What is mode rhythm timbre tempo. What are means of musical expression? Register. Definition in music

Facilities musical expressiveness reveal the secret of how a set of notes, sounds, instruments turns into music. Like any art, music has special language. So, for example, an artist may use paint using such means. With the help of paints, the artist creates a masterpiece. Music also has some similar instruments. We'll talk about them further.

musical expressiveness

Let's start with the music, which determines the speed at which the piece is performed. As a rule, there are three types of tempo in music - slow, moderate and fast. For each tempo there is an Italian equivalent that musicians use. Slow pace corresponds to adagio, moderate to andante, and fast to presto or allegro.

Some people, however, have heard expressions like “waltz tempo” or “march tempo.” Indeed, such rates also exist. Although they can rather be attributed to size. Since the tempo of a waltz is usually three-quarter time, and the tempo of a march is two-quarter time. But some musicians attribute these characteristics to tempo features, because the waltz and march are very easy to distinguish from other works.

Size

Since we're talking about size, let's continue. It is needed in order not to confuse the same waltz with a march. The size, as a rule, is written after the key in the form of a simple fraction (two quarters - 2/4, three quarters - 3/4, two thirds - 2/3, as well as 6/8, 3/8 and others). Sometimes the size is written as the letter C, this means “whole size” - 4/4. Meter helps determine the rhythm of a piece and its tempo.

Rhythm

Our heart has its own rhythm. Even our planet has its own rhythm, which we observe when it can be defined as the alternation of short and long sounds. For example, the meter of a waltz is associated with the concept of the rhythm of the waltz that is well known to us. Any dance - tango, foxtrot, waltz - has its own rhythm. It is he who turns a set of sounds into one or another melody. The same set of sounds played with different rhythms will be perceived differently.

There are only two modes in music - major (or simply major) and minor (minor). Even people without music education can characterize this or that music as clear, cheerful in the terms of the musician) or as sad, mournful, dreamy (minor).

Timbre can be defined as the color of sounds. Using this means of musical expression, we can determine by ear what exactly we are hearing - a human voice, a violin, a guitar, a piano, or perhaps a flute. Each musical instrument has its own timbre, its own sound coloring.

Melody

The melody is the music itself. The melody combines all the means of musical expression - rhythm, tempo, tonality, size, mode, timbre. All of them together, combining with each other in a special way, turn into a melody. If you change at least one parameter in the set, the melody will turn out completely different. For example, if you change the tempo and play the same rhythm, in the same scale, on the same instrument, you will get a different melody with a different character.

You can briefly imagine all the means of musical expression. The table will help with this:

Enjoy the music!

3. Without which there can be no melody

Melody is one of the main means of musical expression. Maybe the most important thing. Is it true, Nikolai Andreevich Rimsky-Korsakov believed that the most important means of expressiveness is rhythm. You can disagree with him, but it is very easy to prove that he is right. There is no melody without rhythm. And rhythm can exist without melody. How? Remember how we tapped rhythmic figures on the table?

We will now see that melody cannot exist without rhythm (and not only without rhythm).

What it is?

It looks like a fragment of a scale. And this?

Something familiar Looks like a march Schumann's march!

Now match the notes of the first passage to the rhythm of the second. And a fragment of a scale will also turn out to be a fragment of the melody of a Schumann march. But you can’t understand this from sounds without rhythm. And you can guess the rhythm even without sounds of the required pitch.

There must be order in thoughts, including musical ones. Rhythm brings this order to music, builds and coordinates sounds in time, that is, according to their duration.

Try to isolate only vowels or only consonants from some words. Who is Ua? What is “and” or “a”? And if I say: “Shmn npsl mrsh. In Mrsh chtk rtm.” Some things are clear. Sergei Sergeevich Prokofiev in drafts I omitted vowels for speed. And his signature looks like this: .

In musical language, pitch is similar to vowels, and duration is similar to consonants. But in any language, both vowels and consonants are equally needed. Therefore, it cannot be said what is more important: melody or rhythm.

