The content of which reveals a certain verbal program embedded in it by the composer, very often poetic - that's what program music is. This phenomenon gives it specific features that distinguish it from non-programmed ones, which reflect the moods, feelings, emotional experiences of a person. The program can be a reflection of any phenomena of reality.

Specificity and synthesis

In theory, all music is programmed to one degree or another, except that it is almost impossible to accurately designate either objects or concepts that evoke certain feelings in the listener. Only speech, oral or written, possesses such abilities. Therefore, composers often supply their works with a program, thus forcing the verbal or literary premise to work in synthesis with all the musical means used by them.

The unity of literature and music is helped by the fact that both these types of art are able to show the development and growth of the image in time. Different kinds creative actions have been united since antiquity, since art was born and developed in a syncretic form, associated with rituals and labor activity. In terms of means, it was very limited, therefore, it simply could not exist separately and without applied tasks.

disengagement

Gradually, the way of life of mankind improved, art became more sophisticated, and there was a tendency to separate its main genera and species. Reality was enriched, and the reflection of this was already achieved in all its diversity, although art forever remained syncretic in ritual, spiritual, vocal-instrumental, dramatic aspects. The joint actions of music and words, however, which determine the program, also never went far from music.

These may be the names that program music provides. Examples are in the collection of piano pieces by P. I. Tchaikovsky, where each piece has not only a "speaking", but also a "telling" title: "Morning Prayer", "Nanny's Tale", "Doll's Illness" and all other small works. This is his own collection for older children "The Seasons", where Pyotr Ilyich added a vivid poetic epigraph to the title. The composer took care of the specific content of the music, thus explaining what program music is and how this work should be performed.

Music plus literature

Program music for children is especially understandable if the work has both a title and an accompanying word, which is composed by the composer himself or the writer who inspired him, as Rimsky-Korsakov did in the symphonic suite "Antar" based on the fairy tale by Senkovsky or Sviridov in the music for the story

Nevertheless, the program only complements the music, not being an exact explanation. It's just that the object of inspiration is the same for the writer and the composer, but the means are still different.

Music minus literature

If a piece is called "A Sad Song" (for example, Kalinnikov, Sviridov and many other composers have it), this determines only the nature of the performance, but not the specific content, and this is how program and non-program music differ. The specifics are "The dog got lost", "Clowns", "Grandfather's clock" (which tick-indulge, and then they will certainly beat). This is almost all program music for children, it is deeper and faster understood and better absorbed.

The musical language most often specifies the program content itself through its figurativeness: the sound can imitate the singing of birds ("Firefire", "Cuckoo"), forcing tension, the fun of folk festivals, fairground noises ("An unusual incident", "Shrovetide" and others. This is so called sound writing, which also clarifies what program music is.

Definition

Any work provided with a verbal description necessarily contains elements of programming, which has many types. And what is program music, you can understand, even listening to or learning etudes. They themselves are designed to develop the technical capabilities of a musician in the role of detailed exercises and may not only contain programs, but also music as such, but still often carry the features of programming and even are absolutely programmatic. But if there is a plot in an instrumental work, and the content is consistently revealed, this is necessarily program music. Examples can be found in both national folk and classical compositions.

"Three whales" and national features in the program

They also help to understand what program music is, certain features of applied (“Polyushko”, for example), marches in all genre diversity (“Chernomor March” and “March of Wooden Soldiers”), as well as dance - folk, classical, fantastic. It with light hand D.B. Kabalevsky, in music - "three pillars" that determine genre affiliation.

The characteristic features of national music also usually serve as a programmatic piece of music, setting the general concept, tempo, rhythm of the composition ("Saber Dance" by Khachaturian, for example, "Two Jews ..." and "Gopak" by Mussorgsky).

Landscape and scene programming

The display of one or a series of images that do not change throughout the entire composition is also program music. Examples of works can be found everywhere: "In the fields" by Gliere, "On the rocks and fjords" by Grieg and so on. This also includes pictures of holidays and battles, landscape and portrait musical images.

Composers embody even the same literary plots in music in different ways: for example, Shakespeare's "Romeo and Juliet" turned into an overture by Tchaikovsky, where the programming is generalized, while by Berlioz it is consistent. Both, of course, program music. The name can most often be considered as a plot program, for example, List's "Battle of the Huns" based on the fresco of the same name by Kaulbach, or his etudes "Dwarfs' Round Dance" and "Noise of the Forest". Sometimes works of sculpture, architecture, painting help to understand what program music is, as they participate in the choice of visual means for a musical picture.

Conclusion

Programming enriches music with new expressive means, helps in the search for new forms of work, and differentiates genres. If the composer refers to the program in his composition, it brings his listener closer to reality, spiritualizes life, and contributes to the comprehension of deep spiritual principles. However, if programming prevails over other tasks, then the perception of music is noticeably reduced, that is, the listener needs space for his own creative perception.

Therefore, many composers tried to refuse from programming (including Mahler, Tchaikovsky, Struaus and others), but, despite this, none of them succeeded in completely non-program music. The unity of music and the specifics of its content is never indissoluble and absolute. And the more generalized the content is reflected, the better for the listener. What is program music - it will become clear from the slightest strokes of the development of musical thought: having ears, so to speak, will hear, despite the fact that a single definition and even an identical understanding of this phenomenon in music has not yet appeared among music theorists.

