What connects the stage with the dramatic art of the theater. History of the development of pop art. Monitoring and evaluation of the results of mastering the discipline is carried out by the teacher in the process of conducting practical classes and laboratory work, testing, etc.

The roots of pop art go back to the distant past, traced in the art of Egypt, Greece, Rome; its elements are present in the performances of traveling comedians-buffoons (Russia), shpilmanov (Germany), jugglers (France), dandies (Poland), masqueraders (Central Asia), etc.

Satire on urban life and morals, sharp jokes on political topics, a critical attitude towards power, couplets, comic scenes, jokes, games, clown pantomime, juggling, and musical eccentricities were the beginnings of future pop genres, born in the noise of carnival and square amusements.

Barkers, who, with the help of jokes, witticisms, and funny couplets, sold any product in squares and markets, later became the predecessors of entertainers. All this was of a massive and intelligible nature, which was an indispensable condition for the existence of all pop genres. All medieval carnival performers did not perform performances.

In Russia, the origins of pop genres were manifested in buffoon fun, fun and mass creativity, folk festivals. Their representatives are the raus jokers with the obligatory beard, who amused and invited the audience from the upper platform of the raus booth, parsley players, raeshniks, leaders of the “learned” bears, buffoon actors performing “sketches” and “reprises” among the crowd, playing the pipes , harp, sniffles and amusing the people.

Variety art is characterized by such qualities as openness, laconicism, improvisation, festivity, originality, and entertainment.

Developing as an art of festive leisure, pop music has always strived for unusualness and diversity. The very feeling of festivity was created due to external entertainment, play of light, change of picturesque scenery, change in the shape of the stage area, etc. Despite the fact that the stage is characterized by a variety of forms and genres, it can be divided into three groups:

Concert stage (previously called “divertissement”) combines all types of performances in variety concerts;

Theatrical stage (chamber performances of miniature theaters, cabaret theatres, cafe theaters or large-scale concert revues, music halls, with a large performing cast and first-class stage technology);

Festive stage (folk celebrations, holidays in stadiums, full of sports and concert performances, as well as balls, carnivals, masquerades, festivals, etc.).

There are also these:

3. 1. VARIETY THEATERS

3.1.1.MUSIC HALLS

If the basis of a variety performance is a completed number, then the review, like any dramatic action, required the subordination of everything that happens on stage to the plot. This, as a rule, did not combine organically and led to a weakening of one of the components of the performance: either the number, or the characters, or the plot. This happened during the production of “Miracles of the 20th Century” - the play broke up into a number of independent, loosely connected episodes. Only the ballet ensemble and several first-class circus acts were successful with the audience. The ballet ensemble, staged by Goleizovsky, performed three numbers: “Hey, let’s whoop!”, “Moscow in the rain” and “30 English girls”. The performance of “Snake” was especially impressive. Among the circus acts, the best were: Tea Alba and “Australian Lumberjacks” Jackson and Laurer. Alba simultaneously wrote different words with chalk on two boards with her right and left hands. At the end of the room, the woodcutters were racing to chop down two thick logs. The German Strodi showed an excellent balancing act on the wire. He performed somersaults on a wire. Of the Soviet artists, as always, Smirnov-Sokolsky and ditties V. Glebova and M. Darskaya had great success. Among the circus acts, the act of Zoe and Martha Koch on two parallel wires stood out.

In September 1928, the opening of the Leningrad Music Hall took place.

3. 1.2. THEATER OF MINIATURES - a theater group that works primarily on small forms: small plays, sketches, operas, operettas along with variety numbers (monologues, couplets, parodies, dances, songs). The repertoire is dominated by humor, satire, irony, and lyricism is not excluded. The troupe is small, a theater of one actor or two actors is possible. Laconic in design, the performances are designed for a relatively small audience and present a kind of mosaic canvas.

3. 1.3. CONVERSATIONAL GENRES on the stage - a symbol for genres associated primarily with the word: entertainer, sideshow, skit, sketch, story, monologue, feuilleton, microminiature (staged joke), burime.

Entertainer - entertainer can be paired, single, or mass. A conversational genre built according to the laws of “unity and struggle of opposites,” that is, the transition from quantity to quality according to the satirical principle.

A variety monologue can be satirical, lyrical, or humorous.

Interlude is a comic scene or musical piece of humorous content, which is performed as an independent number.

A skit is a small scene where intrigue rapidly develops, where the simplest plot is built on unexpected funny, poignant situations, turns, allowing a whole series of absurdities to arise during the action, but where everything usually ends with a happy denouement. 1-2 characters (but no more than three).

Miniature is the most popular spoken genre on the stage. On the stage today, a popular joke (not published, not printed - from Greek) is a short topical oral story with an unexpected witty ending.

A pun is a joke based on the comic use of similar-sounding but different-sounding words to play off the sound similarity of equivalent words or combinations.

Reprise is the most common short conversational genre.

Couplets are one of the most intelligible and popular types of conversational genre. The coupletist seeks to ridicule this or that phenomenon and express his attitude towards it. Must have a sense of humor

Musical and conversational genres include couplet, ditty, chansonette, and musical feuilleton.

A parody common on the stage can be “conversational,” vocal, musical, or dance. At one time, speech genres included recitations, melodic recitations, literary montages, and “Artistic reading.”

It is impossible to give an accurately recorded list of speech genres: unexpected syntheses of words with music, dance, original genres (transformation, ventrology, etc.) give rise to new genre formations. Living practice continuously supplies all kinds of varieties; it is no coincidence that on old posters it was customary to add “in his genre” to the name of the actor.

Each of the above speech genres has its own characteristics, its own history, and structure. The development of society and social conditions dictated the emergence of first one genre or another. Actually, only entertainer born in cabaret can be considered a “variety” genre. The rest came from booths, theaters, and from the pages of humorous and satirical magazines. Speech genres, unlike others that tend to embrace foreign innovations, developed in line with the domestic tradition, in close connection with theater and humorous literature.

The development of speech genres is associated with the level of literature. Behind the actor is the author, who “dies” in the performer. And yet, the intrinsic value of acting does not detract from the importance of the author, who largely determines the success of the act. The artists themselves often became the authors. The traditions of I. Gorbunov were picked up by pop storytellers - Smirnov-Sokolsky, Afonin, Nabatov and others created their own repertoire. Actors who did not have literary talent turned for help to authors who wrote with the expectation of oral performance, taking into account the performer's mask. These authors, as a rule, remained “nameless.” For many years, the press has discussed the question of whether a work written for performance on the stage can be considered literature. In the early 80s, the All-Union and then the All-Russian Associations of Pop Authors were created, which helped legitimize this type of literary activity. Author's "anonymity" is a thing of the past; moreover, the authors themselves took to the stage. At the end of the 70s, the program “Behind the Scenes of Laughter” was released, composed like a concert, but exclusively from performances by pop authors. If in previous years only individual writers (Averchenko, Ardov, Laskin) presented their own programs, now this phenomenon has become widespread. The phenomenon of M. Zhvanetsky greatly contributed to the success. Having started in the 60s as the author of the Leningrad Theater of Miniatures, he, bypassing censorship, began to read his short monologues and dialogues at closed evenings in the Houses of the Creative Intelligentsia, which, like Vysotsky’s songs, spread throughout the country.

3. JAZZ ON STAND

The term “jazz” is commonly understood as: 1) a type of musical art based on improvisation and special rhythmic intensity, 2) orchestras and ensembles performing this music. The terms “jazz band”, “jazz ensemble” (sometimes indicating the number of performers - jazz trio, jazz quartet, “jazz orchestra”, “big band”) are also used to designate groups.

4. SONG ON STAND

Vocal (vocal-instrumental) miniature, widely used in concert practice. On the stage it is often solved as a stage “game” miniature with the help of plastics, costume, light, mise-en-scène (“song theater”); The personality, characteristics of the talent and skill of the performer, who in some cases becomes a “co-author” of the composer, become of great importance.

The genres and forms of the song are varied: romance, ballad, folk song, couplet, ditty, chansonette, etc.; The methods of performance are also varied: solo, ensemble (duets, choirs, vocal-instrumental ensembles).

There is also a composing group among pop musicians. These are Antonov, Pugacheva, Gazmanov, Loza, Kuzmin, Dobrynin, Kornelyuk, etc. The previous song was mainly a composer's song, the current one is a "performer's" one.

Many styles, manners and trends coexist - from sentimental kitsch and urban romance to punk rock and rap. Thus, today's song is a multi-colored and multi-style panel, including dozens of directions, from domestic folklore imitations to infusions of African-American, European and Asian cultures.

5. DANCE ON STAND

This is a short dance number, solo or group, presented in national pop concerts, variety shows, music halls, and miniature theaters; accompanies and complements the program of vocalists, numbers of original and even speech genres. It was formed on the basis of folk, everyday (ballroom) dance, classical ballet, modern dance, sports gymnastics, acrobatics, and on the crossing of all kinds of foreign influences and national traditions. The nature of dance plasticity is dictated by modern rhythms and is formed under the influence of related arts: music, theater, painting, circus, pantomime.

Folk dances were initially included in the performances of capital troupes. The repertoire included theatrical divertissement performances of village, city and military life, vocal and dance suites of Russian folk songs and dances.

In the 90s, dance on the stage sharply polarized, as if returning to the situation of the 20s. Dance groups involved in show business, like Erotic Dance and others, rely on eroticism - performances in nightclubs dictate their own laws.

6. PUPPETS ON STAND

Since ancient times, in Russia, handicrafts have been valued, toys were loved, and fun games with dolls were respected. Petrushka dealt with a soldier, a policeman, a priest, and even with death itself, bravely brandished a club, put to death those whom the people did not like, overthrew evil, and affirmed the people's morality.

The parsley players wandered alone, sometimes together: a puppeteer and a musician, they themselves composed plays, they themselves were actors, they were directors themselves - they tried to preserve the movements of the puppets, the mise-en-scène, and the puppet tricks. Puppeteers were persecuted.

There were other shows in which puppets acted. On the roads of Russia one could see vans loaded with dolls on strings - puppets. And sometimes with boxes with slots inside, through which the dolls were moved from below. Such boxes were called nativity scenes. Puppets mastered the art of imitation. They loved to impersonate singers, they copied acrobats, gymnasts, and clowns.

7. PARODY ON STAGE

This is a number or performance based on an ironic imitation (imitation) of both the individual manner, style, characteristic features and stereotypes of the original, and entire movements and genres in art. The amplitude of the comic: from the sharply satirical (derogatory) to the humorous (friendly cartoon) is determined by the attitude of the parodist to the original. Parody has its roots in ancient art; in Russia it has long been present in buffoon games and farcical performances.

8. THEATERS OF SMALL FORMS

Creation of cabaret theaters in Russia “The Bat”, “Curved Mirror”, etc.

Both “The Crooked Mirror” and “The Bat” were professionally strong acting groups, the level of theatrical culture of which was undoubtedly higher than in numerous miniature theaters (of the Moscow ones, Petrovsky stood out more than others, the director was D.G. Gutman, Mamonovsky, cultivating decadent art, where Alexander Vertinsky made his debut during the First World War, Nikolsky - artist and director A.P. Petrovsky. Among St. Petersburg - Troitsky A.M. Fokina - director V.R. Rappoport, where with ditties and V.O. Toporkov, later an artist of the artistic theater, successfully performed as an entertainer.

