Program music. Software-visual music

program music

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-programmatic, which reflect the moods, feelings, and emotional experiences of a person. The program can be a reflection of any phenomena of reality.

Specificity and synthesis

In theory, all music is programmatic 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, has such abilities. Therefore, composers often provide their works with a program, thus forcing the verbal or literary premise to work in synthesis with all the musical means they use.

The unity of literature and music is helped by the fact that both of these art forms are able to show the development and growth of an image over time. Various types of creative actions have been united since ancient times, since art was born and developed in a syncretic form, associated with rituals and work activities. It was very limited in resources, so it simply could not exist separately and without applied tasks.

Disengagement

Gradually, the way of life of mankind improved, art became more sophisticated, and a tendency appeared towards the separation of its main genera and types. 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, and dramatic aspects. The joint actions of music and words, however, which determine the program, have also never strayed far from music.

These may be the names that the 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”, “The Doll’s Illness” and all other small works. This is his collection for older children, “The Seasons,” where Pyotr Ilyich added a bright poetic epigraph to the title. The composer took care of the specific content of the music, thereby 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 it, as Rimsky-Korsakov did in the symphonic suite "Antar" based on the fairy tale by Senkovsky or Sviridov in the music for the story

However, the program only complements the music and is not 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 the piece is called “Sad Song” (for example, it is by Kalinnikov, Sviridov and many other composers), this determines only the nature of the performance, but not the specific content, which is why program and non-program music are different. The specifics are “The Dog Got Lost”, “Clowns”, “Grandfather Clock” (which ticks and indulges, and then will certainly strike). This is practically all program music for children; it is understood more deeply and quickly and is better assimilated.

Musical language most often itself concretizes the program content through its figurativeness: the sound can imitate the singing of birds ("Lark", "Cuckoo"), increasing tension, the fun of folk festivals, fair noises ("An Unusual Incident", "Maslenitsa" 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 program music is, you can understand even by listening 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 not contain programs, but also music as such, but still often carry the features of programming and are even completely programmatic. But if an instrumental work has a plot and the content is consistently revealed, it is necessarily program music. Examples can be found in both national folk and classical works.

"Three pillars" 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 ("March of Chernomor" and "March of the Wooden Soldiers"), as well as dance - folk, classical, fantastic. This, with the light hand of D.B. Kabalevsky, in music there are “three pillars” that determine genre affiliation.

The characteristic features of national music also usually serve the programming of a musical work, setting the general concept, tempo, and rhythm of the composition ("Sabre Dance" by Khachaturian, for example, "Two Jews..." and "Hopak" by Mussorgsky).

Landscape and story programming

The display of one or a number of images that do not undergo changes throughout the entire composition is also program music. Examples of works can be found everywhere: “In the Fields” by Gliere, “Over the Rocks and Fjords” by Grieg, and so on. This also includes paintings of holidays and battles, landscape and portrait musical images.

Composers even embody the same literary plots in music in different ways: for example, Tchaikovsky’s “Romeo and Juliet” by Shakespeare resulted in an overture, where the program is generalized, while Berlioz’s is consistent. Both are, of course, program music. The title can most often be considered as a plot program, for example, “The Battle of the Huns” by Liszt based on the fresco of the same name by Kaulbach or his sketches “Round Dance of the Dwarves” and “The Sound of the Forest”. Sometimes works of sculpture, architecture, and painting help to understand what program music is, since they participate in the selection 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 a composer turns to the program in his composition, this brings his listener closer to reality, spiritualizes everyday life, and contributes to the comprehension of deep spiritual principles. However, if programming dominates 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 abandon programmaticity (including Mahler, Tchaikovsky, Struaus and others), but despite this, none of them succeeded in creating completely non-programmatic music. The unity of music and the specifics of its content is never indissoluble and absolute. And the more generally the content is reflected, the better for the listener. What program music is will become clear from the slightest development of musical thought: those who have ears, so to speak, will hear, despite the fact that a single definition and even the same understanding of this phenomenon in music has not yet appeared among music theorists.

German Programmusik, French. musique a program, Italian. musica a programma, English. program music

Musical works that have a certain verbal, often poetic. program and revealing the content imprinted in it. The phenomenon of music programming is associated with specific. features of music that distinguish it from other arts. In the field of displaying feelings, moods, and mental life of a person, music has important advantages over other sources. Indirectly, through feelings and moods, music can reflect many. phenomena of reality. However, it is not able to accurately indicate what exactly evokes this or that feeling in a person, and is not able to achieve objective, conceptual specificity of the display. Spoken language and literature have the potential for such specification. Striving for substantive, conceptual specification, composers create programmatic music. production; prefacing op. program, they force the means of speech language, arts. liters act in unity, in synthesis with the actual music. means. The unity of music and literature is also facilitated by the fact that they are temporary, capable of showing the growth and development of the image. Unity divers. the lawsuit has been going on for a long time. In ancient times there were no independent states at all. types of art - they acted together, in unity, art was syncretic; at the same time it was closely connected with labor activity and with various. kind of rituals and rituals. At this time, each of the lawsuits was so limited in funds that it was beyond syncretic. unity aimed at solving applied problems could not exist. The subsequent separation of lawsuits was determined not only by a change in the way of life, but also by the growth of the capabilities of each of them, achieved within the syncretic. unity associated with this growth of aesthetics. human feelings. At the same time, the unity of art never ceased, including the unity of music with words, poetry - especially in all kinds of woks. and voc.-dramatic. genres. In the beginning. In the 19th century, after a long period of existence of music and poetry as independent arts, the tendency towards their unification intensified even more. This was no longer determined by their weakness, but rather by their strength, by pushing their own to the limit. opportunities. Further enrichment of the display of reality in all its diversity, in all its aspects, could only be achieved through the combined action of music and words. And programmaticity is one of the types of unity of music and means of speech language, as well as literature, denoting or reflecting those aspects of a single object of reflection, which music is not able to convey with its own means. Thus, an integral element of program music. prod. is a verbal program created or chosen by the composer himself, be it a short program title indicating a phenomenon of reality that the composer had in mind (the play “Morning” by E. Grieg from the music to G. Ibsen’s drama “Peer-Gynt”) , sometimes “referring” the listener to a certain lit. prod. (“Macbeth” by R. Strauss is a symphonic poem “based on Shakespeare’s drama”), or a lengthy excerpt from a literary work, a detailed program compiled by the composer based on one or another literary work. prod. (symphonic suite (2nd symphony) "Antar" by Rimsky-Korsakov based on the fairy tale of the same name by O. I. Senkovsky) or without connection with k.-l. lit. prototype (Berlioz's Symphony Fantastique).

