French folk musical instruments. How to choose a musical instrument

The French music we hear has deep roots. She emerges from folk art peasants and townspeople, religious and chivalric poetry, from the dance genre. The formation of music depends on eras. Celtic beliefs, and subsequently the regional customs of the French provinces and neighboring peoples, form special musical melodies and genres inherent in the musical sound of France.

Music of the Celts

The Gauls, the largest Celtic people, lost their language, speaking Latin, but acquired Celtic musical traditions, dances, epics and musical instruments: flute, bagpipe, violin, lyre. Gallic music is chanting and is inextricably linked with poetry. The voice of the soul and the expression of emotions were conveyed by wandering bards. They knew many songs, had a voice and knew how to play, and also used music in mysterious rituals. In French folklore, two types of musical works are known: ballads and lyrics - folk poetry with a chorus that replaced music. All songs are written in French, despite the fact that the inhabitants different parts France spoke their own dialects. The language of central France was considered solemn and poetic.

Epic songs

Ballad songs were held in high esteem among the people. German legends took talents from the people as a basis for their legendary songs. Epic genre performed by a juggler - a folk singer who, like a chronicler, immortalized events in song. Later, his musical experience was transferred to medieval wandering singers - troubadours, minstrels, trouvères. Among the legendary songs, a significant group is made up of a song - a complaint, as a response to tragic or unfair events. A religious or secular story is usually sad, with a predominant minor key. The complaint could be romantic or adventure, in which the main plot was love story with a tragic end or scenes of passion, sometimes full of cruelty. The song-complaint spread deep into the villages and gradually acquired a comic and satirical character. The chant of complaints could be church chants or village singing - long stories with pauses. Classic example narrative chants is the “Song of Reno”, which has a rhythm in major. The melody is calm and moving.

A song ballad with Celtic motifs can be heard in the work of Nolwen Leroy, a folk singer from Brittany. The first album "Bretonka" (2010) revived folk songs. Ballads are also heard by the rock-folk classics - “Tri Yann”. The story about a simple sailor and his girlfriend is recognized as a hit and a pearl of folklore. The group was founded by three musicians named Jean in 1970. This is also indicated by the name of the group, which is translated from Breton as “three Jeans”. Another ballad song, “In the Prisons of Nantes,” about an escaped prisoner with the assistance of the jailer’s daughter, is popular and known throughout France.

Love lyrics

In any form folk music a love story arose. In an epic, it is a story about love against the backdrop of some military or everyday events. In a comic song, this is an ironic dialogue, where one interlocutor laughs at the other, there is no unity loving hearts and explanations. Children's songs talk about the wedding of birds. The lyrical French song in the classical sense is a pastoral, which arose from a rural genre and migrated to the repertoire of troubadours. Its heroes are shepherdesses and lords. Social singers also specify the time and place of action - usually it is nature, a vineyard or a garden. Regionally, folk love songs vary in tone. Breton song is very sensitive. A serious, excited melody speaks of sublime feelings. Alpine music is clean, flowing, filled with mountain air. In central France - “plain songs” in the style of romance. Provence and the south of the country composed serenades, in the center of which was a couple in love, and the girl was compared to a flower or a star. The singing was accompanied by playing the tambourine or French pipe. Troubadour poets composed their songs in the language of Provence and sang of courtly love and knightly deeds. In collections of folk songs of the 15th century. many humorous and satirical songs are included. The love lyrics lack the sophistication characteristic of the hot songs of Italy and Spain; they are characterized by a hint of irony.

The sensibility of folk songs plays a decisive role, and the love for this genre spread to the creators of chanson and still lives in France.

Musical satire

The Gallic spirit manifests itself in jokes and songs. Full of life and mocking, it forms a characteristic feature of the French song. Urban folklore, very close to folk art, arose in the 16th century. Then the Parisian chansonnier, who lived near the Pont Neuf, sang about current issues, and here they sold their texts. Responses to various social events with satirical couplets have become fashionable. Poignant folk songs determined the development of cabaret.

Dance music

Music classical direction also drew inspiration from the creativity of peasants. Folk melodies are reflected in the works of French composers - Berlioz, Saint-Saens, Bizet, Lully and many others. The ancient dances - farandole, gavotte, rigaudon, minuet and bourre - are closely related to music, and their movements and rhythm are based on songs.

Farandola appeared in early middle ages in southern France from Christmas songs. The dance was accompanied by the sounds of a tambourine and a gentle flute. The crane dance, as it was later called, was danced at holidays and mass celebrations. The farandole is heard in Bizet's Suite Arlesienne after the March of the Three Kings.
Gavotte - old dance inhabitants of the Alps - gavottes, and in Brittany. Initially a round dance in Celtic culture, it was performed at a fast tempo according to the principle of “step - put your foot” under the bagpipes. Further, due to its rhythmic form, it was transformed into salon dance and became the prototype of the minuet. You can hear the gavotte in its true interpretation in the opera Manon Lescaut.
Rigodon- a cheerful dance of the peasants of Provence to the music of the violin, singing and the blows of wooden clogs was popular in the Baroque era. The nobility fell in love with him for his lightness and temperament.
Bourret- energetic folk dance Jumping originated in central France in the 15th century. In the 17th and 18th centuries, a graceful dance of courtiers appeared, emerging from the folk environment of the province of Poitou. The minuet characterizes slow pace with small steps, bows and curtsies. The music of the minuet is composed by the harpsichord, at a faster tempo than the movements of the dancers.