4. Musical genres on the stage. Basic principles, techniques and directing.

Pop genres are distinguished:

1 Latin American music

Latin American music (Spanish: musica latinoamericana) is a generalized name for the musical styles and genres of Latin American countries, as well as the music of people from these countries who live compactly on the territory of other states and form large Latin American communities (for example, in the USA). In colloquial speech, the abbreviated name “Latin music” (Spanish musica latina) is often used.

Latin American music, whose role in the everyday life of Latin America is very high, is a fusion of many musical cultures, but it is based on three components: Spanish (or Portuguese), African and Indian musical cultures. As a rule, Latin American songs are performed in Spanish or Portuguese, less often in French. Latin American artists living in the United States are usually bilingual and often use English lyrics.

Actually, Spanish and Portuguese music does not belong to Latin American music, being, however, closely connected with the latter by a large number of connections; Moreover, the influence of Spanish and Portuguese music on Latin American music is mutual.

Despite the fact that Latin American music is extremely heterogeneous and each country in Latin America has its own characteristics, stylistically it can be divided into several main regional styles:

* Andean music;

* Central American music;

* Caribbean music;

* Argentine music;

* Mexican music;

* Brazilian music.

It should, however, be borne in mind that such a division is very arbitrary and the boundaries of these musical styles are very blurred.

Blues (English blues from blue devils) is a genre of music that became widespread in the 20s of the 20th century. It is one of the achievements of African-American culture. It was formed from such ethnic musical movements of the African-American society as “work song”, “spirituals” and cholera. In many ways he influenced modern popular music, especially such genres as “pop” (English pop music), “jazz” (English jazz), “rock and roll” (English rock’n’roll). The predominant form of blues is 4/4, where the first 4 measures are often played on the tonic harmony, 2 each on the subdominant and tonic, and 2 each on the dominant and tonic. This alternation is also known as a blues progression. The rhythm of eighth triplets with a pause is often used - the so-called shuffle. A characteristic feature of the blues is the “blue notes”. Often music is built on a “question-answer” structure, expressed both in the lyrical content of the composition and in the musical content, often built on a dialogue between instruments. Blues is an improvisational form of the musical genre, where compositions often use only the main supporting “framework”, which is played by solo instruments. The original blues theme is built on the sensual social component of the life of the African-American population, its difficulties and obstacles that arise on the path of every black person.

Jazz is a form of musical art that arose in the late 19th - early 20th centuries in the USA as a result of the synthesis of African and European cultures and subsequently became widespread. The characteristic features of the musical language of jazz initially were improvisation, polyrhythm based on syncopated rhythms, and a unique set of techniques for performing rhythmic texture - swing. The further development of jazz occurred due to the development of new rhythmic and harmonic models by jazz musicians and composers.

Country music combines two types of American folklore - the music of white settlers who settled in the New World in the 17th-18th centuries and the cowboy ballads of the Wild West. This music has a strong heritage from Elizabethan madrigals and Irish and Scottish folk music. The main musical instruments of this style are guitar, banjo and violin.

"The Little Old Log Cabin in the Lane" is the first "documented" country song, written in 1871 by Will Heiss of Kentucky. 53 years later, Fiddin John Carson recorded this composition on a record. In October 1925, the Grand Ole Opry radio program began operating, which to this day broadcasts live concerts of country stars.

Country music as a music industry began to gain momentum in the late 1940s. thanks to the success of Hank Williams (1923-53), who not only set the image of a country singer for several generations to come, but also outlined the typical themes of the genre - tragic love, loneliness and the hardships of working life. Already by that time, there were different styles in country: Western swing, which took the principles of arrangement from Dixieland - here the king of the genre was Bob Wills and his Texas Playboys; bluegrass, dominated by founder Bill Monroe; The style of musicians such as Hank Williams was then called hillbilly. In the mid-1950s. country music, along with elements from other genres (gospel, rhythm and blues), gave birth to rock and roll. A borderline genre immediately emerged - rockabilly - it was with it that such singers as Elvis Presley, Carl Perkins and Johnny Cash began their creative careers - it is no coincidence that they all recorded in the same Memphis studio, Sun Records. Thanks to the success of Marty Robbins' album Gunfighter Ballads and Trail Songs (1959), the genre of country and western, which was dominated by stories from the life of the Wild West, emerged as a genre.

Chanson (French chanson - “song”) is a genre of vocal music; the word is used in two meanings:

2) French pop song in cabaret style (in Russian it leans).

Blatna?ya song (blatnoy folklore, blatnyak) is a song genre that glorifies the life and customs of the criminal environment, originally designed for the environment of prisoners and people close to the criminal world. It originated in the Russian Empire and became widespread in the Soviet Union and subsequently in the CIS countries. Over time, songs began to be written in the genre of criminal music that go beyond the criminal theme, but retain its characteristic features (melody, jargon, narration, worldview). Since the 1990s, the criminal song in the Russian music industry has been marketed under the name “Russian chanson” (cf. the radio station and awards of the same name).

Romance in music is a vocal composition written on a short poem of lyrical content, mainly love.

Author's song, or bard music, is a song genre that arose in the mid-20th century in the USSR. The genre grew in the 1950s and 1960s. from amateur performances, regardless of the cultural policy of the Soviet authorities, and quickly achieved wide popularity. The main emphasis is on the poetry of the text.

6 Electronic music

Electronic music (from the English Electronic music, colloquially also “electronics”) is a broad musical genre denoting music created using electronic musical instruments. Although the first electronic instruments appeared at the beginning of the 20th century, electronic music as a genre developed in the second half of the 20th century and at the beginning of the 21st century includes dozens of varieties.

7 Rock music

Rock music is a general name for a number of areas of popular music. The word “rock” - to swing - in this case indicates the rhythmic sensations characteristic of these directions associated with a certain form of movement, by analogy with “roll”, “twist”, “swing”, “shake”, etc. Such signs rock music, such as the use of electric musical instruments, creative self-sufficiency (rock musicians typically perform their own compositions) are secondary and often misleading. For this reason, the identity of some styles of music as rock is disputed. Also, rock is a special subcultural phenomenon; subcultures such as mods, hippies, punks, metalheads, goths, emo are inextricably linked with certain genres of rock music.

Rock music has a large number of directions: from light genres such as dance rock and roll, pop rock, Britpop to brutal and aggressive genres - death metal and hardcore. The content of the songs varies from light and casual to dark, deep and philosophical. Rock music is often contrasted with pop music and so-called. “pop”, although there is no clear boundary between the concepts of “rock” and “pop”, and many musical phenomena balance on the line between them.

The origins of rock music lie in the blues, from which the first rock genres emerged - rock and roll and rockabilly. The first subgenres of rock music arose in close connection with folk and pop music of that time - primarily folk, country, skiffle, and music hall. During its existence, there have been attempts to combine rock music with almost all possible types of music - with academic music (art rock, appears in the late 60s), jazz (jazz rock, appears in the late 60s - early 70s ), Latin music (Latin rock, appears in the late 60s), Indian music (raga rock, appears in the mid 60s). In the 60-70s, almost all the major genres of rock music appeared, the most important of which, in addition to those listed, are hard rock, punk rock, and avant-garde rock. In the late 70s and early 80s, such genres of rock music as post-punk, new wave, alternative rock appeared (although early representatives of this direction appeared already in the late 60s), hardcore (a large subgenre of punk rock ), as well as brutal subgenres of metal - death metal, black metal. In the 90s, the genres of grunge (appeared in the mid-80s), Britpop (appeared in the mid-60s), and alternative metal (appeared in the late 80s) were widely developed.

The main centers of the emergence and development of rock music are the USA and Western Europe (especially Great Britain). Most of the lyrics are in English. However, although, as a rule, with some delay, national rock music appeared in almost all countries. Russian-language rock music (so-called Russian rock) appeared in the USSR already in the 1960-1970s. and reached its peak in the 1980s, continuing to develop in the 1990s.

8 Ska, rocksteady, reggae

Ska is a musical style that emerged in Jamaica in the late 1950s. The emergence of the style is connected [source not specified 99 days] with the advent of sound systems, which made it possible to dance right on the street.

Sound installations are not just stereo speakers, but a peculiar form of street discos, with DJs and their mobile stereo systems, with increasing competition between these DJs for the best sound, the best repertoire, and so on.

The style is characterized by a swinging 2/4 rhythm, with the guitar playing on the even-numbered drum beats and the double bass or bass guitar emphasizing the odd-numbered ones. The melody is performed by wind instruments such as trumpet, trombone and saxophone. Among the ska melodies you can find jazz melodies.

Rocksteady (“rock steady”, “rocksteady”) is a musical style that existed in Jamaica and England in the 1960s. The basis of the style is Caribbean rhythms in 4/4, with increased attention to keyboards and guitars.

Reggae (English reggae, other spellings "reggae" and "reggae"), Jamaican popular music, was first mentioned in the late 1960s. Sometimes used as a general name for all Jamaican music. Closely related to other Jamaican genres - rocksteady, ska and others.

Dub is a musical genre that emerged in the early 1970s in Jamaica. Initially, recordings in this genre were reggae songs with (sometimes partially) vocals removed. Since the mid-1970s, dub has become an independent phenomenon, considered an experimental and psychedelic variety of reggae. The musical and ideological developments of dub gave birth to the technology and culture of remixes, and also directly or indirectly influenced the development of the new wave and such genres as hip-hop, house, drum and bass, trip-hop, dub-techno, dubstep and others .

Pop music (English: Pop-music from Popular music) is a direction of modern music, a type of modern mass culture.

The term "pop music" has a double meaning. In a broad sense, this is any mass music (including rock, electronics, jazz, blues). In a narrow sense, it is a separate genre of popular music, pop music itself with certain characteristics.

The main features of pop music as a genre are simplicity, melody, reliance on vocals and rhythm with less attention to the instrumental part. The main and practically the only form of composition in pop music is the song. Pop music lyrics usually deal with personal feelings.

Pop music includes subgenres such as Euro pop, Latin, disco, electropop, dance music and others.

10 Rap (Hip-Hop)

Hip-hop is a cultural movement that originated among the working class of New York on November 12, 1974. DJ Afrika Bambaataa was the first to define the five pillars of hip-hop culture: MCing, DJing , breaking, graffiti writing, and knowledge. Other elements include beatboxing, hip-hop fashion and slang.

Originating in the South Bronx, hip-hop became part of youth culture in many countries around the world in the 1980s. Since the late 1990s, from a street underground with a strong social orientation, hip-hop has gradually turned into part of the music industry, and by the middle of the first decade of this century, the subculture had become “fashionable” and “mainstream”. However, despite this, many figures within hip-hop still continue its “main line” - protest against inequality and injustice, opposition to the powers that be.

It is known that directing a variety show is divided into directing a variety performance and directing a variety act.

The methodology for working on a variety performance (concert, review, show), as a rule, does not include the task of creating the numbers from which it consists. The director unites ready-made numbers with a storyline, a single theme, builds the end-to-end action of the performance, organizes its tempo-rhythmic structure, and solves the problems of musical, scenographic, and lighting design. That is, he is faced with a whole series of artistic and organizational problems that require resolution in the program as a whole and are not directly related to the variety act itself. This position is confirmed by the thesis of the famous director of variety shows I. Sharoev, who wrote that “most often the stage director accepts performances from specialists in various genres, and then creates a variety program from them. The room has great independence.”