Not every title, not every explanation of music can be considered as its program. The program can only come from the author of the music. If he did not communicate the program, then his very plan was non-programmatic. If he first gave his op. program, and then abandoned it, which means he translated his op. classified as non-program. The program is not an explanation of music, it complements it, revealing something missing in music, inaccessible to the embodiment of muses. means (otherwise it would be unnecessary). This is what makes it fundamentally different from any analysis of the music of a non-program opus, any description of its music - even the most poetic one, incl. and from the description belonging to the author of op. and pointing to specific phenomena that were called into his creative work. consciousness of certain muses. images. And vice versa - program op. - this is not a “translation” into the language of music of the program itself, but a reflection of the muses. means of the same object, which is designated and reflected in the program. Titles given by the author himself are not a program if they denote not specific phenomena of reality, but concepts of an emotional plane, which music conveys much more accurately (for example, titles like “Sadness”, etc.). It happens that the program given to the manufacturer. by the author himself, is not in organic. unity with music, but this is already determined by the arts. the skill of the composer, and sometimes also how well he composed or selected the verbal program. This has no direct relation to the question of the essence of the phenomenon of programming.

The music itself has certain means of concretization. language. Among them are muses. figurativeness (see Sound recording) - a reflection of various kinds of sounds of reality, associative ideas generated by music. sounds - their height, duration, timbre. An important means of concretization is also the use of features of “applied” genres - dance, marching in all its varieties, etc. The national-characteristic features of music can also be specified. language, music style. All these means of concretization make it possible to express the general concept of the opus without resorting to programming. (for example, the triumph of light forces over dark ones, etc.). And yet they do not provide that substantive, conceptual specification that is provided by a verbal program. Moreover, the more widely used in music. prod. actually music. means of concretization, the more necessary for the full perception of music are words and a program.

One type of programming is picture programming. It includes works that reflect one image or a complex of images of reality that does not undergo beings. changes throughout his perception. These are paintings of nature (landscapes), paintings of people. festivals, dances, battles, etc., music. images dep. objects of inanimate nature, as well as portrait muses. sketches.

Second main type of music programming - plot programming. A source of stories for software productions. This type serves primarily as arts. Liter. In the plot and program music. prod. development of music images in general or in particular corresponds to the development of the plot. There are generalized plot programs and sequential plot programs. The author of a work related to the generalized plot type of programming and connected through the program with one or another lit. production, does not aim to show the events depicted in it in all their sequence and complexity, but gives music. characteristics of the main images lit. prod. and the general direction of the development of the plot, the initial and final relationship of the acting forces. On the contrary, the author of a work belonging to the sequential plot type of programming strives to display the intermediate stages of the development of events, sometimes the entire sequence of events. The appeal to this type of programming is dictated by plots, in which the middle stages of development, which do not proceed linearly, but are associated with the introduction of new characters, a change in the setting of the action, and events that are not a direct consequence of the previous situation, also become important. The use of sequential plot programming also depends on creativity. composer's settings. Different composers often interpret the same plots in different ways. For example, the tragedy "Romeo and Juliet" by W. Shakespeare inspired P. I. Tchaikovsky to create a work. generalized plot type of programming (overture-fantasy "Romeo and Juliet"), G. Berlioz - to create works. sequential-plot type of programming (dramatic symphony “Romeo and Juliet”, in which the author even goes beyond the boundaries of pure symphonism and attracts a vocal element).

In the field of music. language cannot be distinguished. signs of P. m. This is also true with regard to the form of program production. In the works that represent the picture type of programming, there are no prerequisites for the emergence of specific. structures. The tasks that the authors of software products set for themselves. of a generalized plot type, are successfully performed by forms developed in non-program music, primarily by the form of sonata allegro. To the authors of program opus. sequential plot type has to create music. a form more or less “parallel” to the plot. But they build it by combining various elements. forms of non-program music, attracting certain development techniques already widely represented in it. Among them is the variational method. It allows you to show changes that do not affect the essence of the phenomenon relating to the plural. important features, but associated with the preservation of a number of qualities, which makes it possible to recognize the image, no matter in what new guise it appears. The principle of monothematism is closely related to the variational method. Using this principle in terms of figurative transformation, so widely used by F. Liszt in his symphonic poems and other works, the composer gains greater freedom to follow the plot without the danger of disturbing the music. integrity of op. Another type of monothematicism, associated with the leitmotif characteristics of the characters (see Leitmotif), is used in ch. arr. in sequential plot works. Having originated in opera, the leitmotif characteristic was transferred to the field of instruments. music, where G. Berlioz was one of the first and most widely resorted to it. Its essence lies in the fact that one theme throughout the entire op. acts as a characteristic of the same hero. She appears each time in a new context, indicating a new situation surrounding the hero. This theme itself can change, but changes in it do not change its “objective” meaning and reflect only changes in the state of the same hero, changes in ideas about him. The technique of leitmotif characterization is most appropriate in conditions of cyclicity, suiteness, and turns out to be a powerful means of combining contrasting parts of the cycle, revealing a single plot. It facilitates the embodiment of sequential plot ideas in music and the combination in one-part form of the features of sonata allegro and sonata-symphony. cycle, characteristic of the symphonic genre created by F. Liszt. poems. Diff. The stages of action are conveyed using relatively independent steps. episodes, the contrast between which corresponds to the contrast of the parts of the sonata-symphony. cycle, then these episodes are “brought to unity” in a condensed reprise, and in accordance with the program one or another of them is highlighted. From the point of view of the cycle, the reprise usually corresponds to the finale; from the point of view of the sonata allegro, the 1st and 2nd episodes correspond to the exposition, the 3rd (“scherzo” in the cycle) to the development. Liszt uses similar synthetic materials. forms are often combined with the use of the principle of monothematism. All these techniques allowed composers to create music. forms that correspond to the individual features of the plot and at the same time are organic and holistic. However, new synthetic forms cannot be considered to belong to program music alone. They arose not only in connection with the implementation of program plans - their appearance was also influenced by the general trends of the era. Exactly the same structures were constantly used in non-program music.

