Accompaniment |

French accompagnement, from accompagner – to accompany; ital. accompagnamento; English accompaniment; German Begleitung.

1) Part of an instrument (eg, piano, guitar, etc.) or parts of an ensemble of instruments (singing voices) accompanying the solo part of a singer or instrumentalist. A. helps the soloist to accurately perform his part.

2) Everything in music. prod., which serves as a harmonic. and rhythmic. support of the main melodic voice. Music division. the presentation of the melody and A. characteristic of the music of the homophonic-harmonic warehouse, in contrast to the music of monophonic and polyphonic. In orc. music of the specified warehouse, where the leading melody passes from instrument to instrument or from a group of instruments to another group of them, the composition of the accompanying voices changes all the time.

The nature and role of A. depend on the era, nat. accessories of music and its style. Even clapping your hands or beating the rhythm with your foot, which often accompanies the performance of nar. songs can be considered as the simplest forms of A. (purely rhythmic. A. is also the accompaniment of one percussion instrument).

A related phenomenon was the unison or octave doubling of the wok. melodies by one or more instruments, found in ancient and middle-century prof. music, and in the 15-16 centuries. – instr. escort to the wok. polyphonic works, in art. respect is secondary and optional (performed ad libitum).

At the end of 16 – early. 17 centuries, in close connection with the development of homophonic harmonic. warehouse, A. is formed in modern. understanding, giving harmony. base of the melody. At that time, it was customary to write out only the lower voice of A., outlining harmony with the help of digital notation (general bass or digital bass). “Deciphering” a digital bass in the form of chords, figurations, etc. was provided at the discretion of the performer, which required from him imagination, the gift of improvisation, taste and special skills. skills. Since the time of J. Haydn, W. A. ​​Mozart, L. Beethoven, A. has been written out by the authors in full.

In instr. and wok. music of the 19th and 20th centuries. A. often performs new expressions. functions: “finishes” the unspoken soloist, emphasizes and deepens the psychological. and dramatic the content of the music, creates an illustrative and pictorial background. Often, from a simple accompaniment, he turns into an equal part of the ensemble, for example. in fp. parties of romances and songs by F. Schubert, R. Schumann, I. Brahms, X. Wolf, E. Grieg, P. I. Tchaikovsky. S. I. Taneyev, N. A. Rimsky-Korsakov, S. V. Rachmaninov and other composers.

3) Music performance. escorts. Claim A. by artist. meaning is close to the claim of the ensemble performance. See Concertmaster.

Literature: Kryuchkov HA, The art of accompaniment as a subject of study, L., 1961; Shenderovich E., On the art of accompaniment, “SM”, 1969, No 4; Lyublinsky A., Theory and practice of accompaniment, (L.), 1972; Fetis Fr.-J., Traité de l’accompagnement de la partition, P., 1829; Dourlen V. Ch. P., Traité d’accompagnement, P., 1840; Elwart A.E., Le chanteuraccompagnateur, P., 1844; Gevaert fr. A., Méthode pour l’enseignement du plain-chant et de la manière de l’accompagner, Gand, 1856; Matthias Fr. X., Historische Entwicklung der Choralbegleitung, Strayab., 1905; Arnold F. Th., The art of accompaniment from a thorough-bass, L., 1931, NY, 1965; Moore G., Singer and accompanist, L., 1953, rus. per. in the book: Performing Arts of Foreign Countries, no. 2, M., 1966.

N. P. Korykhalova