Working on a variety act requires the director to solve a number of specific problems that he does not encounter when staging a large program. This is, first of all, the ability to reveal the individuality of the artist, build the dramaturgy of the act, work with reprise, trick, gag, know and take into account the nature of the specific expressive means of the act, and much more.

Many methodological postulates for creating a performance are based on common fundamental principles that exist in dramatic, musical theater, and circus. But then completely different structures are built on the foundation. There is a noticeable specificity in stage direction, which is, first of all, determined by the genre typology of the variety act.

On the stage, the director, as a creator, achieves in a performance the ultimate goal of any art - the creation of an artistic image, which constitutes the creative side of the profession. But in the process of staging a performance, a specialist works on the technology of expressive means. This is due to the very nature of some genres: let’s say, most of the sub-genre varieties of sports and circus require rehearsal and training work with a coach on sports elements and special tricks; working on a vocal number is impossible without lessons from a specialist vocal teacher; In the choreographic genre, the role of the choreographer-tutor is essential.

Sometimes these technical specialists loudly call themselves stage directors, although their activity, in fact, is limited only to building a special stunt or technical component of the routine - it doesn’t matter whether it’s acrobatics, dancing or singing. Here it is a stretch to talk about creating an artistic image. When leading pop masters (especially in original genres) share the secrets of their skills in printed works, they mainly describe the techniques of magic tricks, acrobatics, juggling, etc.

I would like to emphasize once again that the artistic structure of a variety act is complex, diverse, and often conglomerative. Therefore, staging a variety act is one of the most difficult activities of a director. “It’s very difficult to do a good performance, even if it only lasts a few minutes. And it seems to me that these difficulties are underestimated. Maybe that’s why I so respect and appreciate the art of those who are sometimes somewhat disparagingly called entertainers, assigning them a not very honorable place in the unwritten scale of professions.” These words of S. Yutkevich once again confirm the importance of analyzing the artistic structure of a variety act with the ultimate goal of studying the fundamentals of the methodology of its creation, especially in terms of directing and production work.

Conclusion.

VARIETY ART (from the French estrade - platform, elevation) is a synthetic type of stage art that combines small forms of drama, comedy, music, as well as singing, art. reading, choreography, eccentricity, pantomime, acrobatics, juggling, illusionism, etc. Despite its international nature, it retains its folk roots, which give it a special national flavor. Originating in the Renaissance on the street stage and starting with clownery, primitive farces, buffoonery, E. and. in different countries it evolved differently, giving preference to one or another genre, one or another mask image. In the variety programs of the salons, circles and clubs that arose later, in booths, music halls, cafes, cabarets, miniature theaters and on surviving variety gardening grounds, cheerful humor, witty parodies and cartoons, caustic communal satire, pointed hyperbole, and buffoonery prevail. , grotesque, playful irony, soulful lyrics, fashionable dance and musical rhythms. Individual numbers of the polyphonic variety of divertissement are often held together on the stage by an entertainer or a simple plot, and theaters of one or two actors, ensembles (ballet, musical, etc.) - by an original repertoire, their own dramaturgy. Variety art is oriented towards the widest audience and relies primarily on the skill of the performers, their technique of transformation, the ability to create spectacular entertainment using laconic means, and a bright character - more often comedic-negative than positive. By exposing his antiheroes, he turns to metaphorical features and details, to the bizarre interweaving of verisimilitude and caricature, real and fantastic, thereby helping to create an atmosphere of rejection of their life prototypes, opposition to their prosperity in reality. Popular art is characterized by topicality, a combination in the best examples of entertainment with serious content, educational functions, when fun is complemented by a variety of emotional palette, and sometimes by socio-political, civil pathos. Show business, generated by bourgeois mass culture, lacks the latter quality. Almost all operational “small”, “light” varieties, including the common “cabbage”, are characterized by a relatively short lifespan, rapid depreciation of masks, which depends on the exhaustion of the relevance of the topic, the implementation of social orders, changes in the interest and needs of the audience. Being one of the most dynamic forms of art, at the same time more ancient arts, pop art is subject to the disease of stamping, a decrease in the artistic and aesthetic value of talented finds, up to their transformation into kitsch. Development is strongly influenced by such “technical” arts as cinema and especially television, which often include variety shows and concerts in their programs. Thanks to this, traditional forms and techniques of the stage acquire not only greater scale and prevalence, but also psychological depth (the use of close-ups, other visual and expressive means of screen arts), and vivid entertainment.

In the system of performing arts, pop music today firmly occupies a separate place, representing an independent phenomenon of artistic culture. The popularity of pop music among the widest and most diverse audiences forces it to respond to the contradictory aesthetic needs of various groups of the population by social, age, educational and even national composition. This feature of pop art largely explains the presence of negative aspects in the professional, aesthetic and tasteful merits of pop works. The massive size of the pop audience in the past and present, its heterogeneity, the need to combine entertainment and educational functions in pop art, imposes specific requirements on the creators of works of pop art and imposes a special responsibility on them.

The complexity of studying pop works, as well as developing methodological approaches to their creation, is due to the fact that it as a whole is a conglomerate of various arts. It synthesizes acting, instrumental music, vocals, choreography, painting (for example, the “instant artist” genre). Sports (acrobatic and gymnastic acts) and science are wedged into this synthesis of arts (among the pop genres there is a mathematical act - “live counting machine"). Moreover, there are variety genres based on the stunt component, which requires the manifestation of a person’s unique abilities and capabilities (for example, a number of variety and circus subgenres, hypnosis, psychological experiments). The multiplicity of expressive means, their unexpected and unusual combinations in various synthetic forms on the stage are often more diverse than in other performing arts.

List of used literature.

Bermont E. Variety competition. //Theater. 1940, No. 2, p.75-78

Birzhenyuk G.M., Buzene L.V., Gorbunova N.A.

Kober. The highlight of the program: Transl. with him. L., 1928. S. 232-233; Stanishevsky Yu. Number and culture of its presentation // SEC. 1965. No. 6.

Konnikov A. The world of variety. M., 1980.

Ozhegov S.I. and Shvedova N.Yu. Explanatory dictionary of the Russian language: 80,000 words and phraseological expressions

Rozovsky M. Director of the spectacle. M., 1973.

Russian Soviet stage // Essays on history. Rep. ed. doc. claim, prof. E. Uvarova. In 3 T. M., 1976, 1977,1981.

Uvarova E. Variety theater: Miniatures, reviews, music halls (1917-1945). M., 1983; Arkady Raikin. M., 1986; How they had fun in Russian capitals. St. Petersburg, 2004.

Sharoev I. Stage direction and mass performances. M., 1986; The many faces of the stage. M., 1995.

Topic 6. Panorama of the main trends in the field of world entertainment

Topic 7 Pop music in the 90s and early 21st century

Test lesson

SECTION III. Rock culture
Topic 1. Rock music as a phenomenon of musical culture of the twentieth century.

Topic 2. US rock music of the 1950s.

Topic 4. Review of rock music trends of the 1970s-1980s.

Topic 5. Review of trends in rock music of the 1990s.

Topic 6. Review of trends in rock music of the 21st century.

Topic 7. Rock music in the USSR

Topic 8. Panorama of the main directions of modern domestic rock

Section IV Mass genres of musical theater

Subject

Topic 4. Rock musical

Topic 5. Rock opera

Student reports

Differentiated credit

TOTAL:

1. 3. CONDITIONS FOR IMPLEMENTING THE DISCIPLINE PROGRAM

3.1. Minimum logistics requirements

An educational institution implementing a training program for mid-level specialists in the specialty of secondary vocational education must have a material and technical base that ensures the conduct of all types of practical classes, disciplinary, interdisciplinary and modular training, educational practice, provided for by the curriculum of the educational institution. The implementation of the discipline program requires the presence of a classroom for group classes.

Classroom equipment: tables, chairs (according to the number of students), demonstration board, video and audio equipment (TV, DVD player, vinyl and CD player, projector, laptop, piano)

Technical teaching aids: TV, DVD player, vinyl and CD player, projector, laptop (Internet access)

1. 3.2. Information support for training

2. Bibliography

1. Konen V. The Birth of Jazz.-M., 1984.
2. Menshikov V. Encyclopedia of rock music. – Tashkent, 1992.
3. Sargent W. Jazz.-M., 1987.
4. Feofanov O. Rock music yesterday and today. - M., 1978.
5. Schneerson G. American song.-M., 1977.
6. Erisman Guy. French song.-M., 1974.

Topic 1. Jazz as a phenomenon of musical art

Definition of jazz. Mixed nature of jazz culture. Historical, social and artistic prerequisites for the emergence of jazz. Periodization of the history of jazz.

Communicative openness of jazz culture. Interaction with academic music (“Third Current”), with folklore of the peoples of the world (“Fourth Current”).

The use of expressive means and techniques of jazz by academic composers.

Topic 2. Origins of jazz

The mixed nature of the origins of jazz music.

Negro roots (improvisational music-making, special rhythmic organization - swing, specific techniques of vocal - labile - intonation. Durty tones, shut-out, growl-, holler-effects).

European traditions in jazz (tradition of concert music-making, performing compositions, tonal harmony, metro-rhythmic organization, squareness of compositional structures)

American everyday culture. Minstrel Theatre.

Topic 3. Genres of African-American folklore

Common genre features are the responsor principle, labile intonation, the role of the rhythmic beginning.

Spiritual genres – spirituals, gospel, ring-shout, jubilees.

Work songs - work-song: street, field, plantation.

Topic 4 Blues: stages of development of the genre

Archaic (“rural”) blues is a folk genre of improvisational nature.

Classic blues – genre features (figurative content, blues form, blues mode, blues intonation, blue area, blues square harmony). Blues performers - B. Smith, I. Cox, A. Hunter and others.

Blues in modern jazz. Instrumental blues; development of the genre in various styles of modern jazz.

Topic 5. Ragtime

Origins of the genre; rag music, cake walk.

Genre characteristics: “syncopated melody against the backdrop of metronomically precise movement of eighth notes in the accompaniment,” “suite” principle of organizing the form. Features of performing technique.

Ragtime composers: Scott Joplin, Thomas Tarpen, James Scott and others.

Development of ragtime – genres Advanced, Novetly.

Ragtime opera. “Trimonisha” (S. Joplin)

Topic 6. Early jazz styles

The migration of African Americans from rural areas to cities, and the formation of the first jazz centers (New Orleans, Chicago, Kansas City, New York).

New Orleans style. Marching band, their role in the formation of the first jazz ensembles. Instrumental composition of jazz orchestras, functions of instruments.

The works of D. R. Morton, S. Bechet, L. Armstrong.

The spread of jazz on the East Coast and the Midwest (Kansas City, Memphis, etc.)

Chicago style. Dixieland and its role in the development of jazz. Activities of the "Original Dixieland Jazz Band" (leader Jack Lane). Barrel house style. Boogie-woogie genre.

Topic 7. 1920-1930. The rise of jazz. Swing era

The 1920s are the “age of jazz” (F. S. Fitzgerald). Moving the center of jazz development to New York.