...continue to fill out the sign...

Let's try to take any set of sounds. For example, like this:

Why not try to organize and coordinate these sounds in some rhythm? What if this is enough to create a melody? Let's take a rhythm from something already written, famous melody. Perhaps the first sentence of the play may be suitable for this Edvard Grieg"Death of Oze." It also has fourteen sounds:

Now let’s write out the rhythmic pattern of this musical fragment:

Now let’s try to “cross” our abracadabra with this rhythm:

Play what you got. Something strange. True, it’s not quite gobbledygook anymore. There is even some kind of exotic beauty in the first two bars. But the further we go, the more lost and confused our musical thought becomes.

Remember the two main distinctive feature any sound. Do you remember? Right, duration And height. What did we do with durations? Agreed them using rhythm. Did we somehow try to coordinate the pitch of the sounds? Same thing. Remember the fable Ivan Andreevich Krylov about Swan, Pike and Cancer? “When there is no agreement among comrades, okay their business will not work.”

We already came across the word “mode” at the very beginning, when we mentioned the two main modes - major and minor. We know that major and minor can convey certain moods. But music is, first of all, the art of conveying moods. If music has a mood, it means it has thoughts, and these thoughts are in order, in agreement.

Now it’s not difficult to figure out what a fret is. Its definition differs from the definition of rhythm in only one word. Can you guess which one?

Perhaps with the help of the fret we can “correct” our melody? Come on, let's try. It starts with before. Let's try C major. This means that all the flats need to be removed. Here and there you will need to change the notes. For example, at the beginning of the second measure it is better to take before instead of si so that the stable, first degree of the mode falls on the first, strong beat. You can also “smooth out” some inconvenient horse racing moves at wide intervals, which are difficult to sing. For example, like this:

And what? The result was a quite competent, “combed” melody, but inexpressive. Even the previous one, “clumsy”, was more interesting. Her intonation “spines” created a wild, mysterious image.

Image! That's the secret. There is no image in this smooth melody of ours. She's not talking about anything. Just a selection of fret sounds in a certain rhythm. Talking about means musical expressiveness, we must not forget about goals. And the goal is itself musical expressiveness. Without this goal, not a single composer will take up music paper.

In our “experiment,” the scale became only an organizer of sounds in height. But in real music it is not only an organizer, but also a powerful means of expression. In the famous Twenty-third piano sonata Ludwig van Beethoven, known as “Appassionata”, which means “passionate”, the two main themes (main and secondary) are similar to each other with an energetic, strong-willed rhythm, movement of the melody along the steps of the triad. But in the main theme this triad is minor, and in the secondary theme it is major. That's why main topic sounds stern and dramatic, while the side sounds light, decisive, solemn:

IN piano piece great French composer Claude Debussy“The Girl with the Flaxen Hair” melody moves through sounds that capture both the major and parallel minor triads. It is impossible to determine the mode here: major and minor “flicker” all the time. This makes the melody light, airy, as if transparent, its outlines seem “blurred” (the original is a half tone lower):

Sometimes composers use unusual modes that enhance the expressiveness of the music. Grieg has many such examples. Here is the beginning of one of his waltzes:

Play one right hand: what is the key? A major. Maybe, E major Play a melody with accompaniment and you will hear that it is melodic La Minor, only when moving down (second and third beats) do the steps remain elevated, although “according to the rules” they should be salt baker And fa-bekar. This “irregularity” gives the music a more graceful, playful character. Such peculiar modes are characteristic of the Norwegian folk music, whom Grieg knew well and loved very much.

Even more unusual modes, not similar to either major or minor, are often used to create fabulous, fantastic images. Let me give you a few examples:

Example 25
N.A. Rimsky-Korsakov, arioso of the Tsar of the Sea from the opera “Sadko” (the original is a semitone higher)

Example 26
E. Grieg, Anitra's Dance from the music to G. Ibsen's play "Peer Gynt"

Example 27
M.P. Mussorgsky, “Gnome” from the piano cycle “Pictures at an Exhibition” (the original is a semitone lower)

In all these examples there are a lot of random marks of sharps, flats and bekars. They do not “fit” into the tone they show key signs. These “wrong” sounds make the melody become angular, bizarre, and unlike “ordinary” melodies. This “strangeness” of the melody evokes unreal, fabulous images in our imagination.

