Shader space

1. Rapid movement of figurative texture in S. Rachmaninov's romance "Spring Waters".
2. The space of texture in the fragment "Morning in the mountains" from the opera "Carmen" by G. Bizet.

Music material:

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

Characteristics of activities:

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

It is known that the texture is literally "manufacturing", "processing" (lat.), and in music - the musical fabric of the work, its sound "clothes". If in a piece the leading voice is the melody, and the other voices are the accompaniment, chords of harmony, then such a texture is called homophonic-harmonic. Homophony (from the Greek Homos - one and phone - sound, voice) is a type of polyphony with the division of voices into main and accompanying.

It has many varieties. The main ones are:

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

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

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

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

Let us turn to S. Rachmaninov's romance - "Spring Waters". Written to the words of F. Tyutchev, it not only conveys the image of the poem, but also introduces new impetus and dynamics into it.

Snow is still whitening in the fields,
And the waters are already rustling in the spring -
They run and wake up the sleepy shore,
They run and shine and say...
They say all over the place:
Spring is coming, spring is coming!
We are messengers of young spring,
She sent us ahead!”
Spring is coming, spring is coming!
And quiet, warm, May days
Ruddy, bright round dance
Crowds merrily after her.

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

In "Spring Waters" - the feeling is bright, open, enthusiastic, captivating listeners from the very first bars.

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

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

The love of the earth and the charm of the year,
Spring smells good to us! -
Nature gives a feast to creation,
Goodbye feast gives sons! ..
Spirit of life, strength and freedom
Raises, envelops us! ..
And joy flooded into my soul
As a response to the triumph of nature,
Like God's life-giving voice! ..

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

A huge role is played by texture in those works where it is necessary to convey the idea of ​​musical space.

One example is the Intermission to Act III from G. Bizet's opera Carmen, which is called Morning in the Mountains.

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

listening this fragment, we literally see how the first rays rising sun gently touch the high peaks of the mountains, as they gradually sink lower and lower and at the moment of climax, as if flooding the entire boundless mountain space with their dazzling radiance.

The initial holding of the melody is given in a high register. Its sound in relation to the accompaniment is a range of three octaves. Each subsequent passage of the melody is given in a descending line - the voices are approaching, the dynamics is growing, the climax is coming.

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

Questions and tasks:

1. What feelings are expressed in the romance "Spring Waters" by S. Rachmaninov? How are these feelings expressed in the textural presentation of the work?
2. What creates the impression of a musical space in the musical intermission "Morning in the Mountains" by G. Bizet?
3. Remember in what musical genres a significant range of texture space is used. What is it connected with?

Presentation

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

Musical thought can be expressed in various ways. Music, like a fabric, is made up of various components, such as melody, accompanying voices, sustained sounds, etc. This whole complex of means is called an invoice.
Texture is a way of expressing musical fabric.
IN artistic practice texture is different in density. It depends on the number of votes composing it (from one to several dozen).
Often the word texture is replaced by the word warehouse, which is similar in meaning. Currently, two main types of texture are known: homophony and polyphony. Mixed
type appears when the first two interact.

Monody (unison) (from the Greek "mono" - one) is the oldest monophonic texture, which is a monophonic melody, or holding a melody by several voices in unison, or in octave doubling.

heterophony- also ancient type texture (originated in the 9th century).

homophony- (from the Greek "homo" - a person, "background" - sound, voice). Homophony or homophonic-harmonic texture is one and the same.

Homophonic - harmonic texture consists of melody and accompaniment. She established herself in music Viennese classics(second half of XVIII
century) and is the most common texture to this day.

chord texture- is a chord presentation without a pronounced melody. Examples are church hymns - chorales
(quite often such a texture is called choral), it includes instrumental and choral works of a chordal warehouse.