There are program music. op., in which productions are used as a program. painting, sculpture, even architecture. These are, for example, symphony. Liszt's poem "The Battle of the Huns" based on the fresco by W. Kaulbach and "From the Cradle to the Grave" based on a drawing by M. Zichy, his play "The Chapel of William Tell"; "The Betrothal" (to the painting by Raphael), "The Thinker" (after the statue of Michelangelo) from fp. cycles “Years of Wanderings”, etc. However, the possibilities of substantive, conceptual specification in these claims are not exhaustive. It is no coincidence that paintings and sculptures. are supplied with a specific name, which can be considered as a kind of their program. Therefore, in music. works written based on certain creations depict, art, essentially unite not only music and painting, music and sculpture, but music, painting and the word, music, sculpture and the word. And the functions of the program in them are performed by Ch. arr. not manufactured will depict, art-va, but a verbal program. This is determined primarily by the diversity of music as a temporary art and painting and sculpture as a static, “spatial” art. As for architectural images, they are generally incapable of concretizing music in the subject-conceptual plane; authors of music works associated with architectural monuments, as a rule, were inspired not so much by them themselves as by history, the events that took place in them or near them, the legends that have developed about them (the play "Vyshegrad" from the symphonic cycle of B. Smetana " My Homeland", the above-mentioned FP. play "The Chapel of William Tell" by Liszt, it was no coincidence that the author prefaced the epigraph "One for all, all for one").

Programming was a great achievement of the muses. lawsuit It led to the enrichment of the range of images of reality, reflected in music. production, search for new ones will express. means, new forms, contributed to the enrichment and differentiation of forms and genres. The composer’s appeal to the musical genre is usually determined by its connection with life, with modernity, and attention to current problems; in other cases, it itself contributes to the composer’s rapprochement with reality and a deeper comprehension of it. However, in some ways PM is inferior to non-program music. The program narrows the perception of music, distracting attention from the general idea expressed in it. The embodiment of plot ideas is usually associated with music. characteristics that are more or less conventional. Hence the ambivalent attitude of many great composers towards programming, which both attracted and repelled them (statements of P. I. Tchaikovsky, G. Mahler, R. Strauss, etc.). P. m. is not a certain higher kind of music, just as non-program music is not one. These are equal, equally legitimate varieties. The difference between them does not exclude their connection; both genera are also associated with woks. music. Thus, the cradle of program symphonism was opera and oratorio. The opera overture was the prototype of the program symphony. poems; in the art of opera there are also the prerequisites for leitmotivism and monothematism, which are so widely used in operatic music. In turn, non-programmatic instruments. the music is wok influenced. music and P. m. New expressions found in P. m. opportunities are becoming available to non-program music as well. The general trends of the era affect the development of both performance music and non-program music.

Unity of music and program in the program op. is not absolute, indissoluble. It happens that the program is not conveyed to the listener during the performance of the opus, which is lit. production, to which the author of the music refers the listener, turns out to be unfamiliar to him. The more generalized form the composer chooses to realize his plan, the less damage to perception will be caused by such a “separation” of the music of the work from its program. Such a “separation” is always undesirable when it comes to the performance of modern music. works. However, it may also turn out to be natural when it comes to the execution of production. of an earlier era, since program ideas over time may lose their former relevance and significance. In these cases, music. prod. to a greater or lesser extent they lose their programmatic features and become non-programmatic. Thus, the line between P. m. and non-program music is generally quite clear, in historical terms. aspect is conditional.

P. m. has developed essentially throughout the history of the prof. music lawsuit The earliest report of software music found by researchers. op. dates back to 586 BC - this year at the Pythian games in Delphi (Ancient Greece), the auletist Sakao performed a play by Timosthenes, depicting the battle of Apollo with the dragon. Many program opus. was created in subsequent times. Among them are the keyboard sonatas “Bible Stories” by the Leipzig composer J. Kuhnau, harpsichord miniatures by F. Couperin and J. F. Rameau, and the keyboard “Capriccio on the Departure of a Beloved Brother” by J. S. Bach. Programmatic features are also presented in the works of Viennese classics. Among their works: a triad of program symphonies by J. Haydn, characterizing various. times of day (No. 6, “Morning”; No. 7, “Noon”; No. 8, “Evening”), his “Farewell Symphony”; "Pastoral Symphony" (No. 6) by Beethoven, all parts are provided with programmatic subtitles and the score contains a note that is important for understanding the type of programmatic work of the author of the op. - “More an expression of feelings than an image”, his play “The Battle of Vittoria”, originally intended for mechanical. music instrument of the panharmonicon, but then performed in the orchestra. editions, and especially his overtures to the ballet "The Works of Prometheus", to the tragedy "Coriolanus" by Collin, overtures "Leonora" No. 1-3, overture to the tragedy "Egmont" by Goethe. Written as introductions to dramas. or music-drama. produced, they soon gained independence. Later program op. also often created as introductions to k.-l. lit. production, losing over time, however, will enter. functions. The true flowering of P. m. came in the era of the muses. romanticism. Compared to representatives of classicist and even enlightenment aesthetics, romantic artists had a deeper understanding of the specifics of different. claim They saw that each of them reflects life in its own way, using means unique to it and reflecting the same object, phenomenon from a certain side accessible to it, that, therefore, each of them is limited in some way and gives an incomplete picture of reality. This is what led romantic artists to the idea of ​​synthesizing art for the sake of a more complete, multifaceted reflection of the world. Music Romantics proclaimed the slogan of the renewal of music through its connection with poetry, which was translated into plural. music prod. Program Op. occupy an important place in the work of F. Mendelssohn-Bartholdy (overture from the music to "A Midsummer Night's Dream" by Shakespeare, overtures of "The Hebrides", or "Fingal's Cave", "The Silence of the Sea and Happy Voyage", "Beautiful Melusine", "Ruy Blas " and etc. ), R. Schumann (overtures to Byron's "Manfred", to scenes from Goethe's "Faust", many ph. plays and cycles of plays, etc.). P. m. acquires especially great importance in G. Berlioz ("Fantastic Symphony", symphony "Harold in Italy", dramatic symphony "Romeo and Juliet", "Mourning and Triumphal Symphony", overtures "Weaverly", "Secret Judges" , “King Lear”, “Rob Roy”, etc.) and F. Liszt (symphony “Faust” and symphony to Dante’s “Divine Comedy”, 13 symphonic poems, many ph. plays and cycles of plays). Subsequently, important contributions to the development of P. m. were made by B. Smetana (symphonic poems “Richard III”, “Camp of Wallenstein”, “Hakon Jarl”, the cycle “My Homeland” of 6 poems), A. Dvorak (symphonic poems. poems “Waterman”, “Golden Spinning Wheel”, “Forest Dove”, etc., overtures - Hussite, “Othello”, etc.) and R. Strauss (symphonic poems “Don Juan”, “Death and Enlightenment”, “Macbeth” ", "Till Eulenspiegel", "Thus Spoke Zarathustra", fantastic variations on a knightly theme "Don Quixote", "Home Symphony", etc.). Program Op. also created by K. Debussy (orc. prelude "Afternoon of a Faun", symphonic cycles "Nocturnes", "Sea", etc.), M. Reger (4 symphonic poems after Böcklin), A. Honegger (symphonic poem " Song of Nigamon", symphonies of the movement "Pacific 231", "Rugby", etc.), P. Hindemith (symphonies "The Artist Mathis", "Harmony of the World", etc.).