Symphonic jazz, as an example of the rapprochement of jazz with the traditions of academic music. The work of J. Gershwin. Porgy and Bess is the first opera written based on black folklore.

Sweet music is a direction of dance and entertainment jazz. The works of J. Kern, K. Porter and others.

1930s - the “swing era”. Expanding the sphere of existence of jazz (dance halls, restaurants, hotels; musical accompaniment of shows, musicals, films). The dance and entertainment function of jazz music, as a consequence of its commercialization.

The predominant position of big bands. Principles of sectional grouping of instruments. Functions of an arranger and improviser. "Standardization" of musical language.

“Name” big bands (F. Henderson, C. Basie, D. Ellington, B. Goodman, G. Miller, V. Herman, etc.)

Topic 8. The beginning of the era of modern jazz. 1940s. Bebop style.

Socio-political reasons for the formation of bebop - the first style of modern jazz. Reorientation of jazz from the field of mass culture to the status of an elite art.

Focus on chamber music-making, resulting in the formation of small performing groups - combos. Strengthening the role of improvisation.

Complicating the system of musical expressive means of jazz by “borrowing” the achievements of modern academic music. Revival of the traditions of labile folk intonation and their manifestation in the harmonic field of jazz.

Bebop luminaries - D. Gillespie, C. Parker, T. Monk.

Topic 9. 1950s. Kul style and other movements

Cool (cool) - as a reaction to hot-stiled bebop. The development of trends in the 1940s - a tendency towards intimate music-making, updating the musical language, strengthening the improvisational principle. Intellectualization of jazz, bringing it closer to the music of the academic tradition.

Representatives of the cool style are D. Brubeck, P. Desmond, B. Evans. "Modern jazz quartet".

Progressive style is a style of concert jazz based on the traditions of swing big band. Orchestra leaders S. Kenton, V. German, B. Raeburn and others.

Topic 10. 1960s. Avant-garde jazz styles

Free jazz is the first avant-garde style of jazz. Social prerequisites for the emergence of style. Tendency to use modern complex means of musical language with a free attitude towards formation, thematicity, harmonic “grid”, uniform metric pulsation.

“Modal” jazz, as a type of free jazz. The main setting of the style is improvisation on a selected scale.

Representatives of free jazz - O. Cowelman, J. Coltrane, C. Mingus, A. Shepp and others.

Topic 11. Jazz styles of 1960-1970

The interaction of jazz with various musical cultures, in order to find sources of enrichment of the jazz language.

Ethnic styles. Afrocuba and bossa nova - jazz music with Latin American flavor. Characteristic features are dance-genre rhythm, expansion of the percussion group through the use of various exotic instruments.

Jazz-rock is a movement based on the synthesis of jazz with rock stylistics. Enrichment of jazz sound through the use of specific electromusical instruments. Jazz-rock in the music of M. Davis, C. Corea and others.

The “third movement” is a movement that combines academic musical traditions (“first movement”) with jazz (“second movement”). A focus on writing orchestral compositions in large forms, leaving improvisation to the background. Representatives of the “third movement” - G. Schuller, “Swingle Singers”.

“The fourth current” or “world music” is a new wave of ethno-jazz since the 1970s. It is based on the original national folklore of the world. The works of John McLaughlin, Jan Garbarek, John Zorn, Sun Ra.

Topic 18. Jazz in Soviet Russia

1920s in Russia – “jazz boom”. Tours of foreign jazz groups and jazz soloists in the USSR. The first jazz bands: “Eccentric Jazz Band of V. Parnakh” (1922), A. Tsfasman Orchestra (1926), Tea Jazz of L. Utesov-Ya. Skomorovsky (1929). Popularization of jazz through cinema (“Jolly Fellows” by G. Alexandrov, with L. Utesov’s orchestra). Creation of the State Jazz of the USSR (under the leadership of M. Blanter and V. Knushevitsky) and the Jazz Orchestra of the All-Union Radio (under the leadership of A. Varlamov, later - A. Tsfasman)

Variety and entertainment orientation of jazz music in the 1930s-1940s; rapprochement with Soviet mass song. "Song Jazz". Activities of orchestras under the direction of O. Lundstrem, E. Rosner. The work of composers I. Dunaevsky, N. Bogoslovsky and others.

The 1940-1950s were a time of sharp criticism and prohibition of jazz, as a reflection of the ideology of the state and the foreign policy of the USSR. "Underground" jazz. Creativity of Yu. Saulsky.

1950-1960s - the “Khrushchev Thaw” - the time of the creation of jazz clubs, the organization of jazz festivals. Tours of foreign jazzmen. Participation of Soviet musicians in foreign jazz festivals.

Gradual legalization of jazz in the 1980s. The appearance of the first independent jazz club in Leningrad (1986), publications about jazz in the magazine “Musical Life”, the release of the film “We are from Jazz” (directed by K. Shakhnazarov) with the participation of an orchestra conducted by A. Kroll (1983).

Topic 19. Jazz in post-Soviet Russia

Domestic jazzmen who emerged in 1960-1980: A. Kuznetsov, A. Kozlov, G. Golshtein, I. Bril, L. Chizhik, D. Kramer, V. Ganelin, V. Chekasin, A. Kondakov and others. Vocalists – L. Dolina, I. Otieva, V. Ponomareva.

The variety of styles in the activities of domestic groups and soloists of the 1980s: Retro styles (Leningrad Dixieland), bebop (D. Goloshchekin), cool jazz (G. Lukyanov and his ensemble “Kadans”), free jazz (V. Gaivoronsky , V. Volkov).

The emergence of new figures in domestic jazz in the 1990s - A. Rostotsky, A. Shilkloper, V. Tolkachev, N. Kondakov, A. Podymkin and others.

Section 2

Topic 1. Popular song genre as a component of pop music

The song is one of the most common pop genres. The origins of the popular song. Chronology of the development of the genre: Antique era (synthesis of poetry and music), Middle Ages (songs of troubadours, trouvères, minnesingers, minstrels, etc.), Renaissance (songs with instrumental accompaniment in professional art and everyday music-making), second half of the 18th-20th centuries. - an offshoot of the romance song genre, 19th century. division of the song genre into two directions – pop (oriented towards the mass audience) and “serious” (the sphere of activity of academic composers).

Specific features of the genre are communicativeness, democracy, text features (“song poetry”). Variety of song genres:

· by forms of existence (children's, student's, soldier's, city, etc.)

· according to genre guidelines (hymn, lament, hymn, etc.)

The central position of the song genre in the culture of pop music

Topic 2. French chanson

The origins of chanson are in folk songs, in the works of troubadours and trouvères. In the 15th-16th centuries. chanson is a polyphonic song that summarizes the national song traditions of French music.

17th century - performance of city songs by professional musicians - Gros Guillaume, Jean Solomon, etc.) Variety of topics.

18th century – activity of “chansonnier theaters”. Chanson performers - Jean Joseph Vade, Pierre-Jean-Gara and others.

The 19th century is the work of a chansonnier. A variety of artistic masks - “country boy” (Chevalier), “dandy” (Frant), etc. The emphasis in the performing style is not so much on vocal art, but on artistry.

20th century - chanson in the works of Jacques Brel, Gilbert Becaud, Charles Aznavour, Edith Piaf, Yves Montand. Traditions of chanson in the works of Joe Dassin and Mireille Mathieu.

Topic 3. Soviet mass song

The role of the song genre in Soviet musical art of the 1920-1930s.

Mass song as an example of social order; a means of mass propaganda. Democracy of the genre, mass distribution. Cinema as a means of genre massification. “Film Songs” by I. Dunaevsky.

The meaning of mass songs during the Great Patriotic War and the post-war period.

1950-1060s. Strengthening the influence of the song genre on the field of academic genres (song opera) and mass music (song jazz).

The work of Soviet composers and songwriters - M. Blanter, S. Tulikov, V. Solovyov-Sedoy, Y. Frenkel, A. Pakhmutova and others.

Topic 4. Pop song genre: stages of development in domestic pop music

The emergence of the genre at the turn of the 19th-20th centuries. The first genres of musical variety in Russia were couplets, “cruel” and gypsy romance. Popular singers of the first half of the twentieth century - I. Yuryeva, A. Vyaltseva, P. Leshchenko and others.

The development of pop song in Soviet Russia is in the works of L. Utesov, M. Bernes, M. Kristallinskaya, E. Piekha and other performers. Creativity of VIA (“Earthlings”, “Electroclub”, “Jolly Fellows”). Groups focused on retro style (“Bravo”, “Doctor Watson”), on the folklore specificity of the union republics (“Yalla”, “Pesnyary”, “Mziuri”).

Modern pop song performers - A. Pugacheva, S. Rotaru, L. Vaikule, F. Kirkorov, V. Leontyev and others. The defining attitude in modern pop shows, visual brightness and effectiveness, devaluation of vocal skill (singing to a soundtrack).

Author's song as an alternative to pop art. Chamber performance, maximum proximity to the listener. Performers of the original song are Alexander Galich, Yuri Vizbor, Novella Matveeva, Sergei and Tatyana Nikitin, Alexander Dolsky, Yuliy Kim and others.

The work of Bulat Okudzhava. "Moscow Theme"; songs-memories, songs-stylizations.

The originality of the song creativity of Vladimir Vysotsky; extreme emotionality, vivid characterization of the characters, satire. “Cyclicity” of songs – military, historical, everyday and others.

Topic 6. Panorama of the main trends in the field of domestic modern pop music

The song genre is the dominant one in modern pop music. The main focus of songwriters is on the hit song; stereotyped, simplified musical language. Changes in the genre specificity of the author's song under the influence of pop (A. Rosenbaum, O. Mityaev), “Russian chanson” (M. Shufutinsky, A. Novikov). Modern pop song as a background part of everyday life.

An alternative way of developing pop song is the “theater of song” by E. Kamburova, in synthesis with folk rock (I. Zhelannaya).

Section 3

Topic 1. Rock as a phenomenon of musical culture of the twentieth century

Rock culture as a sociocultural phenomenon; a form of modern urban folklore that provides the opportunity for self-expression. The specific means of rock music are based on models (country, blues, commercial music), but at the same time the content is problematic, the desire for the depth of themes and images.

Electronic instruments as defining a specific rock sound.

Topic 2. US rock music of the 1950s

The "explosion" of rock and roll in the United States in the 1950s. Origins: rhythm and blues, country, western.

Rock and roll performers - B. Haley, J. Lewis, E. Presley. The specificity of the style is its timbre composition (three electric guitars and drums), dance orientation.

Topic 3. British beat of the 1960s

Beat music as one of the forms of youth dance and entertainment music of the 1960s. Musical characteristics of beat music.

Types of beat music (hard beat, soft beat, mainstream beat and others). Distribution in the USA and Europe.

The work of the Beatles. Formation of an original performing style. Creative trends that determined the main directions of rock development.

Topic 4. Review of rock music trends of the 1970s - 1980s

The end of 1960-1970 is a mature period in the development of rock music. "Branching" of creative trends.

Psychedelic rock as a reflection of hippie ideology. Meditative compositions, complication of musical language. Creativity of the group "Pink Floyd".

Progressive rock is a theme of protest against government policy, racism, war, unemployment. Album "Pink Floyd"

"The Wall".

Art rock is a direction characterized by the complication of musical language due to convergence with the traditions of academic music and jazz. Creativity of the groups “Emerson, Lake & Palmer”, “King Crimson”.