Are the statements true?
A) B.M. Teplov - a Soviet composer who devoted all his work to children
C) F. Froebel is a German teacher, whose recommendations for the process musical education were taken as a basis in the pre-revolutionary period
Choose the right answer
Are the statements true?
A) In the 1920s in kindergartens of the USSR celebrated the Day of the Paris Commune
C) In the 30s of the XX century. a special department "Methodology and research work" is being created in the journal "Preschool Education"
Choose the right answer
Are the statements true?
A) In the 1940s the inability to bring a piano with you to the evacuation led to the use of various musical instruments in kindergartens, aroused interest in folk musical instruments, song, game, dance, folk art
C) At the end of the 1950s attention was paid to the tasks and means of general aesthetic education, however, the development of the child's musicality was omitted
Choose the right answer
Are the statements true?
A) In music, several varieties of mode are distinguished, but the main ones are sharp, flat and backer
C) The steps of the mode form a scale, that is, a scale of indefinite length, the neighboring steps of which are separated from each other by a whole tone or semitone
Choose the right answer
Are the statements true?
A) Vocal genres are divided into solo, ensemble and choral
C) Instrumental music can be solo, ensemble and orchestral
Choose the right answer
Are the statements true?
A) Quartet - a piece of music for four performers
C) A quart is the name of a musical interval
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Are the statements true?
A) Melody - an artistically meaningful sequential series of sounds of different heights, organized by means of rhythm and mode
C) Form - a certain compositional plan of a musical work
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Are the statements true?
A) The meter is a rhythm organization system, creates a norm for counting musical works
C) The main type of consonance is a chord, which is a consonance of three or more musical sounds of different pitch
Choose the right answer
Are the statements true?
A) Musical intonation (even consisting of two or three sounds), unlike speech, carries a musical image
C) The main content of music is contained in the musical intonation. This is the sound, material embodiment of the musical idea, the artist's intention.
Choose the right answer
Are the statements true?
A) Musical intonation is more developed than speech intonation, and has the richest expressive possibilities, since it is formed in a special musical-sound (modal) system and rhythmic organization, and the sounds from which it is composed have a precisely fixed pitch
C) V.V. Medushevsky developed the theory of intonation, which is based on the ideas of neuropsychology about the functional asymmetry of the cerebral hemispheres
Choose the right answer
Are the statements true?
A) Musical works recommended by preschoolers educational programs, should be small in volume, the time of their memorization should not exceed 5-8 minutes
C) The main musical abilities (according to B.M. Teplov) are associated with the perception and reproduction of sound-altitude and rhythmic movement
Choose the right answer
Are the statements true?
A) At the turn of the 19th-20th centuries, a network of kindergartens was developed in Russia with a long stay of children (7, 9 or 12 hours), depending on the working conditions of the mother
C) In the 20s of the last century, the aesthetic education of children in kindergartens was replaced by patriotic education, which had a clear revolutionary orientation
Choose the right answer
Are the statements true?
A) The purpose of musical and didactic exercises is to teach the child to distinguish the properties and qualities of sensually perceived phenomena
C) In the 40-50s in the USSR there was no network of preschool educational institutions
Choose the right answer
Are the statements true?
A) The first teachers with a musical education, responsible for staging musical work with all kindergarten children, appeared in experimental kindergartens in the 40s of the XX century
C) The musical instrument most commonly used by children in music lessons for playing simple genre-specific melodies, - metallophone
Choose the right answer
Are the statements true?
A) According to V.V. Medushevsky, the leading property of musical intonation is its integrity
C) Timbre is the relationship of musical sounds, which manifests itself in the dependence of unstable sounds on stable ones.
Choose the right answer
Are the statements true?
A) According to the mode of existence, classical, popular and folk music can be distinguished
C) According to the composition of the performers and the method of performance in music, vocal and instrumental genres are distinguished
Choose the right answer
Are the statements true?
A) Musical activity means the process of transferring the socio-historical experience of musical education to children in order to prepare them for the upcoming work in other areas of life
C) Singing improves pronunciation, develops coordination of voice and hearing, strengthens children's voice box- is a kind of breathing exercises
Choose the right answer
Are the statements true?
A) The program may be the title of a piece of music.
C) The content of non-program music is made up of emotions.
Choose the right answer
Are the statements true?
A) Since 1945, the Victory Day holiday has been introduced into the program of kindergartens
C) Control over the process of musical education of children is carried out by city and district methodological centers
Choose the right answer
Are the statements true?
A) Formation musical perception child occurs through the gradual complication of musical material in terms of figurative content, means of expression and form
C) When choosing a repertoire for the development of musical perception, it is necessary to take into account the life and musical experience of the child
Choose the right answer
____ is one of the most important genres symphonic music, which is a piece of music intended to be performed symphony orchestra
_____ (from Greek - proportionality, harmony) - a regular alternation of musical sounds
_____ - the ability to memorize a piece of music, to reproduce its melody from memory
_____ in music have their own name - prima, second, third, quart, fifth, sixth, seventh, octave
_____ always has a triple measure
_____ disciplines "Theory and technologies of musical education of children are vocal and instrumental musical works used both for listening and for performance
_____ disciplines "Theory and technologies of musical education of children" are questions of purposeful management of the process of musical education, training and development of the child, establishing relationships between them
_____ discipline "Theory and technology of musical education of children" is to receive theoretical knowledge and the formation of professional competencies in the field educational work on the organization of the process of musical education in a preschool institution
_____ meter - a meter in which strong beats are repeated evenly after 2 beats
_____ music - musical folklore, song and musical-instrumental creativity of the people
_____ music is exemplary, perfect musical works that retain the enduring significance and power of impact on the listener outside of existing time
_____ music is widely distributed music today
_____ of a piece of music is its definite compositional plan
_____ is a reflection of the internal state, the artist's experience of the phenomenon depicted, expressed artistic means
_____ is a set of concepts and musical notations associated with shades of sound volume
_____ represents stage action for soloists, choir and orchestra
_____ is historically the most ancient type of music making, in which the process of composing music takes place directly during its performance.
_____ is thinking in artistic images
_____ is one of the main properties of musical sound, which characterizes the result of the duration of vibration of the sounding body
_____ is a type of stage art, a performance, the content of which is embodied in musical and choreographic images.
_____ - vocal musical form, not subject to symmetrical rhythm, a kind of melodious conversation
_____ is a vocal composition written on a short poem of lyrical content, which is a chamber musical and poetic work for voice with instrumental accompaniment
_____ is a genre of musical and dramatic art in which the content is embodied by means of musical dramaturgy, mainly through vocal music
_____ - a scale of indefinite length, the adjacent steps of which are separated from each other by a whole tone or semitone
_____ is an instrumental piece played before the start of any performance.
_____ is the art of preparing and adapting a piece of music to present it in a form other than its original form.
_____ - sound quality, determined by a person by ear and depending mainly on its frequency, i.e., on the number of oscillations per second
_____ is a piece of music for two instruments or singing voices
_____ is a piece of music for three instruments or singing voices
_____ is the simplest but most common form of vocal music, combining poetic text with a simple, easy-to-remember melody.
_____ - region means of expression in music, based on the combination of sounds into consonances and on the connection of consonances in their successive movement
_____ - the order of alternation of equal parts of music in duration
_____ - created by the people and existing in populace folk music
_____ is the ratio between two sounds of a certain pitch
_____ - an artistically meaningful sequential series of sounds of different pitches, organized by means of rhythm and mode
_____ is a historically established genus and type of works of art in connection with their origin, purpose, method and conditions of performance, features of content and form
_____ is the visibility, concreteness of the depicted actions, human actions, objects and phenomena of real and fantastic reality
_____ is a process of transferring socio-historical experience to children musical activity with the aim of influencing through music on the spiritual world of children, primarily on their moral qualities
_____ is the integrity of figurativeness and expressiveness
_____ is the language of music that most fully expresses the human sensory world
_____ - the ability to actively, motor experience music, emotionally reproduce its character, mood in motion
_____ is the relationship of musical sounds, which manifests itself in the dependence of unstable sounds on stable
_____ - the ability to distinguish modal functions of the sounds of a melody, to perceive music emotionally
_____________ is an artistic and figurative reflection of life, the external and internal world of a person
The tambourine belongs to the group of _____ musical instruments
In _____ years of the 20th century, on holidays in kindergarten children performed the dances of the "Red Army men and collective farmers", the sailor dance "Yablochko", the dance "On a Halt", etc.; played games: "Sea Wolves", "Pilots at the Airfield", "Reconnaissance", etc.; arranged attractions: “Running with a grenade”, “Who will deliver the report to the commander sooner?”, “Find the package”, “Throwing at the target”, etc.
In kindergartens in the 20s of the XX century. ______ was celebrated
In the late 50s of the XX century. the focus was on _____
The perception of music is formed in the child _____
Performing exercises by the child such as “What are we showing”, staging the plots of songs to the singing of the teacher; dance performance, etc. refers to _____
Children begin to perceive the character, form and means of expressiveness of a musical work more differentiated, giving verbal answers to the teacher's questions ______
Children begin to generalize their impressions, to operate with such terms as introduction, verse, chorus, part, tempo, etc. in ______
Children begin to perceive the nature and means of expression of a musical work, even without relying on game images and teaching methods _____
For the correct setting of musical education in kindergartens, ______ is responsible, having a special preschool and musical education
Of the presented figures of science and culture, name the children's composer
Folk musical instruments include _____
Music performed by a small group of musicians - instrumentalists and / or vocalists - is called ______ music
Music that does not include a verbal text, but is accompanied by a verbal indication of its content, is called _____
Musical education in kindergarten does not provide for _____
At the revolutionary holidays of the 20s of the last century, _____ was always performed in kindergarten
At the turn of the XIX-XX centuries. _____ had a great influence on the process of musical perception of preschoolers
Name a musical genre that is not related to performing arts
One of the specific characteristics of a musical sound that characterizes its coloristic (overtone) coloring is called _____
The first preschool institutions in Russia mainly applied the recommendations to the process of musical education, developed by _____
Recommendations for the process of musical education, developed by F. Froebel, were characterized by _____
With poetic texts associated, as a rule, _____ music
Symphonies, concertos for solo instrument and orchestra, overtures, sonatas, etc. belong to _____ music
The consonance of three or more musical sounds of different pitch is _____.
The piano belongs to the group of ______ musical instruments
The characteristics of the mode are _____
The objectives of the study of the discipline "Theory and technology of musical education of children" are
Chastushka belongs to the _____ genre

The programming principle musical art

Methodical development for classes with high school students in the process of studying subjects of the aesthetic cycle

Hardly any kind of musical art has caused as many contradictory judgments and disputes throughout its history as their program music has caused. First of all, it is necessary to emphasize the controversial attitude towards it on the part of the creators themselves: they constantly experienced the attractive power of software, and at the same time, as if they did not trust it. As you know, the program coexists with a piece of music not really, as in other synthetic genres - the word and music, but conditionally, in the consciousness of the composer first, and then the listener. Thus, the problem of programming is one of the most difficult musical and aesthetic problems. The controversy around it began a long time ago and has not subsided so far.