Software has received rich development in Russian. music. For Russian national music schools, the turn to software was dictated by aesthetics. the attitudes of its leading representatives, their desire for democracy, the general intelligibility of their works, as well as the “objective” nature of their work. From the works, main. on song themes and therefore containing elements of synthesis of music and words, since the listener, when perceiving them, correlates the corresponding texts with the music. songs ("Kamarinskaya" by Glinka), Russian. composers soon came to the actual P. m. A number of outstanding program opuses. created by members of the "Mighty Handful" - M. A. Balakirev (symphonic poem "Tamara"), M. P. Mussorgsky ("Pictures at an Exhibition" for fp.), N. A. Rimsky-Korsakov (symphonic painting "Sadko" ", symphony "Antar"). A considerable number of software products. belongs to P. I. Tchaikovsky (1st symphony “Winter Dreams”, symphony “Manfred”, fantasy overture “Romeo and Juliet”, symphonic poem “Francesca da Rimini”, etc.). Bright software products. also written by A.K. Glazunov (symphonic poem "Stenka Razin"), A.K. Lyadov (symphonic paintings "Baba Yaga", "Magic Lake" and "Kikimora"), Vas. S. Kalinnikov (symphonic painting "Cedar and Palm Tree"), S. V. Rachmaninov (symphonic fantasy "Cliff", symphonic poem "Island of the Dead"), A. N. Scriabin (symphonic "Poem of Ecstasy", " Poem of Fire" ("Prometheus"), plural FP. plays).

Programming is also widely represented in the works of owls. composers, incl. S. S. Prokofiev ("Scythian Suite" for orchestra, symphonic sketch "Autumn", symphonic painting "Dreams", ph. plays), N. Ya. Myaskovsky (symphonic poems "Silence" and "Alastor", symphonies No. 10, 12, 16, etc.), D. D. Shostakovich (symphonies No. 2, 3 (“May Day”), 11 (“1905”), 12 (“1917”), etc.). Program Op. are also created by representatives of younger generations of owls. composers.

Programming is characteristic not only of professional, but also of people. music lawsuit. Among the peoples, muses. cultures which include developed instr. music-making, it is associated not only with the performance and variation of song melodies, but also with the creation of compositions independent of song art, b.ch. software So, program op. constitute a significant part of the Kazakhs. (kui) and kirg. (kyu) instr. plays. Each of these pieces, performed by a soloist-instrumentalist (for the Kazakhs - kuishi) on one of the bunks. instruments (dombra, kobyz or sybyzga among the Kazakhs, komuz, etc. among the Kyrgyz), has a program title; pl. of these plays became traditional, like songs passed on to others. variations from generation to generation.

An important contribution to the illumination of the phenomenon of programming was made by the composers themselves who worked in this area - F. Liszt, G. Berlioz and others. Subsequently, despite research that clarified certain particular issues, rubbish. Musicology not only has not moved forward in understanding the phenomenon of musical instruments, but has rather moved away from it. It is significant, for example, that the authors of articles on P. m. published in the largest Western European countries. music encyclopedias and supposed to generalize the experience of studying the problem, give the phenomenon of programming very vague definitions (see Groves Dictionary of music and musicians, v. 6, L.-N.Y., 1954; Riemann Musiklexikon, Sachteil, Mainz, 1967), sometimes they completely refuse k.-l. definitions (Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik, Bd 10, Kassel u.a., 1962).

In Russia, the study of the problem of software began during the period of Russian activity. classic music schools, representatives of the swarm left important statements on this issue. Attention to the problem of software has especially increased in the Soviet Union. time. In the 1950s on the pages of the magazine. "Soviet music" and gas. "Soviet Art" was a special event. discussion on the issue of music. software. This discussion also revealed differences in the understanding of the phenomenon of P. m. Thoughts were expressed, for example, about “programming in the strict sense of the word” and in the broad sense of the term, about “declared” and “undeclared” programming, about “for oneself” programming (composer ) and for listeners, about “conscious” and “unconscious” programmaticity, about programmaticity in non-programmed music, etc. The essence of all these statements comes down to the recognition of the possibility of P. music without a program, given op. by the composer himself. Such a point of view inevitably leads to the identification of programmaticity with content, to the declaration that all music is programmatic, to the justification for “guessing” unannounced programs, i.e. arbitrary interpretation of the composer's intentions, which the composers themselves have always sharply opposed. In the 50-60s. Many works have appeared that have made a definite contribution to the development of problems of programming, in particular in the field of distinguishing between types of programming. However, a unified understanding of the phenomenon of programming has not yet been established.

