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Spiritual and secular song art. Vocal genres and their development in sacred and secular music of different eras Performed by: music teacher MBOU "Secondary School No. 2" in Olekminsk RS (Y) Andreeva Olga Petrovna

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Spiritual song art Sacred music (German geistliche Musik, Italian musica sacra, English sacred music) is musical works associated with texts of a religious nature, intended for performance during a church service or in everyday life. Sacred music in the narrow sense means church music of Christians; in a broad sense, sacred music is not limited to accompanying worship and is not limited to Christianity. The texts of works of sacred music can be either canonical (for example, in the Requiem by W.A. Mozart) or free (for example, in the motets of Guillaume de Machaut), written on the basis or under the influence of sacred books (for Christians - the Bible).

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The Middle Ages in the history of musical art - as well as the entire artistic culture of mankind - is an extremely complex and controversial stage. More than 1000 years of the Middle Ages for the art of music meant a long and very intense evolution of musical thinking - from monody - monophony - to the most complex forms of polyphony. During this period, many musical instruments were formed and improved, musical genres emerged - from the simplest forms of choral monophony to multi-part polyphonic genres that combine both vocal and instrumental sound - mass, passions.

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Monastic singing and composing schools acquire exceptional importance in the development of sacred music. In their depths, a special, numerical aesthetics of music developed, which is part of the 7 “liberal arts”, along with mathematics, rhetoric, logic, geometry, astronomy and grammar. Understood as a numerical science, music for medieval aesthetics was a projection of mathematics onto sound matter.

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Orthodox spiritual singing Znamenny chant is an ancient Russian monophonic tradition of liturgical singing. Znamenny chant was born and flourished on Russian soil, in the Russian Church. It most fully reflects the prayerful feelings of the Russian soul as it stands before God. Znamenny singing is based on the ancient Byzantine singing culture, which we accepted together with the faith of Christ itself even under the Holy Prince Vladimir. But Znamenny chant is not just an interpretation of Greek singing in the Russian style, it is an integral spiritual and musical system, the fruit of the cathedral creativity of Holy Rus', a song to the God of the people of God.

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Troparion Greek. Τροπάριον - in the Orthodox Church - a short prayer chant in which the essence of the holiday is revealed, a sacred person is glorified and called to help. Troparion in the canon - a stanza following the irmos, with chanting of verses according to its (irmos) melodic-rhythmic model

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Partes singing (from Late Latin partes - parts [of a polyphonic musical composition], voices) is a type of Russian church and concert music, polyphonic choral singing, which is used in Uniate and Orthodox worship among Russians, Ukrainians and Belarusians. The most important genre of partes singing is the partes concert.

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Stichera Greek. στιχηρὰ, from ancient Greek. στίχος - poetic line, verse), in Orthodox worship - a hymnographic text of strophic form, usually dedicated to the verses of the psalm (hence the name). The stichera contain the theme of the day or a remembered event. The number of stichera depends on the festivity of the service. The stanzas do not have a fixed poetic form and vary widely from 8 to 12 lines. The melody of a stichera, as a rule, covers one stanza.

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Liturgy (Greek λειτουργία - “service”, “common cause”) is the most important Christian service in historical churches, during which the sacrament of the Eucharist is celebrated. In the Western tradition, the word "liturgy" is used as a synonym for the word "worship"

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An all-night vigil, or all-night vigil, is a service that takes place in the evening on the eve of especially revered holidays. This service is called the all-night vigil because in ancient times it began late in the evening and continued all night until dawn. The Lord Jesus Christ himself often devoted the night hours to prayer: “Watch and pray,” the Savior said to the apostles, “so as not to fall into temptation.” And the apostles gathered at night to pray. During the era of persecution, Christians also held services at night. At the same time, to this day, in most churches in Russia, the all-night vigil is served on the night before the holidays of Holy Easter and the Nativity of Christ; on the eve of some holidays - in the Athos monasteries, in the Spaso-Preobrazhensky Valaam Monastery, including in the Olekminsky Spassky Orthodox Cathedral.

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Chorale When Pope Gregory I called monody the “main” church music, he could hardly have imagined what kind of career awaited the chorale, which received the name Gregorian. Gregorian chant (Latin cantus Gregorianus; English Gregorian chant, French chant grégorien, German gregorianischer Gesang, Italian canto gregoriano), Gregorian chant, cantus planus - liturgical monody of the Roman Catholic Church

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Mass (Latin missa) in the meaning of the musical term is most often understood as a genre of church polyphonic music based on ordinary prayer texts of the Catholic Mass. Initially, such masses were composed by composers to decorate the divine service. The peak of development of the polyphonic mass was the second half of the 15th - early 17th centuries. In modern times, composers, as a rule, conceived the mass immediately as a completed concert composition, without any connection with the divine service.