There were a variety of musical and song compositions - folk, labor, holiday, lullabies, counting songs.

The folk melody-counting “The Mare from Michao” (La Jument de Michao) received modern expression in Leroy’s album “Bretonka”. Its musical origins are round dance singing. The folk songs included in the album “Bretonka” were written for the Fest-noz holidays and in memory of the folk dance and song tradition of Brittany.

French song has absorbed all the features of folk musical culture. It is distinguished by sincerity and realism; there are no supernatural elements or miracles in it. And in our time, in France and in the world, French pop singers, continuers of the best folk traditions, are very popular.

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French music is one of the most interesting and influential European musical cultures, which draws its origins from the folklore of the Celtic and Germanic tribes that lived in ancient times in what is now France. With the emergence of France during the Middle Ages, French music merged the folk musical traditions of numerous regions of the country. French musical culture developed while also interacting with the musical cultures of other European peoples, in particular Italian and German. Since the second half of the 20th century music scene France has been enriched by the musical traditions of people from Africa. She does not remain aloof from world musical culture, incorporating new musical trends and giving a special French flavor to jazz, rock, hip-hop and electronic music.

French musical culture began to take shape on a rich layer folk song. Although the oldest reliable recordings of songs that have survived to this day date back to the 15th century, literary and art materials indicate that since the times of the Roman Empire, music and singing have occupied a prominent place in people's daily lives. With Christianity, church music came to French lands. Originally Latin, it gradually changed under the influence of folk music. The church used material in worship that was understandable local residents. One of the significant layers of French musical culture was church music, which became widespread along with Christianity. Hymns penetrated into church music, their own singing customs developed, and local forms of liturgy appeared. French musical tradition composer

folk music

The works of French folklorists examine numerous genres of folk songs: lyrical, love, complaint songs (complaintes), dance songs (rondes), satirical, craft songs (chansons de metiers), calendar songs, for example Christmas songs (Noel); labor, historical, military, etc. Songs associated with Gallic and Celtic beliefs also belong to folklore. Among lyrical genres, pastorals (idealization of rural life) occupy a special place. In works of love content, themes of unrequited love and separation predominate. Many songs are dedicated to children - lullabies, games, counting rhymes (fr. comptines). There are a variety of labor (songs of reapers, plowmen, winegrowers, etc.), soldier and recruit songs. Special group consist of ballads about the Crusades, songs exposing the cruelty of feudal lords, kings and courtiers, songs about peasant uprisings (researchers call this group of songs “the poetic epic of the history of France”).

And although French music has been widely known since the time of Charlemagne, only in the Baroque era did composers of world significance appear: Jean-Philippe Rameau, Louis Couperin, Jean-Baptiste Lully.

Jean-Philippe Rameau. Having become famous only in his mature years, J. F. Rameau recalled his childhood and youth so rarely and sparingly that even his wife knew almost nothing about it. Only through documents and fragmentary memories of contemporaries can we reconstruct the path that led him to the Parisian Olympus. His birthday is unknown, but he was baptized on September 25, 1683 in Dijon. Ramo's father worked as a church organist, and the boy received his first lessons from him. Music immediately became his only passion.

Jean-Baptis Lully. This outstanding musician-composer, conductor, violinist, harpsichordist went through life and creative path, extremely original and in many ways characteristic of his time. At that time, unlimited royal power was still strong, but the economic and cultural ascent of the bourgeoisie, which had already begun, led to the emergence of people from the third estate as not only “masters of thought” in literature and art, but also influential figures in bureaucratic and even court circles.

Kupren. Francois Couperin is a French composer and harpsichordist; as an unsurpassed master of playing the harpsichord, he was awarded the title “Le Grand” - “The Great” by his contemporaries. Born on November 10, 1668 in Paris, into a hereditary musical family. His father was Charles Couperin, a church organist.

French classical music reached its peak in the 19th century. The era of Romanticism in France is represented by the works of Hector Berlioz, primarily his symphonic music. In the mid-19th century, works by composers such as Gabriel Fauré, Camille Saint-Saëns, and Cesar Franck became famous. And at the end of this century, a new direction in classical music appears in France - impressionism, which is associated with the names of Claude Debussy, Eric Satia Maurice, Ravel

In the 20s of the 20th century, it spread in France jazz, of which Stéphane Grappelli was a prominent representative.

