in a composition distinguished by the independence and relief of each voice; F. harmonic - in which the chord sound combination predominates.

encyclopedic Dictionary F. Brockhaus and I.A. Efron. - S.-Pb.: Brockhaus-Efron. 1890-1907 .

See what “Texture in music” is in other dictionaries:

The Latin word "facturo" means processing, doing, and in figurative meaning device. Perhaps this the last word and will best define what texture is in music. This is the warehouse itself, the structure of the musical fabric, the totality of its elements... Musical dictionary

- (lat. factura doing, creation). 1) a detailed list of the goods sold with prices indicated; invoice or invoice. 2) plan, processing of parts piece of music. 3) among the French: register in organs. Dictionary foreign words, included in ... ... Dictionary of foreign words of the Russian language

- (from Latin factura processing) ..1) in music, the specific sound appearance of a work. Components of texture: timbre, register position, voice guidance, etc.2)] In the visual arts, the nature of the surface of a work... Big Encyclopedic Dictionary

FACTURA, textures, women. (lat. factura work). 1. units only The originality of artistic technique in poetry, music, painting or sculpture (art.). It is very difficult to imitate the texture of Pushkin’s verse. 2. Conveying inventory of the person sent... ... Dictionary Ushakova

- (Latin factura manufacturing, processing, structure, from facio I do, carry out, form; German Faktur, Satz warehouse, Satzweise, Schreibweise manner of writing; French texture, structure, conformation device, addition; English texture, texture,… ... Music Encyclopedia

texture- y, w. 1) only units. The originality of artistic technique in works of art. The texture of the picture. The texture of the symphony. [Lomonosov] was the first to establish the texture of verse, introduced Russian poem meters inherent in the spirit of language (Belinsky). 2) only food... Popular dictionary of the Russian language

- (from Latin factūra processing, structure) nature of the surface work of art, its processing in fine arts, the originality of artistic technique in poetry, music, painting or sculpture. Also under the texture... ... Wikipedia

Y; and. [from lat. factura processing, structure] 1. Nature of processing, structure of which l. material that defines it appearance. Smooth, fleecy f. fabrics. Interesting f. tree. F. glass, granite. Reproduce the texture of marble. Process... ... encyclopedic Dictionary

- (from Latin factura - processing, structure) in the fine arts, the nature of the surface of a work of art, its processing. In painting, f. - the nature of the paint layer: for example, “open” f. (broad stroke, uneven layer of paint) ... Great Soviet Encyclopedia

This term has other meanings, see Warehouse (meanings). Warehouse (German: Tonsatz, French: écriture, English: texture) in music, the principle of adding voices and/or harmonies, referred to according to their musically logical and technical compositional function.... ... Wikipedia

Music theory is rich in interesting terms. In each era, new means of improving and individualizing music appeared, which was influenced by composers, performing staff, and audiences. Many genres and subgenres, styles and themes. To avoid confusion, there is a classification of musical compositions by texture.

Stable musical and artistic whole

To understand further theory, you need to remember or study the very concept of musical composition. This term characterizes the integrity of the work, its specific embodiment. Distinguishes a completed “opus” from those created in the creative process of the people, or improvisations (for example, in jazz).

A composition always has a specific creator. The composer who provides sound structure, records the work in writing. Notations are done using musical notation or accompanying signs. Authorship, since the 14th century, is preferably indicated on every composition created if the creator is known.

The composition is stable, like a finished and clearly defined work. Tonality, size, rhythm - everything is constant and does not tolerate significant changes. Naturally, each piece requires certain aspects of performance. This is where texture comes into play.

Concept of texture

The music industry is developing, new canons and new trends are emerging that influence the style, form and character of the composition. So, texture in music is the presentation of material to the listener in a certain design, which will reflect the reality described by sounds. Texture is the main link between the author's idea and other people's perception of it.

The word is Latin in origin and means “design”, “structure”, “processing”. Texture in music is a visual definition. An analogy can be drawn with the creation of a fabric product: musical fabric also requires processing in order to become holistic and complete.