All the melodies that I gave in the examples were written in the 19th century. In the twentieth century, composers became even more bold in “breaking the rules” in the use of mode and tonality. And not only in fabulous music. In the melody from the second part Ninth Symphony Dmitry Dmitrievich Shostakovich the lowered, “alien” steps at the end of each phrase give the music an even more thoughtful and slightly gloomy character:

But another melody is energetic, active and a little playful. This is the beginning Fourth piano sonata contemporary St. Petersburg composer Boris Ivanovich Tishchenko. The humor here is that the melody seems to “not be able” to find its tonic; it tries first one sound, then another. The results are funny and interesting modal “deviations.” But then, from this cheerful melody, an intense and by no means humorous sound drama will unfold.

We continue our series of articles on music theory, and today we will talk about what mode, tonality and intervals are in music.

In the last article, we studied musical notation and saw what music generally looks like in written form, and which note is responsible for which sound. To make it easier for you to get involved in this lesson, let’s remember with you what the scale looks like:

What you see in the picture above is the C major scale. We will talk about why it is called “C major” a little later. And now we will talk about gamma.

Gamma is a scale whose steps are one tone or semitone apart from each other. Usually musicians play scales to warm up and develop finger motor skills.

The degrees of the scale from the first to the seventh are numbered with Roman numerals.

Each fret degree has its own name:

• Stage I – tonic (T)
• Stage II – descending input sound
• III stage – mediant (middle)
• IV stage – subdominant (S)
• V stage – dominant (D)
• VI stage – submediant (lower mediant)
• VII stage – ascending introductory sound

You probably understand that notes in music have a certain relationship with each other. Therefore, you cannot simply strike the strings of a guitar or collapse on the keys of a piano to create a melody that caresses the ear. And first of all, this very relationship is expressed in the fact that in music there are sounds that seem to stand out from the general mass of notes. Such sounds are called sustainable and often complete the melody.

But even among stable sounds there is a leader - the tonic. It is the main support of the entire melody. In the example below you can listen to the melody without the tonic:

It seems like something is missing, doesn't it? I want to finish the melody.

And, of course, in contrast to steady sounds, there are unstable. The unstable ones gravitate toward stable sounds and strive to connect with them. And the transition of an unstable sound to a stable one is permission.

So, you and I understand that there is a certain pattern according to which music is built. And this pattern is called okay. Lad is always the basis of any musical composition and it is he who organizes all the sounds in music and gives the melody character.

To continue our story about modes, we need to digress a little and tell you about intervals.

is a simultaneous or sequential combination of sounds. A simultaneous interval is called harmonic, and a sequential interval is called melodic. The bottom sound of an interval is its base, and the top sound is its top. In the example, the left interval is harmonic, and the right is melodic.

Melodic intervals can be either ascending (that is, read from bottom to top) or descending (that is, vice versa). Harmonic intervals are read only from bottom to top.

Intervals that form within one octave are called simple. And there are eight of them in total:

1. Prima
2. Second
3. Third
4. Quart
5. Quint
6. Sixth
7. Seventh
8. Octave

But all simple intervals are also divisible. We remember that the distance between adjacent steps can be equal to a tone or semitone. It follows that some intervals can be of two types:

1. Pure prima – 0 tones
2. Minor second – 1/2 tone
3. Major second – 1 tone
4. Minor third – 1 and 1/2 tones
5. Major third – 2 tones
6. Clear quart – 2 and 1/2 tones
7. Increased quart – 3 tones
8. Diminished fifth – 3 tones
9. Perfect fifth – 3 and 1/2 tones
10. Small sixth – 4 tones
11. Major sixth – 3 and 1/2 tones
12. Minor seventh – 5 tones
13. Major seventh – 5 and 1/2 tones
14. Pure octave – 6 tones

Let's not overload you with details about intervals. Let us only note that intervals are divided into consonant and dissonant. Consonance is a merging, consonant sound. Dissonance is a sharp, non-merging sound, or simply “unpleasant”.