Literature: Tchaikovsky P. I., Letters to H. P. von Meck dated February 17/March 1, 1878 and December 5/17, 1878, in the book: Tchaikovsky P. I., Correspondence with N. F. von Meck, vol. 1, M.-L., 1934, the same, Complete. collection cit., vol. VII, M., 1961 p. 124-128, 513-514; his, On program music, M.-L., 1952; Cui T. A., Russian romance. Essay on its development, St. Petersburg, 1896, p. 5; Laroche, Something about program music, "World of Art", 1900, vol. 3, p. 87-98; by him, Translator’s Preface to Hanslick’s book “On the Musically Beautiful,” Collection. music critic articles, vol. 1, M., 1913, p. 334-61; him, One of Hanslick’s opponents, in the same place, p. 362-85; Stasov V.V., Art in the 19th century, in the book: XIX century, St. Petersburg, 1901, the same, in his book: Izbr. soch., vol. 3, M., 1952; Yastrebtsev V.V., My memories of N.A. Rimsky-Korsakov, vol. 1, P., 1917, L., 1959, p. 95; Shostakovich D., On genuine and imaginary programmaticity, "SM", 1951, No. 5; Bobrovsky V.P., Sonata form in Russian classical program music, M., 1953 (dissertation abstract); Sabinina M., What is program music?, "MZh", 1959, No. 7; Aranovsky M., What is program music?, M., 1962; Tyulin Yu. N., On programmaticity in the works of Chopin, L., 1963, M., 1968; Khokhlov Yu., On musical programming, M., 1963; Auerbach L., Considering software problems, "SM", 1965, No. 11. See also lit. under the articles Musical Aesthetics, Music, Sound Writing, Monothematism, Symphonic Poem.

Software-visual music

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Our great compatriot writer Mikhail Afanasyevich Bulgakov expressed an important thought about music: “You can’t help but love music. Where there is music, there is no evil.”

Even listening to unfamiliar music, you suddenly realize that it expresses exactly your feelings and moods: sometimes sadness, sometimes wild joy, sometimes a shade of mood that cannot be defined in words...

It turns out that another person, the composer, also experienced all these emotions, and then managed to express in the sounds of music a huge variety of feelings and moods that excited him. And it doesn’t matter what century the composer lived in - in the 18th or 20th, there are no boundaries for music: it moves from heart to heart. It is in this property of music - expressiveness - that its main strength lies. Even a short song or a small instrumental piece can rival a complex sonata or symphony in its power of expressiveness. The reason for this unusual phenomenon is that music that “speaks” in simple musical language is understandable and accessible to everyone, and the musical language of a “sonata” or “symphony” requires preparation and musical culture from the listener. Our music classes are designed to provide this preparation - knowledge about music, its language, its expressive and visual capabilities.

You have already become acquainted with a large number of musical works. Many of them have names. “A well-chosen name enhances the impact of music and will force the most prosaic person to imagine something, to concentrate on something.”(R. Schumann).

If, for example, you open the “Children’s Album” and read the title of the first play: “Morning Prayer,” you will immediately tune in to a certain tone, strict, bright and focused. The title helps the performer to reveal the character of the music as closely as possible to the author's intention, and the listener to better perceive this idea.

All works that have titles, headings of individual parts, epigraphs or a detailed literary program are called programmatic.

In vocal works - songs, romances, vocal cycles, as well as in musical and theatrical genres - there is always a text and the program is clear.

And if the music is instrumental, there is no text in it, then what is the best way to understand it and perform it? Composers took care of this when they gave names to their instrumental works, especially those in which the music depicts something or someone. So, now we will talk about programmatic visual music.

What an ocean of sounds surrounds us! The singing of birds and the rustling of trees, the sound of the wind and the rustle of rain, the rumble of thunder, the roar of waves... Music can depict all these sound phenomena of nature, and we, the listeners, can imagine. How does music “represent” the sounds of nature?

One of the brightest and most majestic musical paintings has been created. In the fourth movement of his Sixth (“Pastoral”) Symphony, the composer used sounds to “paint” a picture of a summer thunderstorm (this movement is called “Thunderstorm”). Listening to the mighty crescendo of an intensifying downpour, frequent rumbles of thunder, the howl of the wind depicted in music, we imagine a summer thunderstorm.

The symphonic painting “Three Miracles” depicts a sea storm (the second “miracle” is about thirty-three heroes). Pay attention to the author's definition - “picture”. It is borrowed from fine art - painting. In the music you can hear the menacing roar of the waves, the howling and whistling of the wind.

One of the most favorite visual techniques in music is imitation of the voices of birds. You will hear a witty “trio” of a nightingale, a cuckoo and a quail in “Scene by a Stream” - the second part of Beethoven’s “Pastoral Symphony”.

Bird voices are heard in the harpsichord pieces “The Calling of Birds” and “The Hen” by Jean-Philippe Rameau, “The Cuckoo” by Louis-Claude Daquin, in the piano piece “The Song of the Lark” from the cycle “The Seasons” by Tchaikovsky, in the prologue of the opera “The Snow Maiden” by Rimsky -Korsakov and in many other works. So, imitation of the sounds and voices of nature is the most common technique of visualization in music.

Another technique exists for depicting not the sounds of nature, but the movements of people, animals, birds. Let us turn again to the fairy tale “Peter and the Wolf”. Drawing a Bird, a Cat, a Duck and other characters in music, the composer depicted their characteristic movements and habits so skillfully that one can personally imagine each of them in motion: a flying Bird, a sneaking Cat, a jumping Wolf, etc.

The bird chirps cheerfully: “Everything around is calm.” It sounds like a light, fluttering melody on high sounds, wittily depicting the chirping of a bird, the fluttering of a Bird. It is performed by a woodwind instrument – ​​a flute.

The Duck's melody reflects her clumsiness, waddling gait from side to side, and even her quack can be heard. The melody becomes especially expressive when performed by a soft-sounding, slightly “nasal” oboe.

The abrupt sounds of the melody in a low register convey the soft, insinuating tread of the cunning Cat. The melody is performed by a woodwind instrument – ​​a clarinet.