Why are the different options needed?

Each work has a theme and a specific focus. Since the work here is purely on perception, you need to convey emotions and situations as accurately as possible. Roughly speaking, give a clear picture.

For example, a composer writes a lullaby. There is a melody and accompaniment, but they could just as easily be used in war song or dance composition. We need to give them a color of calm, silence, lightness. Therefore, jerky strokes will not be used, legato and lower sounds will be a priority. No squeaking or sudden movements.

Any emotion can be represented by a tool. Whistling flutes will best represent lightness and joy, heavy cellos can show sorrow and mourning, timpani and bells will add an epic feel. Texture in music is a figment of the author's imagination.

Basic classification of invoices

The most basic division, the two main types of texture in music, are characterized by the number of voices used.

There is no third?

Unlike many terms in which there are only two extremes, here there is also a heterophonic texture. This is a kind of “modernization” of monodic presentation, when polyphonic techniques can be added to it for a more interesting sound. Unison singing is occasionally complicated by a two-voice pattern, the melody is accompanied by rhythm. It turns out that this is an intermediate option.

Types of polyphonic texture

1. Choral texture involves leading all voices according to one rhythmic pattern. That is, the melody moves along equal durations, without being divided into complex harmonic verticals;
2. Mensural canons, or complementary polyphony, are defined by a small stratification of voices that are thematically similar but move independently. That is, only the direction of movement of the melody is indicated, in which the durations can be divided into several, and the rhythm of one voice does not depend on the other.
3. The multi-colored texture creates unusual textures and combines the incongruous. It became popular only at the beginning of the 20th century.
4. The texture of linear polyphony is based on several voices that do not correspond in rhythm and harmony. The melody is based on the sequential movement of sounds of different heights.
5. Polyphony of layers - complex polyphonic duplications that create dissonances.
6. “Dematerialized pointillistic texture, which can be more easily described as “sketchy.” The main line is conveyed not in the form of a motive, but in abrupt sounds with a large scatter. That is, between long pauses there are bright flashes of sound.
7. The texture of polyphonic heaviness is completely opposite to the previous one. It presents a full-bodied orchestral sound.
8. The aleatory effect is an element of chance. The composition is based on the "lot" method, where combinations of notes are scattered across stave. Often, authors write down only the main reference points from which the performer will start, and then it’s up to his discretion.
9. The texture of sonoristic effects shifts attention to transitions of tones, colors or consonances. The brightness of the sound is conveyed by noise and changes in timbre. Sound and colorful effects are created.

Harmonization

The combination of “texture and warehouse” is indivisible. This aspect is harmony. It involves many types of texture, but is also divided into two main ones:

Types of harmonic textures

1. Accordo-figurative type - the sounds of the chord are played alternately.
2. Rhythmic type - repeated repetition of a chord or consonance.
3. Duplications - in the octave, in the fifth, and other intervals that create a smooth movement of voices relative to each other.
4. Different types of melodic textures based on giving movement to voices. For example, auxiliary or additional sounds in chords that complicate the composition.

But this is the most general classification, the individual points of which are rarely found in isolation. That is, the music is diluted with individual techniques, stylistic features taken from different types of textures. Each era is characterized by different so-called features.

Getting Started on the Path to Diversity

The history of the development of texture in music is performance, harmony, orchestration, and most importantly, composition. Some composers have had a huge influence on the variety of textures in the works.

In the 17th century, receptions and warehouses were quite simple and very logical. A mixture of harmonic and polyphonic textures was used - polyphony with various layouts. Passages and arpeggios were popular. The arpeggiated accompaniment created just the right mood, without overwhelming the ear with the depth of heavy chords. The texture of the accompaniment in this case ideally complemented the main theme and did not require the use of other means. This method was actively used by I.S. Bach, for example, in the Goldberg Variations. Other composers of the Romantic era distinguished themselves here: Georges Bizet, Giuseppe Verdi,

The “figuration” variety of arpeggio was often used by Mozart and sounded active, cheerful and sharp. It is convenient because it clearly conveys harmonies and creates a certain rhythm without jumps. The music of the Austrian romantic is characterized as lightweight, sunny and unburdened precisely because of its texture. Both broken and straight figuration were used.