First of all, it is necessary to formulate and define the essence and meaning of the concept of program music. A program is usually called an instrumental work, which is preceded by an explanation of the content of the music; this is a work that has a certain verbal, often poetic program and reveals the content imprinted in it. Thus, the content of program music is undeniable, regardless of whether the work embodies generalized ideas or a detailed literary program. “Personally, I equate programmatic and meaningful content,” writes D.D. Shostakovich. “And the content of music is not only a detailed plot, but also its generalized idea or the sum of ideas ... For me personally, like for many other authors instrumental works, program design always precedes composing music. 1

A typical feature of a software product is the presence special explanation- "programs", that is, links to a specific topic, literary plot, a circle of images that the author wanted to embody in music. Speaking of programmability, one should emphasize a special quality: concreteness, certainty of the content of musical images, their visual connection and correlation with real life prototypes. Thus, the general principle of programming is the principle of concretization of content. Epigraphs, subtitles, separate indications among the musical text, drawings are capable of focusing the content of a program work to a certain extent. A vivid example is A. Vivaldi's concerto for violin and orchestra "The Seasons", in which each of the parts is preceded by a poetic passage, designed to inform the listener of the concrete-figurative intention of the artist.

The program does not aim to exhaustively, to the end explain in words the figurative-emotional content of music, because it is expressed by musical means proper. The program is designed to inform the listener of the author's concrete-figurative intention, that is, to explain what specific events, paintings, scenes, ideas, images of literature or other types of art the composer sought to embody in music. There are two main approaches to defining the essence of program music, which were most convincingly formulated by O. Sokolov. 2

1. From the point of view of the type of connection between music and reflected reality. After all, musical art is closely connected with the content of life, with the phenomena of the surrounding world and reality. In addition, music reflects inner world a person and affects him; it embodies the thought, the mood that the composer put into it, and then conveys them to the listener.

2. From the point of view of the presence of the program, that is, the author's literary word, communicated to the listener before the actual musical text.

Types of literary program may be different. Sometimes even a short title of an instrumental piece generally indicates its content and directs the listener's attention in a certain direction. Let us recall at least the overture of M.I. Glinka “Night in Madrid”, “ old lock”, - one of the plays of the cycle of MP Mussorgsky “Pictures at an Exhibition”, “Butterflies” by R. Schumann. Many program works are preceded by a detailed explanatory text, which sets out the main artistic idea, tells about the characters, gives an idea of ​​the development of the plot, various dramatic situations. Such a program is possessed, for example, by well-known symphonic works - "Fantastic Symphony" by G. Berlioz, "Francesca de Rimini" by P. I. Tchaikovsky, "The Sorcerer's Apprentice" by P. F. Duke. Sometimes composers set out in some detail the content of their program works. So, N.A. Rimsky-Korsakov, in his autobiographical Chronicle, writes: “The program that guided me when composing Scheherazade was separate, unrelated episodes and pictures from the Thousand and One Nights, scattered around all four parts of the suite: the sea and the ship of Sinbad, the fantastic story of Prince Kalender, the prince and the princess, the Baghdad holiday and the ship crashing against a rock with a bronze horseman. 3 . Among the program works there are also those whose idea is embodied with true picture clarity and evoke visual associations. This is facilitated by the ability of music to reproduce the sound diversity of the surrounding reality with the greatest accuracy (n: peals of thunder, the sound of waves, the singing of birds). The analysis of a musical composition often comes down to proving the identity between musical expressive means and sound phenomena. real life(n: sound-visual function of music). Sound-representative moments play a huge role in program music, since they are able to decipher, emphasize this or that detail of life or nature, give the music an almost objective tangibility (n: imitation of shepherd tunes, sounds of nature, “voices” of animals). The program of a piece of music does not have to be drawn from a literary source; these can be works of painting, and a vivid example of this can be, for example, “Pictures at an Exhibition” by M.P. Mussorgsky (the composer’s musical response to the exhibition of V.A. (on the picture of I.E. Repin “The Cossacks write a letter to the Turkish Sultan), sculpture, and even architecture. But they need a verbal program that gives the listener an incentive for a more complete and deep perception of this particular piece of music. The composer can also choose as a program facts and events snatched directly from the reality of life, but in this case he himself will be the compiler of the literary program of his composition. It should be emphasized that literary sources will always remain the main ones for realistic musical creativity.

Now it is necessary to designate the characteristic features of program music:

• greater specificity in the perception of a program composition compared to the perception of "pure", that is, non-programmed, instrumental music;
• program music stimulates the comparative-analytical activity of the listener, leading to the emergence of general artistic associations;
• program music helps to figuratively comprehend the unexpected, original expression, non-traditional techniques used by the composer;
• program music creates an evaluative situation, which is characterized by a critical attitude of the listener to the possibility of translating this program into a musical composition;
• program music preliminarily directs perception in a certain direction of images;
• program music enhances the cognitive possibilities of musical art, as it operates with concepts-symbols;

Depending on the measure and method of concretization, it is possible to distinguish, using the terminology of O. Sokolov, various types or types of software: 4

1. Genre-characteristic or just genre which uses sound-imagery and onomatopoeic moments.

2. Picture-shapedI, using pictorial and pictorial images (n: pictures of nature, landscapes, pictures of folk festivals, dances, battles, and others). These are, as a rule, works that reflect one image or a complex of images of reality that do not undergo significant changes throughout its perception.

3. Generalized emotional or generalized plot, which uses abstract philosophical concepts, characteristics of various emotional states.

4. Story or serial-plotusing literary and poetic sources. This type involves the development of the image, corresponding to the development of the plot of a work of art.

The origins of programming, its episodic manifestations at the level of individual techniques and means (onomatopoeia, plot) can be traced already in the instrumental works of the 17th - 18th centuries (J.F. Rameau, F. Couperin). The Baroque era was one of the brightest eras in the development of program music. During this period, the role of the program was largely determined by the theory of affects and figures. “The dominant view of music as imitation by means of sounds located on a certain scale - imitation with the help of a voice or a musical instrument of natural noises or manifestations of passions,” writes V.P. Shestakov in his book “From Ethos to Affect”. 5 Consequently, the program was assigned the function of naming affects or natural phenomena, which gave rise to and strengthened the homophonic-harmonic system. This is a description of emotional states, yet naive depiction; genre scenes, portrait sketches - the main types of programming.

The flourishing of programming in the era of romanticism is closely connected with the intensively increased attraction to the originality of musical expression. In addition, programming created an additional opportunity to express the inner "I" of the artist and the listener to penetrate into the unique world of figurative ideas of the author of the work, since it is during this historical period that human individuality appears as an inexhaustibly deep universe, more significant than external world. In mature romantic art (the works of F. Liszt, G. Berlioz), the main features of the program genre were: figurativeness, plot, the presence of a program pre-prepared for the work.

The content of programming in the Russian musical classics of the second half of the 19th century becomes qualitatively new and richer. In addition to the emphasized descriptiveness and clearly expressed plot, an indispensable condition for creativity was the awareness of the idea-content and the possibility of verbal expression of this idea in the program. Realistic programming becomes the main principle of creativity. The formulation of the program becomes a matter not only for composers, but also for musicologists, which allowed V.V. Stasov to speak of programmability as a characteristic feature of Russian music as a whole. Russian classics created a new type of programming: based on genre musical material, saturation of images with real life content, using the genres of program symphony, symphonic poem, piano miniature. Outstanding representatives Russian program music were: M.I. Glinka "Night in Madrid", "Kamarinskaya", "Prince Kholmsky", M.P. Mussorgsky "Pictures at an Exhibition". Composers introduced into their symphonic work the images of A. Dante and W. Shakespeare, A. S. Pushkin and M. Yu. Lermontov, paintings folk life, poetic descriptions of nature, images of folk epos, tales and legends (N: "Romeo and Juliet" and "Francesca de Rimini" by P.I. Tchaikovsky, "Sadko" and "The Battle of Kerzhents" by N.A. Rimsky-Korsakov, Tamara" by M.A. Balakirev, "Night on Bald Mountain" by M.P. Mussorgsky, "Baba Yaga", "Kikimora" and "Magic Lake" by A.K. Lyadov).