“Hard rock” - increased electronic sound, harsh rhythm, heaviness of sound. Creativity of the groups “Uriah Heep” “Black Sabbath”.

Glam rock is a direction of rock associated with increased entertainment and theatricalization of concert performances. Representatives of glam rock - Freddie Mercury, Frank Zappa.

Topic 5. Rock music in the USSR

The end of the 1960s was the time of penetration of Western rock music into the USSR. The perception of rock as a form of protest against the official ideology of the state system.

“Legalized” rock performed by philharmonic VIA (“Jolly Fellows”, “Singing Guitars”, “Pesnyary”); lyrical themes, dance and entertainment orientation of the songs.

The opposition to “philharmonic rock” is the group “Time Machine”.

Folklore direction in rock culture - “Pesnyary”, “Syabry”, “Yalla”.

VIA and musical theater. “Singing Guitars” - “Orpheus and Eurydice” (music by A. Zhurbin), “Ariel” - “The Tale of Emelyan Pugachev” (music by V. Yarushin), “Araks” - “The Star and Death of Joaquin Murrieta” (music by A. Rybnikov ), “Rock Studio” - “Juno and Avos” (music by A. Rybnikov).

Rock underground - clubs in Leningrad (groups "Aquarium", "Alisa", "Kino"), Moscow ("Zvuki Mu", "Brigade S"), Ufa "DDT" and other cities. Sverdlovsk is one of the centers of domestic rock (groups “Urfin Juice”, “Nautilus Pompilius”, “Chaif”, “Agatha Christie”, “Sansara”, “Sahara”, “Semantic Hallucinations” and others).

Topic 6. Panorama of the main trends of modern rock.

The ramifications of modern rock trends. The influence of computer technology on the development of rock culture. Standardization of musical language, leveling of the author's origin, dominance of studio forms of music over concert forms.

Modern tech trends:

Hip-hop is a direction that combines wall paintings - graffiti, breakdancing, and a musical direction - rap.

House is a movement based on a combination of techno music and disco. It is based on a mixture of textured percussive bass (disco) and “heavy” electronic sound (bass, beats, various sound effects, etc.)

Rave is a trend that represents a way of life in general. Rave party - massive club disco. Rave is a type of techno music, characterized by the dominance of rhythm over melody and maximum volume.

Section 4

Topic 1. Musical: history of origin, stages of development of the genre

The musical is one of the leading mass genres of musical theater. The origins of the genre are minstrel theater, revue, vaudeville, music hall, musical skits. A variety of genres of expressive means used in the musical (operetta, vaudeville, modern pop and rock culture, choreography). The role of jazz art in the formation of the genre specificity of the musical.

Stages of development of the genre (1920-1930s, 1930-1960s, 1970-1980s, modern musical).

The formation of the genre in the 1920s, as a reflection of the increased public demand for entertainment culture. Features of mass art in a musical are a schematic plot, entertainment, “clichéd” language and simplified vocabulary.

Features of the dramaturgy of a classic musical using the example of works by J. Gershwin (“Lady, Be Kind”), J. Kern (“Excellent, Eddie”), K. Porter “Kiss Me, Kat”), I. Blakey and others.

Topic 3. The rise of the musical genre (1940-1960s)

New genre features

Expansion of topics; “mastering” the plots of classic literary works - K. Porter “Kiss Me, Kate” (based on “The Taming of the Shrew” by W. Shakespeare, F. Lowe “My Fair Lady” (based on “B. Shaw’s Pygmalion”)), L. Bernstein “West Side Story” "(based on "Romeo and Juliet" by W. Shakespeare), etc.

Strengthening the role of dance. Involvement of famous choreographers in the production: B. Fosse in “Chicago” and “Cabaret”, J. Robbins and P. Gennaro in “West Side Story”

Film musicals - transferring a theatrical musical to cinema, as well as creating a musical based on a film (“Oliver!”, “My Fair Lady,” “Man of La Mancha”)

Topic 4. Rock opera

1960-1070s - the emergence of rock opera. The tradition of combining compositions based on a single storyline into an album (“The Wall” by Pink Floyd).

Early rock operas - “Hair” by G. McDermott, “Salvation” by T. Lean, etc.

The specifics of a rock opera using the example of “Jesus Christ Superstar” by E. L. Webber. Other rock operas by the composer are “Evita”, “Cats”, “The Phantom of the Opera”.

Topic 5. Rock musicals

Rock musicals in Russia - “Orpheus and Eurydice” by A. Zhurbin, “The Star and Death of Joaquin Murrieta”, “Juno and Avos” by A. Rybnikov, “Giordano” by L. Quint and others.

Contemporary jazz and pop music is in constant development. It includes both established musical genres and forms, as well as new stylistic trends. Therefore, this course is constantly supplemented and updated with material. The program is divided into several sections. The first section is devoted to the development of jazz music. Students should gain an understanding of the main stages in the development of jazz music, understand the general patterns in the development of its styles, get acquainted with the best examples of foreign and domestic jazz classics, as well as the work of composers, arrangers and outstanding jazz performers. The second part of the program is devoted to an overview of the main directions of pop song creativity. In the third section we will trace the development of rock music and the fourth, final rock opera and musical.

The objective of the course “History of Musical Variety Styles” in a secondary vocational educational institution is to expand the artistic horizons of students, as well as develop their ability to navigate various musical styles and directions in their artistic practice. Therefore, the main requirement for a student’s independent work is to study the recommended literature and listen to audio material for the lesson.

This subject complements the cycle of special and theoretical disciplines. Studying the course "History of musical pop styles"involves interdisciplinary connections with such disciplines as musical literature, specialty, ensemble, orchestra.

Mastering the subject contributes to the development of students' creative thinking. Systematic, systematic completion of homework will help to reveal the student’s creative potential and broaden his horizons.

1. Working with the questionnaire.
2. Work with additional literature recommended by the teacher (involves taking notes).
3. Completing abstracts.
4. Listening to music.

1. 4. CONTROL AND EVALUATION OF THE RESULTS OF MASTERING THE DISCIPLINE

1. Monitoring and evaluation of the results of mastering the discipline is carried out by the teacher in the process of conducting practical classes and laboratory work, testing, as well as students completing individual assignments, projects, and research.

5. LIST OF BASIC AND ADDITIONAL LITERATURE

Main literature

1. Ovchinnikov, E. History of jazz: textbook. In 2 issues. / E. Ovchinnikov. – Moscow: Music, 1994. – Issue. 1.
2. Klitin, S. Variety art of the 19th-20th centuries / S. Klitin. – St. Petersburg: SPbGATI, 2005.
3. Konen, V. The Birth of Jazz / V. Konen. – Moscow: Soviet composer, 1990.
4. Rock music in the USSR: the experience of a popular encyclopedia / comp. A. Troitsky. – Moscow: Book, 1990.

additional literature

1. Ayvazyan A. Rock 1953/1991.- St. Petersburg, 1992
2. Batashev A. Soviet jazz.-M., 1972.
3. Benson Ross. Paul McCartney. Personality and myth. – M., 1993.
4. Bril I. A practical guide to jazz improvisation. - M., 1979.
5. Bychkov E. Pink Floyd (Legends of Rock). - Karaganda, 1991.
6. Vorobyova T. History of the Beatles ensemble.-L., 1990.
7. Dmitriev Yu. Leonid Utesov.-M., 1983.
8. Davis Hunter. The Beatles. Authorized biography.-M., 1990.
9. Kozlov, A. Rock: history and development / A. Kozlov. – Moscow: Syncopa, 2001.
10. Kokorev, A. Punk rock from A to Z / A. Kokorev. – Moscow: Music, 1991.
11. Collier J. Louis Armstrong. M., 1987
12. Collier J. The formation of jazz.-M., 1984.
13. Korolev, O. Concise encyclopedic dictionary of jazz, rock and pop music: terms and concepts / O. Korolev. – Moscow: Music, 2002 Collier J. Duke Ellington. M., 1989
14. Kurbanovsky A. Rock notebook. St. Petersburg, 1991
15. Markhasev L. In the light genre.-L., 1984.
16. Menshikov V. Encyclopedia of rock music. –Tashkent, 1992
17. Moshkov, K. Blues. Introduction to history / K. Moshkov. – St. Petersburg: Lan, 2010
18. Moshkov, K. Jazz industry in America / K. Moshkov. – St. Petersburg: Lan, 2008
19. Music of our days / ed. D. Volokhin – Moscow: Avanta+, 2002
20. Panasier South. History of authentic jazz.-M., 1990
21. Pereverzev L. Essays on the history of jazz. // Musical life.-1966.-№3,5,9,12
22. Pereverzev L. Duke Ellington and his orchestra // Musical life.-1971.-No.22.
23. Pereverzev L. Charlie Parker.// Musical life.-1984.-No. 10.
24. Pereverzev L. Oleg Lundstrem Orchestra // Musical Life.-1973.-No.12.
25. Let's talk about jazz: reflections of great musicians on life and music / trans. from English Yu. Vermenich. – Rostov-on-Don: Phoenix, 2009.
26. Sargent W. Jazz.-M., 1987.
27. Simonenko P. Melodies of jazz.-Kyiv, 1984
28. Sky Rick. Freddie Mercury.-M., 1993.
29. Soviet jazz: Problems. Events. Masters.-M., 1987.
30. Troitsky A. Youth music of the 80s // Musical life.-1980.-No. 12.
31. Fedorov E. Rock in several faces.-M., 1989.
32. Feiser L. A book about jazz. Translation by Yu. Vermenich. Voronezh, 1971
33. Feofanov O. Music of revolt.-M., 1975.
34. Feyertag, V. Jazz in Russia. Brief encyclopedic reference book / V. Feyertag. – St. Petersburg: SKIFIA, 2009.
35. Fischer, A. Jazz bebop style and its luminaries: a textbook) / A. Fischer, L. Shabalina. – Tyumen: RIC TGAKIST, 2010.
36. Chugunov Y. Harmony in jazz.-M., 1980.
37. Schmiedel G. Beatles. Life and Songs.-M., 1977.