Polyphony(from the Greek "poly" - a lot and "background" - sound, voice) - older than homophonic, it flourished in the Baroque era (XVII century -
first half of the 18th century). This is a type of polyphony in which two or more voices have an independent melodic meaning (“equality” of all voices).
in).

polyphonic texture There are three varieties: contrast, imitation, subvocal.

Contrasting (different-dark) polyphony o It is formed if the themes (melodies) in polyphony are different, contrasting.

Imitation (from lat. - imitation)- is formed in that case. When the melodies of a polyphonic warehouse are the same or similar, they enter into a relationship with a shift in time. Imitative polyphony reached its peak in the work of J.-S. Bach.

heterophony- also an ancient type of texture (it appeared in the 9th century), it is the most primitive kind of polyphony. In it, the voices move parallel to each other (tape movement - in fourths, fifths, thirds, sixths).

mixed invoice- arose as a result of the interaction of textures of different types, it can be polyphonic-harmonic, heterophonic-harmonic

1. Full name Aleksashkina Oksana Viktorovna

2. Place of work MBOU secondary school 47

3. Position Teacher

4. Subject music

5. Class 6a

6. Lesson topic: MUSICAL VOICE AND ITS TYPES (23)

7. Basic Tutorial T. I. Naumenko, V. V. Aleev

8. The purpose of the lesson: familiarity with the concept of " musical texture and its views.

9. Tasks:

9.1. Give an idea of ​​texture as a means of musical expression.

9.3. Learn to compare and analyze musical works.

9.4. Check students' knowledge on the topic "polyphony".

9.5. Develop students' musical skills.

9.6. Cultivate interest and love for music.

10. Lesson type: OZN.

11. Forms of work Individual, group, collective.

12. TO: Musical and demonstration material: portraits of N. Paganini and F. Schubert, samples of various textile fabrics, musical examples, handout, music center.

STRUCTURE AND PROCESS OF THE LESSON

MUSICAL INVOICE AND ITS TYPES

Organizing time.

Hello guys! Sit down.

The epigraph of our lesson will be the words of the great Russian composer Sergei Vasilyevich Rachmaninov, who said:

"The main goal of my work has always been the search for the original musical language. I hate imitation and hackneyed ways."

What do you think musical language is?

Children: These are means of musical expression (melody, rhythm, tempo, harmony, dynamics, harmony).

Teacher. Well done. Would you like to expand your knowledge in this area?

Teacher: I will continue the lesson with verses:

We start a new day in the morning

It's time for us to wake up.

We are at the music lesson

We make it right on time

After all Magic world art

Awakens our senses!

With a song we live more cheerfully,

FROM Good morning, new day!

Smiled at each other, wished good luck,

Smiled at the guests.

I wish you good luck too!

We will start the lesson with a test of knowledge on the topic "Polyphony".

2. Testing. (Appendix 1) Work in pairs.

1. Literally translated, "polyphony" means:

2. Polyphony took its origins:

but) from folk music

b) church music

c) secular music

3. How many centuries has polyphony dominated?

but) 5 centuries

c) 10 centuries

Check answers with the board, check in pairs.

What word can combine the techniques used in the test?

Children: Polyphony.

Name polyphonic genres. Choose the correct answers on the board (Appendix 2).

concert, canon, toccata, etude, invention, waltz, mass.

BUT highest form polyphonic music is...

Children: fugue.

And which of you can list the ways of changing the theme in a fugue?

Children list.

Do you think this knowledge will be useful to us today in the lesson?

Work in groups of 4 people. There are fabric samples on the table (Appendix 3)

Questions. And what is it?

What is the fabric made of?

Children. From threads.

Teacher. Why is the fabric different?

Children. Because threads of various thicknesses, qualities, and origins are involved in its creation. When creating a fabric, various methods of spinning and weaving were used.

Teacher ( draws attention to the texture samples laid out on the students' desks) (Appendix 5)

Now look at the way music is presented, what does that remind you of?

Children. "Musical fabric", "patterns", "ornament".

Teacher. What is it all made of?

Children. All this is created with the help of lines, musical notation, rhythmic and melodic pattern.