Next, let us dwell on the main position of a program work: in a program musical composition, the main carrier of the content that is inextricably linked with the program is, first of all, the musical fabric itself, the means of musical expression themselves, and the verbal program acts as an auxiliary component.

The first stage is a clear ideological and artistic concept (selection of the type of program composition), development of the plot and plan of the composition. Further, a diverse realistic intonational development of all the main images is needed. With a complex program task, the composer inevitably faces the task of embodying by means of music not only the emotions of the hero (through the musical intonations of the human voice turned into a melody), but also a diverse background - be it a landscape or household genre. At the same time, in case of a miss, the software always "avenges itself", causing disappointment to the audience. Programming requires from the composer a very subtle and sensitive intonation ear, and, further, a deep creative ability to process real intonations into musical intonations - melodic, harmonic, rhythmic, timbre. And the difference between rhythmic, modal, register, dynamic, tempo intonations and designations is one of the main elements of programming, clarifying and deepening the content, concretizing the awareness and understanding of a musical composition.

In expressive meaning, the role of pitch is more clearly emphasized when changing musical registers.

Key is a generalized reflection of the stability of any shades of moods, experiences, figurative moments. A connection is established between the "keys" in life, for example, heroic, joyful, tragic, and keys in the art of music.

Rich prerequisites for specifying the image are contained in harmony, i.e. chord structure vertically. Here one can draw analogies with certain qualities of real phenomena: consistency, harmony, completeness, softness, consonance or inconsistency, instability, acute tension, dissonance. Through harmony, the aesthetic attitude of the composer to the displayed reality is revealed.

Rhythm, as a means of musical expressiveness, generalizes the qualities of movements: their regularity or inconsistency, lightness or heaviness, slowness or swiftness. Traditional rhythmic formulas, inherent in certain forms and genres, contribute to the genre specification of the content of the composition. The juxtaposition of contrasting images is sometimes emphasized by the techniques of polyrhythm and polymetry. Approximation of musical rhythms to the typical rhythms of poetic and colloquial speech makes it possible to emphasize the national and historical-temporal features of the images.

Pace musical compositions characterizes the intensity of the process in time, the level of intensity of this process, n: rapid, stormy, moderate, slow. In program musical works, the tempo contributes to the concretization of the reflected processes and actions (the flight of a bumblebee, the movement of a train).

Timbre reflects the characteristic of the sound of real objective phenomena. This opens up great opportunities for direct onomatopoeia or sound representation, evoking certain life associations (wind noise, rain, thunderstorm, storm, etc.).

Dynamics in music reflects the level of power of the sound of real prototypes. Techniques for concretizing content with the help of various means of dynamics are widely used in program music. For example, dynamic ostinato, as the preservation of one emotional state, strengthening and weakening of sonority, as a manifestation of real emotional processes: excitement, impulsiveness or peace, relaxation.

plays an important role in musicgenre nature of images.Thanks to the genre features (n: the march has a predominance of active rhythms, energetic, inviting intonations, clear square structures corresponding to the movement of the step), the listener perceives the “objective” content of the music more easily. Genre features, thus, play the role of a kind of stimulus to the imagination, involving it in associations that connect music with the surrounding reality and determine the programmatic nature of a musical composition. Consequently, the implementation of the program idea becomes possible on the basis of referring to a particular genre as a whole, and even (due to the individualization of individual elements of musical speech) by referring to some characteristic detail of the musical genre. So, for example, second descending intonations most often serve to embody a sigh, a groan, and melodic moves up a fourth, with the approval of the tonic on a strong beat of the measure, are perceived as an active heroic intonation. The triplet movement at a fast tempo often gives flight, and the choral warehouse of music, combined with a slow tempo, reflects a thoughtful and contemplative mood. Often the composer takes one main musical theme as the basis of the work, which in this case is called the leitmotif (translated into German - “leading motive”). At the same time, he uses the technique of genre transformation of this leitmotif, which speaks of diverse events. human life, about the struggle and dreams, about the love and suffering of the hero. Such a technique is a fairly effective means for transmitting the program of a work.

An important role in concretizing the content program is played by the refraction of folklore specifics, reflectiongenre folklore prototypes. The program functions of folk-genre elements are among the most capacious and multi-valued. The thematic section of program music, which combines pictures of nature, landscape sketches, includes both song and dance genres and imitation of folk instrumentalism. Important program functions are to animate nature, their role in the anthropomorphism of visual means is significant, as a manifestation of the constant presence of a person, the expression of his feelings, perception, attitude to nature. Genre concretization is often combined with visual program functions. Particularly widely used in this case are coloristic techniques and spatial effects, such as: fifth organ points - as an element of spatial associations and a sign of folk instrumental music; tremolo, gliding, arpeggio - elements of colorful sound and folk color; modal-harmonic features, the use of frets folk music and pentatonic. Imitation of shepherd's tunes (pipe, horn) introduces an element of pastorality and lyrics into the landscape depiction. The sound of these instruments is perceived along with the singing of birds as part of the "sounding nature". Vocal-choral style of presentation (polyphonic polyphony, terts, organ points, ostinato) are associated with folk songs, fairy tales in which artistic metaphor is widespread, that is, the identification of a birch and a slender girl, an eagle and a brave Cossack.

The next step in creating a software product is the no less important question of the problem of choice. forms, that is, the search for such constructions of musical logic that are able to express real logic most correctly, truthfully, real development of this plot in the totality of its phenomena and aspects.

Of fundamental importance is the problem of objective and subjective (P.I. Tchaikovsky's term) programmability, declared and unannounced (M. Tarakanov's term), direct and indirect (V. Vanslov's term) programmability. For the first time, P.I. Tchaikovsky spoke about this in a letter to N.F. von Meck: “I find that the inspiration of a composer can be twofold: subjective and objective. In the first case, he expresses in his music his feelings of joy, suffering, in a word, like a lyric poet, he pours out, so to speak, his own soul. In this case, the program is not only not needed, but it is impossible. But, it's another matter when a musician, reading a poetic work or struck by a picture of nature, wants to express in musical form the plot that ignited inspiration in him. This is where the program is needed. 6

V.Vanslov defines these areas of program music in the following way: 7 direct programming is a plot, visual picturesqueness of music. These works have an announced program (the main types of an announced program are: verbal designation of the title of a work, verbal designation of the main plot of the work, a clear and precise formulation of the main idea of ​​the work) and, plus, more points of contact with other types of art, primarily with literature and painting; mediated programming - not directly related to other arts or not defined by a verbally expressed plot. Therefore, these works receive a program only in the form of a short title, naming their main theme or idea, or sometimes in the form of a short dedication.

As for the role of programming for the perception of music by listeners, there are no general formulas here. For wide audience, who is not sufficiently versed in musical literature, a positive role can be played by detailed programs, the figurative concreteness of which is close to the listeners, helping them to better understand the musical work, to respond more vividly and emotionally to the composer's intention. For others, the most appropriate is the general definition of the theme of the work, directing their imagination in a certain direction, but at the same time not constraining it with a detailed program. Finally, for many listeners, a vivid emotional perception may not be accompanied by any visual associations, specific images, or even ignore ready-made images offered by the composer or his interpreters. It seems that the most important moment in work with listeners is the systematic education of a sensitive, emotional attitude to all elements of music, to the integrity of musical images.

Bibliography.

1. A.D. Alekseev. "From the history of Russian Soviet music." M., 1956.

2. M.G. Aranovsky. "What is program music." "Musical contemporary." Issue 6, 1987.

3. V. Vanslov. On the reflection of reality in music. M., Muzgiz, 1953.

4. L.A. Kiyanovskaya. "Programming Functions in the Perception of Musical Works." Abstract, L., 1985.

5. G.V. Krauklis. "Program music and some aspects of performance." Sat. "Musical performance", issue 11, M., Muzyka, 1983.

6. G.V. Krauklis. "Methodological issues of the study of program music", Sat. works of the Moscow Conservatory. M., 1981.