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In fact, the first school of polyphony was the Parisian singing school at Notre Dame Cathedral (from the mid-12th to the mid-13th centuries), the largest masters of which were Leonin and Perotin. The further development of verbosity is associated with the names of French musicians of the Ars nova era, Philippe de Vitry and Guillaume de Machaut.

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Secular song art The sacred (spiritual) and secular (secular) spheres of music were based on various figurative systems. The center of the secular sphere was the image of earthly man in all the diversity of his earthly life. First of all, this was reflected in the song and poetic art of traveling musicians. This new trend of secular music-making - standing, as it were, between folklore proper and sacred musical art - was first formed in Provence - in the 9th - 11th centuries. and then spread throughout Europe. In various European countries, these traveling musicians were called differently: troubadours in the south, trouvères in the north of France, minnesingers and spielmans in Germany, hoglars in Spain. The principles of their creativity, the range of images and themes were largely the same. They were all in one person poets, singers, jugglers, magicians, and performers of many musical instruments.

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The art of traveling musicians was genetically connected with folklore tradition on the one hand, and with the development of education and the culture of chivalry on the other. Since the 9th century. the sons of influential lords were educated in monasteries, where, among other sciences, they were taught singing and music theory. In this paradoxical way, the sacred sphere of spiritual life within itself gave birth to new secular art. In accordance with the traditions of chivalry - and as a reaction to the asceticism of Christian doctrine - earthly sensual love becomes the imaginative center of the new worldly music. But at the same time, the canons of Christian morality leave their mark on the interpretation of this theme, which is undoubtedly innovative for the art of music. Traveling musicians perceived love as idealistic, unrequited, hopeless, completely based on unconditional loyalty to the lady of their heart. The wandering musician never expected to find a response to his love in this world; only death could bring him deliverance from the torments of love; only in another, higher world could he find peace.

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The art of traveling musicians, first of all, was focused on personality, individuality and, as a result, had a fundamentally monophonic character. Monophony - in contrast to the predominantly choral nature of sacred music - was also due to the tradition of the finest vocal nuances of the poetic text. The melody of the songs of wandering musicians was extremely flexible and whimsical. But at the same time, the rhythm was practically canonized - which clearly reveals the influence of canonized sacred music - and was determined by poetic meter. There were only 6 varieties of rhythm - the so-called rhythmic modes, and each of them had a strictly fixed figurative content.

Lesson topic: Secular and sacred music

Lesson type: lesson on expanding and deepening knowledge

The purpose of the lesson: to reveal the essence of secular and sacred music; cultivate a love of music; develop independence and activity; formation of musical culture.

During the classes:

ORG Moment

Repetition of covered material.

What musical genres is the concept of musical dramaturgy associated with? (opera, ballet, operetta, musical, oratorio, musical film and symphonic music)

What does Development mean?

What ways of developing music do you know? (repetition, variation, sequence, imitation)

^ LEARNING NEW MATERIAL

Musical culture developed in the interaction of two main directions: secular and spiritual, church. Secular music in its origins relied on folk song and dance culture. Sacred music has always been associated with worship.

The first professional musicians - composers, theorists, performers (singers, instrumentalists) - until the 18th century, as a rule, served as bandmasters and organists at the courts of monarchs, princes, and archbishops. They could communicate with a wide circle of listeners only in church.

Church music always addresses the themes of Holy Scripture. The dramaturgy of images of suffering, death, and resurrection of Christ is the basis for the development of sacred music. In church ritual, music and the word, in unity with other types of art, determine the integrity of the dramatic action, built on the contrasts of various images. In the Eastern Orthodox Church, this is the liturgy and all-night vigil, wedding and prayer service, the origins of which lie in the Znamenny chant. In the Western, Catholic Church - mass, requiem, passion, cantatas, etc. They are based on chorale, polyphonic singing accompanied by an organ or orchestra.

The biblical word and its refraction in the melodies of church chants determined the high artistic and moral power of the influence of sacred music. Religious themes and forms of church music predominate in the work of the German composer J.-S. Bach and the Russian composer M. Berezovsky. Bach most often wrote music for organ and choir, and Berezovsky wrote for a capella choir. Thanks to polyphony, the main idea of ​​each of their compositions receives a deep and multifaceted development. Contents of the chorus “Kyrie, eleison!” from “High Mass” by J.-S. Bach and the 1st part of the spiritual concert “Do not reject me in my old age” by M. Berezovsky unfolds in a perfect polyphonic form - a fugue.