In French pop music, the genre of chanson has developed, where the rhythm of the song follows the rhythm French, the emphasis is on both the words and the melody. Thanks to Mireille Mathieu, Edith Piaf and Charles Aznavour, French chanson music has become extremely popular and loved all over the world. I want to tell you about Edith Piaf. December 19, 2014 marks exactly 99 years since the singer Edith Piaf was born in Paris. She was born in the most difficult times, lived blind for several years and began to sing in the worst taverns. Gradually, thanks to her talent, Piaf conquered France, America, and then the whole world...

Early 30s. Paris. A strange creature in a dirty sweater and a shabby skirt emerges from a small cinema on the outskirts of the city after an evening screening. The lips are unevenly smeared with bright red lipstick, round eyes look defiantly at the men. She watched a film with Marlene Dietrich. And she has hair exactly like a movie star! Wagging her skinny hips, a self-confident little girl walks into a smoky bar and orders two glasses of cheap wine - for herself and the young sailor with whom she sat down at the table... This vulgar street girl will soon become Edith Piaf.

In the second half of the 20th century, pop music became popular in France. famous performers which includes Patricia Kaas, Joe Dassin, Dalida, Mylene Farmer. Patricia Kaams (French) Patricia Kaas; genus. December 5, 1966, Forbak, Moselle department, France) - French pop singer and actress. Stylistically, the singer's music is a mixture of pop music and jazz. Since release debut album Kaas “Mademoiselle Sings the Blues” (French: Mademoiselle chante le blues) in 1988, more than 17 million recordings of her performances were sold worldwide. Particularly popular in French-speaking and German-speaking countries, as well as in Russia. An essential part of her success formula is constant touring: Kaas is on tour abroad almost all the time. She represented France at the Eurovision Song Contest 2009 and finished in 8th place.

One of the pioneers of electronic music was the French composer Jean-Michel Jarre; his album Oxygene became a classic of electronic music. In the 90s of the 20th century, other genres of electronic music developed in France, such as house, trip-hop, new age, and others.

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folk music

The works of French folklorists examine numerous genres of folk songs: lyrical, love, complaint songs (complaintes), dance songs (rondes), satirical, craft songs (chansons de metiers), calendar songs, for example Christmas songs (Noel); labor, historical, military, etc. Songs associated with Gallic and Celtic beliefs also belong to folklore. Among lyrical genres, pastorals (idealization of rural life) occupy a special place. In works of love content, themes of unrequited love and separation predominate. Many songs are dedicated to children - lullabies, games, counting rhymes (fr. comptines). There are a variety of labor (songs of reapers, plowmen, winegrowers, etc.), soldier and recruit songs. A special group consists of ballads about the Crusades, songs exposing the cruelty of feudal lords, kings and courtiers, songs about peasant uprisings (researchers call this group of songs “the poetic epic of the history of France”).

Middle Ages

Church music

The development of church music was best documented during the Middle Ages. The early Gallican forms of Christian liturgy were replaced by the Gregorian liturgy. The spread of Gregorian chant during the reign of the Carolingian dynasty (751-987) is associated primarily with the activities of Benedictine monasteries. The Catholic abbeys of Jumièges (on the Seine, also in Poitiers, Arles, Tours, Chartres and other cities) became centers of church music, cells of professional spiritual and secular musical culture. To teach students to sing, special singing schools (metrizas) were created at many abbeys. There they taught not only Gregorian chant, but also playing musical instruments and the ability to read music. In the middle of the 9th century. non-immutable notation appeared, the gradual development of which led, after many centuries, to the formation of modern musical notation.

In the 9th century Gregorian chant was enriched with sequences, which in France are also called in prose. The creation of this form was attributed to the monk Notker of the St. Gallen monastery (modern Switzerland). However, Notker indicated in the preface to his “Book of Hymns” that he received information about the sequence from a monk from the Jumièges Abbey. Subsequently, the prose authors Adam from the Abbey of Saint-Victor (12th century) and the creator of the famous “Donkey Prose” Pierre Corbeil (early 13th century) became especially famous in France. Another innovation was tropes - insertions into the middle of the Gregorian chant. Through them, secular tunes began to penetrate into church music.

From the 10th century in Limoges, Tours and other cities, in the depths of the divine service itself, a liturgical drama appeared, born from dialogued tropes with alternating “questions” and “answers” of two antiphonal groups of the choir. Gradually, liturgical drama moved more and more away from the cult (along with images from the Gospel, realistic characters were included).

Since ancient times, folk songs have been characterized by polyphony, while Gregorian chant was formed as a single-voice chant. In the 9th century, elements of polyphony also began to penetrate church music. In the 9th century, manuals on organum polyphony were written. The author of the oldest of them is considered to be the monk Huckbald of Saint-Amand near Tournai in Flanders. The polyphonic style that has developed in church music, however, differs from folk musical practice.