7. Yu.Kremlev. "On programming in music." Musical aesthetics. "Soviet Music", M, 1950, No. 8.

8. L. Kulakovsky. "Programming and problems of music perception." "Soviet Music", M., 1959, No. 5.

9. G. Laroche. "Something about program music." "The World of Art", St. Petersburg, 1900, No. 5-6.

10. A.I. Mukha. "The principle of programming in music." Abstract. L., 1965.

11. Z. Needy. "On programming in music." In the book “Zdenek Needy. Articles about art.» M.-L., 1960.

12. G.Ordzhonikidze. "On programming in music." "Musical life". 1965, No. 1.

13. N. Ryzhkin. "About historical development programming." "Soviet Music", M., 1950, No. 12.

14. N. Ryzhkin. "Programming Debate." Musical aesthetics. "Soviet music", M., 1951, No. 5.

15. M. Sabinina. "What is program music." "Musical Life", 1959, No. 7.

16. N.Simakova. "Questions of Musical Form." Issue 2, 1972.

17. O. Sokolov. "On the aesthetic principles of program music." "Soviet Music", 1965. No. 11, 1985, No. 10.19

18. O.Sokolov. "On the problem of typology of musical genres." M., 1960.

19. A. Sohor. "The Aesthetic Nature of the Genre in Music." M., 1968.

20. M. Tarakanov. "On programming in music." In the book "Questions of Musicology." Issue 1, M., 1954.

21. N.A. Khinkulova. "Programming problems in the functional aspect." Abstract. L., 1989.

22.Yu.Khokhlov. "On musical programming." "Soviet Music", 1951, No. 5.

23. A. Khokhlovkina. "On programming in music." "Soviet Music", M., 1948, No. 7.

24. V.A. Zuckerman. " Music genres and basics musical forms." M., 1964. 6 P.I. Tchaikovsky. Correspondence with N.F. von Meck. Letter dated December 17, 1878, volume 1, Academia edition, 1934.

But-vis-on the so-der-zha-niya of the mu-zy-ki of the 19th century and many-grandness of pro-b-le-ma-ti-ki in-boo-di-li com-po -zi-to-ditch of the 19th century to about-but-in-le-tion of all means of mu-zy-kal-no-go language and you-ra-zi-tel-no-sti in-about- more. Ro-man-ti-che-s-ok-ry-len-ness and re-a-li-sti-che-s-kie ten-den-tions of mu-zy-kal-no-go is-kus- st-va, strengthening ties with e-zi-her, fi-lo-so-fi-her and iso-b-ra-zi-tel-ny-mi is-kus-st- va-mi, new from-no-she-nie to pri-ro-de, ob-ra-sche-tion to na-qi-o-nal-no-mu and is-to-ri-che-s -to-mu-ko-lo-ri-tu, increased emo-qi-o-nal-ness and beauty, attraction to ha-ra-k-ter -no-mu and pre-ado-le-tion of old traditions in a way in a new way - all this led to enrichment in the 19th century -ke mu-zy-kal-noy re-chi, genres, forms, pri-yo-mov drama-ma-tur-gyi.

In the epo-hu, ro-man-tiz-ma, replacing the b-hov-skoe bar-rock-co and mo-tsars-tov-sky class-si-cism, is-che-za-ut-con- st-ru-to-tiv-naya essence and the noble spirit of the old ma-s-te-ditch. For-we are from-bro-she-ny, and in the sounds of whether-ku-et and tre-pe-shets the soul-sha hu-do-well-no-ka-zh-zh-du-shchaya to be us-ly -shan-noy - this mu-zy-ka has become-la sa-mo-you-ra-same-ni-eat.

Program music and opera genre tre-bo-va-whether especially-bo-go you-ra-zhe-niya psi-ho-lo-gi-che-with-to-go on -cha-la, but-in-the-go type-pa creation-che-with-to-go mouse-le-niya. Li-ri-ka mi-ni-a-tyr, fi-lo-sophic generalization of sim-pho-niz-ma, sound-to-iso-b-ra-zi-tel-nost, is - after all, the soul in the "cal-days" ro-w-yes-whether a new image-difference. Hu-do-same-st-vein-noe world-ro-vision-com-po-zi-to-ditch XIX century po-ro-di-lo si-lu-e-you new str-to-tour / mu-zy-kal-ny forms /. In the course of the whole century, they went on incessantly about-but-in-le-tion. In the genre of ro-man-sa for-ro-zh-yes-elk through-noe time-vi-tie, bla-go-da-rya qi-to-li-h-no-sti in-that -re-niya ku-ple-tov. In-st-ru-men-tal-nuyu mu-zy-ku pro-ni-ka-la pe-sen-ness in-cal-li-ri-ki. On the first plan, you-ho-di-lo ma-s-ter-st-vo va-ri-a-tion image, mo-ti-wa or rit-mo-gar-mo-no-che- with-koy for-mu-ly, connected with him. Sa-we-mi yar-ki-mi with-me-ra-mi in for-ru-be-zh-noy mu-zy-ke os-ta-nut-sya "three-hundred-nak-cord" from the opera -ry Vag-ne-ra "Three-stan and Isol-da" and "mo-tiv in-p-ro-sa" from shu-ma-nov-sko-go ro-man-sa "From-che-go ?”, motif “Glory” from Glin-ki’s “Life for the Tsar” in father-th-st-ven-noy mu-zy-ke, etc. These and the elements added to them-men-you became sa-mo-sto-I-tel-ny-mi, know-to-you-mi or "na-ri-tsa-tel-ny-mi "in the ro-man-ti-che-with-co-mu-zy-ke of the 19th century, and in co-in-re-men-no-sti.

Kom-po-zi-to-ry ud-h-but use-pol-zo-va-li for-mo-creator-che-with-what role of the program-we in in-st-ru-men-tal -noy mu-zy-ke - she is-to-lu-cha-la dis-floating-cha-tost for ideas and con-tsen-t-ri-ro-va-la action-st-vie . The symphony became closer to the opera, because it introduced into it in-kal-nye and ho-ro-vye scenes, as in "Romeo and Jules-et-te" by Ber-li-o-za. Is there a number of parts in the symphony, whether re-z-ko increased-li-chi-va-moose, or did she turn, bla-go-da-rya pro-gram-me in one-but-cha-st-sim-fo-no-th-th-s-th-e-mu. Through-noe development of mu-zy-kal-no-go ma-te-ri-a-la pre-po-la-gal from-me-not-nie about-li-ka-te-we, but cha-s-that and its sense-s-la, trans-s-for-ma-tion of the genre of te-we. Not-rarely, for the purpose of the greatest concentration of co-content in the mu-zy-kal-noy form in ka-che-st-ve the main me-lo-dia from-bi-ra-las op-re-de-lyon-naya te-ma, on the pro-t-the-s-the-s-of the whole p-e-we pre-ter-pe-va- yu-shchaya not-someone-rye from-me-not-niya. This is a yav-le-nie name-well-et-xia mo-but-te-ma-tiz-mom. In ar-se-na-le means mu-zy-kal-no-hu-do-same-st-ven-noy you-ra-zi-tel-no-sti it knows-me-no-va-lo but -th stage in the history of the music of the Х1Х Century. Co-z-da-ny times-wh-ch-nyh according to ha-ra-to-te-ru ob-ra-call on the basis of one-we-we, inside-t-ren-not scratch -p-la-u-shchi all times-de-la forms-we, s-s-s-st-in-va-lo flex-to-mu times-vi-tiyu syu-same-ta, mu-zy-kal - idea. So the genre of sim-fo-no-che-with-we-e-we arose, one-but-cha-st-naya so-na-ta and one-but-cha-st-ny concert.

Va-zh-ney-shim with-yo-my com-po-zi-qi-on-noy tech-no-ki ro-man-ti-kov would-la va-ri-a-qi-on-ness. V-ri-a-tion on the right-wah sa-mo-sto-i-tel-noy cha-s-ti began to be included in more large com-po-zi-tions more with Y. Gayd-na and his co-in-re-men-ni-kov (mo-tsar-tov-skaya co-na-ta with “tu-retz-kim ron-do” or part of co-na-you Bet-ho-ve-na with the "tra-ur-ny march to the death of a hero"). V-ri-a-tsi-on-ness second-ga-et-sya in co-on-tu and quar-tet, sym-phony and sure-tyu-ru as the principle of development and as a genre, pro-no-kai in all genres and forms of mu-zy-ki, up to rap-so-diya and trans-s-kri-p-tsy. Vari-and-ro-va-nie usi-li-va-lo in-ten-siv-ness of development or vno-si-lo element of sta-ti-ch-no-sti, os-lab -la-lo dra-ma-ti-che-with-some tension / like Shu-man go-vo-ril about "bo-st-ven-ny lengths-but-tah" in sim-fo-ni-yah Shu-ber-ta!/. Lo-gi-che-s-kuyu op-re-de-lyon-ness and at-look-ness in any genre with a through-drama-tour-gi-she vno-si-la program -ness, bringing together mu-zy-ku with li-te-ra-tu-roy and iso-b-ra-zi-tel-ny art-kus-st-vom, increase-li-chi -vaya specific iso-b-ra-zi-tel-ness and psi-ho-lo-gi-che-with-you-ra-zi-tel-ness.

