excluded from the vocalist’s
Today’s post is devoted to the topic – the main musical genres. To begin with, let’s decide what we will consider the musical genre. After that, genres proper will be named, and in the end you will learn not to confuse the “genre” with other phenomena in music. So, the word “genre” is of French origin and from this language it is usually translated as “species” or genus. Consequently, a musical genre is a kind or, if you like, a kind of musical composition. No more and no less.
WHAT DO MUSICAL GENRES BETWEEN BETWEEN YOURSELF?
But how does one genre differ from another? Of course, not just the name. Remember the four main parameters that help to identify a particular genre and not confuse it with any other, similar type of composition. These are: a type of artistic and musical content; style features of this genre; the life purpose of the works of this genre and their role in society; conditions in which it is possible to perform and listen to (view) a musical work of a particular genre. Continue reading
You have probably come across such philosophical concepts as form and content. These words are universal enough to denote similar aspects of the most diverse phenomena. And music is no exception. In this article you will find an overview of the most popular forms of musical works. Before calling the common forms of musical works, let us determine what exactly is form in music? Form is what relates to the design of a work, to the principles of its structure, to the sequence of conducting musical material in it. The form of musicians is understood in two ways. On the one hand, the form is a layout of all parts of the musical composition in order.
On the other hand, form is not only a scheme, but also a process of formation and development in a work of those expressive means by which an artistic image of a given work is created. What are these expressive means? Melody, harmony, rhythm, timbre, register and so on. The rationale for such a double understanding of the essence of musical form is the merit of the Russian scientist, academician and composer Boris Asafiev. Continue reading
The subject of classical harmony necessitates a deep examination of the interconnections between different keys. This relationship, first of all, is carried out by the similarity of several keys with common sounds (including key characters) and is called the relatedness of keys. First you need to clearly understand that, in principle, a universal system that determines the degree of relatedness of tonalities does not exist, since each composer perceives and implements this relationship in his own way. However, nevertheless, in musical theory and practice some systems exist and are firmly established, for example, Rimsky-Korsakov, Methodin, Hindemith and few other musicians.
The degrees of relatedness of keys are determined by the proximity of these keys to each other. The criteria for proximity are the presence of common sounds and consonances (mainly triads). Continue reading