Transition to bright style

As innovations were introduced and the imagination of the authors of works expanded, by the 19th century there were at least three times more types of texture. Because the different types mixed, adopted and combined details, completely new ones appeared musical arrangements. The harmonic structure became much smoother and more melodic, and expressiveness was conveyed not by the set of sounds themselves, but by their order and arrangement.

A striking example is F. Liszt, who used mixed textural presentations in plays, for example, “Grey Clouds”, and in the entire cycles “The Years of Wanderings” and “Poetic and Religious Harmonies”. The pitch of the chords faded into the background, and a texture-timbre appeared, which became popular with Mussorgsky.

Separately, it is worth noting the music of Chopin, who used piano texture. Among his favorite techniques were the octave technique and fluent playing of scales. In his waltzes ("Brilliant Waltz", Waltz in A minor) he spread harmonic figurations, decomposed into long rows of sounds. Such works require high performing technique, but are easy to listen to and understand. In the side part of the First Ballad for Piano, the composer fully introduced a polyphonic structure into the harmony.

Period of innovation

The 20th century in art marked a transition from traditional forms to completely new and non-standard ones. Therefore, this era is characterized by a departure from harmonic and polyphonic texture. It becomes unconnected, divided into layers. A wide range of dynamics and timbres becomes common in the works of avant-garde artists K. Stockhausen, L. Berio and P. Boulez. Controlled aleatorics, that is, improvised texture, are often found. It is limited only by rhythm and height limits. This move was supervised by V. Lutoslawski.

Shape formation played a big role, because in a torn and scattered texture it is important to maintain a coherent structure of the composition. Even if poorly visible, the drawing creates an image. How to determine the type of texture in music new era- an open question for art historians, since there are too many interactions and exchanges of techniques.

Emotions, emotions, emotions...

All of the above leads to the fact that what kind of texture there is in music is directly determined by the emotions and desired response of the listener. To states of mind transfer, different registers are used:

• low, conveying terrible and powerful sounds, reflecting mystery or mourning (darkness, night, heavy steps, sounds of a locomotive, the roar of troops);
• middle, which is close to the human voice, tuning in calm and some slowness (narratives, routine, rest and reflection);
• high-pitched, motivating and bright, depending on the instrument it can be both cheerful and tense (screams and squeals, bird trills, bells, fussy movements);

Thanks to this distribution, music can create a calming mood, lift one’s spirits, or make the hair on one’s head stand up in fear. And the texture solution directly depends on the one used in main topic register.

That's why different kinds“tissue” processing of the composition helps people to imbue themselves with the composer’s experiences, to draw pictures of the world in their heads as it was in the eyes of the authors of the works. Feel lightness while enjoying the music of Chopin, belligerence in Beethoven’s opuses or the dynamics of movements in Rimsky-Korsakov. Texture in music is a communicator across eras and differences in perception.

Musical term texture* [From lat. factura - processing, manufacturing, creation, creation, work] means musical presentation, the way the music is “made.” When considering a particular type of texture, we consider a musical work from the point of view of the voices that form it and their role as a whole.

The simplest type of invoice is monophony or monody(from Greek monos - one and ode - singing). Monody is a single-voice melody, not accompanied by anything. Monophonic presentation is often found in folk music, in works for solo instruments (for example, in Bach's solo violin sonatas), and may also be included in major operatic or symphonic works as the texture of one of the sections, for example introductions:

N. R. -Korsakov. Op. "The Golden Cockerel"

A type of monophonic texture is dubbed monophony:

Allegro moderato F. Schubert. Symphony in B minor, part I

Dubbed monophony, if dubbing is not done in an octave, as in in this example, and in some other interval (for example, in a third, a sixth), it serves as a transitional type of texture and is, as it were, between one- and polyphony:

Allegro moderate e maestoso A. Borodin. Op. "Prince Igor", prologue

In music late XIX and 20th centuries, you can also find more complex dubbings, which are a kind of split (forked, detuned, etc.) monophony, when the melodic line is duplicated, for example, with triads (see example 312), seventh chords and even non-chords (see example 313), as well as other consonances, including those of the Netertz structure.