The program-ness of the call-to-con-kre-ti-zi-ro-vat av-tor-sky for-we-sat down - so op-re-de-lil it for-da-chu F. Liszt in 1837. He predicted to her a big future in the region of sim-pho-no-thing-with-whom-th-st-va in the article on-cha -la of the 1850s "Ber-li-oz and his" Harold-sim-fo-niya. ho-di-lo too-yes-le-ko, raz-ven-chi-vay secrets so-der-zha-niya is-kus-st-va.

The principle of program-no-sti is pro-yav-la-et-sya all-m-m-a-much-whether - by type, vi-dam, form-mum. Types of program-no-sti not-how-to -car-tin-naya, in-le-do-va-tel-no-syu-zhet-naya and generalized-shchen-naya . Kar-tin-naya pre-hundred-in-la-et is a complex-p-lex ob-ra-call of action-st-vi-tel-no-sti, not me-ny-yu-shchi-sya on about the whole pro-cess of perception, it is sta-ti-ch-on and pre-on-sign-on for op-re-de-lyon-ty -pov mu-zy-kal-no-go port-re-ta, for pictures of nature. Generalized programmability ha-ra-to-te-ri-zu-et basic new images and general on-pra-in-le-de-development su -the same, the outcome and the result of co-from-no-she-niya dey-st-vu-yu-shih forces of con-fli-to-ta. It only connects through the pro-gram-mu whether-te-ra-tour-noe and mu-zy-kal-noe pro-from-ve-de-niya. In-with-le-do-va-tel-naya, the program-ness is more de-ta-li-zi-ro-va-na, because close to re-say-zy-va- there is a plot step by step, about-ri-so-you-vaya co-being in my direct in-from-le-to-va-tel-no-sti. This is a more complex type in its own vir-tu-oz-no-sti and the ability to pro-com-men-ti-ro-vat events / teach-you-vaya with -ve-you Fe-ren-tsa Li-s-ta /.

Li-s-tu was replaced by a non-metz-cue "pro-gram-mist" - Shu-man. The leaf wrote about him that "do-s-tig ve-li-tea-she-go-yes, he can-so-ben call out in us his m-u-zy-koy those the sa-my impressions, someone who would give birth to the sa-my object, whose image is os-ve-m-is-sya in our pa-me- ti bla-go-da-rya to the title of the play." The series of his for-te-pi-an-nyh mi-ni-a-tyur is his kind of "mu-zy-kal-nye blo-to-but-you", ku-da Shu- man for-but-strength all that he-observed-gave in na-tu-re or what he-re-zhi-val and thought about, reading in e-ziyu and pro-zu , on-la-f-yes-pa-myat-no-ka-mi is-kus-st-va. So rise-no-to-la "Rhine-sky" symphony with vi-da-mi Cologne-so-bo-ra and for-te-pi-an-ny cycle "Kar-on- shaft" / according to ma-te-ri-a-lam of own-st-ven-nyh articles, resurrection-by-mi-na-ny and ro-ma-nu Jean Po-la "Naughty years "/, "Kreys-le-ri-a-na" - fan-ta-zii according to Hof-ma-nu ...

"Mu-zy-ke to-with-stupid-but everything is rich-gat-st-in and different-but-about-ra-zie of re-al-ny-n-nyh-n-n-nyh impressions", - ut-ver-waited Shu-man and into the world I-in-la-li-play-sy, with-a-hundred-in-la-u-sche "Lee-st-ki from al-bo-ma", "But-ve-yo-you", "Ball-ny scenes", "Eastern-th-th-kar-ti-ny", "Al-bom for youth-she-st-va" ... Shu-ma-na, ko-g-yes he for-but-strength on-bro-ski in his mu-zy-kal-ny "blo-to-note", in-l-but-va-la con- kret-naya idea, you-ra-zha-e-may in for-go-lov-ke. But sometimes he hid his za-we-sat down under the general name of the genre, under that-in-st-ven-nym in-lu-on-myo-com-epi -gra-fom, cipher-rum / "Sphinxes" in "Kar-na-va-le", yes-u-ras-cipher-ditch-ku-pe-re-ve-de-ni-em la- tin-ski-mi bu-k-wa-mi not named "Shu-man" and the city-ro-da "Ash", where lived-la voz-love-len-naya mo-lo-do-go com -po-zi-to-ra /. Bu-du-chi kill-zh-den-nym with-ver-wife-tsem pro-gram-no-sti, Shu-man in a swarm from-ka-zy-val-sya from de-to-la-ri -ro-va-niya pro-gram-we, for some reason pro-from-ve-de-nie would-lo on-pi-sa-but. He was afraid of su-zit so-der-zha-nie and the circle of as-so-qi-a-tsy. In-is-ki in the about-la-s-ti program-no-sti in mu-zy-ke after Shu-ma-n continue-long-li-li J. Bi-ze, B. Sme- ta-na and A. Dvor-zhak, E. Grieg and others.

With the development of the program principles of the qi-pov pro-isosh-whether op-re-de-lyon-nye from me-not-niya in the field of music -cal-ny forms. Ber-li-oz co-united opera-ru, ba-let and sim-pho-nyu (syn-te-ti-che-s-c-genre in-lu-chil-name "dra-ma -ti-che-s-kaya le-gen-da "and the best example of that is his" Osu-zh-de-nie Fa-u-hundred), brought in sym-fo- niyu element-men-you opera-no-go spe-to-ta-to-la and ro-di-las sin-te-ti-che-s-kaya thing "Ro-meo and Jule-et-ta". Glin-ka on-pi-sal the first opera-ru in Russia without tra-di-qi-on-ny inserted times-th-vor-ny di-a-lo-gov - "Life for tsa -rya, or Ivan Su-sa-nin" and the first na-qi-o-nal epi-che-s-opera "Ru-s-lan and Lud-mi-la", ad- me-niv in both cases is new for Russian mu-zy-kal-no-go te-a-t-ra at-e-we opera drama tour -gies, aimed at those-with-th connection ha-ra-to-te-ditch, ideas and si-tu-a-tsy. This connection was osu-sche-st-in-la-las at the level of mu-zy-kal-no-go te-ma-tiz-ma. De-sya-ti-le-ti-em later re-form-mu of opera drama-ma-tur-gy, com-po-zi-tion and ro-li or-ke-st-ra osu- sch-st-vil on Za-pas-de P. Bagner. He, like Glin-ka, brought the methods of development from sym-phony / sym-phonism / into the genre of opera / like Ber-li-oz /. But Vag-ne-ru, in de-li-chie from Ber-li-o-for, managed to solve several tasks at once. Programming at-su-scha is-to-lu-chi-tel-but "ab-so-lyut-noy" or "chi-with-that" mu-zy-ke - in-st-ru- men-tal-noy. In the French clas-ve-si-ni-sts of the XYIII century - F. Ku-pe-re-na or L.-F. Ra-mo - play-sy no-si-li program -nye-for-go-lov-ki / "Vya-zal-shchi-tsy", "Small-lazy windmills" Ku-pe-re-na or "Pe- re-cli-ch-ka of birds" Ra-mo, "Ku-kush-ka" Da-ke-na, "Du-do-ch-ki" Dan-d-riyo, etc. /.