Consonant intervals:

1. A very perfect consonance:

• Pure prima
• Pure octave

2. Perfect consonance:

• Clean quart
• Perfect fifth

3. Imperfect consonance:

• Minor third
• Major third
• Small sixth
• Big sixth

All other intervals are considered dissonant intervals.

Now let's get back to the frets. The modes are different, but we will look at the most basic ones: major and minor.

(in literal translation - a larger mode) is a mode in which stable sounds form a major (large) triad, that is, a consonance that consists of three sounds. The sounds of a major triad are arranged in thirds: between the lower and middle sounds there is a major one, and between the middle and upper sounds there is a small one. A perfect fifth is formed between the upper and lower. A major triad that is built on the tonic (that is, on the first degree of the scale) is a tonic triad.

In this mode, unstable sounds are located between stable ones. The major scale consists of seven steps, and the sequential scale of the scale will be the scale that we talked about above.

In the major scale, the intervals between degrees are arranged as follows: tone, tone, semitone, tone, tone, tone, semitone.

Minor scale(minor mode) is a mode whose sustained sounds form a minor triad. A minor triad consists of a minor third between the lower and middle degrees, and a major third between the middle and upper.

In the minor scale, the intervals are: tone, semitone, tone, tone, semitone, tone, tone.

By ear, minor and major modes are quite easy to distinguish from each other. If the melody sounds cheerful and energetic, then it is a major scale, but if you hear a sad and smooth melody, then it is a minor scale.

Key– this is the height at which the tonic of the fret is located. The name of the key corresponds to the name of its mode, for example: C major, D minor, etc.

Suppose you decided to sing this or that song, but it turned out to be too low for your voice. Therefore, we need to rewrite the melody in a higher key. To do this, you need to rewrite all the notes to the required number of tones higher. But it is worth considering that there are tonalities, and going beyond them is tantamount to creating dissonance. If you are interested in how to transfer a melody from one key to another, write about it in the comments, and we will discuss this topic in detail in the next article.

What is rhythm in music? We study and master rhythm.

Rhythm is a fundamental element in the performance of a piece of music. In this case, we can talk about the independence of rhythm from melody. Thus, each person could observe around him thousands of examples of separate existence, from the beating of the heart to percussion instruments, which do not have a pitch component. There can practically be no melody without rhythm.

Regardless of the degree of professionalism, every musician must take into account the basics of rhythm, know specific terminology, and also be able to reproduce a piece or musical fragment in the proposed rhythm. This page explains the basic concepts and terminology necessary for practice.

Rhythm, duration and pauses

Let's look at what it is rhythm. Musical term represents a clear organization of music in temporal space. A structure is formed from a sequence of durations and pauses. The table shows the durations, as well as their designation.

Duration name	Notation when recording		Number of accountsfor one duration
	On the staff	Outside the staff
Whole			1 and 2 and 3 and 4 and
Half			1 and 2 and
Quarter			1 and
Eighth		or
Sixteenth		or	Half an eighth

There is a special table showing the relationship between the durations.

It is worth understanding such a concept as pause in musical rhythm. A pause is a period of time in music that is filled with silence. There are the following pause sizes:

1. A whole pause. The duration is equal to a whole note. Indicated by a black, filled rectangle above the third line of the staff.
2. Half pause. Equal to a half note. It is indicated by a black rectangle located on the third line of the staff.
3. A quarter rest is equivalent to a quarter. It is indicated figuratively on almost the entire staff.
4. The eighth pause is similar in duration to the eighth. The designation resembles capital letter"h".
5. The sixteenth pause is equal to the corresponding note. The length in the letter is similar to the previous one, the difference is that the tail is doubled.