Here the main visual means were rhythm and tempo. After all, the movements of any living creature occur in a certain rhythm and tempo, and they can be very accurately conveyed by music.

The nature of the movements can be different: smooth, flying, sliding or, conversely, sharp, clumsy... Music responds sensitively to this. Smooth movements are reflected in a flexible melodic pattern, a legato stroke, and sharp movements are reflected in a “prickly”, angular melody pattern, a sharp staccato stroke.

Grandfather's musical theme expressed his mood and character, peculiarities of speech and even gait. Grandfather speaks in a bass voice, leisurely and as if a little grumpily - this is how his melody sounds when performed by the lowest woodwind instrument - the bassoon.

By depicting the movements and gait of his characters, the composer reveals their character. Thus, the musical portraits of the boy Petya and Grandfather are “painted” by Prokofiev with bright, contrasting colors: both heroes of the fairy tale are depicted in motion, so their music is associated with the march genre. But how different these two marches are.

Petya walks cheerfully and cheerfully to the music of the march, as if humming a light, mischievous melody. The bright, cheerful theme embodies the cheerful character of the boy. S. Prokofiev portrayed Petya using all stringed instruments - violins, violas, cellos and double basses.

Petya’s theme, light, elastic in rhythm and moving, looks like a perky song, and in Grandfather’s theme the features of a march appear more sharply: it is “hard,” sharp in rhythm and dynamics, more restrained in tempo.

You will find striking examples of this kind of visualization in Mussorgsky’s plays “The Dwarf”, “Ballet of the Unhatched Chicks”, “The Hut on Chicken Legs” from the piano cycle “Pictures at an Exhibition”.

French composers of the 18th century were the first to learn to “draw” musical portraits. François Couperin gave titles to many of his harpsichord pieces. The author wrote: “The plays with the title are a kind of portraits, which in my performance I found quite similar.” Listening to the play "Sister Monique", it is not difficult to imagine her cheerful disposition.

The play “Florentine” features the fast-paced Italian tarantella dance, which becomes the main feature of her musical portrait. The “clues” for the listener were the program headings “Gossip”, “Mysterious” and others.

The tradition of painting musical portraits was continued in the 19th century: Schumann, Mussorgsky, Rimsky-Korsakov, Tchaikovsky, Lyadov...

The female character portraits in Robert Schumann’s piano cycle “Carnival” are “written” vividly and aphoristically. Let's compare two of them: "Chiarina" and "Estrella". What do they have in common? First of all, the romantic genre of the waltz is the dance of the century. Its “flight” and grace fit perfectly with female images, but at the same time the character of the two waltzes is sharply different. Under the carnival mask of “Kiarina” appears a portrait of Clara Wieck, the composer’s wife and an outstanding pianist. The restrained and passionate theme of the waltz expresses the sublime spirituality and poetry of the musical image. But here is another waltz - “Estrella”, and before us is a “participant” of the carnival, completely different from “Chiarina” - a temperamental, ardent girl. The music is filled with external brilliance and vivid emotionality.

Can music depict space? Is it possible, while listening to it, to mentally see endless plains, expanses of fields, boundless seas? It turns out that it is possible. For example, the first parts of P. Tchaikovsky’s First Symphony “Dreams on a Winter Road”. It begins barely audible - as if dry snow rustled from the wind, the frosty air rang. A moment... and a sad melody appeared. It creates the impression of wide-open space, desert, and loneliness.

The same impression of spaciousness and volume of sound helps to create wide intervals that sound “transparent”, “empty”. These are fifths, octaves. Let's call it the first movement of Shostakovich's Eleventh Symphony. The composer depicted the huge space of Palace Square, enclosed by huge palaces. To do this, he chose simple and precise visual techniques: a sparse orchestral texture with an empty middle register and the transparent sonority of “empty” fifths in the extreme registers, a special timbre coloring of muted strings and harp.

Harmony and timbres of instruments play an important visual role in music. We have just mentioned the peculiarity of the orchestra's sound in Shostakovich's symphony.

Let's name other works. Among them is the episode of the magical transformation of swans into girls in the second scene of Rimsky-Korsakov’s opera “Sadko”, the play “Morning” from the suite “Peer Gynt”.

There are a huge variety of programmatic works in music. We will meet with them more than once in our lessons.

Questions and tasks:

1. What is program music?
2. For what purpose do composers give titles to instrumental works?
3. In what form can a generalized program be expressed?
4. List all software works you are familiar with.

Presentation

Included:
1. Presentation - 34 slides, ppsx;
2. Sounds of music:
Beethoven. Symphony No. 6 “Pastoral”. Part II. “Scene by the Stream” (fragment), mp3;
Beethoven. Symphony No. 6 “Pastoral”. Part IV. “Thunderstorm” (fragment), mp3;
Daken. “Cuckoo” (2 versions: piano and ensemble), mp3;
Couperin. “Sister Monique” (harpsichord), mp3;
Couperin. “Florentine” (harpsichord), mp3;
Mussorgsky. “Ballet of Unhatched Chicks” from the series “Pictures at an Exhibition” (2 performance options: symphony orchestra and piano), mp3;
Prokofiev. Fragments of the symphonic tale “Peter and the Wolf”:
Grandfather's Theme, mp3;
Cat Theme, mp3;
Petya's Theme, mp3;
Bird Theme, mp3;
Duck Theme, mp3;
Rimsky-Korsakov. “33 heroes” from the opera “The Tale of Tsar Saltan”, mp3;
Rimsky-Korsakov. “The transformation of swans into girls” from the opera “Sadko”, mp3;
Chaikovsky. “Morning Prayer” from “Children’s Album” (2 versions: symphony orchestra and piano), mp3;
Chaikovsky. Symphony No. 1. Part I. (fragment), mp3;
Shostakovich. Symphony No. 11. I movement. (fragment), mp3;
Schumann. “Kiarina” from the Carnival cycle (piano), mp3;
Schumann. “Estrella” from the cycle “Carnival” (piano), mp3;
3. Accompanying article, docx.