Secular music

Along with cult music, secular music developed, sounding in folk life, at the courts of the Frankish kings, and in the castles of feudal lords. The bearers of folk musical traditions of the Middle Ages were mainly wandering musicians - jugglers, who were very popular among the people. They sang moralizing, comic, and satirical songs, danced to the accompaniment of various instruments, including tambourine, drum, flute, and a plucked instrument such as a lute (this contributed to the development of instrumental music). Jugglers performed at holidays in villages, at feudal courts and even in monasteries (they took part in some rituals, theatrical processions dedicated to church holidays, called Carole). They were persecuted by the church as representatives of a secular culture hostile to it. In the 12th-13th centuries. Social stratification occurred among the jugglers. Some of them settled in knightly castles, becoming completely dependent on the feudal knight, others stayed in cities. Thus, jugglers, having lost their creative freedom, became sedentary minstrels in knightly castles and city musicians. However, this process at the same time contributed to the penetration of folk art into castles and cities, which became the basis of knightly and burgher musical and poetic art.

In the late Middle Ages, due to the general rise French culture The art of music also begins to develop intensively. In feudal castles, based on folk music, the secular musical and poetic art of troubadours and trouvères (11th-14th centuries) flourished. Among the famous troubadours were Marcabrun, William IX - Duke of Aquitaine, Bernard de Ventadorn, Joffrey Rudel (late 11th-12th centuries), Bertrand de Born, Guiraut de Borneil, Guiraut Riquier (late 12-13th centuries). In the 2nd half. 12th century In the northern regions of the country, a similar trend arose - the art of trouvères, which was at first knightly, and then became increasingly closer to folk art. Among the Trouvères, along with the kings, the aristocracy - Richard the Lionheart, Thibaut of Champagne (King of Navarre), representatives of the democratic strata of society - Jean Bodel, Jacques Bretel, Pierre Mony and others - subsequently became famous.

In connection with the growth of cities such as Arras, Limoges, Montpellier, Toulouse and others, urban musical art developed in the 12th and 13th centuries, the creators of which were poets and singers from the urban classes (artisans, ordinary townspeople, and, in addition, the bourgeoisie) . They introduced their own characteristics into the art of troubadours and trouvères, moving away from its sublimely knightly musical and poetic images, mastering folk themes, creating characteristic style, their own genres. The most prominent master of urban musical culture of the 13th century was the poet and composer Adam de la Halle, the author of songs, motets, and, in addition, the popular play “The Play of Robin and Marion” (c. 1283), full of urban songs and dances ( The very idea of creating a secular theatrical performance permeated with music was unusual). He interpreted the traditional unanimous musical and poetic genres of the troubadours in a new way, using polyphony.

Notre Dame School

More details: Notre Dame School

The strengthening of the economic and cultural importance of cities, the creation of universities (including the University of Paris at the beginning of the 13th century), where music was one of the compulsory subjects (part of the quadrivium), contributed to the increasing role of music as an art. In the 12th century, Paris became one of the centers of musical culture, and above all its Singing School of Notre Dame Cathedral, which united the greatest masters - singer-composers, scientists. This school flourished in the 12th and 13th centuries. iconic polyphony, the emergence of new musical genres, discoveries in the field of music theory.

In the works of composers of the Notre Dame school, the Gregorian chant underwent changes: the previously rhythmically free, flexible chorale acquired greater regularity and smoothness (hence the name of such a chorale cantus planus). The complications of polyphonic fabric and its rhythmic structure required the precise designation of durations and the improvement of notation - as a result, representatives of the Parisian school gradually came to mensural notation to replace the doctrine of modes. Musicologist John de Garlandia made a significant contribution in this direction.

Polyphony gave rise to new genres of church and secular music, including conduction and motet. Conduct was initially performed primarily during a festive church service, but at the same time later became a purely secular genre. Among the authors of the conduct is Perotin.

Based on a conductor at the end of the 12th century. In France, the most important genre of polyphonic music was formed - the motet. Its early examples also belong to the masters of the Paris School (Pérotin, Franco of Cologne, Pierre de la Croix). The motet allowed the freedom to combine liturgical and secular tunes and texts, a combination that led to the birth of the motet in the 13th century. a playful motet. The motet genre received a significant update in the 14th century in the conditions of the direction ars nova, whose ideologist was Philippe de Vitry.

In the art of ars nova, great importance was attached to the interaction of “everyday” and “scientific” music (that is, song and motet). Philippe de Vitry created new type motet - isorhythmic motet. Philippe de Vitry's innovations also affected the doctrine of consonance and dissonance (he announced the consonances of thirds and sixths).

The ideas of ars nova and, in particular, the isorhythmic motet continued their development in the work of Guillaume de Machaut, who combined the artistic achievements of knightly musical and poetic art with its unanimous songs and polyphonic urban musical culture. He owns songs with a folk style (lays), virele, rondo, and he was the first to develop the genre of polyphonic ballad. In the motet, Machaut used musical instruments more consistently than his predecessors (probably the lower voices were previously instrumental). Machaut is also considered the author of the first French polyphonic mass (1364).