In 17OO, Jo-gann Ku-nau issued six clavier so-nats under the general title "Mu-zy-kal-noe iso-b-ra-zhe-nie several biblical stories. An-to-nio Vi-val-di, co-chi-niv four-you-re string concerts -ta "Time-to-go-yes." I.-S. Bach na-pi-sal "Ka-prich-cho on the departure of the voz-lyub-no-go bra-ta" for cla-vi-ra. Joseph Haydn also os-ta-vil not-ma-lo sim-fo-ny under short-ki-mi for-go-lov-ka-mi / "Morning", "Half-day", "Evening", "Hours", "Farewell" /, and his co-in-re-men-nick Mo-zart, in de-li-chie from him, from-be -gal yes-vat in-st-ru-men-tal-nym about-from-ve-de-ni-pits on-titles. A milestone in the development of the program-no-sti was the creation of L. van Bet-ho-ve-na. He almost did not ras-cipher-ro-you-shaft co-holding his pro-of-ve-de-ni under the editorship of for-go-lov-ka-mi and only bla-go-da-rya day-no-kam, bio-graph-fam and mu-zy-ko-ve-dam, we know that sim-fo-niya N 3 was pre-zh-de-la by -sacred to con-su-lu Bonaparte, and then, with-le-ko-ro-na-tion, called-on "Ge-ro-and-che-with-coy", for -te-pi-an-naya co-na-ta N 24 na-zy-va-et-sya "Ap-pa-si-o-na-ta", N 8- - "Pa-te-ti-che -s-kai", N 21 - "Av-ro-ra", N 26 - "Farewell, break-up and return", etc. More con-kret-but op-re-de-le-but co-der-zha-nie sym-phony N 6 "Pa-s-to-ral-noy" - ka-zh-daya part of it has its own for-go-lo-wok: "Pro-bu-zh-de-nie ra-to-st-ing feelings upon arrival in de-roar-nu", "Scene at ru -whose", "Ve-se-loe gathering in-se-lyan", "Bu-rya", "Singing pa-s-tu-hov. Ra-do-st-nye, b- go-dar-st-ven-nye chuv-st-va in-with-le-thunder-zy". So Bet-ho-ven is under-go-ta-in-li-val pro-gram sym-phonism of the 19th century. To the opera "Fi-de-lio" he co-chi-nil sure-tu-ru, giving her the name of the main hero-ro-and-ni opera / "Le-o-no-ra" / . Soon-re-I-vi-moose two more va-ri-an-ta sure-tu-ry - "Le-o-no-ra N 2" and "Le-o-no-ra N 3". They would be pre-na-zna-che-us and for a concert-no-go use-on-l-non-niya. So sure-tu-ra became-but-vi-las-sa-mo-one-I-tel-nym genre, that in creative-che-st-ve ro-man-ti-kov became-no usual-h -ny yav-le-ni-eat. Ros-si-ni co-chi-nil in-add-no-go type-pa sure-tu-ru to the opera "Wilhelm Tell" - he did not give her a name, but the plot in it you see through-you-tea-but rel-ef-but. So is "Ski-ta-lets" Shu-ber-ta - for-te-pi-an-naya fan-ta-zia.

In the creative-che-st-ve Sho-pe-for the role of the program-for-we-words, it would have been to-with-that-that-h-but ve-li-ka, but no matter how- la slo-f-on the program from-del-nyh in-st-ru-men-tal-nyh plays, Sho-pen os-ta-v-lyal her in secret, not giving titles, no verse epi-graphs. He og-ra-no-chi-val-sya only about-z-on-che-ni-em genre / ball-la-da, in-lo-nez, etude / and pre-in-chi-tal hidden type of program-no-sti. Ho-tya one-but-time-men-but he pointed out that “well-ch-but-chosen-name-strength-whether-va-et voz-dey-st- vie mu-zy-ki ”and the listener then-g-yes without bo-yaz-no-gru-m-e-s-sya in the sea as-so-qi-a-tsy, do not use ka-zhaya ha-ra-k-te-ra things. In your articles and letters, Sho-pen not-one-but-times-but you-stepped against over-dimensional de-ta-li-za-tion - "mu-zy -ka should not be a re-vo-dchi-tsei or a servant. In his unfinished work, Sho-pen na-pi-sal about you-ra-same-ni we-whether in the middle of sounds, not sform-mi -ro-vav-she-e-xia op-re-de-lyon-but and windows-cha-tel-but the word is a sound ... a thought, you-ra-wife sound-ka-mi. .. Emotion you-ra-same-on the sound, in that word - it’s no-ma-whether Cho-pin and Flo-ber / judging by the scene-not mu-che- no-che-st-va Ma-to and the orgy of the crowd in "Sa-lam-bo" /.

Sho-pen approached the li-te-ra-tour-ball-la-du to the in-st-ru-men-tal-noy m-zy-ke, being under a strong wind -chat-le-ni-em po-e-ti-che-s-ko-go ta-lan-ta his co-ot-che-st-ven-ni-ka Ada-ma Mits-ke-vi -cha. Ro-man-ti-che-with-cue type of ball-la-dy with brightly you-ra-wife-pa-t-ri-o-ti-che-with-kim on-cha-scrap was Sho -pe-well-emi-g-ran-tu is especially-ben-but close and co-sound-chen. From-ve-st-but that Sho-pen co-z-da-val their ball-la-dy for for-te-pi-a-but in the wake of the meeting with Mitz-ke-vi-chem and familiarity with his e-zi-her. But almost-not-possible-m-well-but even-to and one-but-know-h-but id-ti-fi-qi-ro-vat some of the 4 ball-lad com -po-zi-to-ra with this or that ball-la-doy Mitz-ke-vi-cha. Su-shche-st-vu-et a number of versions in terms of co-from-no-she-niya su-zhe-tov Bal-la-dy No. 1 in G-Mi-nor opus 23 with "Con- ra-dom Val-len-ro-dom", Ball-la-dy N 2 F major opus 38 with "Svi-te-zyan-koy", Ball-la-dy N 3 A-ba-mol ma- zhor opus 47 with either "Svi-te-zyan-koy" Mits-ke-vi-cha, or with "Lo-re-le-she" Hey-ne. All this gi-po-te-ti-ch-ness is already talking about how free-to-the-music of sho-pe-new ball-lads from con- kret-nyh programs-but-whether-te-ra-tour-nyh as-so-qi-a-tsy. From the time-of-a-ra Sho-pe-na with Mitz-ke-vi-than from-ve-st-but that the first two ball-la-dys then-h-but voz-no-to- whether under vpe-chat-le-ni-em about-from-ve-de-ny Mits-ke-vi-cha. Isn’t it-she-but in-te-re-sa and that’s about-to-I-tel-st-in that you-yes-y-y-y-y-pi-a-nist, pi-sa-tel and more more talented graphic ob-ri Bur-ds-ley on his ri-sun-ke "Three ball-la-da Sho-pe-na" iso-b-ra -zil de-vush-ku, ska-chu-shchu-shchu-shchey on ko-not on the forest and co-did this ri-su-nok musical string-ch-koy, from lo-alive mo -tiv second-swarm te-we ball-la-dy. And this is an ob-time from "Svi-te-zyan-ki"!

In contrast to Sho-pe-na, pre-chi-tav-she-th hidden software, Men-del-sleep, in any case, in sim- fo-no-che-with-com genre-re, cha-go-tel obviously to kar-tin-no-mu tee-pu, what they say about his assurances "Dream in years -nyuy night", "Fin-ga-lo-va ne-shche-ra, or Ge-b-ri-dy", "Sea calm and happy sailing" and two sim-fo-nii - Italian-yan-sky and Scottish-sky. He also appeared with-z-da-te-lem the first ro-man-ti-che-with-co-concert-pro-gram ver-ty-ry in is-to-ri mu -zy-ki / 1825 /.