Teacher. And in fact, what is presented, set out in front of you?

Children. Before us are musical works presented in different ways (the children are presented with 3 types of musical texture: monophonic, melody with accompaniment and polyphony).

Guys, now we will listen to three musical fragments, and then you will say what kind of texture sounded in each of them?

Record answers on the board.

You can see that we got different answers. Let's stop and think

1) what task did we perform?

2) where did the difficulty arise?

3) why we could not answer these questions?

Children. We do not know what is the difference between these three musical textures.

Teacher: What is the purpose of our lesson?

4. Purpose: (children should name) learn to find differences in different types musical textures, get an idea of ​​texture as a means of musical expression. The teacher summarizes the goal. What will be the theme of our lesson?
Topic: MUSICAL VOICE AND ITS TYPES

Children choose a way out of the difficulty - clarification. Build a plan

goal achievement. To do this, the teacher asks questions:

What shall we do first?

1. Let's listen to 3 pieces of music

2. Let's analyze each piece of music

3. Find out what are the main differences between the textures of each fragment.

4. What material will we need in the lesson to answer the questions that have arisen?

Children. Samples of musical works (notes, handouts, music for listening), samples of textile fabric.

5. Texture is a way of presenting musical material. It may be different. Look at samples. And today we will get acquainted with some of its species.

1. Caprice No. 24 by N. Paganini sounds.

Teacher: What did you hear? Tell us about your impressions.

Children. The work impresses with its beauty of sound, flight of sound, and is distinguished by the originality of its timbre.

Teacher: What instrument was involved in the performance?

Children. There was a violin solo.

Teacher. It is used to convey personal feelings, as well as to express the beauty and originality of the instrument's timbre. However, an exclusively monophonic work is a rather rare phenomenon. Usually in musical works there is a comparison and interaction of various figurative principles.

The work of F. Schubert "Margarita at the spinning wheel" sounds

Teacher. What new did you hear in this work?

Children. Here you can hear the trembling melody of Margarita, which reveals to us her innermost thoughts.

Teacher. What genre of music does this piece belong to?

Children. Vocal - instrumental genre.

Teacher. What is the meaning of accompaniment?

Children. The accompaniment conveys the measured buzz of the spindle. This creates a simultaneous vivid visual impression and figurative contrast with its dull monotony.

Teacher. Conclude what type this type of texture belongs to? Children: This type of texture is called a melody with accompaniment.

Writing on the board and in notebooks: melody with accompaniment in the work of F. Schubert "Margarita at the Spinning Wheel".

3. Children listen to a fragment of the organ prelude in C minor by I. Bach

and determine the polyphonic features of the work (polyphony, independence of each voice)

Can you now name the main features of different textures?

6 ... Children organize the assimilation of a new mode of action by pronouncing in external speech.

Teacher: What are the features of the musical texture in each of the listened works?

• 
  In a monophonic work, the role of melody is decisive. It is the main source of information.
• 
  In a two-voice work, the melody is clearly heard and the accompaniment has a pictorial function.
• 
  The polyphonic texture assumes the independence of each voice and the interconnection of all voices.

7. The teacher invites the children to complete independent work with self-test according to the standard:

Determine the type of texture in S. Rachmaninov's romance "Lilac".

Children. Children determine the texture of a piece of music using three cards that graphically depict three types of texture (Appendix 5). Carry out self-test, step by step comparing their work with the standard.

Guys, look carefully at the accompaniment. What does he remind you of? (Hint: On the board, next to the score, there is an illustration of a lilac twig).

Children. The accompaniment is similar to lilac branches.

Teacher. Quite right. And returning to the epigraph of our lesson, did S. Rachmaninoff manage to find original way presentation of the musical language in this work?

Children. Yes, of course, we managed to find the original accompaniment.

8. Teacher. In what types of tasks can the new knowledge gained in the lesson be used?

Children: In all types of tasks that use the analysis of a piece of music.

