Музыкальные жанры. Учебно-методические материалы по обучению чтению специальной литературы

Министерство культуры Российской Федерации Нижегородская государственная консерватория (академия) им. М.И. Глинки

МУЗЫКАЛЬНЫЕ ЖАНРЫ

MUSICAL GENRES

Учебно-методические материалы по обучению чтению специальной литературы

для студентов музыкальных учебных заведений

Автор-составитель:

Т.Г. Бухарова

кандидат филологических наук, доцент

Рекомендовано Приволжским региональным учебно-методическим центром при Учебно-методическом объединении по образованию в области лингвистики для студентов, изучающих английский язык на факультетах и в вузах искусства

Нижний Новгород Издательство Нижегородской консерватории

2012

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УДК 781.6

ББК 81.2 Англ.

М89

Печатается по решению редакционно-издательского совета Нижегородской государственной консерватории (академии) им. М.И. Глинки

М89 Музыкальные жанры: Учебно-методические материалы по обучению чтению специальной литературы / автор-сост. Бухарова Т.Г. – Н.Новгород: ННГК им. М.И. Глинки, 2012. – 60 с.

Пособие предназначено для студентов музыкальных факультетов. Основная цель пособия – подготовить студентов к чтению литературы на английском языке по специальности, развить навыки аналитического чтения и расширить словарный запас.

Рецензенты:

Нестеренко С.И., кандидат филологических наук, доцент НГЛУ им. Н.А. Добролюбова

Фролов А.А., кандидат педагогических наук, доцент ННГК им. М.И.Глинки

УДК 781.6

ББК 81.2 Англ.

© Бухарова Т. Г., 2012 ©Нижегородская государственная консерватория (академия)

им. М.И.Глинки, 2012

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-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

Read and translate the text

Taken in its wider sense, the term overture means an orchestral composition which serves as the introduction to a lyric work (opera, opera-comique, oratorio) or to certain suites. The little fanfare used as the prologue to Monteverdi's Orfeo (1607) is the oldest known prefiguration of the 'Italian Overture' — or Sinfonia — which was inaugurated by P. Cesti (Il Pomo d'Oro, 1667) and was given its definitive tripartite form (allegro, largo, vivace) by A. Scarlatti.

Another form of opera overture, the 'French Overture', of which Lully was the instigator, developed 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 (BWV 106669). But the flourishing of this form also owed a lot to Muffat, Telemann, Hasse and Handel. A modification to its structure was introduced by Rameau: the tripartite form was abandoned and the overture became limited to one slow movement followed by a fast and shorter one.

Up until this point the overture had been separated from the work for which it was meant to serve as a preface. But with Gluck (Alceste, Iphigenie en Aulide) it became tied directly to the main work in order to justify its raison d'etre (Mozart's Don Giovanni). From then on it was modelled on the initial movement (allegro) of the classical symphony.

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Beethoven's Leonora III ushered in a new type of overture which was a virtually independent orchestral composition meant to summarize the action of the drama to follow (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 19th century also saw the emergence of the 'potpourri overture', reduced to a simple arrangement of musical phrases drawn from a lyric work (Rossini's The Thieving Magpie) and the Wagnerian 'Symphonic Prelude' (Tristan und Isolde) intended to create an instant atmosphere appropriate to the piece.

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), in cases where it has not disappeared altogether (as in R. Strauss's Salome or Elektra), to allow for an immediate entry into the action.

Answer the questions:

1.What does the term “overture” mean?

2.What form did Scarlatti give to the overture?

3.Whom does the flourishing of the form owe to?

4.What modification to its structure did Rameau introduce?

5.Was the overture separated from the work for which it was intended?

6.With whom was an overture tied directly to the main work?

7.What was an overture modelled on?

8.What Beethoven’s composition ushered a new type of an overture?

9.How can you characterise the type of an overture emerged in the 19th century?

10.What is the role of an overture in modern opera?

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-ance/ are typical of abstract nouns such as: importance, ence significance, ignorance, convenience, difference,

preference, correspondence, violence

Read and translate the text

A Suite is a succession of dance movements whose number, character, and relations among each other are the three criteria which fixed differently over the centuries give this arrangement the status of a musical form.