With the name of Ber-li-o-for communication in 1830 /"Fan-ta-sti-che-s-kaya"/. His pro-from-ve-de-niya under-ny-french-mu-zy-ku to the level of re-re-to-howl-te-ra-tu-ry of his time me-no, moreover, name-but-no-wei-shey, co-in-re-men-noy-te-ra-tu-ry. By-ron, Mus-se, Sha-to-b-ri-an, Gyu-go, George Sand and for-no-in-open ro-man-ti-ka-mi Shek-spire ... But at Ber-li-o-for not-rarely for-to-you mu-zy-kal-noy form-we bra-whether the upper hand over whether-te-ra-tour-us-mi element-men-ta mi. We-pro-gram-we from-whether-cha-were op-re-de-lyon-no-stu, and cha-s-and-s-s-no de-ta-li-for-qi-her , as in "Fan-ta-sti-che-with-coy." He cha-go-tel to na-tu-ra-li-sti-che-with-to-mu-no-ma-niya program-no-sti, not og-ra-no-chi-va- being for-go-loving-ka-mi whole and cha-s-tey, but also pre-glorifying ka-zh-doy cha-s-ti under-rob-her-shui an-no- ta-tion, from-lo-alive, in such a way, with-holding own-st-ven-no-ru-h-but you-du-man-no-go syu- same. But mu-zy-ka almost no-ko-g-yes-do not follow-to-va-la slave-ski for sub-rob-but-sta-mi you-du-man-no-go-so-same- that. The second-paradise-new-line of his creation-che-st-va is te-a-t-ra-li-za-tion with all its pri-yo-ma-mi.

The plot of "Fan-ta-sti-che-with-coy" is many-th-slo-women - to him with-with-cha-st-we de-mo-no-th-with-scenes us from Go-tev-sko-go "F-u-hundred", the image of Octave from "Confessions of the son of the century" by A. de Musset, Hugo's poem "The Witches' Sabbath" and the shchi opi-u-ma "De Queen-si, ob-ra-zy sha-to-b-ri-a-nov-sky and george-san-dov-sky ro-man-nov and in the first turn - auto-bio-gra-fi-ch-nye hell...

Under-for-go-lo-wok "Fan-ta-sti-che-with-coy" gla-force: "Epi-zod from the life of art-ti-hundred." Mu-zy-ka es-te-ti-che-s-ki voz-you-si-la su-ma-sb-rod-st-va "ek-zal-ti-ro-van-no-go-mu- zy-kan-ta", in a grue-ziv-she-go-sya in an opi-smart dream-vi-de-nie and in-ve-st-in-va-tion in-with-le-do -va-tel-but raz-vi-va-et-sya from that-m-le-niya get-p-le-niya through dreams and passions of wal-sa and pa-s-to- ra-whether to the fan-ta-sti-che-with-to-mu, mra-ch-no-og-lu-shi-tel-no-mu march and to the wild devilish swine- one hundred-plea-ske. Mu-zy-kal-nym ster-zh-it of this drama-ma-tour-gi-che-with-koy tse-pi yav-la-et-sya so-called. "on-elm-chi-vaya idea", raz-vi-va-yu-scha-i-sya and trans-s-for-mi-ru-yu-scha-i-sya in all 6 hours -tyah.

Plot-ny in-ve-st-vo-va-tel-no-dra-ma-ti-che-s-cue sym-phonism pre-hundred-in-la-yut in creative-che-st -ve Ber-li-o-for three other sym-phonies - “Ro-meo and Jul-et-ta” / sim-fo-niya-dra-ma /, “Harold in Italy "and from-cha-s-ti - Tra-ur-no-three-mind-fal-naya symphony. All the time-vi-tie sub-chi-not-but plot-noy fa-boo-le.

The knowledge of the program-no-sti from Sho-pe-on and Ber-li-o-for-re-went to Li-s-tu. He pre-po-chi-tal a different type of sym-fo-niz-ma - pro-b-lem-no-psi-ho-lo-gi-che-s-cue, pre-la-ga-yu- schie ma-k-si-mal-ny generalization of ideas. Com-po-zi-tor wrote-sal that go-ra-s-to-w-her-to-ka-za, like a hero du-ma-et, isn’t it like you his action. In a way, in many of its sym-pho-no-th-with-the-e-mah on the first plan you-dvi-ga-et-sya fi-lo-sof-skaya ab -str-rak-tion, con-centr-t-rat of ideas and emotions / as in “Fa-st-sim-fo-nii” /. The main task for-yes-whose Li-s-ta in terms of program-no-sti was-lo about-but-in-le-tion of mu-zy-ki through its inside-t-ren -nuyu connection with e-zi-her. Because of the de-to-la-ri-ro-va-nia of the fi-lo-sophic ideas, Liszt introduced-dil ob-I-in-len-pro-gram-mu wishing to-be-reap pro-out-of-free interpretation of ideas. Liszt believed that po-e-ziya and mu-zy-ka pro-isosh-whether from the same root and again they are not-about-ho-di-mo to connect the thread. Special programs for po-e-moms List on-zy-val “du-hov-ny-mi es-ki-za-mi” / sti-ho-your-re-nie Gyu-go - to the po-e-me "What is heard on the mountain", from the tra-ge-dia Gyo-te - to "Torquato Tas-so", verse-ho-your-re-nie La- mar-ti-na - to “Pre-lu-dam”, fragments-men-you from the scenes of Ger-de-ra - to “Pro-me-tey”, and verse-ho-your-re-nie Shil-le -ra “For-clo-not-ni-is-kus-st-you” - to the poem “Holiday-no-ch-sounds”. hundred-in-len av-tor-sky for-we-sat down in the e-me "Ide-a-ly", where every time-case is co-pro-in-f-yes-et qi -ta-ta from Shil-le-ra.Sometimes the pro-gram-ma co-sta-in-la-las not with-mi-mi-zi-to-rum, but his friends-i-mi and bli-z-ki-mi / Ka-ro-li-on von Wit-gen-stein - to "Lament for the heroes" /, but not-something-ry programs-we are in -generally in-i-in-la-li-with-le co-chi-non-niya mu-zy-ki: so the text of La-mar-ti-na for-me-nil at Lee-s- that first-at-the-initial verse-ho-your-re-ing From-ra-na "Che-you-re verses in" Pre-people.

What do you think is the difference between Tchaikovsky's piano concerto and his own symphonic fantasy "Francesca da Rimini"? Of course, you will say that in the concerto the piano is the soloist, but in fantasy it is not at all.

Perhaps you already know that a concerto is a work of many parts, as the musicians say, it is cyclic, but in fantasy there is only one part. But now we are not interested in this. You are listening to a piano or violin concerto, a Mozart symphony or a Beethoven sonata. Enjoying beautiful music, you can follow its development, how different musical themes replace one another, how they change, develop. Or you can reproduce in your imagination some pictures, images that sounding music. At the same time, your fantasies will certainly be different from what another person who listens to music with you imagines.

Of course, it does not happen that you feel the noise of battle in the sounds of music, and someone else - an affectionate lullaby. But stormy, formidable music can evoke associations with the rampant elements, and with a storm of feelings in a person’s soul, and with a formidable roar of battle...

And in Francesca da Rimini, Tchaikovsky, by the very title, indicated exactly what his music depicts: one of the episodes of Dante's Divine Comedy. This episode tells how among the hellish whirlwinds, in the underworld, the souls of sinners rush about. Dante, who descended into hell, accompanied by the shadow of the ancient Roman poet Virgil, meets among these spirits carried by a whirlwind the beautiful Francesca, who tells him the sad story of her unhappy love. The music of the extreme sections of Tchaikovsky's fantasy draws hellish whirlwinds, the middle section of the work is Francesca's sorrowful story.

There are many pieces of music in which the composer in one form or another explains their content to the listeners. So, Tchaikovsky called his first symphony "Winter Dreams". He prefaced the first part of it with the heading "Dreams on a winter road", and the second - "A gloomy land, a misty land".

P. I. Tchaikovsky. Symphony No. 1 in G minor, Op. 13. "Winter dreams".
Part 1. "Dreams on a winter road"

P. I. Tchaikovsky. Symphony No. 1 G-mol, Op.13. "Winter Dreams".
Part 2. "Gloomy land, foggy land"

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Berlioz, in addition to the subtitle "Episode from the Life of an Artist", which he gave to his Fantastic Symphony, also set out in great detail the content of each of its five parts. This story is reminiscent of a romantic novel.

And "Francesca da Rimini", and the symphony "Winter Dreams" by Tchaikovsky, and Berlioz's Fantastic Symphony are examples of so-called program music.

You probably already understood that program music is such instrumental music, which is based on a "program", that is, some very specific plot or image. Programs are of different types. Sometimes the composer retells in detail the content of each episode of his work. So, for example, did Rimsky-Korsakov in his symphonic picture "Sadko" or Lyadov in "Kikimora".

It happens that, referring to well-known literary works, the composer considers it sufficient only to indicate this literary