Renaissance

Education

17th century

French music of the 17th century was strongly influenced by the rationalistic aesthetics of classicism, which put forward the requirements of taste, balance of beauty and truth, clarity of design, harmony of composition. Classicism, which developed simultaneously with the Baroque style, appeared in France in the 17th century. complete expression.

At this time, secular music in France prevails over spiritual music. With the establishment of the absolute monarchy, court art acquired great importance, determining the direction of development of the most important genres of French music of that time - opera and ballet. The years of the reign of Louis XIV were marked by the extraordinary splendor of court life, the desire of the nobility for luxury and refined amusements. In this regard, a large role was assigned to court ballet. In the 17th century Italian trends intensified at court, which was especially facilitated by Cardinal Mazarin. Acquaintance with Italian opera served as an incentive to create my own national opera, the first experience in this area belongs to Elisabeth Jacquet de la Guerre (“The Triumph of Love”, 1654).

In 1671, an opera house called the Royal Academy of Music opened in Paris. The head of this theater was J.B. Lully, who is now considered the founder of the national opera school. Lully created a number of comedies-ballets, which became the forerunner of the genre lyrical tragedy, and later - opera-ballet. Lully's contribution to instrumental music is significant. He created a type of French opera overture(the term was established in the 2nd half of the 17th century in France). Numerous dances from his works of large form (minuet, gavotte, sarabande, etc.) influenced the further formation of the orchestral suite.

At the end of the 17th - first half of the 18th century, composers such as N. A. Charpentier, A. Campra, M. R. Delalande, A. K. Detouch wrote for the theater. Among Lully's successors, the conventions of the court theatrical style intensified. In their lyrical tragedies, decorative-ballet, pastoral-idyllic aspects come to the fore, and the dramatic beginning is increasingly weakened. Lyrical tragedy gives way to opera-ballet.

In the 17th century in France, various instrumental schools developed - lute (D. Gautier, who influenced the harpsichord style of J. A. Anglebert, J. C. de Chambonnière), harpsichord (Chambonnière, L. Couperin), viol (M. Marin, who first in France he introduced the double bass into the opera orchestra instead of the double bass viol). The French school of harpsichordists acquired the greatest importance. The early harpsichord style developed under the direct influence of lute art. Chambonnière's works reflected the manner of melody ornamentation characteristic of French harpsichordists. The abundance of decorations gave the works for the harpsichord a certain sophistication, as well as greater coherence, “melody,” “length,” and the abrupt sound of this instrument. IN instrumental music widely used since the 16th century. the unification of paired dances (pavane, galliard, etc.), which led in the 17th century to the creation of an instrumental suite.

XVIII century

In the 18th century, with the growing influence of the bourgeoisie, new forms of musical and social life took shape. Gradually, concerts go beyond the boundaries of palace halls and aristocratic salons. In 1725 A. Philidor (Danican) organized regular public “Spiritual Concerts” in Paris, and in 1770 François Gossec founded the “Amateur Concerts” society. The evenings of the academic society “Friends of Apollo” (founded in 1741) were more secluded; annual series of concerts were organized by the “Royal Academy of Music”.

In the 20-30s of the 18th century. The harpsichord suite reaches its highest peak. Among French harpsichordists, the leading role belongs to F. Couperin, the author of free cycles based on the principles of similarity and contrast of plays. Along with Couperin, J. F. Dandré and especially J. F. Rameau also made a great contribution to the development of the program-characteristic harpsichord suite.

In 1733, the successful premiere of Rameau's opera Hippolyte and Arisia secured this composer a leading position in the court opera - the Royal Academy of Music. In Rameau's work, the genre of lyrical tragedy reached its culmination. His vocal and declamatory style was enriched with melodic and harmonic expression. His two-part overtures are distinguished by great variety, but at the same time, three-part overtures close to the Italian operatic “sinphony” are also represented in his work. In a number of operas, Rameau anticipated many later achievements in the field of musical drama, preparing the ground for opera reform K.V. Gluck. Ramo belongs scientific system, a number of provisions of which served as the basis for the modern doctrine of harmony (“Treatise on Harmony”, 1722; “The Origin of Harmony”, 1750, etc.).

By the mid-18th century, the heroic-mythological operas of Lully, Rameau and other authors ceased to meet the aesthetic needs of the bourgeois audience. Their popularity is inferior to the sharply satirical fair performances, known since the end of the 17th century. These performances are aimed at ridiculing the morals of the “higher” strata of society, and also parody court opera. The first authors of such comic operas were playwrights A. R. Lesage and S. S. Favara. In the bowels of the fair theater, a new French opera genre matured - opera comic. The strengthening of its position was facilitated by the arrival in Paris in 1752 of an Italian opera troupe, which staged a number of opera buffes, including Pergolesi’s “The Maid and Madam,” and by the polemics on issues of opera art that flared up between supporters (bourgeois-democratic circles) and opponents (representatives aristocracy) of the Italian opera buffa, - the so-called. "War of the Buffoons".