1. Selected discography by course

1. "AVVA" s60-08353-54
2. Ensemble "Arsenal". Second wind s60-2369002
3. Anthology of Soviet jazz. First steps M6045827006
4. Armstrong Louis. s60-05909-10
5. Basie Count and seven from Kansas City s60-10279-80
6. Basie Count. When the sun goes down. M60-47075-009
7. Basie Count. 14 golden melodies (2pl). s60-18653-4
8. The Beatles. A Taste of Honey. s60-26581-006
9. The Beatles. Hard day's Night. s60-23579-008
10. The Beatles. Love songs VTA 1141/42
11. Bril Igor, jazz ensemble. The orchestra arrived from 60-14065-66
12. Brubeck Dave in Moscow (2pl.) p60-301903007, p60-30195-001
13. Gershwin George. Popular melodies s60-08625-26
14. Disco club-9. Jazz compositions s60-19673-000
15. Goloshchekin David. Leningrad Jazz Ensemble. 15 years later. s60-20507-007
16. Goodman Benny. What can moonlight do? M6047507006
17. Davis Miles and the Giants of Modern Jazz M60-48821-006
18. James Harry and his orchestra. The man I love M60-49229-006
19. Deep Purple. In Rock P91-00221-2
20. John Elton. City tramp. s60-24123-002
21. John Elton. Your song s60-26003-002
22. John Elton. The one BL1027
23. Dorothy Donegan s60-20423-005
24. "Queen." Greatest hits A60-00703-001
25. "Credence", group. Traveling Orchestra. S60-27093-009
26. "Led Zeppelin" group. Stairway to heaven s60-27501-005
27. Oleg Lundstrem and his orchestra. In memory of Duke Ellington s60-08473-74
28. Leningrad Dixieland 33SM02787-88
29. Oleg Lundstrem and his orchestra. In rich colors s60-1837-74
30. Oleg Lundstrem and his orchestra. Sun Valley Serenade p60-18651-52
31. McCartney Paul. Back in the USSR. A6000415006
32. Miller Glenn and his orchestra. In the mood M60-47094-002
33. A music shop. In memory of L. Utesov M6044997-001
34. Parker Charlie. M60-48457-007
35. Pink Floyd. Live A60 00543-007
36. Peterson Oscar and Dizzy Gillespie s60-10287-88
37. Peterson Oscar. O. Peterson Trio. s60-16679-80
38. Presley Elvis. Everything is fine M60-48919-003
39. Rolling Stones band. Playing with fire M60 48371 000
40. Rolling Stones band. Lady Jane s60 27411-006
41. Ross Diana s60-12387-8
42. Whiteman Paul, orchestra p/u M60 41643-44
43. Wonder StevieSun of my life S60 26825-009
44. Fitzgerald Ella S60-06017-18
45. Fitzgerald Ella sings the works of Duke Ellington C90 29749004
46. Fitzgerald Ella. Dancing in Savoy. С6027469006
47. Hendrix Barbara. Negro spirituals A 1000185005
48. Tsfasman Alexander. Meetings and partings M6047455-008
49. Webber Andrew Lloyd. Jesus Christ - superstar P9100029
50. Winter Paul. Concert Earth s6024669003
51. Charles Ray. Selected songs. VTA 11890
52. Ellington Duke meets Coleman Hawkins c60-10263-64
53. Ellington Duke and his orchestra. Concert (pl.2) с6026783007

Appendix 2

Questionnaire

1. African American roots of jazz.
2. What is improvisation?
3. Periodization of the stylistic evolution of jazz.
4. Spirituals:

Time of occurrence;

Definition;

1. Early African American Folklore:

2 groups;

Brief description of genres;

1. Labor songs
2. Poetic images (texts) of spirituals.
3. Musical style or characteristic genre features of spirituals.
4. Gospel:

A brief description of;

Difference from spirituals;

1. Performers of labor songs and spirituals.
2. Ragtime:

Definition;

Characteristics (occurrence, time);

1. "Sporting life":

Meaning of the word;

1. Scott Joplin
2. When was the ragtime "Maple Leaf" published?

Explain the appearance.

1. Entertainment districts of New Orleans, Chicago,

New York.

1. Features of the minstrel (black) stage.
2. What dances completed the evolution of ragtime.
3. In which works of classical music do the features of spiritual and ragtime appear?
4. List the genres and names of spirituals.
5. The meaning of the word "blues".
6. The time of the emergence of early blues.
7. Varieties of blues (classification).
8. Famous representatives and performers of rural blues.
9. Characteristics of rural blues.
10. Characteristics of urban blues (time of occurrence).
11. The first blues singer.
12. "Kings" and "Queens" of the Blues.
13. Characteristics of urban blues (time of origin).
14. The difference between blues and spirituals.
15. Genre characteristics of blues.
16. Poetic images of the blues and its content.
17. Blues performers.
18. The first printed blues. Composers. Titles.
19. The title of a work by J. Gershwin that uses blues themes.
20. Genre and stylistic modifications of blues. Representatives.
21. Jazz - meaning of the word. Origin.
22. The city is the “Cradle of Jazz”.
23. Early jazz styles. Differences.
24. Euro-American type of jazz music. Dixieland. Representatives.
25. Marching bands and street bands of New Orleans.
26. New generation jazzmen (New Orleans, Chicago).
27. Street jazz:

Time of occurrence;

Characteristic;

Representatives;

Appendix 3

List of terms for terminological dictation

SECTION I. Jazz art

Archaic blues, archaic jazz, African-American music, barbershop harmony, barrel house style, big beat, big band, block chords, wandering bass, blues, blues mode, brass band, break, bridge, boogie-woogie, background , Harlem jazz, growl, ground beat, dirt tones, jazzing, jazz form, jungle style, Dixieland, cake walk, classic blues, chorus, minstrel theater, off beat, off pitch tones, riff , swing, symphonic jazz, stride style

Avant-garde jazz, Afro-Cuban jazz, baroque jazz, bebop, version, west coast jazz, combo, mainstream, progressive, scat, modern jazz, stop-time technique, “third movement”, folk jazz, forceful beat, free jazz, fusion, hard bop, ohler, hot jazz, “fourth current”, Chicago jazz, shuffle, electronic jazz, “jazz era”.

SECTION II. Pop music

SECTION III. Rock culture

Avant-garde rock, alternative rock, underground rock, art rock, beatniks, black metal, breakdance, gitter rock, glam rock, grunge, industrial rock, intellectual rock, mainstream rock, punk rock, progressive rock, rhythm and blues, rockabilly, rock and roll, reggae, rave, rap, symphonic rock, folk rock, hard rock, heavy metal,

Appendix 4

Sample tickets for differentiated standings

Ticket No. 1

1. Origins of jazz music

2. French chanson

Ticket number 2

1. Genres of African-American folklore

2. Stages of development of pop song in domestic and foreign pop music

Ticket number 3.

1. Ragtime

2. US rock music of the 1950s-1960s

Ticket No. 4

1. Blues: stages of development of the genre

2. Soviet mass song

Ticket No. 5

1. Classic jazz. Swing style

2. Rock music in the USSR

Ticket number 6

1. Cool style and other jazz movements of the 1950s

Ticket number 7

1. Jazz styles 1960-1970

2. 1960s British beat

Ticket number 8

1. Bebop style.

2. Rock opera and rock musical

Ticket number 9

1. Ways of development of jazz in post-Soviet Russia

2. Classic musical (1920s-1930s)

Ticket number 10

1. Avant-garde jazz styles. Free jazz

2. Classic musical (1920s-1930s)

Ticket No. 11

1. Jazz in Soviet Russia

2. Musical genre: history of origin, stages of development

Appendix 5

Criteria for assessing student answers during the test:

An “excellent” rating is given if the answer to the theoretical material is meaningful, logically structured, reveals the issue under discussion in sufficient detail, is based on the correct interpretation of terminology, and is equipped with musical and illustrative examples.

A “good” rating is given if the answer to the theoretical material is not detailed enough and there are minor errors in the use of terminology.

A “satisfactory” rating is given if the theoretical answer is based on discretely presented information that does not create a complete picture of the issue under consideration, and poor knowledge of terminology is revealed.

Page 1

Word "variety" (

from Latin strata

means – flooring, platform, hill, platform.

The most accurate definition of pop art as an art that combines various genres is given in D.N. Ushakov’s dictionary: " Stage

This is the art of small forms, the area of ​​spectacular and musical performances on an open stage. Its specificity lies in its easy adaptability to various conditions of public demonstration and short duration of action, in artistic and expressive means, art that contributes to the vivid identification of the creative individuality of the performer, in the topicality, acute socio-political relevance of the topics covered, in the predominance of elements of humor, satire, and journalism." .

The Soviet encyclopedia defines pop music as originating from the French estrade

a type of art that includes small forms of dramatic and vocal art, music, choreography, circus, pantomime, etc. In concerts there are separate completed numbers, united by entertainment and a plot. It emerged as an independent art at the end of the 19th century.

There is also the following definition of stage:

A stage area, permanent or temporary, for an artist's concert performances.

Pop art has its roots in the distant past, traced back to the art of Ancient Egypt and Ancient Greece. Although variety art closely interacts with other arts, such as music, drama theatre, choreography, literature, cinema, circus, pantomime, it is an independent and specific type of art. The basis of pop art is “His Majesty’s number” - as N. Smirnov-Sokolsky said1.

Number

A small performance by one or several artists, with its own plot, climax and denouement. The specificity of the performance is the direct communication of the artist with the public, on his own behalf or from a character.

In the medieval art of traveling artists, farce theaters in Germany, buffoons in Rus', mask theater in Italy, etc. there was already a direct address from the artist to the audience, which allowed the subsequent artist to become a direct participant in the action. The short duration of the performance (no more than 15-20 minutes) requires extreme concentration of expressive means, laconicism, and dynamics. Variety numbers are classified according to characteristics into four groups. The first type group includes conversational (or speech) numbers. Then there are musical, plastic-choreographic, mixed, “original” numbers.

The art of commedia del-arte (mask theater) of the 16th-17th centuries was built on open contact with the public.

Performances were usually improvised based on standard plot scenes. Musical sound as interludes (inserts): songs, dances, instrumental or vocal numbers - was the direct source of the variety act.

In the 18th century, comic opera and vaudeville appeared. Vaudevilles were exciting performances with music and jokes. Their main heroes - ordinary people - always defeated stupid and vicious aristocrats.

And by the middle of the 19th century, the genre of operetta (literally small opera) was born: a type of theatrical art that combined vocal and instrumental music, dance, ballet, elements of pop art, and dialogues. Operetta appeared as an independent genre in France in 1850. The “father” of French operetta, and operetta in general, was Jacques Offenbach(1819-1880). Later the genre develops in the Italian “comedy of masks”.

The stage is closely connected with everyday life, with folklore, with traditions. Moreover, they are being rethought, modernized, “extradized.” Various forms of pop creativity are used as an entertaining pastime.

Chapter V

“Form is a way of existence and expression of content... The unity of the content and form of a work of art does not mean absolute identity, but only a certain degree of mutual correspondence... The degree of correspondence... depends on... the talent and skill of the artist.”

Aesthetics. Dictionary

Concert [from lat. concerto - compete] - a public performance by artists according to a certain pre-compiled program.

Theater encyclopedia

Without deviating in this chapter from the position of exploring only what directly concerns the director’s creativity on the stage, we do not need to fully reveal the peculiarities of the creativity of each of the forms of variety programs. It is important for us here to reveal only what distinguishes the work of a pop director from a theater director when he stages a pop program.

As a rule, none of the forms of variety programs is important for a theater director, since practically he does not have to deal with them when staging a play, because they (these forms) belong only to variety art.

Before talking about one or another form of pop program:

concert, performance, it is useful to determine the meaning...... of the word “concert” (besides the fact that this word denotes a certain stage action, consisting of the sum of the numbers that make it up).

So, the word “concert” [lat. concert] translated from Latin means competition, competition.

Indeed, in any concert, including a pop one, there is a kind of competition, a competition between performers and numbers in their artistic creativity: in terms of skill of performance, in terms of success with the audience, etc. Moreover, it is in the concert (the competition in front of the audience) that the variety act receives its artistic completion.

Naturally, a pop concert, like any concert, is not just a mechanical set, but a fusion of different genres of numbers into a single whole performance, as a result of which a new work of art is born, the name of which is the concert.

