Genres and periods of music development: Учебно-методическое пособие для студентов музыкальных вузов

61 Pages·2020·0.434 MB·Russian

by  Бухарова Т. Г.

Т. Г. БУХАРОВА
GENRES AND PERIODS
OF MUSIC DEVELOPMENT
учебно-методическое пособие
для студентов музыкальных вузов
Издательство Нижегородской консерватории
Нижний Новгород 2020
Министерство культуры Российской Федерации
Нижегородская государственная консерватория им. М. И. Глинки
Кафедра иностранных языков
GENRES AND PERIODS
OF MUSIC
DEVELOPMENT
учебно-методическое пособие
для студентов музыкальных вузов
Автор-составитель:
Тамара Григорьевна Бухарова
Издательство Нижегородской консерватории
Нижний Новгород
2020
УДК 78.06 16+
ББК 85.31
Б94
Печатается по решению редакционно-издательского совета
Нижегородской государственной консерватории им. М. И. Глинки
Рецензенты:
Голубева Н. А., доктор филологических наук, профессор
Нижегородского государственного лингвистического
университета им. Н. А. Добролюбова;
Круговец В. С., кандидат филологических наук,
доцент Нижегородской государственной консерватории
им. М. И. Глинки.
Б94 Genres and periods of music development : учебно-
методическое пособие для студентов музыкальных
вузов / авт.-сост. Т. Г. Бухарова ; Нижегородская гос.
консерватория им. М. И. Глинки. — Н. Новгород :
Изд-во Нижегородской консерватории, 2020. — 60 с.
УДК 78.06
ББК 85.31
© Бухарова Т. Г., 2020
© Нижегородская государственная
консерватория им. М. И. Глинки, 2020
PART I
Periods of European music development
UNIT 1
The period of Early music (1000–1600)
The term “Early music” is used to define the music of the
Middle Ages and the Renaissance. Music of that period was
mainly church or sacred. Plainchant was the most popular type of
sacred music at that period and was sung in churches, monasteries,
cathedrals and chapels. It was a monophonic music with a single
line of melody and was sung by one voice or many. Later secular
monophonic music appeared. It was composed and sung by
troubadours. They usually expressed ideals of courtly love in their
works. Polyphonic (“many-voiced”) music also appeared at first
within the Church, when singers added to the plainchant other
vocal parts during services on Christmas or Easter holidays. The
Motet was one of the most popular sacred forms during the Middle
Ages. Madrigals and instrumental music as new secular forms of
the song in the 16th century were in demand too. Compositions
for string, wind, voice, such dances as the stately pavane and the
galliard were extremely popular as well.
The most distinguished feature of sacred and secular music
in that period of music development was the concept of a musical
texture where voices imitated one another in counterpoint.
General understanding of the text
Answer the questions:
1. What period of European music development do we call “Early
music”?
2. It was the period of mainly church or sacred music, wasn’t it?
3. Was music of that period only monophonic?
4. What were the most popular sacred and secular musical forms
during that period?
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UNIT 2
The Baroque period of music development (1600–1750)
The Baroque period gave birth to the opera and the orchestra.
That is why instrumental music, especially for the violin and
keyboard, flourished. Opera was a new style of singing which on
the one hand helped composers to convey the text clearly through
a solo voice and on the other hand allowed singers to interpret
their parts more dramatically. It was monody that made musical
drama — opera — possible. Besides opera, other musical forms
flourished. Major and minor courts all over Europe had chamber
ensembles as a mark of prestige. Instrumental sonatas and concertos
were created to entertain the noble patrons and their guests. In the
17th century the birth and the growth of the opera increased the
importance the orchestra. Keyboard music (mainly for harpsichord
and organ) also flourished. The innovations of the early Baroque
came from Italy, but distinctive national styles began to emerge in
other countries.
General understanding of the text
Answer the questions:
1. At about what time did the Baroque period of music development
begin?
2. What musical genre did the Baroque period give birth to first of
all?
3. In what way did Opera (a new style of singing) help composers
and singers of the Baroque era?
4. What genres of instrumental music especially flourished?
5. By what was the birth of orchestra driven?
6. Why was a chamber orchestra a mark of prestige?
7. For what keyboard instruments was music of that period mainly
created?
8. What country did the innovations of the early Baroque come
from?
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UNIT 3
The Classical period of music development (1750–1820)
Between 1750 and 1820 Haydn, Mozart and Beethoven
-representatives of the so-called Vienna school — created a
new musical style which was simpler, whose maxims — clarity,
restraint and balance mirrored contemporary intellectual and
artistic values. Classicism in music was a reaction against
complex Baroque compositions marked by intricate polyphony,
counterpoint and ornamented melody. Instead, there was a simple
melody accompanied by harmonic progressions in the works
of classical composers. At that period of music development
instrumental music became more popular than vocal music.
Composers created larger musical works and the symphony
turned from the small-scale Baroque sinfonia into a large-scale
musical form usually in four movements. Other genres were also
redefined. The three-movement concerto became a work for one
soloist. The sonata developed into a more formal composition for
one or two instruments. String quartet and piano trio were created
for amateur and domestic music-making.
General understanding of the text
Answer the questions:
1. What period of music development is called classical?
2. The representatives of what musical school are Haydn, Mozart
and Beethoven?
3. What are the characteristic features of the new style created by
Haydn, Mozart and Beethoven?
4. Was instrumental or vocal music more popular at that time?
5. What musical genres were in demand in the Classical era?
6. What musical genres were created for domestic music-
making?
7. The reaction against what was Classicism in music?
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UNIT 4
The Romantic period of music development (1810–1920)
Romantic music was against the limitations of Classical
tradition. Romantics were for originality and emotionality.
There were extreme tendencies in the Romantic era. Firstly,
composers abandoned classical traditions and experimented