In the tense atmosphere of Paris, this controversy acquired particular urgency and received a huge public response. Active participation It was accepted by figures of the French Enlightenment who supported democratic art"Buffonists", and Rousseau's pastoral "The Village Sorcerer" (1752) formed the basis of the first French comic opera. The slogan “imitation of nature” proclaimed by them had a great influence on the formation of French opera style 18th century. The works of encyclopedists also contain valuable aesthetic and musical theoretical generalizations.

Post-revolutionary time

One of the first publications of La Marseillaise, national anthem France, 1792

The Great French Revolution brought enormous changes to all areas of musical art. Music becomes an integral part of all events of revolutionary times, acquiring social functions, which contributed to the establishment of mass genres - songs, anthems, marches and others. Theater also underwent the influence of the French Revolution - such genres as apotheosis, propaganda performance using large choral masses. During the revolution special development received an “opera of salvation”, raising the themes of the fight against tyranny, exposing the clergy, glorifying fidelity and devotion. Military brass music acquired great importance, and a National Guard orchestra was founded.

The system of music education has also undergone radical transformations. Metrises were cancelled; But in 1792, a music school of the National Guard was opened to train military musicians, and in 1793 - the National Institute of Music (since 1795 - the Paris Conservatory).

The period of the Napoleonic dictatorship (1799-1814) and the Restoration (1814-15, 1815-30) did not bring significant achievements to French music. By the end of the Restoration period, there was a revival in the field of culture. In the struggle against the academic art of the Napoleonic Empire, French romantic opera took shape, which in the 20-30s took a dominant position (F. Aubert). During these same years, the genre of grand opera with historical, patriotic and heroic plots emerged. French musical romanticism found its most vivid expression in the work of G. Berlioz, the creator of programmatic romantic symphonism. Berlioz, along with Wagner, is also considered the founder new school conducting.

During the years of the Second Empire (1852-70), the musical culture of France was characterized by a passion for cafe-concerts, theatrical revues, and the art of chansonniers. During these years, numerous theaters of light genres arose, where vaudevilles and farces were staged. French operetta is developing, among its creators are J. Offenbach and F. Hervé. Since the 1870s, under the conditions of the Third Republic, operetta lost its satire, parody, and topicality; historical, everyday and lyrical-romantic plots became predominant, and lyrical themes came to the fore in music.

In opera and ballet second half of the 19th century V. There is an increase in realistic tendencies. In opera, this tendency manifested itself in the desire for everyday plots, for depicting ordinary people with their intimate experiences. The most famous creator of lyric opera is considered to be Charles Gounod, the author of such operas as “Faust” (1859, 2nd edition 1869), “Mireille” and “Romeo and Juliet”. J. Massenet and J. Bizet also turned to the genre of lyrical opera; in his opera “Carmen” the realistic principle is more clearly manifested.

Maurice Ravel, 1912

In the late 80s - 90s of the 19th century, a new movement arose in France, which became widespread at the beginning of the 20th century - impressionism. Musical impressionism revived certain national traditions - the desire for concreteness, programmaticity, sophistication of style, transparency of texture. Impressionism found its most complete expression in the music of C. Debussy and influenced the work of M. Ravel, P. Dukas and others. Impressionism also introduced innovations into the field of musical genres. In Debussy's work, symphonic cycles give way to symphonic sketches; program miniatures predominate in piano music. Maurice Ravel was also influenced by the aesthetics of impressionism. His work intertwined various aesthetic and stylistic trends - romantic, impressionistic, and in later works - neoclassical tendencies.

Along with impressionistic trends in French music at the turn of the 19th and 20th centuries. The traditions of Saint-Saëns continued to develop, as well as Frank, whose work is characterized by a combination of classical clarity of style with bright romantic imagery.

Composers of the "French Six".

After the First World War in French art There are tendencies towards the denial of German influence, the desire for novelty and, at the same time, for simplicity. At this time, under the influence of composer Erik Satie and critic Jean Cocteau, a creative association, called the “French Six,” whose members opposed themselves not only to Wagnerism, but also to impressionistic “vagueness.” However, according to its author, Francis Poulenc, the group “had no other goals other than a purely friendly, and not at all ideological, association,” and since the 1920s its members (among the most famous are also Arthur Honegger and Darius Milhaud) have developed each individually.

In 1935, a new creative association of composers arose in France - “Young France”, which included such composers as O. Messiaen, A. Jolivet, who, like the “Six”, prioritized the revival of national traditions and humanistic ideas. Denying academicism and neoclassicism, they focused their efforts on updating the means musical expressiveness. The most influential were Messiaen's searches in the field of modal and rhythmic structures, which were embodied both in his musical works and in musicological treatises.

After World War II, avant-garde musical movements became widespread in French music. An outstanding representative of the French musical avant-garde was the composer and conductor Pierre Boulez, who, developing the principles of A. Webern, widely used composition methods such as pointillism and serialism. A special “stochastic” composition system is used by the composer of Greek origin J. Xenakis.