It should be noted that some musicians perceive pauses as stops, as a result of which they stray from the general rhythmic outline. A pause is a sign of silence that plays a big role in the work. It is strongly recommended not to eat up pauses at the expense of another preceding note, lengthening its duration. Otherwise, the musical idea is lost. It is especially important to take this principle into account when playing in an orchestra, ensemble or group. After all, if pauses are not taken into account, then the sounds will overlap each other, creating a cacophony.

Basic terminology

Rhythm in professional music cannot do without such concepts as beat, meter, tempo and size.

• Meter represents a uniform alternation of accents in a piece of music.
• Tact is a unit of measurement of the meter, which is counted in notes or rests. In four-quarter time, the first note in a bar is a strong beat, the second is a weak beat, the third is relatively strong, and the fourth is weak. The measures are separated by a line. The work closes with a double bar.

• Size- two numbers, located one above the other, standing at the beginning of the staff. The top number shows the number of durations in a bar, and the bottom number shows which duration predominates. The designation is located after the key and key characters. It is noteworthy that the indicator is duplicated only once at the beginning of the work; on the following lines there is no need to indicate the size again. The exception is changing to a new one.

The picture shows the size 4/4 (four quarters)

Specifying quarter notes does not mean that only duration data will be used in the measure. Durations of different sizes can be used, but their sum should not exceed the size. Let's look at correct and incorrect examples.

It is worth considering that sizes can be simple, complex, mixed and variable.

The first simple group includes mainly two or three-beat sizes, in which there is only one emphasis on the strong beat. The most common sizes are two quarters, two half, two eighths, three quarters, three eighths and three half.

Complex meters appear when two simple ones merge; usually they have, in addition to the main emphasis on the strong beat, an additional relative one. IN this group includes: four quarters, six eighths, twelve eighths, six quarters, etc.

Mixed people constitute a special category. They are formed from the connection of several simple unequal sizes with each other. The group includes units such as five quarters, five eighths, as well as seven quarters and seven eighths.

Variable size is typical primarily for folk music, first of all for the Russian folk song. A striking example is the song “Vanya was sitting.”

The popular four-quarter size is depicted as capital letter C, so don’t be afraid of this designation.

• Pace- This musical characteristic, which determines the speed of performance of a musical instrument. Usually the tempo is placed at the beginning of the piece above stave, and written in Italian. There are three groups of slow, moderate and fast tempo designations. Depending on the value set, the piece may sound different. Usually the tempo is set on a special device called a metronome. The higher the value, the faster the tempo will be.

Additional signs

There are some notation signs that actively participate in the formation of rhythm. If two notes located at the same pitch level are linked, this means that the first sound must be maintained for the total amount of time. This is usually required to maintain grouping in complex sizes.

For example, let's take the size four quarters. It is complex and has one strong accent on the first beat, and one relatively strong one on the third beat. Thus, there should be notes on the first and third beats of the measure. To record the quarter, half and quarter rhythm, you must follow the basic grouping rules.

So if there is a dot after a note, then this increases its sound by exactly half. For example, a quarter note with a dot is equal in sound to a quarter note with an eighth note.

Often duration with a dot goes along with such a concept as dotted rhythm. The term denotes a rhythmic figure consisting of a duration with a dot and its logical conclusion. So the most common variations are dotted quarter and eighth, dotted eighth and sixteenth. Let's look at a musical example.

As you can see from the image, the dotted rhythm is used mainly on strong or relatively strong beats of the bar.

Another additional sign can be called fermata.

This musical sign indicates that the performer can sustain a note marked fermata for an unlimited amount of time.

The melody is the soul of the composition, it allows you to understand the mood of the work and convey feelings of sadness or joy; the melody can be jumpy, smooth or abrupt. Everything depends on how the author sees it. Pace

Tempo determines the speed of execution, which is expressed in three speeds: slow, fast and moderate. To designate them, terms are used that came to us from Italian language. So, for slow - adagio, for fast - presto and allegro, and for moderate - andante. In addition, the pace can be lively, calm, etc.