Teacher: Did we manage to achieve the goal of our lesson today?

Children: Yes, we did.

9. Teacher: What means of musical expression did we meet today?

Children. Today we got acquainted with such a means of musical expression as texture.

Teacher. What is an invoice?

Texture is a way of presenting musical material.

Teacher.

What types of invoices do you know?

Teacher.

And what pieces of music helped us to understand this?

The work of N. Paganini Caprice No. 24; F. Schubert "Margarita at the spinning wheel"; I. Bach Fugue in C minor, S. Rachmaninov "Lilac"

Guys, now try to evaluate your work in the lesson with the help of multi-colored notes. Yellow - I didn’t understand, orange - everything is clear, red - it was difficult, but I did it. (They place their notes on musical staff On the desk). See what an interesting, original texture we got in the lesson from your knowledge.

Homework.

1. Draw those characters or illustrations that you remember from the lesson.

In this article, we will get acquainted with the definition of musical texture and consider its basic types.

Any musical thought is abstract, unless it is fixed in some way.
It doesn't matter what is used for this: music sheet, recorder or sequencer. In any case, even the simplest musical idea cannot exist without texture.
There are five main layers that make up music:

• Melody
• Texture

None of them can exist without texture. It may be absent, but the invoice never.

For music, texture is the body, and the idea is the soul.

Texture this is the structure of the musical fabric, taking into account the nature and ratio of its constituent voices. Synonyms for the word texture are: warehouse, presentation, musical fabric, letter.

It can be said that mastery is the ability to express one's abstract ideas in the form of texture that best suits the image. All ideas concerning form, melody and must be expressed in a certain way.

You can also say that the texture determines the style of music by 90%.

With all the diversity of texture, it is possible to single out and systematize typical forms of presentation based on one or another specific principle. Such forms are called musical warehouses. Four main types should be distinguished: monodic, polyphonic, chordal, homophonic. One or another warehouse can be maintained in the entire work or for most of it, or it can be carried out eposodic, replaced by another warehouse. Instrumental music often combines different ways presentation, forming mixed warehouses or free texture. A monodic warehouse is a monophonic (unison or octave doubling) melodic movement without accompaniment. Monophonic folk songs are characteristic in this respect. A polyphonic warehouse is a polyphony in which the voices have in general an equal expressive value. Each voice is individualized to some extent and forms an independent melodic pattern. This independence does not mean complete freedom, but indirectly obeys the harmonic consistency of sound. The chord warehouse is characterized by such a harmonic combination of sounds that forms chords as a monolithic whole. This solidity is mainly created by the rhythmic homogeneity of all voices. A homophonic warehouse is characterized by a combination of a solo voice with accompaniment. Thus, unlike other warehouses, it is based on a two-dimensional structure. Born in folk music in singing with instrumental accompaniment, the homophonic warehouse passed into the secular everyday music of the Middle Ages in its simple form. In the church music of that time, which cultivated choral polyphonic polyphony, he naturally did not find his place. There is a homophonic-harmonic warehouse (in a simple form, accompaniment is a clearly expressed harmony). Above were considered musical warehouses in their characteristic form. But very often there is a combination and interpenetration of different ways of presentation, leading to complicated and mixed warehouses. For example, mixed chord-polyphonic warehouse, homophonic-chord, homophonic-polyphonic.

Renaissance

Renaissance, or Renaissance - a period in the history of culture, covering approximately the XIV-XVI centuries. This period received its name in connection with the revival of interest in ancient art, which has become an ideal for cultural figures of modern times. Composers and musical theorists - J. Tinktoris.,

J. Tsarlino and others - studied ancient Greek musical treatises; in the works of Josquin Despres, who was compared with Michelangelo, according to contemporaries, "the lost perfection of the music of the ancient Greeks was revived": appeared at the end of the XVI-- early XVII in. the opera was guided by the laws of ancient drama.