The principle of programming in musical art

Methodological 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 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, they seemed to not trust it. As you know, a program coexists with a piece of music not really, as in other synthetic genres - word and music, but conditionally, in the consciousness of first the composer and then the listener. Thus, the problem of programming is one of the most complex musical and aesthetic problems. The controversy surrounding it began a long time ago and has not subsided to this day.

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 meaningfulness of program music is undeniable, regardless of whether the work embodies generalized ideas or a detailed literary program. “Personally, I equate programmaticity and content,” writes D. D. Shostakovich. “And the content of music is not only a detailed plot, but also its generalized idea or sum of ideas... For me personally, like many other authors of instrumental works, the programmatic idea always precedes the composition of music.” 1

A typical feature of a program work is the presence of a special explanation - a “program”, that is, a reference to a specific topic, a literary plot, a range of images that the author wanted to embody in music. Speaking about programming, a special quality should be emphasized: concreteness, definiteness of the content of musical images, their clear connection and correlation with real life prototypes. Thus, the general principle of programming is the principle of specifying content. To a certain extent, epigraphs, subtitles, individual instructions among the musical text, and drawings can focus the content of a program work. A striking example is A. Vivaldi’s concert for violin and orchestra “The Seasons”, in which each of the parts is preceded by a poetic passage designed to convey to the listener the specific figurative intention of the artist.

The program does not aim to exhaustively, to the end, explain in words the figurative and emotional content of music, because it is expressed by musical means themselves. The program is designed to inform the listener of the author’s specific figurative intention, that is, to explain what specific events, paintings, scenes, ideas, images of literature or other forms of art the composer sought to embody in music. We can distinguish 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, the art of music is closely connected with the content of life, with the phenomena of the surrounding world and reality. In addition, music reflects the inner world of a person and affects him; it embodies the thought, the mood that the composer put into it, and then conveys it 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.

The types of literary programs may vary. Sometimes even the short title of an instrumental piece generally indicates its content and directs the listener’s attention in a certain direction. Let us at least recall M.I. Glinka’s overture “Night in Madrid”, “The Old Castle”, one of the plays in M.P. Mussorgsky’s cycle “Pictures at an Exhibition”, “Butterflies” by R. Schumann. Many programmatic works are preceded by a detailed explanatory text, which sets out the main artistic idea, talks about the characters, and gives an idea of ​​the development of the plot and various dramatic situations. Such a program has, for example, well-known symphonic works - “Symphony Fantastique” by G. Berlioz, “Francesca de Rimini” by P. I. Tchaikovsky, “The Sorcerer’s Apprentice” by P. F. Duke. Sometimes composers present the content of their program works in some detail. Thus, N.A. Rimsky-Korsakov, in his autobiographical “Chronicle” writes: “The program that guided me when composing “Scheherazade” were separate, unrelated episodes and pictures from “A Thousand and One Nights”, scattered throughout all four parts of the suite: the sea and Sinbad’s ship, the fantastic story of Kalender the prince, the prince and the princess, the Baghdad holiday and the ship crashing on a rock with a bronze horseman.” 3 . Among the programmatic works there are also those whose concept is embodied with truly pictorial clarity and evoke visual associations. This is facilitated by the ability of music to reproduce with the greatest accuracy the sound diversity of the surrounding reality (n: thunderclaps, the sound of waves, birdsong). 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-visual moments play a huge role in program music, since they are able to decipher, emphasize one or another detail of everyday life or nature, and give the music an almost objective tangibility (n: imitation of shepherd’s tunes, sounds of nature, “voices” of animals). The program of a musical work does not necessarily have to be drawn from a literary source; these can be works of painting, and a striking 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. Hartmann in the hall of the Academy of Arts), “Cossacks” by R. M. Gliere (on the painting by I.E. Repin “The Cossacks write a letter to the Turkish Sultan”), sculptures, and even architecture. But they need a verbal program that gives the listener an incentive for a more complete and profound perception of this particular piece of music. The composer can also choose as a program facts and events snatched directly from life reality, 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 fundamental for realistic musical creativity.

Now we should outline the characteristic features of program music:

• greater specificity in the perception of a program composition compared to the perception of “pure”, that is, non-program, instrumental music;
• program music stimulates the comparative and analytical activity of the listener, leading to the emergence of general artistic associations;
• program music helps to figuratively comprehend unexpected, original expression, unconventional 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 capabilities of musical art, as it operates with concepts and symbols;

Depending on the measure and method of specification, we can distinguish, using the terminology of O. Sokolov, various types or types of software: 4

1. Genre-characteristic or just genre, in which sound-depicting and onomatopoeic moments are used.

2. Picture-likeI, using 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, which do not undergo significant changes throughout its perception.

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

4. Plot or sequential plot, using literary and poetic sources. This type involves the development of an image corresponding to the development of the plot of a work of art.

The origins of programmaticity, its episodic manifestations at the level of individual techniques and means (onomatopoeia, plotting) can be traced already in the instrumental creativity of the 12th - 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 was as imitation through 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, still naive figurativeness; genre scenes, portrait sketches are the main types of programming.

The flourishing of programming in the era of romanticism is closely related to the intensely increased desire for originality in musical expression. In addition, the program created an additional opportunity for the expression of the artist’s inner self and the listener’s penetration into the unique world of the figurative intentions of the author of the work, since it was during this historical period that human individuality appears as an inexhaustibly deep universe, more significant than the outside world. In mature romantic art (the works of F. Liszt, G. Berlioz), the main features of the program genre were: pictoriality, plot, and the presence of a program preceding the work.

The content of programming in Russian musical classics of the second half of the 19th century becomes qualitatively new and richer. In addition to the emphasized visualization and clearly expressed plot, an indispensable condition for creativity was 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 of composers, but also of musicologists, which allowed V.V. Stasov to talk about programmaticity as a characteristic feature of Russian music as a whole. Russian classics created a new type of programming: based on genre musical material, the saturation of images with real life content, using the genres of program symphony, symphonic poem, and piano miniature. Prominent representatives of 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 images of A. Dante and W. Shakespeare, A. S. Pushkin and M. Yu. Lermontov, pictures of folk life, poetic descriptions of nature, images of folk epics, tales and legends (N: “Romeo and Juliet” and “Francesca de Rimini” by P.I. Tchaikovsky, “Sadko” and “The Battle of Kerzhenets” 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 content, which is inextricably linked with the program, is, first of all, the musical fabric itself, the means of musical expressiveness themselves, and the verbal program acts as an auxiliary component.