France played a significant role in the development of electronic music - it was here that concrete music appeared in the late 1940s, a computer with graphical information input - UPI - was developed under the leadership of Xenakis, and in the 1970s the direction of spectral music was born in France. Since 1977, IRCAM has become the center of experimental music - Research institute, discovered by Pierre Boulez.

The first musical instrument, the shepherd's pipe, was made by the god Pan. One day on the shore, he exhaled through the reeds and heard his breath, passing along the trunk, produce a sad lamentation. He cut the trunk into unequal parts, tied them together, and now he had his first musical instrument!

1899 Mikhail Alexandrovich Vrubel “Pan”

The truth is that we cannot name the first musical instrument, since all primitive people throughout the world seem to have created some kind of music. It was usually music with some kind of religious meaning, and the audience became participants in it. They danced, drummed, clapped and sang along with her. This wasn't just done for fun. This primitive music was a significant part of people's lives.

The legend of Pan and the reed suggests how man came up with the idea of making so many different musical instruments. He may have imitated the sounds of nature or used the objects around him to create his music.

The first musical instruments were percussion instruments (like a drum).

Later man invented wind instruments made from animal horns. From these primitive wind instruments, modern brass instruments developed. As man developed his musical sense, he began to use reeds and thus produced more natural and gentle sounds.

In 2009, an expedition led by archaeologist Nicholas Conard from the University of Tübengen discovered the remains of several musical instruments. During excavations in the Hols Fels cave in Germany, scientists discovered four bone flutes. The most interesting find is a 22-centimeter flute, which is 35 thousand years old.
The flute has 5 holes for producing sounds and a mouthpiece.
These finds show that Neanderthals already knew how to make musical instruments. This circumstance allows us to look at the world differently primitive man, it turns out that music played an important role in his world.

Finally, man invented a simple lyre and harp, from which came bowed instruments. Lyre was the most significant string instrument Ancient Greece and Rome along with the cithara. According to myth, the lyre was invented by Hermes. To make it, Garmes used a tortoise shell; for the antelope horn frame.

In the Middle Ages, the crusaders brought many amazing oriental musical instruments from their campaigns. Combined with folk instruments that already existed in Europe at that time, they developed into many instruments that are now used to play music.

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Musical instruments are designed to produce various sounds. If the musician plays well, then these sounds can be called music, but if not, then cacaphony. There are so many tools that learning them is like exciting game worse than Nancy Drew! In modern musical practice, instruments are divided into various classes and families according to the source of sound, material of manufacture, method of sound production and other characteristics.

Wind musical instruments (aerophones): a group of musical instruments whose sound source is vibrations of the air column in the barrel (tube). They are classified according to many criteria (material, design, methods of sound production, etc.). In a symphony orchestra, a group of wind musical instruments is divided into wooden (flute, oboe, clarinet, bassoon) and brass (trumpet, horn, trombone, tuba).

1. Flute is a woodwind musical instrument. The modern type of transverse flute (with valves) was invented by the German master T. Boehm in 1832 and has varieties: small (or piccolo flute), alto and bass flute.

2. Oboe is a woodwind reed musical instrument. Known since the 17th century. Varieties: small oboe, oboe d'amour, English horn, heckelphone.

3. Clarinet is a woodwind reed musical instrument. Constructed in the early 18th century IN modern practice Soprano clarinets, piccolo clarinet (Italian piccolo), alto (so-called basset horn), and bass clarinets are used.

4. Bassoon - a woodwind musical instrument (mainly orchestral). Arose in the 1st half. 16th century The bass variety is the contrabassoon.

5. Trumpet - a wind-copper mouthpiece musical instrument, known since ancient times. The modern type of valve pipe developed to the gray. 19th century

6. Horn - a wind musical instrument. Appeared at the end of the 17th century as a result of improvements hunting horn. The modern type of horn with valves was created in the first quarter of the 19th century.

7. Trombone - a brass musical instrument (mainly orchestral), in which the pitch of the sound is regulated by a special device - a slide (the so-called sliding trombone or zugtrombone). There are also valve trombones.

8. Tuba is the lowest sounding brass musical instrument. Designed in 1835 in Germany.

Metallophones are a type of musical instrument, the main element of which is plate-keys that are struck with a hammer.

1. Self-sounding musical instruments (bells, gongs, vibraphones, etc.), the source of sound of which is their elastic metal body. Sound is produced using hammers, sticks, and special percussionists (tongues).

2. Instruments such as the xylophone, in contrast to which the metallophone plates are made of metal.

Stringed musical instruments (chordophones): according to the method of sound production, they are divided into bowed (for example, violin, cello, gidzhak, kemancha), plucked (harp, gusli, guitar, balalaika), percussion (dulcimer), percussion-keyboard (piano), plucked -keyboards (harpsichord).

1. Violin is a 4-string bowed musical instrument. The highest register in the violin family, which formed the basis symphony orchestra classical composition and string quartet.

2. Cello is a musical instrument of the violin family of the bass-tenor register. Appeared in the 15th-16th centuries. Classic designs created Italian masters 17-18 centuries: A. and N. Amati, G. Guarneri, A. Stradivari.