The development of the culture of the Renaissance is associated with the rise of all aspects of society. A new worldview was born - humanism (from the Latin "humanos" - "human"). emancipation creative forces led to the rapid development of science, trade, crafts, new, capitalist relations took shape in the economy. The invention of printing contributed to the spread of education. Great geographical discoveries and the heliocentric system of the world of N. Copernicus changed ideas about the Earth and the Universe.

Reached unprecedented prosperity art, architecture, literature. The new attitude was reflected in the music and transformed its appearance. It gradually departs from the norms of the medieval canon, the style is individualized, the very concept of "composer" appears for the first time. The texture of works changes, the number of voices increases to four, six "or more (for example, a 36-voice canon is known, attributed to the largest representative Dutch school of J. Okegem). Consonant consonances dominate in harmony, the use of dissonances is strictly limited by special rules. The major and minor scales and the clock system of rhythms are formed, which are characteristic of later music.

All these new means were used by composers to convey a special system of feelings of a Renaissance man - sublime, harmonious, calm and majestic.

During the Renaissance (Renaissance) professional music loses the character of purely church art and is influenced by folk music, imbued with a new humanistic worldview. High level reaches the art of vocal and vocal-instrumental polyphony in the works of representatives of "Ars nova" ("New Art") in Italy and France of the XIV century, in new polyphonic schools - English (XV century), Dutch (XV - XVI centuries. ), Roman, Venetian, French, German, Polish, Czech, etc. (XVI century).

Appear various genres secular musical art- frottola and villanella in Italy, villancico in Spain, a ballad in England, a madrigal that originated in Italy (L. Marenzio, J. Arcadelt, Gesualdo da Venosa), but became widespread, a French polyphonic song (K. Zhaneken, K. Lejeune). The Renaissance ends with the emergence of new musical genres - solo song, cantata, oratorio and opera, which contributed to the gradual establishment of the homophonic style.

Translated from Italian, the word "toccata" means "touch", "strike". During the Renaissance, this was the name given to the festive fanfare for wind instruments and timpani; in the 17th century - fanfare type of introduction to operas and ballets.

Toccata is also a virtuoso piece for lute, clavier, and organ. originally toccata for keyboard instruments composed as an introduction (prelude) to a choral work, such as a motet, and was a genre of church music, and then it becomes an independent concert genre of secular music. Composers include it in the suite, make it the initial part of the polyphonic cycle (toccata and fugue in D minor for organ by J. S. Bach).

Toccata and Fugue in D minor for organ by J. S. Bach

Toccata is characterized by a texture that reflects the style of the finger, keyboard game, i.e., playing with chords, passages, melodic and harmonic figurations. Chord and passage sections alternate in it with imitation-polyphonic ones. In Bach's toccatas, the beauty of form and unprecedented virtuosity are combined with the depth and significance of content.

In the XIX-XX centuries. the toccata developed as an independent virtuoso piece of the etude plan (toccatas for piano by R. Schumann, K. Czerny, C. Debussy, M. Ravel, S. S. Prokofiev, A. I. Khachaturian). Toccata as part of the cycle is found in the 5th piano concerto by Prokofiev, in the Pulcinella suite by I. F. Stravinsky.

Music of the Renaissance.

The musical aesthetics of the Renaissance was developed by composers and theorists as intensively as in other art forms. After all, just as Giovanni Boccaccio believed that Dante, with his work, contributed to the return of the muses and breathed life into dead poetry, just as Giorgio Vasari spoke about the revival of the arts, so Josephfo Zarlino wrote in his treatise "Establishing Harmony" (1588):

“However, whether the insidious time is to blame or human negligence, people began to appreciate not only music, but also other sciences. began to be considered miserable, insignificant and so little honored that even scientists hardly recognized her and did not want to give her her due.