Remember the melodies of sacred and secular music that are familiar to you.

Listen and compare the named choirs of Bach and Berezovsky.

What development technique are you hearing here? (imitation)

What role does the technique of imitation play in the development of musical images?

^ Secular music. From the 16th century Chamber music begins to develop (from the Latin: Camera room). So, in contrast to church and theater, they call instrumental or vocal secular music. From the middle of the 18th century. Secular concert life, free from the influence of the church, is intensifying. The number of orchestras, ensemble and solo concerts is increasing. In the works of Viennese classical composers - Haydn, Mozart, Beethoven and others - classical types of instrumental ensemble were formed - sonata, trio, quartet, etc.

Written for a small group of performers, chamber music was performed in the home or at the courts of noble nobles. Performers who worked in court ensembles were called chamber musicians. Gradually, chamber music began to be performed not only in a narrow circle of connoisseurs and music lovers, but also in large concert halls.

There are a variety of chamber vocal and instrumental miniatures by romantic composers of the 19th century. These include songs by F. Schubert, piano songs without words by F. Mendelssohn, caprices by N. Paganini, waltzes, nocturnes, preludes, ballads by F. Chopin, romances by M. Glinka, plays by P. Tchaikovsky and much more.

Consolidation and summary of the lesson

DZ repeat material

It should be noted that modern researchers, asking the question about the essence of art as such, insist that the identification of art with aesthetics “seems unacceptable to us, because if, on the one hand, it simplifies the problem, then, on the other, it limits the scope aesthetic experience, abstracting and isolating the reality of art” (Banfi. A. Philosophy of Art. M. Art. 1989. – P. 358). However, this extra-artistic basis, for example, the writer Schiller and the philosopher Spencer saw in game . Spencer considered the playful nature of art as entertainment caused by the need to restore the physical strength of the human body. For Schiller, the playful nature of art can be reduced to “ironic dialectics for the relaxation of the spirit,” a kind of distraction from the usual work. That is why, as A. Banfi writes, “in art as a means of expression there is an atmosphere charm , unnaturalness , something artificial , I would say almost something magical , in which, apparently, only beauty should manifest itself for us” (-P.34). There is also an interesting conclusion that this author draws on the basis of the analyzed material: “Every work of art is, in a certain sense, a kind of idol, the same idol that sinners molded with their own hands in order to worship it” (-P.35). And further: “For every work of art is such only because of the sense of spirituality that it radiates, because of the revelation it contains, a revelation that is not reducible to any aspect of the world or personal values, but is a reflection of the presence in the world and the personality of the spirit that in this way he designated a new source of his ideal life.” (-P.35) Another thing is, how does a representative and exponent of secular thought understand what is “the spirit present in the world and the individual,” what are the tasks and what is the essence of art? It turns out that the sphere of the spirit for him is the sphere of artistic life: “Only in the sphere of artistic life does the artist act as an artist, that is, a creator: his miraculous genius consists precisely in participation in this vital need, alien to any personal inclinations, free from mood public and ideally abstract schematism: in a painful pursuit of solving their specific problems” (-P.37). That is why art has life as its source and “is nourished by it.” “Art does not know other norms, other traditions, besides its own life; does not know other problems, other solutions, except those that life itself puts forward to artistic reality in its continuous development” (- P.38).

Thus, a secular master or a secular analyst of art, without denying the presence of spirituality and a spiritual vector in art, sees it in the spontaneous, continuous development of life as such, which guides, nourishes, and inspires itself. Consequently, only by studying the laws and trends in the development of this life, from the point of view of secular thought, can it be understood, reflected, expressed. The more deeply an artist and thinker can penetrate into the secrets of the universe, of life as such, the more vividly he will be able to express and reflect it. This emphasizes the importance mastering the methods and techniques of visualization , as well as the development of personal qualities and the creator’s own efforts. Life is multifaceted and rich and everyone sees it through the prism own taste, mood . That is why, already from the Renaissance (Renaissance), it was so significant and important to form an author’s style, a unique handwriting that would indicate the uniqueness of the master and his creation. Thus, it becomes the norm to sign your work by the master or indicate with the help of symbols who its author is. Thus, in In secular art, the external expressive form is subordinated to the revelation that was revealed to the master and was revealed to the world through the prism of his feelings and experiences. However, a natural consequence of this state of mind is the following, well-known trend in modern art: as many views and moods as there are, so many styles, approaches, forms of expression. Consequently, secular art offers variety of forms , styles and cannot imagine himself outside of this diversity. Vanity.