In these cases, a “thickened” melodic line is formed, colored by the coloring of those chords that take part in the duplication. In relation to such duplications the term is sometimes used - "tape voice leading"

312 [Solemnly, widely] A. Novikov. my motherland

313 M. Ravel, Pavana

Heterophony

The simplest polyphonic texture, largely associated with duplication, is heterophony* [From Greek. heteros - different, phone - sound, voice.] This term denotes a type of polyphonic texture in which all voices are variants of each other. Heterophonic or, in other words, subvocal the pattern is characteristic of folk, in particular Russian polyphony, where it is formed as a result of the simultaneous performance of the main tune and its variants (sub-voices). And since the variants sometimes coincide and sometimes diverge from the main melody, the subvocal composition is characterized by either a fusion of voices or their separation. Mergers into unisons and octaves are especially characteristic at moments of caesuras:

Russian folk song“You, my field”

Polyphony

A polyphonic structure based on a combination of melodically developed voices with sufficient independence is called polyphony* [From Greek. poly - many, phone - sound, voice.] Each voice, being independent, contrasts with other voices when sounded simultaneously. So, for example, in the most developed polyphonic form - fugue, the voices, entering alternately, carry out the same theme (imitation), but in their joint sound they contrast each other:

J. S. Bach. HTC, vol. I, fugue B-dur 315

After a monophonic presentation of the theme in the upper voice, it is repeated (imitation) in another voice, accompanied by a contrasting counterposition. The voice entering third is accompanied by two contrasting contrasts, each of which represents a completely independent melody.

Homophony

Another type of developed polyphony is homophony* [From Greek. homos - equal, phone - sound.] or homophonic warehouse. Homophony is based on one or another emphasis main voice(usually the top one), in which the remaining voices play a supporting role, adding up to harmonic accompaniment. Among the diverse forms of homophonic texture, two most characteristic ones can be distinguished. The first is distinguished by the rhythmic discrepancy between the main voice and the accompaniment. It originates from the texture of song and dance music, in which, in turn, three layers of different meaning can be distinguished.

Monodic texture. It assumes only a horizontal dimension (vertical is excluded). Examples include Gregorian chant and Znamenny chant, where the monophonic musical texture and texture are identical. Monodic composition and texture easily take on a form intermediate between monody and polyphony - heterophonic presentation, where unison singing during performance is complicated by various melodic and textural options.

Polyphonic texture. Its essence lies in the correlation of simultaneously sounding melodic lines, the relatively independent development of which constitutes the logic musical form. Important qualities are density and rarefaction, i.e. “viscosity” and “transparency”, which are regulated by the number of polyphonic voices (for example, the Mass of G. Palestrina, Fugue in C major from the 1st volume of “The Well-Tempered Clavier” by J. S. Bach, coda to the finale of the Symphony in C minor by S. I. Taneyev ).

Polyphonic texture is characterized by unity of pattern, absence of sharp sonority contrasts, and a constant number of voices. One of the properties is fluidity, which is achieved by erasing caesuras that separate constructions, the imperceptibility of transitions from one voice to another. The polyphonic texture is distinguished by constant update, the absence of literal repetitions while maintaining complete thematic unity. The rhythmic and thematic relationship of voices is of great importance for this texture.

Types of polyphonic texture:

1. Choral texture, which occurs at the same duration in all voices. In this case, the movement is determined by the deployment of the melodic line in each of the voices, and not by the functional relationships of the harmonic verticals. This texture is not identical to the chord-harmonic one.