At the turn of the XIII-XIV centuries, the treatise "Music" by the master of music John de Groheo was published in Paris, in which he subjected to a critical revision medieval performances about music. He wrote: “Those who are inclined to tell fairy tales said that music was invented by the Muses who lived near the water. Others said that it was invented by saints and prophets. But Boethius, a significant and noble man, holds other views ... He is in his book says that the beginning of music was discovered by Pythagoras. People, as it were, sang from the very beginning, since music is innate to them by nature, as Plato and Boethius say, but the foundations of singing and music were unknown until the time of Pythagoras ... "

However, with the division of music into three types of Boethius and his followers: world music, human, instrumental, John de Groheo does not agree, because no one heard the harmony caused by the movement of celestial bodies, even the singing of angels; In fact, "it's not the business of a musician to talk about angelic singing, unless he only becomes a theologian or a prophet."

"Let us say, then, that the music which is in use among the Parisians can, apparently, be reduced to three main sections. One section is simple or civil (civilis) music, which we also call folk; the other is music complex (composed - composita), or regular (learned - regularis), or canonical, which is called mensural. And the third section, which follows from the two above and in which they both are combined into something better, is church music designed to praise the creator."

John de Groheo was ahead of his time and had no followers. Music, like poetry and painting, acquires new qualities only in the 15th and especially in the 16th century, which is accompanied by the appearance of more and more treatises on music.

Glarean (1488 - 1563), the author of the work on music "The Twelve Strings" (1547), was born in Switzerland, studied at the University of Cologne at the art department. master liberal arts engaged in Basel teaching poetry, music, mathematics, Greek and Latin, which speaks of the vital interests of the era. Here he became friends with Erasmus of Rotterdam.

To music, in particular church music, Glarean approaches like artists who continued to paint paintings and frescoes in churches, that is, music, like painting, should, outside of religious didactics and reflection, give pleasure first of all, be the "mother of pleasure".

Glarean substantiates the advantages of monodic music against polyphony, while he speaks of two types of musicians: phonas and symphonists: the former have a natural tendency to compose a melody, the latter to develop a melody for two, three or more voices.

Glarean, in addition to developing the theory of music, also considers the history of music, its development, as it turns out, within the framework of the Renaissance, completely ignoring the music of the Middle Ages. He substantiates the idea of ​​the unity of music and poetry, instrumental performance and text. In the development of music theory, Glarean legalized, with the use of twelve tones, the Aeolian and Ionian modes, thereby theoretically substantiating the concepts of major and minor.

Glarean is not limited to the development of music theory, but considers creativity contemporary composers Josquin Despres, Obrecht, Pierre de la Rue. He talks about Josquin Depres with love and enthusiasm, like Vasari about Michelangelo.

Josephfo Zarlino (1517 - 1590), whose statement we are already familiar with, entered the Franciscan order in Venice for 20 years with her musical concerts and the flourishing of painting, which awakened his vocation as a musician, composer and music theorist. In 1565 he led the chapel of St. Brand. It is believed that in the work "Establishment of Harmony" Tsarlino in the classical form expressed the basic principles musical aesthetics Renaissance.

Carlino, who spoke of the decline of music, of course, in the Middle Ages, draws on ancient aesthetics in developing his doctrine of nature. musical harmony. "How much music was glorified and considered sacred, the writings of philosophers and especially the Pythagoreans clearly testify, since they believed that the world was created according to musical laws, that the movement of the spheres is the cause of harmony and that our soul is built according to the same laws, awakens from songs and sounds, and they seem to have a life-giving effect on its properties.

Zarlino is inclined to regard music as the main among the liberal arts, as Leonardo da Vinci praised painting. But it's a hobby certain types art should not confuse us, because we are talking about harmony as a comprehensive aesthetic category.

"And if the soul of the world (as some think) is harmony, can our soul not be the cause of all harmony in us and our body not be united with the soul in harmony, especially when God created man in the likeness of a larger world, called by the Greeks the cosmos , that is, ornament or decorated, and when did he create a semblance of a smaller volume, in contrast to that called mikrokosmos, that is, a small world? It is clear that such an assumption is not without foundation.

