Children’s music |

Children’s music is music intended to be heard or performed by children. Its best examples are characterized by concreteness, lively poetic. content, imagery, simplicity and clarity of form. Instrumental D. m. is characterized by programming, elements of figurativeness, onomatopoeia, dance, marching, and simplicity of music. textures, reliance on folklore. At the heart of music prod. for children there are often nar. fairy tales, pictures of nature, images of the animal world. There are different types of D. m. – songs, choirs, instr. plays, orc. production, musical stage essays. Productions intended for performance by children correspond to their performance capabilities. Wok. prod. voice range, features of sound formation and diction, chorus are taken into account. preparation, instr. plays – the degree of technical. difficulties. Music circle. products accessible to the perception of children are wider than the area of ​​D. m. In a children’s audience, especially older ones, many are popular. prod. M. I. Glinka, P. I. Tchaikovsky, N. A. Rimsky-Korsakov, W. A. ​​Mozart, L. Beethoven, F. Chopin and other classics, prod. owls. composers.

Songs, jokes, dances, tongue twisters, stories, etc. often served as the basis for prof. D. m. Still in Dr. Greece was known to Nar. children’s song, in particular lullabies were common. Historical sources indicate that several children’s songs were composed in Greek. singer and composer Pindar (522-442 BC). In Dr. Sparta, Thebes, Athens, children from an early age were taught to play the aulos, to sing in choirs.

On Wednesday. century in Europe, D. m. was associated with the work of shpilmans (wandering folk musicians). The old German children’s songs “The birds all flocked to us”, “You, the fox, pulled the goose”, “A bird flew in”, “Parsley is a wonderful grass” have been preserved. European fret base. children’s songs – major and minor, occasionally – pentatonic scale (German children’s song “Flashlight, Flashlight”). Ch. music features. language: harmon. the nature of the melody, quartic overbeats, the uniformity of the form (couplet). Gor. street children’s songs (der Kurrenden) in the Middle Ages. Germany was popularized by original chants. collectives (die Kurrende) – itinerant choirs of student singers who performed on the street for a small fee. Rus. old children’s songs that were common among the people, published in Sat. nar. songs of the 18th century V. F. Trutovsky, I. Prach. Some of these songs have survived to our time (“Bunny, you, bunny”, “Jump-jump”, “Bunny walks in the garden”, etc.). Creation of pedagogical music literature for children paid attention to classical composers of the 18th – early. 19th centuries: J. S. Bach, W. A. ​​Mozart, L. Beethoven. Haydn’s “Children’s Symphony” (1794) occupies a special place. In the 1st floor. In the 19th century, with the strengthening of the religious-conservative principle in the upbringing of children, D. m. acquired a pronounced cult orientation.

In the 2nd floor. 19th century a relatively large number of prof. prod. D. m .: Sat. M. A. Mamontova “Children’s songs on Russian and Little Russian melodies” (arrangements of songs for children made by P. I. Tchaikovsky, issue 1, 1872), fp. pieces for beginning pianists. The best of these pieces have firmly entered the practice of learning to play the piano, for example. Tchaikovsky’s “Children’s Album” (op. 39, 1878) is a kind of pianoforte. suite, where in a variety of small-sized pieces nar. character, children are consistently assigned various artistic and performing tasks. The absence of melodic, harmonic, textural difficulties make this product. accessible to young performers. Similar in terms of tasks and methods of their resolution are the collections of fp. plays for children by A. S. Arensky, S. M. Maykapar, V. I. Rebikov.