2. Invoice based on absolute metro-rhythmic independence of voices , as in the mensural canons. Mensural notation allowed the fixation of both the height and relative duration of sounds, in contrast to the non-neutral notation, which indicated only the direction of movement of the melody, and the choral notation that replaced it, where the pitch of sounds was indicated (in the mensural notation, bipartite and tripartite fragmentation of the same durations was allowed).

3. Multi-themed polyphony, creating a picturesque textured plexus. It received its development in the music of the 19th-20th centuries. (conclusion of R. Wagner’s opera “Walkyrie”).

4. Texture of linear polyphony, based on the movement of harmonically and rhythmically uncorrelated voices. The melodic line is formed by the sequential movement of sounds of different heights (for example, D. Milhaud’s “Chamber Symphonies”).

5. Invoice related to complex dissonant duplication of polyphonic voices and turning into polyphony of layers (most often found in the works of O. Messiaen).

6. “Dematerialized” pointillistic texture, the specificity of which is that the musical idea is presented not in the form of themes or motives, but with the help of abrupt sounds (mainly with wide jumps, exposing single points in various registers), surrounded by pauses. A colorful scattering of bright dots (sounds) is typical for pointillism. This is one of the modern methods of composition - writing with dots. A. Webern is considered the founder of pointillism.

7. Texture that creates sensation polyphonic heaviness of orchestral counterpoint . This texture is found in the works of A. Berg and A. Schoenberg. It is fundamentally opposite to the “dematerialized” pointillistic texture.

8. Polyphonic texture of aleatory effects, which is built on the principle of chance as the main formative principle in the process of creativity and performance. The representative of this trend in modern music is V. Lutoslawski. The element of chance is introduced into music through various methods. Eg, musical composition can be built using “lots” - based on the moves of a chess game, number combinations, splashing ink on music paper, throwing dice (hence the name - aleatorics, which is translated from Latin language means “dice”, “randomness”), etc.

9. Polyphonic texture of sonoristic effects. Her distinctive feature is to highlight the colors of sound, as well as the moments of transition from one tone or consonance to another.

Harmonic texture. It is the harmonic structure that presupposes an extraordinary variety of types of texture under consideration. The first and most elementary is its division into homophonic-harmonic and actually chordal. The chord texture is multi-rhythmic: all voices in it are presented with sounds of the same duration (for example, the beginning of the fantasy overture “Romeo and Juliet” by P. I. Tchaikovsky). The homophonic-harmonic texture is distinguished by a clear separation of the patterns of melody, bass and complementary voices (for example, F. Chopin - the beginning of the Nocturne in C minor).

The following types of presentation of harmonic consonances are distinguished.

1. Harmonic figuration of chord-figurative type which is one or another form of alternating presentation of the sounds of a chord. A striking example, Prelude in C major from the 1st volume of “The Well-Tempered Clavier” by J. S. Bach.

2. Rhythmic figuration– repetition of a sound or chord. For example, in the Poem of A. N. Scriabin in D major (op. 32, no. 2).

3. Various duplications, for example, into an octave in an orchestral presentation (minuet from the Symphony in G minor by W. A. ​​Mozart) or a long doubling into a third, sixth, etc., forming a “ribbon movement” (“ Musical moment"S. V. Rachmaninov, op. 16, no. 3).

4. Various types of melodic figurations, based on the introduction of melodic movement into harmonic voices - complication of chord figuration with passing and auxiliary sounds (Etude in C minor by F. Chopin, Op. 10, No. 12), melodization (chorus and orchestral presentation of the main theme at the beginning of the 4th scene of the opera “Sadko” "N. A. Rimsky-Korsakov), polyphonization of voices (introduction to "Lohengrin" by R. Wagner), melodic and rhythmic "revival" of the organ section (4th scene "Sadko", number 151).

The presented systematization of types of harmonic texture is the most general. There are many specific textural techniques in music, the structure of which and methods of use are determined by the stylistic norms of a given musical and historical era. Therefore, the history of the development of texture is inseparable from the history of harmony, orchestration, and performance.