It is precisely the creation of a concert from numbers that are sometimes different in genres, characters, and contents - another important difference between the work of a pop director and a theater director, who, as a rule, deals with a work (play) of the same genre, with a single plot and a single development that develops from the beginning to the end of the performance. end-to-end action.

A pop concert is an effectively dynamic spectacle, it is a special imaginative world in which the entertaining principle prevails, clothed in a bright, sharp form, a festive atmosphere, allowing the viewer to easily perceive its content.

Of course, the success of a concert depends on many reasons: here are the performers, and the quality of their numbers, and their novelty, and the construction of the order of numbers (composition), and the coherence of transitions from number to number, and its genre, and its types, etc. .

If we open page 95 of Volume VIII of the III edition of the Great Soviet Encyclopedia, we can read: “A concert is a public performance by artists according to a specific program. Types of concert: musical (symphonic, chamber, piano, violin, etc.), literary (art reading), pop (light vocal and instrumental music, humorous stories, parodies, circus acts, etc.) "We can read almost the same thing in the “Theater Encyclopedia”: “Types of concerts: musical (symphonic, chamber, piano, violin, etc.), literary (artistic reading), mixed (musical numbers, artistic reading, scenes from plays, ballets, etc.), variety ( light vocal and instrumental music, humorous stories, parodies, circus acts, etc.)"

Without disputing the opinion of two authoritative sources, we note that this concept of the word “concert” does not reveal a very important circumstance. Namely, that all types of concerts, according to the nature and content of the numbers performed in them, according to the way they are expressed (even if we are dealing with a “mixed concert”) are divided into two main types: philharmonic and pop. We proceed from the fact that functionally and psychologically the philharmonic and pop concerts are separated from each other. Despite the fact that both functions, without deviating from solving certain general problems (aesthetic, ideological, educational), satisfy the various needs of the viewer (listener).

Concert venues to fulfill the monthly quota of performances.

There could be no question of any logic in constructing such a concert. This is where the entertainer had to “extricate himself.”

Perhaps the latter circumstance to some extent played a role in the disappearance of group concerts from the stage: leading pop artists began to prefer solo concerts or large variety performances to teams, since with a quantitative increase in the number of ordinary concerts, their creative level was overwhelmingly lower average

Another important reason for the disappearance of group concerts in our days was the extremely low artistic level of people who considered themselves professional entertainers. Genuine entertainers who know how to create a variety act from numbers of different genres have practically disappeared for various reasons. Television also played a significant role in the disappearance of national concerts, on whose screens pop “stars” constantly flash, especially in various advertising videos. Why pay a lot (not to say huge money) for a concert when your favorite artists can be seen on the TV screen?

A survey of many potential viewers conducted by the author of the work indicates not only the coincidence of their point of view with the opinion of V. Kalish, but also that the fashion for grandiose spectacles, no matter how show business inculcates it, will pass, and on the stage Group concerts will return equal to the show, albeit in a different and, above all, spectacular quality, but consisting of numbers of various genres. This is confirmed by the practice of Western pop music these days and a number of past concerts at the Moscow Variety Theater, the current life of regional and regional philharmonic societies, and the fact that even in solo concerts his hero invites performers of other genres to participate, because he subconsciously feels the inherent psychological in human perception - a desire for a variety of impressions.

In recent years, on posters advertising pop concerts, we can most often find names such as “variety show”, “cabaret”, but most often - “show”. Although each of these concerts is based on a set of numbers of various genres (as in a national team), each of them has its own rather obvious features.

If we consider a “variety show” as a special form of pop concert, then most often this name hides a light, entertaining performance consisting of performances by singers, dancers, musicians, parodists, acrobats, magicians, etc.

Typically, a variety show program is a kaleidoscope of numbers, often performed with minimal participation of the entertainer, not to mention other conversational genres.

If we talk about the difference between variety shows and cabaret, then already from the mid-20th century the line between them, both in content and form, practically began to disappear. Today it is very difficult to discern the difference between them.

Cabaret [fr. - zucchini] is not so much the audience sitting at the tables, but the style, form and content of the pop concert, which largely depends on the atmosphere in which it takes place.

At its core, a cabaret program is also a set of various performances (numbers). But these programs had a number of significant features.

Firstly, they walked in taverns, in coffee shops, where the public, sitting at tables, looked at the speakers. At first, these were a kind of artistic and literary clubs, where poets, artists, writers, and artists gathered after twelve at night. As a rule, those who came here to relax and have fun went up to a small stage located in the middle or on the side of the hall, singing songs and reading poetry. To some extent, what was happening in such zucchini was a reflection of the processes taking place in the artistic sphere.

Secondly, this spectacle was varied and had an improvisational nature. The performers sought to emotionally stir the audience. Bursts of laughter, applause, and shouts of “bravo” were the usual atmosphere for a cabaret program. In the cabaret of that time, excitement and competition reigned, which created an atmosphere of ease, joy and freedom of creativity, festivity. In the cabaret, the line between the stage and the auditorium seemed to be blurred.

Thirdly, a prerequisite for cabaret activity was the intimacy of the atmosphere, allowing the performers to establish close contact with the audience. And although cabaret programs consisted and consist of various humorous and lyrical songs, solo dances, satirical numbers, parodies, etc. etc., the main role in them is played by the entertainer, who takes care of creating a trusting, intimate atmosphere, leading a casual conversation, often causing an immediate reaction (which is very important in a cabaret program)

The volume of cabaret programs has increased significantly and has become a kind of kaleidoscope of numbers characteristic of cabaret. At the same time, the methods of grotesque, eccentricity, buffoonery, and ironic stylization were used in their solution. Parodies began to be widely used, in which performances and events that were currently taking place on the theater stage were ridiculed.

In Russia, the first cabarets appeared at the very beginning of the 20th century. Among them, the most famous were: “The Bat” in Moscow - initially a cabaret for actors of the Moscow Art Theater, which later became the N.F. Cabaret Theatre. Balieva, “Crooked Mirror”, “Stray Dog”, “Comedians’ Halt” in St. Petersburg and others. Soon cabarets appeared in Odessa, Kyiv, Baku, and Kharkov. Usually they were located in basements and semi-basements with a small stage.

Already in the early nineties of the 20th century, many cabarets lost their generic characteristics: tables disappeared, the structure and content of programs changed.

Cabaret theaters began to use theatrical techniques: curtains, ramps, stage decorations.

Show [English] - 1. Spectacle; 2. Show] - a very common type of pop entertainment show, especially these days, with the obligatory participation of at least one pop “star”.

The show is a bright, emotionally rich variety program that does not have a solid plot line, based on outwardly spectacular spectacular numbers and attractions, connected into a single whole by unexpected transitions and connections; built on fast-paced stage action, close in character to music hall. With the same music hall elegance of choreographic numbers, with the same colorfulness and splendor, with stunning dynamics of tempo, which allows you to saturate the show program with a large number of varied numbers, but without the obligatory for a music hall program, albeit a primitive, “dotted” plot line. At the same time, the show program does not exclude the boldness of presenting numbers. On the contrary, the more varied the presentation methods of the numbers included in the program, the brighter the stage form of the show.

It should be noted that the show is not only a genre category. The form of a show can include performances by a popular pop artist, various competitions, presentations, theatrical auctions, etc.

A show program is a large-scale spectacle, the scenography of which is created in a real stage space and largely depends on the technical capabilities of the stage and its equipment. The show does not limit the imagination of the stage designer. It is important that his invention be technically feasible.

And although today it is quite often possible to observe how a set designer acts as a stage director, it seems to us that this phenomenon is the result of a shortage of genuine pop direction. They may object to us: they say, many artists later became directors. For example, Gordon Craig, Nikolai Pavlovich Akimov and others. Indeed, their creative life began with the profession of an artist. But later their creative profession became directing, as the basis of their stage activities. Perhaps the creative fate of B. Krasnov, who calls himself a “director-set designer,” will be the same.

Of course, a set designer, to a certain extent, like a director, senses drama in dynamics, in movement. But this means that by doing so he can replace the director. Unfortunately, this is exactly what we see today in the production of various show programs. Because of this, the artist’s stage design becomes dependent on the design, and not vice versa, when the artist, the content of his program, his performance determines different scenography solutions. We often see how the design of a stage set, with all the modern tricks of playing with light, smoke, using electronics and other special effects, does not work for the artist, but becomes a pompous background. For example, as we already said in the previous chapter, this was clearly demonstrated in the latest production by A.B. Pugacheva “Christmas Meetings” in 1998 (artist B. Krasnov).

Review [fr. - pantomime, review] first arose in France in the first third of the 19th century (1830) as a satirical theatrical genre. Thus, the “Annual Revue”, popular at that time, was a topical review of Parisian life. Even then, the content of the revue consisted of alternating numbers of various genres. That is, in essence, the revue carried all the main features of a variety program.

A revue (review) is a form of variety performance in which individual numbers are connected by a plot that allows the scene of action to constantly “change” as it develops. For example, a stage stage, sometimes without changing the design (using only details), becomes an underground passage for one act, a park bench for another, a stadium grandstand for a third, etc. Most often, the plot move is based on the need for the hero (heroes) to make a “journey” or “look for” someone or something, or the plot move may be the release of a stage version of the newspaper, as in the same variety review “Evening Moscow”. In a revue, each number is perceived by the viewer not as an isolated work, but as a bright episode, a bright action in the overall composition of the concert. In other words, a revue (review) is a variety show on a theme conceived and expressed through the plot, composed of different numbers combined into episodes.

Music hall program"

Usually “Music Hall” is defined in two ways: the first definition is a type of theater that gives pop concert performances, the second – as a kind of variety program, a performance whose content is built on the alternation of various numbers, attractions, demonstrations of virtuoso performing techniques, stage tricks, cemented by a plot ( “dotted”) moves and dance numbers of a ballet group, usually a female group (“girls”).

From the very beginning, music hall programs, unlike cabarets, did not aim to be topical. In the foreground in such programs there was not so much relevance as the brightness of the external form and performing sophistication.

The conditions of music hall programs, their saturation with various production effects and attractions, also changed the nature of public behavior. “Instead of being an accomplice (as in other forms of entertainment), in the music hall the audience became, as in the theater, an audience of spectators.”

The fate of the Moscow Music Hall was quite difficult. Either it was persecuted and ceased to exist, then it arose again. In the early twenties, the theater did not have a permanent troupe. The programs included guest performers, including foreign ones, who arrived almost on the day of the performance. Naturally, directors rarely managed to create a single film united by a common concept.

But the more significant the successes became, requiring an abyss of invention and skill.”

The music hall program is a unique production of a bright, colorful, sometimes eccentric review-spectacle, consisting of enchanting scenes that quickly replace each other, full of variety and circus attractions; review-spectacle in which first-class numbers and episodes with the participation of pop “stars” are connected by the so-called “dotted line” plot. A very significant place in music hall programs is occupied by inventively choreographed mass dance numbers by “girls” with perfect synchronization of movements. This is a program in which a pop orchestra participates, usually located on the stage. These are always bright, catchy costumes of performers (especially ballet). This is the brilliance of colors, the play of light and shadows. This is a design transformation. For example, as the program progresses, ice stalactites suddenly turn into flowers; or a spaceship flies across the hall onto the stage and lands (as in the Alcazar in Paris); or suddenly a huge glass pool rises in the center of the stage, where girls in swimsuits swim together with crocodiles, performing a sports synchronized swimming routine underwater (“Friedrichstatt Palace”). These are various kinds of stage effects. This is the use of a wide variety of modern technical means of design.