Materials for lesson 7th grade 3rd quarter

Musical dramaturgy - the development of music.

Musical dramaturgy– reflection of musical images in movement, development, interweaving and struggle of contradictory principles (contradictions).

Ways to develop music:

1. Repetition, repetitions - tripartite form ( AVA), rondo form (AVASADA), couplet form.

2. Variation –variation form, sonata form (development, reprise).

Types of variation - sequence, imitation.

Sequence (from Latin succession)– moving a motif, repeating a sequence of sounds at different heights, in an ascending or descending direction.

Imitation (from Latin imitation) – repetition of a theme or motive in a different voice of a musical work (polyphonic presentation - canon or fugue).

Two directions of musical culture .

Musical culture developed in the interaction of two main directions: secular and spiritual (church).

Secular music in its origins relied on folk song and dance culture.

Sacred music has always been associated with worship.

Spiritual music.

TOThe field of spiritual music primarily includes vocal or vocal-instrumental works based on texts of a religious nature, performed during a church service.

Church music always addresses the themes of Holy Scripture. The dramaturgy of images of suffering, death, and resurrection of Christ is the basis for the development of sacred music. In church ritual, music and the word, in unity with other types of art, determine the integrity of the dramatic action, built on the contrasts of various images. In the eastern Orthodox Church This liturgy and all-night vigil, wedding and prayer service, the origins of which lie znamenny chant . In the western catholic church- mass, requiem, passions, cantatas etc. They are based on - chorale, polyphonic singing accompanied by an organ or orchestra.

Religious themes and forms of church music predominate in the work of the German composer J.-S. Bach and the Russian composer M. Berezovsky. Bach most often wrote music for organ and choir, A Berezovsky - for choir a capella Thanks to polyphony, the main idea of ​​each of their compositions receives a deep and multifaceted development. Contents of the chorus "Kyrie, eleison!" from "High Mass" by J.-S. Bach and the 1st part of the spiritual concert “Do not reject me in my old age” by M. Berezovsky unfolds in a perfect polyphonic form - fugue.

Secular music.

Secular music is music free from the influence of the church.

From the 16th century begins to develop chamber music(from Latin camera - room). So, in contrast to church and theater, they call instrumental or vocal music. From the middle of the 18th century. Secular concert life, free from the influence of the church, is intensifying. The number of orchestras, ensemble and solo concerts is increasing. In the works of Viennese classical composers - Haydn, Mozart, Beethoven and others - classical types of instrumental ensemble were formed - sonata, trio, quartet and etc.

Written for a small group of performers, chamber music was performed in the home or at the courts of noble nobles. Performers who worked in court ensembles were called chamber musicians. Gradually, chamber music began to be performed not only in a narrow circle of connoisseurs and music lovers, but also in large concert halls.

There are a variety of chamber vocal and instrumental miniatures by romantic composers of the 19th century. These include songs by F. Schubert, piano songs without words by F. Mendelssohn, caprices by N. Paganini, waltzes, nocturnes, preludes, ballads by F. Chopin, romances by M. I. Glinka, plays by P. I. Tchaikovsky and much more.

Chamber instrumental music

Etude

Etude (from French study, exercise) - This is a piece designed to improve the technique of playing an instrument. This concept is also found in painting: an etude is a sketch, a sketch of a future painting.

In the 19th century, with the flourishing of virtuoso performance and the improvement of musical instruments, a new genre developed - concert etudes. Their technical difficulties are subordinated to revealing the composer's artistic intent.

And now studies by romantic composers are popular, whose art penetrates into all corners of the human heart.

Prominent representatives of romanticism are the Polish composer Frederic Chopin (1810-1849) and the Hungarian composer Franz Liszt (1811-1886). Both of them were excellent pianists. Chopin won the recognition of listeners in secular salons, and Liszt - in large concert halls.

In Chopin's etudes there is a romantic dream of feelings that elevate a person - these are thoughts of love, and contemplation of nature, and revolutionary pathos.

Liszt sought to bring the sound of the piano closer to the sound of an orchestra. His sketches contain the principles of hidden programming, figurative and artistic painting style. In Liszt's time there was an opinion that many etudes were impossible to perform due to their incredible technical difficulty.

Transcription

The term transcription (from Latin rewriting) means processing, arrangement of musical works. Transcriptions appeared in the 16th-17th centuries. as arrangement of musical texts for performance on other instruments. In the 19th century transcriptions have become one of the most popular concert virtuoso genres with independent artistic significance.