Rhythm and meter as means of musical expression determine the mood and movement of music. The rhythm can be different, calm, uniform, abrupt, syncopated, clear, etc. Just like the rhythms that surround us in life. Meter is needed for musicians who determine how to play music. They are written as fractions in the form of quarters.

The mode in music determines its direction. If it is a minor key, then it is sad, sad or thoughtful and dreamy, maybe nostalgic. Major corresponds to cheerful, joyful, clear music. The mode can also be variable, when the minor changes

Timbre colors music, so music can be characterized as ringing, dark, light, etc. Each musical instrument has its own timbre, just like the voice of a particular person

The register of music is divided into low, medium and high, but this is important directly to the musicians who perform the melody, or to experts who analyze the work. Means such as intonation, accent and pause make it possible to clearly understand what the composer wants to say.

CHARACTERISTICS OF MUSICAL EXPRESSIVENESS,

THEIR ROLE IN THE CREATION OF AN ARTISTIC IMAGE OF A MUSICAL WORK.

Music is a specific form of artistic reflection of reality in a musical image. There is a hypothesis that music originated from expressive human speech. A musical image is created using means of musical expressiveness:

TEMP – speed of music performance.

TIMBRE – color of sound. When determining timbre, words of associative meaning predominate (transparent, glassy, ​​juicy, velvety music).

INTONATION – carries the main semantic core in music, therefore it is the most important. Intonation in a broad sense is the development of the entire musical work from beginning to end, the intonation of a musical work. The intonation of the second determines the direction of the piece of music.

RHYTHM is a sequence of sounds of varying lengths.

LAD – emotional coloring of sounds, combination of sounds in pitch (major, minor)

REGISTERS – high, medium, low.

GENRE – type artistic creativity, connected with the historical reality that gave birth to it, the life and way of life of people (song, dance, march - “3 pillars” - Kobalevsky).

Music is close to the emotional nature of a child. It develops under the influence of music artistic perception, experiences become richer.

Music is the greatest source of aesthetic and spiritual pleasure. It accompanies a person throughout his life, causing an emotional response, excitement, and a desire for action. It can inspire, ignite a person, instill in him a spirit of vigor and energy, but it can also lead to a state of melancholy, sorrow or quiet sadness.

Considering the enormous impact of music on emotions and the child’s desire to understand and feel its content, it is especially important to use musical works that artistically specifically reflect the reality that is close and accessible to him. It is known that one of the sources of the emergence of musical images are the real sounds of nature and human speech - everything that the human ear perceives in the surrounding world.

Developing in the process of sound communication, music was initially inseparable from speech and dance. She adapted to the rhythm of labor movements, facilitated them, and united people with a single desire. Just as a painter imitates the forms and colors of nature, so a musician imitates the sound - intonation, timbre, voice modulations. However, the essence of music is not in onomatopoeia and pictorial moments. The musical image is devoid of direct, concrete visibility, but it is dynamic in nature and expresses in a generalized way through sound means essential processes life. “Emotional experience and an idea colored by feeling, expressed through sounds of a special kind, which are based on the intonation of human speech - this is the nature of the musical image.” (Boreev Yu.B.)

By influencing people's feelings and thoughts, music promotes emotional understanding of the surrounding reality and helps transform and change it. With the help of its emotional language, music influences feelings, thinking, influences a person’s worldview, guides and changes him.

One of the main means of creating a musical image is a melody, organized rhythmically, enriched with dynamics, timbre, etc., supported by accompanying voices.

Musical images are created using a set of means of musical expression and are an emotional reflection of images of the real world.

The peculiarity of music, its emotional power lies in the ability to show the rich world of human feelings that arose under the influence surrounding life. “Music, through the revelation of human experiences, reflects the life that gave birth to them.” (Vanslov V.V.)

Nature of impact musical composition depends on how specific its content is. From this point of view, a distinction is made between music with verbal text, program music and purely non-program music. instrumental music(program music is equipped with a verbal program that reveals its content).