Speaking about the evolution of texture, it would be unfair not to mention those composers who played a huge role in updating and diversifying its types. For example, D. Palestrina could use the figuration of emerging chords over many bars using complex polyphonic and choral means, admiring the harmony. At the beginning of the 17th century. composers in their works used simple techniques and designs of mixed harmonic and polyphonic texture. Only in the second half of the 17th century. her expressive role intensified. Invaluable contribution, marked by the highest development of texture, was introduced by J. S. Bach. His textural discoveries gave a great impetus to the development of the work of romantic composers. In the music of the Viennese classics, clarity of harmony and clarity of textured patterns are observed. Composers used simple textural means and were based on general forms movements (passages, arpeggios). For music of the XIX V. characterized by an exceptional variety of texture types. Bright stylistic features textured presentation appear in the works of F. Liszt. The renewal of texture is noticeable in the melodization of the harmonic structure, which sometimes turns into polyphonic presentation, as, for example, in F. Chopin. Some of the most significant achievements of the 19th century. in the field of texture - strengthening its motivic richness and thematic concentration. During this period, texture-harmony and texture-timbre arise. Their essence is that when certain conditions harmony seems to transform into texture, and expressiveness is determined not so much by the sound composition as by the picturesque location. What is more important is not the pitch, but the textural content of the chord. Examples of texture-harmony are often found in the works of M. P. Mussorgsky. But in general this phenomenon is more typical of 20th century music. (works by A. N. Scriabin, S. V. Rachmaninov, C. Debussy). In other cases, the fusion of texture and harmony determines the timbre. This is especially clearly manifested in the orchestral technique of “combining similar figures,” when the sound arises from the combination of rhythmic variations of one textured figure. This technique was brilliantly developed in the scores of I. F. Stravinsky (the beginning of the ballet “Petrushka”). Different ways updates of texture coexist in the art of the 20th century: strengthening the role of texture as a whole, further individualization of texture techniques, the discovery of dissonant duplications, combining the original textural features of national music with the latest harmonic and orchestral techniques of professional art, continuous thematization, leading to the identity of thematicism and texture.

In the music of the 20th century. non-traditional structures appear that are neither harmonic nor polyphonic, and thereby determine the corresponding types of texture. Composers in their works use techniques of fragmentation and unconnectedness of texture - register stratification, dynamic and articulatory differentiation. In the art of the musical avant-garde, the importance of texture is taken to its logical limit. Sometimes it becomes the only or only goal of the composer's work itself.

The formative role of texture is significant. The connection between texture and form is expressed in the fact that the preservation of this drawing texture contributes to the unity of the structure, and its change contributes to dismemberment. Texture serves as the most important transformative tool; it is capable of decisively changing the appearance and essence of musical image. Changing the texture becomes one of the main means of dividing form in the works of the 20th century.

Often types of texture are associated with certain genres, which is the basis for combining different types of textures in works. genre characteristics. Texture is the main source of musical imagery, especially convincing in cases where any movement is depicted.

Shader space

1. The rapid movement of figurational texture in S. Rachmaninov’s romance “ Spring waters».
2. The space of texture in the fragment “Morning in the Mountains” from the opera “Carmen” by J. Bizet.

Musical material:

1. S. Rachmaninov, poems by F. Tyutchev. "Spring Waters" (listening);
2. J. Bizet. "Morning in the mountains." Intermission to III action from the opera "Carmen" (listening)

Description of activities:

1. Understand the meaning of funds artistic expression(textures) in creating a musical work (taking into account the criteria presented in the textbook).
2. Talk about the brightness of images in music.
3. Creatively interpret the content and form of musical works in visual activities.

It is known that texture is literally “production”, “processing” (Latin), and in music - the musical fabric of a work, its sound “clothing”. If in a play the leading voice is the melody, and the other voices are the accompaniment, harmony chords, then this texture is called homophonic-harmonic. Homophony (from the Greek Homos - one and phone - sound, voice) is a type of polyphony with a division of voices into the main and accompanying ones.

It has many varieties. The main ones:

1. Melody with chord accompaniment;
2. Chord texture; it is a sequence of chords in which the top voice represents the melody;
3. Unison texture; the melody is presented monophonically or in unison (lat. one sound).