with new and daring harmonic language and form. But at the
same time Romantics “rediscovered” music from the past. In
1840 Mendelssohn performed Bach’s Saint Matthew Passion.
It encouraged musicians to perform music of the past and use
its forms and materials (Brahms for example). The instrument
that is the symbol the Romantic period is the piano, invented by
B. Cristofori in the 18-th century. Many composers of the Romantic
period of music development created piano concert music and
music for amateurs. Music from the Romantic era has remained
popular till now thanks to its richness of melodies and harmonic
inventions, its extra-musical associations.
General understanding of the text
Answer the questions:
1. How long did the Romantic period last?
2. What instrument symbolizes the Romantic period?
3. When and who invented the piano?
4. What was Romantic music against in the Classical tradition?
5. Thanks to whom did Bach’s music become very popular
2 centuries after his death?
6. What was the title of Bach’s composition which brought him
world fame?
7. What do we mean saying that the Romantic period “rediscovered”
music from the past?
8. Thanks to what qualities has music from the Romantic era
remained popular till now?
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UNIT 5
Modern period of music development (1900–till now)
The beginning of the 20-th century marks the start of the modern
period in the music development in America and in Europe. Since
the beginning of the 20-th century music was strongly influenced by
ideological, social and technical changes. It has developed a large
variety of styles. Whereas composers of earlier times tried to adopt
and develop established styles, much music of the 20th century
seems — at least on the surface — to break with the past. The
first half of the 20th century was dominated by two very different
composers- the Austrian Arnold Schoenberg and the Russian Igor
Stravinsky with whose names Neo-Classicism and Serialism are
associated. Rapid development of technology influenced all types
of music through recording and the use of synthesized sound. Many
composers in different continents wrote incidental music or music
for stage and screen. Popular music forms, such as jazz, rock and
folk music inspired a great number of composers.
General understanding of the text
Answer the questions:
1. When did the modern period in the development of music start?
2. What events in the social life of people influenced the development
of music in the 20-th century?
3. How did technical progress influence music of the 20th
century?
4. Whose name is associated with Neo-Classicism?
5. Whose name is associated with Serialism?
6. What popular music forms inspired composers of the 20th
century?
Topics for discussion
- the most important tendencies of every period in the European
music development;
- their main representatives of each period among composers
and their most popular compositions (Use your professional
knowledge).
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PART II
Musical genres
UNIT 6
Overture
Pre-reading activities
I. Translate the forms of Active and Passive Voice of the
following verbs: used — was used, gave — was given, inaugurated —
was inaugurated, introduced — was introduced, abandoned — was
abandoned, modeled — was modeled, reduced — was reduced
II. State the functions of Participle I and II and translate
the word combinations:
a) 1. the term taken in its wider sense, 2. fanfare used as the
prologue, 3. the oldest known prefiguration, 4. the form of the
overture developed in France, 5. a slow movement followed by
a fast, 6. a composition meant to summarize the action of the
drama, 7. an overture reduced to an arrangement of musical
phrases, 8. phrases drawn from a lyric work, 9. “Symphonic
Prelude” intended to create an instant atmosphere;
b) 1. the flourishing of the form, 2. the beginning of the century,
3. before introducing the work, 4. after completing the
composition, 5. during auditing the competitors.
III. Suffixes of adjectives: -ous, -ish, -less, -y, -al, -ive, -full.
Form adjectives using the suffixes
-ous mystery, danger, fame, vary, continue, fury
-ish boy, girl, red, yellow, dream, self, book, fool, grey
-less hope, power, help, home, penny, end, use, life, face,
thank, name, job
-y sun, rain, fog, sleep, cloud, fun, wind, luck
-al form, origin, profession, emotion, addition, tradition,
function
-ive act, express, create, effect, subject, object, mass,
collect, progress
-full tact, colour, beauty, faith, fruit, use, art, master, hope
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IV. Name the tenses used in the sentences and explain
their usage.
Up until this point the overture had been separated from the
work for which it was meant to serve as a preface.
Read and translate the text
Taken in its wider sense, the term overture defines an orchestral
composition serving as the introduction to an opera, an opera-
comique or an oratorio or to some suites. The little fanfare used as the
prologue to Monteverdi's Orfeo is the oldest known prefiguration of
the “Italian Overture” — or Sinfonia. A. Scarlatti gave the overture
a tripartite form (allegro, largo, vivace).
Another form of the opera overture, the “French Overture”
was developed by Lully in France and then in the rest of Europe,
except for Italy. J. S. Bach masterfully used this type of overture
in his four Orchestral Suites. But the form flourished mainly in the
works by Muffat, Telemann, Hasse and Handel. Rameau modified
its structure: the tripartite form was limited to one slow movement
followed by a fast and shorter one.
Till that time the overture had been separated from the work
and served as its preface. But Gluck tied the overture directly to the
main work. From then on it was modelled on the initial movement
(allegro) of the classical symphony.
Beethoven's Leonora III ushered in a new type of overture
as an independent orchestral composition meant to summarize the
action of the following drama (C. M. von Weber's Freischutz or
Wagner's Phantom Vessel). This new genre gave rise to the 'Concert
Overture': Mendelssohn's Overture to A Midsummer Night's Dream,
Berlioz's Carnaval romain, Brahms's Tragic Overture, etc.
The “pot-pourri overture” appeared in the 19th century. It is
a simple arrangement of musical phrases drawn from a lyric work
(Rossini's The Thieving Magpie) and the Wagnerian “Symphonic
Prelude” (Tristan und Isolde).
In modern opera, the overture is reduced to a brief orchestral
introduction (Debussy's Pelleas et Melisande) or to a miniscule
prelude (Berg's Wozzeck).
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