From one of the transcriptions of the Russian composer of the 19th century. You already know M. Balakirev. This is a piano piece written on the theme of the famous romance by M.I. Glinka "The Lark"

Piano transcriptions by F. Liszt gained wide popularity. His skill as a virtuoso pianist was highly rated by his contemporaries. “When Liszt plays,” said the German writer G. Heine, “you no longer think about the difficulties being overcome, the piano disappears, and the music is revealed to us.” He made transcriptions for piano of nine symphonies of L. Beethoven. Liszt wrote: “If I fulfill my task of making them accessible at the level of a skilled engraver or an intelligent translator, then my goal will be achieved.” Liszt's studies of Paganini's caprices were extremely popular. It was Liszt who attracted the attention of Rachmaninoff and Lutoslawski to Paganini’s Caprice No. 4.

Liszt idolized the music of the Austrian composer Schubert, seeing in it the highest expression of lyrical poetry in sounds. Among Liszt's piano transcriptions are such famous works by Schubert as “The Forest King”, “Serenade”, “Trout”, “Ave Maria”, etc.

The famous Italian pianist and teacher Ferruccio Busoni (1866-1924) continued the tradition of creating transcriptions, having a significant influence on the development of pianistic art in Europe. In his transcriptions, he, like Liszt, turned to the works of many composers.

Busoni's performance was compared either to works of painting or to great cathedrals. Listening to him, they talked about “colorful canvases,” “frescoes,” “sound sculptures” in his “game sculpted like marble.” Everything in Busoni's performance gave the impression of brilliant improvisation - and this was his main strength!

Cyclic forms of instrumental music

"Concerto grosso" by A. Schnittke

Suites, instrumental concertos, sonatas, symphonies refer to cyclic forms of music. Both composers of the past and our contemporaries turned to these forms.

The music of the outstanding Russian composer A. Schnittke is the confession of a man of modern times, who has absorbed the experience of several centuries - from the 17th to the 20th centuries. The free combination of past and present is a feature of his music. Engaging music quotes. polystylistics (intentional combination of various stylistic phenomena in one work) are characteristic of A. Schnittke. Thanks to this, turning to the music of this composer expands our understanding of the unity of the world and human culture.

The concerto for two violins, harpsichord and chamber orchestra by A. Schnittke has the ancient name "Concerto grosso" (translated from Italian - big concert). In this concert the relationship between the soloists and the orchestra is the same as in the ancient instrumental concertos of Bach and Vivaldi. The soloists' parts do not dominate the orchestra, but are subordinated to some higher order, a higher relationship with the orchestra.

The composer dedicated his concert to his friends and the first performers of this music, violinists Gidon Kremer and Tatyana Grindenko. “When composing the concert, I not only heard them, but also saw how they played... Their stage behavior gives listeners and spectators aesthetic pleasure.”

The composer contrasts the strong-willed, purposeful main theme of the 5th movement with the theme of another world - an evil, hostile one. “Swells” that distort the sound of the pure timbres of the violin are perceived by listeners as an invasion of forces opposing the activity of the main theme.

"Suite in the Old Style" by A. Schnittke.

Suite (from French row, sequence) exists since the 16th century. and refers to multi-part cyclic forms of instrumental music, just like the sonata and symphony that emerged later. A suite can be compared to a collection of stories, in contrast to a symphony - more dynamic, integral, similar to a novel. The suite consists of several independent parts - dances, usually contrasting with each other and united by a common artistic concept.

In the 1st half of the 18th century, when clavier art reached its peak, suites turned into music for listening. They began to be preceded by preludes and included instrumental arias. Suites appeared, consisting of programmatic picture plays.

In the 2nd half of the 18th century, during the times of Haydn, Mozart, Beethoven, the suite was already perceived as something old-fashioned. Although the light, entertaining orchestral works of the Viennese classics (divertimentos, serenades) are written in the form of suites, for example, the familiar “Rondo” from “A Little Night Serenade” by W. A. ​​Mozart.

In the 19th century the fashion for the suite was revived. Russian composers of the 19th century. also composed suites. You are familiar with individual pieces from the piano suite “Pictures at an Exhibition” by M. Mussorgsky, the symphonic suite “Scheherazade” by N.A. Rimsky-Korsakov, suite for orchestra "Mozartiana" by P.I. Tchaikovsky. He was the first to create suites of ballet music. They began to sound independently of the theater, as independent symphonic works. In the 20th century suites from films arose.

- G.P.Sergeeva-E.D.Kritskaya “Music” 7th grade;