Another important type is polyphonic texture, which means “polyphonic”. Each voice of polyphonic texture is an independent melody. Polyphonic texture is associated primarily with polyphonic music. Two- and three-voice inventions by J. S. Bach are written in polyphonic texture.

Concepts such as “imitation” and “fugue”, mentioned earlier, refer to polyphonic music. The combination of homophonic-harmonic and polyphonic texture can be found in various works.

Thus, texture is a way of presenting musical material: melody, chords, figurations, echoes, etc. In the process of composing a particular work, the composer combines these means musical expressiveness, processes: after all, factura, as we have already said, is processing. Texture is inextricably linked with the genre of a musical work, its character, and style.

Let us turn to the romance by S. Rachmaninov - “Spring Waters”. Written to the words of F. Tyutchev, it not only conveys the image of the poem, but also introduces new swiftness and dynamics into it.

The snow is still white in the fields,
And in the spring the waters are noisy -
They run and wake up the sleepy shore,
They run and shine and shout...
They say all over:
“Spring is coming, spring is coming!
We are messengers of young spring,
She sent us ahead!”
Spring is coming, spring is coming!
And quiet, warm May days
Ruddy, bright round dance
The crowd cheerfully follows her.

A joyful premonition of an imminent spring literally permeates the romance. The key of E-flat major sounds especially light and sunny. The movement of the musical texture is swift, seething, covering a huge space, like a powerful and cheerful stream of spring waters, breaking all barriers. There is nothing more opposite in feeling and mood to the recent torpor of winter with its cold silence and fearlessness.

In “Spring Waters” there is a bright, open, enthusiastic feeling, captivating listeners from the very first bars.

The music of the romance seems to be deliberately constructed in such a way as to avoid everything soothing and lulling. The endings of almost all melodic phrases are ascending; they contain even more exclamations than the poem.

It is also important to note that the piano accompaniment in this work is not just an accompaniment, but an independent participant in the action, sometimes surpassing even the solo voice in the power of expressiveness and visualization!

The love of the earth and the beauty of the year,
Spring is fragrant to us! –
Nature gives creation a feast,
The feast gives goodbye to the sons!..
Spirit of life, strength and freedom
Lifts us up and envelops us! ..
And joy poured into my soul,
Like a review of the triumph of nature,
What a life-giving voice of God! ..

These lines from another poem by F. Tyutchev - “Spring” sound like an epigraph to a romance - perhaps the most joyful and jubilant in the history of Russian vocal lyrics.

Texture plays a huge role in those works where it is necessary to convey the idea of ​​musical space.

One example is the Intermission to Act III from J. Bizet’s opera “Carmen,” which is called “Morning in the Mountains.”

The name itself determines the nature of the music, painting a bright and expressive picture of the morning mountain landscape.

Listening to this fragment, we literally see the first rays rising sun touch gently high peaks mountains, how they gradually fall lower and lower and at the moment of culmination seem to fill the entire vast mountain space with their dazzling radiance.

The initial introduction of the melody is given in a high register. Its sound in relation to the accompaniment is a range of three octaves. Each subsequent passage of the melody is given along a descending line - the voices come closer, the dynamics increase, and the climax occurs.

So, we see that the texture captures everything related to expressiveness musical sound. A lone voice or a powerful choir, the rapid movement of water or an endless mountain space - all this gives birth to its own musical fabric, this “patterned cover” of texture, always new, unique, deeply original.

Questions and tasks:

1. What feelings are expressed in the romance “Spring Waters” by S. Rachmaninov? How are these feelings expressed in the textural presentation of the work?
2. What creates the impression of musical space in the musical intermission “Morning in the Mountains” by J. Bizet?
3. Remember in which musical genres a significant range of textured space is used. What is this connected with?

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Bizet. Morning in the mountains. Orchestral intermission, mp3;
Rachmaninov. Spring waters in Spain D. Hvorostovsky, mp3;
3. Accompanying article, docx.