In Zarlino, Christian theology is transformed into ancient aesthetics. The idea of ​​the unity of the micro- and macrocosm gives rise to another idea in him - about the proportionality of the objective harmony of the world and the subjective harmony inherent in human soul. Highlighting music as the main of the free arts, Zarlino speaks of the unity of music and poetry, the unity of music and text, melody and word. Added to this is "history", which anticipates or justifies the birth of opera. And if the dance, as it happens in Paris, we will see the birth of ballet.

It is believed that it was Tsarlino who gave the aesthetic characterization of major and minor, defining the major triad as joyful and bright, and the minor triad as sad and melancholy. He also defines counterpoint as "a harmonic whole containing various changes in sounds or singing voices in a certain pattern of correlation and with a certain measure of time, or that this is an artificial combination of various sounds, brought to consistency."

Josephfo Carlino, like Titian, with whom he was associated, gained wide fame, was elected a member of the Venice Academy of Glory. Aesthetics clarifies the state of things in music during the Renaissance. Founder Venetian school music was Adrian Willaert (between 1480/90 - 1568), a Dutchman by birth. Tsarlino studied music with him. Venetian music, like painting, was distinguished by the splendor of its sound palette, which soon acquired baroque features.

In addition to the Venetian school, the largest and most influential were the Roman and Florentine. The head of the Roman school was Giovanni Palestrina (1525 - 1594).

The community of poets, humanist scholars, musicians and music lovers in Florence is called the Camerata. It was led by Vincenzo Galilei (1533 - 1591). Thinking about the unity of music and poetry, and at the same time with the theater, with the action on the stage, the members of the Camerata created new genre- opera.

J. Peri's Daphne (1597) and Eurydice based on texts by Rinuccini (1600) are considered the first operas. Here a transition was made from a polyphonic style to a homophonic one. It was here that the oratorio and cantata were performed for the first time.

The music of the Netherlands in the 15th - 16th centuries is rich in the names of great composers, among them Josquin Despres (1440 - 1524), about whom Zarlino wrote and who served at the French court, where the Franco-Flemish school developed. Think, highest achievement Dutch musicians became a choral mass a capella, corresponding to the upward aspiration of Gothic cathedrals.

In Germany, organ art is developing. In France, chapels were created at the court, and musical festivals were held. In 1581 Henry III approved the post of "chief quartermaster of music" at court. The first "principal director of music" was the Italian violinist Baltazarini de Belgioso, who staged the "comedy ballet of the queen", a performance in which for the first time music and dance are given as stage action. This is how court ballet arose.

Clement Janequin (circa 1475 - around 1560), outstanding composer French Renaissance, is one of the creators of the polyphonic song genre. These are 4-5-voice works, like fantasy songs. The secular polyphonic song - chanson - has become widespread outside of France.

During the Renaissance, the development of instrumental music. Among the main musical instruments called lute, harp, flute, oboe, trumpet, organs various types(positives, portables), varieties of harpsichord; the violin was folk instrument, but with the development of new strings bowed instruments like the viola, it is the violin that becomes one of the leading musical instruments.

If the mindset new era first awakens in poetry, receives a brilliant development in architecture and painting, then music, starting from folk song pervades all spheres of life. Even church music is now perceived to a greater extent, as are the paintings of artists on biblical themes, not as something sacred, but something that gives joy and pleasure, which the composers, musicians and choirs themselves took care of.

In a word, as in poetry, in painting, in architecture, there was a turning point in the development of music, with the development of musical aesthetics and theory, with the creation of new genres, especially synthetic forms of art, like opera and ballet, which should be perceived as Renaissance, transmitted centuries. The music of the Renaissance sounds in architecture as a harmony of parts and the whole, inscribed in nature, and in the interiors of palaces, and in the paintings in which we always see a performance, a stopped episode, when the voices are silent, and the characters are all listening to the melody that has resounded, which we as if heard..