3. Gidzhak - stringed musical instrument (Tajik, Uzbek, Turkmen, Uyghur).

4. Kemancha (kamancha) - a 3-4-string bowed musical instrument. Distributed in Azerbaijan, Armenia, Georgia, Dagestan, as well as the countries of the Middle East.

5. Harp (from German Harfe) is a multi-string plucked musical instrument. Early images - in the third millennium BC. In its simplest form it is found in almost all nations. The modern pedal harp was invented in 1801 by S. Erard in France.

6. Gusli is a Russian plucked string musical instrument. Wing-shaped psalteries (“ringed”) have 4-14 or more strings, helmet-shaped ones - 11-36, rectangular (table-shaped) - 55-66 strings.

7. Guitar (Spanish guitarra, from Greek cithara) is a lute-type plucked string instrument. It has been known in Spain since the 13th century; in the 17th and 18th centuries it spread to Europe and America, including as a folk instrument. Since the 18th century, the 6-string guitar has become commonly used; the 7-string guitar has become widespread mainly in Russia. Among the varieties is the so-called ukulele; Modern pop music uses an electric guitar.

8. Balalaika is a Russian folk 3-string plucked musical instrument. Known since the beginning. 18th century Improved in the 1880s. (under the leadership of V.V. Andreev) V.V. Ivanov and F.S. Paserbsky, who designed the balalaika family, and later - S.I. Nalimov.

9. Cymbals (Polish: cymbaly) - a multi-stringed percussion musical instrument of ancient origin. They are members of folk orchestras of Hungary, Poland, Romania, Belarus, Ukraine, Moldova, etc.

10. Piano (Italian fortepiano, from forte - loud and piano - quiet) - common name keyboard musical instruments with hammer mechanics (grand piano, upright piano). The piano was invented in the beginning. 18th century The emergence of a modern type of piano - with the so-called. double rehearsal - dates back to the 1820s. The heyday of piano performance - 19-20 centuries.

11. Harpsichord (French clavecin) - a stringed keyboard-plucked musical instrument, the predecessor of the piano. Known since the 16th century. There were harpsichords of various shapes, types and varieties, including the cymbal, virginel, spinet, and clavicytherium.

Keyboard musical instruments: a group of musical instruments united by a common feature - the presence of keyboard mechanics and a keyboard. They are divided into various classes and types. Keyboard musical instruments can be combined with other categories.

1. Strings (percussion-keyboards and plucked-keyboards): piano, celesta, harpsichord and its varieties.

2. Brass (keyboard-wind and reed): organ and its varieties, harmonium, button accordion, accordion, melodica.

3. Electromechanical: electric piano, clavinet

4. Electronic: electronic piano

piano (Italian fortepiano, from forte - loud and piano - quiet) is the general name for keyboard musical instruments with hammer mechanics (grand piano, upright piano). It was invented at the beginning of the 18th century. The emergence of a modern type of piano - with the so-called. double rehearsal - dates back to the 1820s. The heyday of piano performance - 19-20 centuries.

Percussion musical instruments: a group of instruments united by the method of sound production - impact. The source of sound is a solid body, a membrane, a string. There are instruments with a definite (timpani, bells, xylophones) and indefinite (drums, tambourines, castanets) pitch.

1. Timpani (timpani) (from the Greek polytaurea) is a cauldron-shaped percussion musical instrument with a membrane, often paired (nagara, etc.). Distributed since ancient times.

2. Bells - an orchestral percussion self-sounding musical instrument: a set of metal records.

3. Xylophone (from xylo... and Greek phone - sound, voice) - a percussion, self-sounding musical instrument. Consists of a series of wooden blocks of varying lengths.

4. Drum - a percussion membrane musical instrument. Varieties are found among many peoples.

5. Tambourine - a percussion membrane musical instrument, sometimes with metal pendants.

6. Castanets (Spanish: castanetas) - percussion musical instrument; wooden (or plastic) plates in the shape of shells, fastened on the fingers.

Electromusical instruments: musical instruments in which sound is created by generating, amplifying and converting electrical signals (using electronic equipment). They have a unique timbre and can imitate various instruments. Electric musical instruments include the theremin, emiriton, electric guitar, electric organs, etc.

1. Theremin is the first domestic electromusical instrument. Designed by L. S. Theremin. The pitch of a theremin varies depending on distance right hand performer to one of the antennas, volume - from the distance of the left hand to the other antenna.

2. Emiriton is an electric musical instrument equipped with a piano-type keyboard. Designed in the USSR by inventors A. A. Ivanov, A. V. Rimsky-Korsakov, V. A. Kreitzer and V. P. Dzerzhkovich (1st model in 1935).

3. Electric guitar - a guitar, usually made of wood, with electric pickups that convert vibrations of metal strings into vibrations of electric current. The first magnetic pickup was made by Gibson engineer Lloyd Loehr in 1924. The most common are six-string electric guitars.