Non-program music expresses only emotional content. But this content must be there. They determine special cognitive abilities musical art.

Music does not provide new specific factual knowledge, but it can deepen existing knowledge by emotionally saturating it.

3. Concept

Couplet (French couplet) is a part of a song that includes one stanza of text and one melody (chant).

The verse is repeated throughout the song with new verses of poetic text, while the melody may remain the same or vary slightly. As a result, the so-called couplet form is formed, which underlies the structure of most musical works song genre.

1) Start of singing; singing.

2) Beginning choral song or each of its verses, performed by a soloist.

3) The beginning of the epic, usually not related to its main content, necessary to attract the attention of listeners; beginning

part of a verse song, performed at the end of the verse, in a choral song - by the choir after the solo chorus. Unlike the chorus, the text of which is updated in each verse, P. is usually sung to the same text. P. is characterized by simplicity of melody and rhythmic clarity. Often P.'s text represents an expression of a general idea, a slogan, an appeal (especially in revolutionary and mass songs). In many cases, P. is performed twice each time, which gives it special weight. The “chorus - chorus” relationship is also transferred to instrumental music - a two-part form arises, the second part of which is often also repeated, Rondo or rondo-shaped form (see Musical form).

No. 4. The concept of unwritten and written musical culture. Features of folk musical art as a phenomenon, its features as a specific layer of musical culture: orality, variation and variability, the presence of standard tunes, syncretism, etc.

The essence and specificity of folklore as a phenomenon, features musical language The problem of forming national identity as the basis for preserving national identity culture in modern conditions world globalization undoubtedly deserves close attention already at the initial stage of human comprehension of culture - during preschool childhood. And folklore ( folk wisdom), and original works of art are indispensable means of influencing the feelings and consciousness of a preschooler, therefore any area of ​​education, including musical and aesthetic education, involves the use of samples national culture and, first of all, musical folklore. Musical folklore is a combination of song, dance, instrumental creativity people. Folklore is a more ancient layer of musical culture than composer's music. This is unwritten musical culture, which differs significantly from the written one. Folklore has a number of features, taking into account which makes it possible to effectively use it in musical development children preschool age. 1. For folklore tradition characterized by oral tradition, transmission from person to person, from generation to generation. Due to oral nature, works of folklore use frequent repetitions of melodic turns and texts (calculating limited opportunities human memory), laconic musical form. These features make musical folklore accessible to preschool children. 2. As a result of orality, such features as variability and variation have developed in folklore. Variation implies the existence of many similar variants of one sample in space (different regions) and in time. Variability - changing a sample during its performance (depending on the capabilities of the performer). These features of folklore make it possible to use its works as invaluable material for the development of musical creativity preschoolers. A folklore pattern taught with preschoolers is a model on the basis of which a child can improvise, create his own variations, without conflicting with the very nature of folklore. 3. As a result of oral tradition, typical melodies, rhythms, and texts were recorded in folklore, which are transferred from one sample of folklore to another, often being signs of the genre (the third mode in lullabies, the sung fifth syllable in phrases of carol songs, the textual refrains “Shchodra vechar, good Vechar”, “Kalyada”, “Agu, Viasna!”, etc.). Preschoolers, becoming familiar with a number of traditional tunes, learn the “vocabulary” and “grammar” of the national musical (as well as verbal) language. In this process, the child’s musical intonation vocabulary is enriched, and folklore becomes recognizable to him (as a result of frequent repetition) and a familiar phenomenon. 4. Folklore (especially the early layer) is characterized by syncretism - the unity of all its elements (singing, movement, use of instruments, play). The child’s worldview is also syncretic, types musical activity preschoolers are closely related. Thus, folklore repertoire corresponds to the age capabilities and needs of a preschool child

4. Concept

Instrumental music is music performed on instruments without the participation of the human voice. There are solo, ensemble and orchestral instrumental music. Widely distributed in classical music, jazz, electronic music, new age, post-rock, etc.