The suite is the oldest of all instrumental forms: 'its origin goes back to the Middle Ages, when it was customary to group certain dances in pairs' (Andre Hodeir). However, it was not until the 16th century that this arrangement in twos took clear shape, where the first dance was usually moderate and of a binary rhythm and the second was fast and ternary as, for example, in the case of the pavane-gaillarde pair. But, simultaneously with this principle, and particularly with the lutists, rival suites appeared which contained as many as five dances, often linked by the same key.

It was not until the second half of the 1 7th century, with the great instrumental music movement, that the suite form stabilized, principally under the influence of German composers like Froberger, Kuhnau, Pachelbel and Buxtehude. The suite, from then on, had a structure of four movements: allemande, courante, sarabande and jig, to which other dances or an intro or prelude could be added, or which could be doubled by ornamental variants of a preceding dance. Corresponding to the standardization of the form, a normalization of the structure also occurred; whereby each movement tended to respect a binary division, the first part of which progresses from the initial key to the dominant, while the second then returns, by various modulations, to the principal key. At the end of the 17th century

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Francois Couperin's suites, entitled 'orders', counted among the major works of this type.

In the 18th century, it was Johann Sebastian Bach, once again, who brought the form to its highest level with, primarily, his 6 English Suites, 6 French Suites, 6 German Suites or Partitas, all for the keyboards, 3 Sonatas and 3 Partitas for solo violin, 6 Suites for solo cello and 4 Suites or Overtures for orchestra. But we must also mention — contemporaries of Bach J. P. Rameau's Pieces de clavecin and G. F. Handel's Orchestral Suites. From the second half of the 18th century, the baroque form of the suite degenerated, to be more or less replaced by the divertimento and the serenade. The suite was eclipsed by the classical sonata and symphony.

However, in the 19th century and beginning of the 20th the suite reappeared in various forms, and principally in the form of stylistic pastiches such as those by Ravel (Le Tombeau de Couperin) and Schönberg (Suite opus 25). More frequently perhaps, the suite also consisted of the collection of pieces extracted from an opera, a ballet or stage music, examples of which abound; from Tchaikovsky to Stravinsky and including Bizet and Berg. The suite also sometimes took on the shape of a cycle of miniatures (Moussorgsky's Pictures at an exhibition).

Answer the questions:

1.When did a suite arrear?

2.How was it arranged originally?

3.Characterize its original parts.

4.How many dances could a suite contain?

5.Under whose influence did the suite form stabilize?

6.How many movements are there in its structure now?

7.How were F. Couperin’s suites entitled?

8.Who brought the form to its highest level?

9.Name their compositions in this genre.

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Read and translate the text

In its generally accepted sense, the word 'toccata' (from the Italian toccare 'to touch') designates a musical form without a precise structure, to which belong pieces for keyboard instruments composed with the intention of emphasizing the fingering of the interpreter.

The origins of this form are little known; it is possible that there is a link, as suggested mainly by the arpeggiato chords, between the toccata for harpsichord, organ and piano and the primitive toccata from the Middle Ages played by trumpets during the hunt and in war time, which also turns up, in an evolved form, in the works for the beginning of the 17th century, such as Monteverdi's Orfeo (1607) which begins with a toccata con tutti li stromenti. From the 16th century, the era of the oldest known specimens of the keyboard toccata (pieces by Andrea and Giovanni Gabrieli, Glaudio Merulo, and others), the harpsichord and the organ almost completely monopolized the form in question. In the 17th century, under the influence of Girolamo Frescobaldi (Fiori musicali collection, 1635), the toccata took the form of a musical piece in which homo-phonic sections and fugal passages are linked together (toccatas by Jan Piet-erszoon Sweelinck, Johann Jakob-Froberger, Samuel Scheidt, Georg Muffat), but it was Dietrich Buxtehude (1637-1707) who proved himself to be the incontestable master, before Bach, of the great toccata form, inserted in or preceding a fugue' (Jean-Francois Labie).

A clearly marked distinction between organ toccatas and harpsichord toccatas was established at the beginning of the 18th century, which also witnessed a certain confusion between authentic toccatas and works labeled as such but whose characteristics are more those of a sonata ('toccatas' by Leonardo Leo, Domenico Scarlatti, and others). J. S. Bach, author of seven toccatas intended for harpsichord and four others for organ such

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