In the art of variety there is such a form of variety performance as “teamp miniatures”.

In our understanding, the word “theater” emphasizes its creative and organizational principles, since in this case the word “theater” is not equivalent to the concept “Theatre”, when by this word we understand a creative organism whose repertoire is based on dramatic or ballet performances. On the other hand, in miniature theaters their programs are based on the same variety acts, differing from variety shows and cabarets only in the scale of the numbers that compose them. As for the division of miniatures of spectators and performers in theaters (by separating spectators from the latter by a ramp and other stage elements) and the disappearance of tables from the hall, the appearance of ramps and tables also occurred in later cabarets.

Theater of miniatures is not only a certain form and a certain content, but also a special style and way of thinking, a way of life.

This is what frightened those in power, who saw in it (especially in the 20s and 30s) bourgeois art alien to the proletariat. Such an attitude towards the art of small forms could not but slow down the development of pop art.

Unable to ban it (for reasons that are not the subject of our study), they only tolerated it. There was no question of the words “variety show,” much less “cabaret,” appearing on posters announcing pop concerts. A solution was found, as it turned out, acceptable to everyone: the art of small forms began to be called “variety”, although before that the word “variety” meant a stage area, stage, and theaters of small forms - miniature theaters that did not have a permanent full-time troupe and They were essentially a rental platform.

Miniature [fr. miniature] - a word that once meant only a drawn and painted decoration in ancient handwritten books (these drawings were so named after the paint made from the mini), also has a figurative meaning: something in a reduced size. The latter determines the repertoire of the Theater of Miniatures. Here you can see various variety performances: a short joke play, vaudeville, a sketch, a choreographic miniature, a pantomime scene, and even cinema. That is, as they say, works of small forms.

The Moscow Theater of Miniatures under the direction of Vladimir Polyakov, the Saratov Theater of Miniatures (artistic director Lev Gorelik) and, of course, the most famous for many years was the Leningrad Theater of Miniatures under the artistic direction of the unique artist Arkady Raikin.

But in addition to the types of programs that we are talking about, in pop art there are forms of pop performance that differ from those we have considered. This is a variety show, a performance.

While maintaining all the main features of a variety program and, above all, the presence of different genres in them, these works of art to a certain extent synthesize the features of theatrical action. The dramaturgy of a variety show is based on a detailed plot with role personification and the fate of the heroes. They widely use the expressive means inherent in the theater: stage action, mise-en-scène, stage atmosphere, etc.

It is not by chance that we separated a variety show from the general concept of a “variety concert”. If the concept of “performance” does not need to be explained (perhaps there is not a single work on theatrical art where this concept has not been thoroughly studied), then “performance” has many, sometimes contradictory, definitions. Often before the word “performance” the word “theatrical” is written or pronounced, that is, they essentially call the oil oil, because the concept of “performance” itself is identical to the concept of “theatricalization”.

Since this concept (“theatricalization”) has been interpreted differently to this day, we consider it necessary in this work to reveal it from the position of practitioners who have staged more than one variety performance, especially since a theatrical concert is the forerunner of a variety performance, in our understanding the last one. The concept of “theatricalization” in relation to a concert means that when staging such a concert, in addition to all those pop expressive means that we talked about when analyzing the features of a combined concert, the theatrical concert uses expressive means characteristic of the theater and theatrical action. Namely: stage action (as is known, the main expressive means of the theater), mise-en-scène (when such a combination of poses. movements of the performers is introduced into the statics inherent in the genre of the act, which at the moment express the essence of the content of the act and the relationship between the performers), stage atmosphere (for its creation, as in the theater, uses game lighting, noise, background music and other elements that create a certain environment in which the action of the performance develops), costume and design.

Watching various pop performances, you can easily discover that the plot of such a performance forces the audience not only to follow the development of the plot, but also to understand and accept the logic of constructing the performance, and sometimes to perceive one or another number (or all numbers) in an unexpected light.

A variety performance, unlike a theatrical concert, is characterized by the role personification of the entertainer (the presenter or presenters). That is, he or they, endowed with certain character traits and characteristics (profession, age, social status, habits, etc.), become an actively active character in the performance, because it is he (they) who embodies the movement of the plot.

In the process of performing a performance, the director does not think about what “game conditions” - theatrical or pop - determine his directorial decision of one or another moment of the performance. The synthesis of these “conditions of the game” for the director occurs on a subconscious level, and at the time of rehearsals the director does not realize what is currently coming from the stage and what from the theater. This skill, albeit unconsciously, relies on two different types of performing arts.

As we see, even in such a performance, seemingly close to the genres of theatrical art, as a variety performance, a variety performance has its own specifics, its own techniques of directorial creativity. And yet, despite the complexity of this variety program, in our understanding, confirmed by modern practice, the future of the stage is connected with plot performances. When, using the means of pop art, a performance is created in which everything - entertainment, stage effects, the play of light and color, scenography, and most importantly, the selection of numbers - is subordinated to thought, plot, conflict, and most importantly - to the artistic image of the performance. Suffice it to recall some of the latest programs performed on the stage of the Rossiya Concert Hall.

Of course, the performance is the most complex type of variety program, since in it, as the outstanding director Fyodor Nikolaevich Kaverin wrote: “there is a certain textual material, with its own plot, with a certain, albeit very small number of characters, and their characters and destinies (most often their comedic adventures) become the inevitable focus. Purely pop numbers are interspersed in separate moments into the course of the play... Developing in action the idea of ​​such a performance, the director is faced with completely special tasks, completely different from what determines his work in the theater in general. He needs to establish the principle by which numbers are introduced into such a play-program, find and establish the correct proportions in their number relative to the plot, determine their character... The director’s special concern when working on such a performance is the search and definition of the style of the entire performance, the manner of acting, which, when combined with conventional pop pieces... “It also requires its own internal course and a clearly established relationship (no matter whether it is coordinated or consciously contrasting) within the performance.”

Stage- a type of stage art that implies both a separate genre and a synthesis of genres: singing, dancing, original performance, circus art, illusions.

Pop music- a type of entertaining musical art addressed to the widest listening audience.

This type of music received its greatest development in the 20th century. It usually includes dance music, various songs, works for pop-symphony orchestras and vocal-instrumental ensembles.

Often, pop music is identified with the existing concept of “light music,” that is, easy to understand, accessible to the public. In historical terms, light music includes classical works that are simple in content and have gained universal popularity, for example, plays by F. Schubert and J. Brahms, F. Lehár and J. Offenbach, waltzes by J. Strauss and A. K. Glazunov, “Little Night serenade" by W. A. ​​Mozart.

In this vast, and also extremely diverse in character and aesthetic level, field of musical creativity, on the one hand, the same expressive means are used as in serious music, and on the other, their own, specific ones.

The term “pop orchestra” was proposed by L. O. Utesov in the late 40s, which made it possible to separate two concepts:
pop and jazz music itself.

Modern pop music and jazz have a number of common features: the presence of a constant rhythmic pulsation carried out by the rhythm section; predominantly dance character of the works performed by pop and jazz groups. But if jazz music is characterized by improvisation, a special rhythmic property is swing, and the forms of modern jazz are sometimes quite difficult to perceive, then pop music is distinguished by the accessibility of musical language, melody and extreme rhythmic simplicity.

One of the most common types of pop instrumental compositions is the pop symphony orchestra (ESO), or symphonic jazz. In our country, the formation and development of ESO is associated with the names of V. N. Knushevitsky, N. G. Minkha, Yu. V. Silantyev. The repertoire of pop symphony orchestras is extremely extensive: from original orchestral plays and fantasies on well-known themes to the accompaniment of songs and operettas.

In addition to the indispensable rhythm section and the full brass composition of the big band (saxophone group and brass group), the ESO includes traditional groups of symphony orchestra instruments - woodwinds, horns and strings (violins, violas, cellos). The ratio of groups in the ESO is close to a symphony orchestra: the string group dominates, which is due to the predominantly melodic nature of the music for the ESO; Woodwind instruments play a big role; The principle of orchestration itself is very close to that adopted in a symphony orchestra, although the presence of a constantly pulsating rhythm section and the more active role of the brass section (and sometimes saxophones) sometimes resemble the sound of a jazz orchestra. An important coloristic role in ESO is played by the harp, vibraphone, and timpani.

ESOs are very popular in our country. Their performances are broadcast on radio and television; they most often perform film music and participate in large pop concerts and festivals. Many Soviet composers write music specifically for ESO. These are A. Ya. Eshpai, I. V. Yakushenko, V. N. Lyudvikovsky, O. N. Khromushin, R. M. Ledenev, Yu. S. Saulsky, M. M. Kazhlaev, V. E. Ter -letsky, A. S. Mazhukov, V. G. Rubashevsky, A. V. Kalvarsky and others.

The genre of pop music includes various types of pop songs: traditional romance, modern lyrical song, song in dance rhythms with developed instrumental accompaniment. The main thing that unites numerous types of pop songs is the desire of their authors for the utmost accessibility and memorability of the melody. The roots of such democracy are in ancient romance and modern urban folklore.

A pop song is not limited to pure entertainment. Thus, Soviet pop songs contain themes of citizenship, patriotism, the struggle for peace, etc. It is not without reason that the songs of I. O. Dunaevsky, V. P. Solovyov-Sedoy, M. I. Blanter, A. N. Pakhmutova, D. F. Tukhmanov and other Soviet composers are loved not only in our country, but also far beyond its borders. Solovyov-Sedoy’s song “Moscow Evenings” received truly worldwide recognition. In the 20th century Various types of dance music replaced each other. So, tango, rumba, foxtrot were replaced by rock and roll, they were replaced by twist and shake, samba and bossa nova rhythms were very popular. For a number of years, the disco style was widespread in pop and dance music. It arose from a fusion of black instrumental music with elements of singing and plasticity, characteristic of pop singers from Latin America, in particular from the island of Jamaica. Closely connected in Western Europe and the USA with the recording industry and the practice of discotheques, disco music turned out to be one of the fast-moving trends in pop and dance music of the 2nd half of the 20th century.

Among the Soviet composers who laid down domestic traditions in the genre of dance music are A. N. Tsfasman, A. V. Varlamov, A. M. Polonsky and others.

Modern rock music can be classified as pop music. In the musical culture of Western Europe and the USA, this is a movement that is very varied in its ideological and artistic level and aesthetic principles. It is represented both by works expressing protest against social injustice, militarism, war, and by works preaching anarchism, immorality, and violence. The musical style of the ensembles representing this movement is equally heterogeneous. However, they have a common basis and some distinctive features.

One of these features is the use of singing, solo and ensemble, and, consequently, text, which carries independent content, and the human voice as a special timbre coloring. Members of ensembles or groups often combine the functions of instrumentalists and vocalists. The leading instruments are guitars, as well as various keyboards, and less often wind instruments. The sound of instruments is amplified by various sound converters and electronic amplifiers. Rock music differs from jazz music in its more subdivided metro-rhythmic structure.

In our country, elements of rock music are reflected in the work of vocal and instrumental ensembles (VIA).

Soviet pop music, due to its mass appeal and wide popularity, played a significant role in the aesthetic education of the younger generation.