The first stage is a clear ideological and artistic concept (choosing the type of program essay), developing a plot and plan for the essay. Next, a diverse realistic intonation development of all basic images is necessary. With a complex programming task, the composer inevitably faces the task of embodying through music not only the emotions of the hero (through the musical intonations of the human voice turned into a melody), but also a varied background - be it a landscape or an everyday genre. At the same time, in case of a mistake, the software always “revenges itself,” causing disappointment to the audience. Programming requires from the composer a very subtle and sensitive ear for intonation, and, further, a deep creative ability to process real intonations into musical intonations - melodic, harmonic, rhythmic, timbre. And the difference in 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.

Expressive and meaningful, the role of pitch is more clearly emphasized when changing musical registers

Key is a generalized reflection of the stability of any shades of mood, experience, or figurative moments. A connection is established between “keys” in life, for example, heroic, joyful, tragic, and keys in musical art.

Rich prerequisites for concretizing the image are contained in harmony, that is, the chord structure vertically. Here we can draw analogies with certain qualities of real phenomena: consistency, harmony, completeness, softness, consonance or inconsistency, instability, acute tension, dissonance. Through harmony, the composer's aesthetic attitude to the depicted reality is revealed.

Rhythm, as a means of musical expressiveness, generalizes the qualities of movements: their regularity or confusion, lightness or heaviness, leisurely 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 rhythm to the typical rhythm of poetic and colloquial speech allows us to emphasize the national and historical-temporal features of images.

Pace musical compositions characterize the intensity of the process over time, the level of tension of this process, n: rapid, stormy, moderate, slow. In program musical works, tempo helps to concretize the reflected processes and actions (the flight of a bumblebee, the movement of a train).

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

Dynamics in music reflects the level of sound strength of real prototypes. Techniques for specifying content using a variety of dynamic means 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, impetuosity or peace, relaxation.

Plays a big 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 step movement), the listener more easily perceives the “objective” content of the music. Genre features, thus, play the role of a kind of stimulants of the imagination, involving it in associations that connect music with the surrounding reality and determine the programming of a musical composition. Consequently, the embodiment of the program concept becomes possible on the basis of reference to a specific genre as a whole, and even (in connection with the individualization of individual elements of musical speech) by reference to any characteristic detail of the musical genre. So, for example, second-long descending intonations most often serve to embody a sigh, a groan, and melodic moves up a fourth, with the statement of the tonic on the downbeat of the bar, are perceived as active heroic intonation. Triplet movement at a fast tempo often gives flight, and the choral composition of the music, combined with a slow tempo, reflects a thoughtful and contemplative mood. Often, a composer takes as the basis of a work one main musical theme, in this case called a leitmotif (translated into German as “leading motive”). At the same time, he uses the technique of genre transformation of this leitmotif, speaking about the diverse events of human life, about struggle and dreams, about the love and suffering of the hero. This technique is a fairly effective means of conveying the program of a work.

An important role in concretizing the content program is played by the refraction of folklore specificity, reflectiongenre folklore prototypes. The program functions of folk genre elements are among the most capacious and ambiguous. The thematic section of program music, combining pictures of nature, landscape sketches, includes song and dance genres, and imitation of folk instrumentalism. Important program functions consist in animating nature; their role is significant in the anthropomorphism of visual means, as a manifestation of the constant presence of a person, the expression of his feelings, perception, and attitude towards nature. Genre specification is often combined with visual program functions. In this case, coloristic techniques and spatial effects are used especially widely, such as: fifth organ points - as an element of spatial associations and a sign of folk instrumental music; tremolo, glissanding, arpeggiato - elements of colorful sound and folk flavor; modal-harmonic features, the use of folk music modes and pentatonic scales. Imitation of shepherd's tunes (pipe, horn) introduces an element of pastoralism and lyricism into the landscape depiction. The sound of these instruments is perceived on a par with the singing of birds as part of “sounding nature.” The vocal-choral style of presentation (subvocal polyphony, tertian conducting, organ points, ostinato) is associated with folk songs and fairy tales in which artistic metaphor is widespread, that is, the identification of a birch tree and a slender girl, an eagle and a brave Cossack.

The next step in creating a software work is the equally important question of choosing shapes, that is, the search for such constructions of musical logic that are capable of most accurately, truthfully expressing the real logic, the real development of a given plot in the entirety of its phenomena and aspects.

Of fundamental importance is the problem of objective and subjective (P.I. Tchaikovsky’s term) programming, declared and undeclared (M. Tarakanov’s term), direct and indirect (V. Vanslov’s term) programmaticity. P.I. Tchaikovsky first spoke about this in a letter to N.F. von Meck: “I find that a composer’s inspiration can be twofold: subjective and objective. In the first case, he expresses in his music his feelings of joy and 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 unnecessary, but it is impossible. But it’s another matter when a musician, reading a poetic work or amazed by a picture of nature, wants to express in musical form the plot that sparked inspiration in him. This is where the program is needed.” 6

V. Vanslov defines these areas of program music as follows: 7 direct programming is the plot, the visual picturesqueness of the music. These works have an announced program (the main types of declared program are: a verbal designation of the title of the work, a verbal designation of the main plot outline of the work, a clear and precise formulation of the main idea of ​​the work) and, plus, more points of contact with other forms of art, primarily with literature and painting; indirect 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 software for listeners’ perception of music, there are no general formulas here. For a wide audience that is not well versed in musical literature, detailed programs can also play a positive role, the figurative concreteness of which is close to the listeners, helps them better understand the musical work, and respond more vividly and emotionally to the composer’s intention. For others, the most appropriate is a 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, and may even ignore ready-made images offered by the composer or his interpreters. It seems that the most important point in working with listeners is the systematic cultivation of a sensitive, emotional attitude towards all elements of music, towards the integrity of musical images.

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2. M.G. Aranovsky. “What is program music.” “Musical contemporary.” issue 6, 1987.

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