In con. 19th century the first operas for children were written: “The Cat, the Goat and the Sheep” and “The Musicians” by Bryansky (1888, based on the texts of the fables of I. A. Krylov); “Goat Dereza” (1888), “Pan Kotsky” (1891) and “Winter and Spring, or Snow Beauty” (1892) Lysenko. Muses. the language of these operas is simple, permeated with Russian intonations. and Ukrainian songs. Famous children’s operas by Ts. A. Cui – The Snow Hero (1906), Little Red Riding Hood (1911), Puss in Boots (1912), Ivan the Fool (1913); A. T. Grechaninova – “Yolochkin Dream” (1911), “Teremok” (1921), “Cat, Rooster and Fox” (1924); B. V. Asafiev – “Cinderella” (1906), “The Snow Queen” (1907, instrumented in 1910); V. I. Rebikova – “Yolka” (1900), “The Tale of the Princess and the Frog King” (1908). The world of childhood and youth is reflected in the children’s songs of Tchaikovsky (“16 Songs for Children” to verses by A. N. Pleshcheev and other poets, op. 54, 1883), Cui (“Thirteen Musical Pictures” for singing, op. 15), Arensky (“Children’s Songs”, op. 59), Rebikov (“Children’s World”, “School Songs”), Grechaninov (“Ai, Doo-Doo”, op. 31, 1903; “Rabka Hen”, op. 85 , 1919), etc.

Among the products Western European D. m .: “Children’s Scenes” (1838), “Album for Youth” by R. Schumann (1848) – a cycle of op. thumbnails, location according to the principle from simple to complex; “Children’s Folk Songs” by Brahms (1887), J. Wiese’s suite “Games for Children” (1871) – 12 pieces for piano. in 4 hands (five pieces from this cycle, orchestrated by the author, made up a suite of the same name for a symphony orchestra). Known production cycles. for piano: “Children’s Corner” by Debussy (1906-08), “Mother Goose” by Ravel (1908) (suite for piano in 4 hands; orchestrated in 1912). B. Bartok wrote for children (“To the Little Slovak”, 1905, a cycle of 5 melodies for voice and piano; in 1908-09, 4 notebooks of teaching repertoire for piano “For Children”); in his plays, mostly folk. character, the melodies of Slovak and Hungarian songs are used, in terms of content these are genre fp. pictures that continue the tradition of D. M. Schumann and Tchaikovsky. In 1926-37 Bartók wrote a series of 153 pieces (6 notebooks) for piano. “Microcosm”. The pieces, arranged in order of gradual complication, introduce the little pianist into the world of contemporary music. Songs for children were written by: X. Eisler (“Six Songs for Children to the words of B. Brecht”, op. 53; “Children’s Songs” to the words of Brecht, op. 105), Z. Kodaly (numerous songs and choirs for children based on Hungarian folk music). D. m. does a lot of comp. B. Britten. He created a collection of school songs “Friday Afternoon” (op. 7, 1934). Songs from this collection are popular among the English. schoolchildren. For isp. children, accompanied by a harp, wrote the cycle “Ritual Christmas Songs” (op. 28, 1942, based on texts from old English poetry). The best of the songs are “Frosty Winter”, “Oh, my dear” (lullaby), the canon “This Baby”. Britten’s Guide to the Orchestra (op. 34, 1946, for youth) became famous – a kind of work that acquaints the listener with the modern. symp. orchestra. K. Orff created a large cycle of products. “Music for children”; in 1950-54 the cycle was completed by joint. with G. Ketman and received the name. “Schulwerk” (“Schulwerk. Musik für Kinder”) – songs, instr. plays and rhythm melodic. exercises for children ml. age. Supplement to “Schulwerk” – the collection “Music for Youth” (“Jugendmusik”) – practical. basis of collective music. upbringing (texts taken from the collection of F. M. Böhme “German Children’s Song and Children’s Game” – Fr. M. Böhme, “Deutsches Kinderlied und Kinderspiel”).

Hindemith’s We Build a City (1930), an opera for children, became widespread. In children’s music Britten’s play “The Little Chimney Sweep, or Let’s Put on an Opera” (op. 45, 1949) 12 roles: 6 children’s (children from 8 to 14 years old) and the same number for adults. The hall is involved in the action: small spectators rehearse and sing specials. “A song for the public”. The composition of the orchestra – strings. quartet, percussion and piano. in 4 hands. Also popular is Britten’s children’s opera Noah’s Ark (op. 59, 1958), based on an old mystery play. In a huge children’s orchestra (70 performers) for prof. musicians wrote only 9 parties. Some of the games are designed for children who are just starting to play. The composition of the performers is unusual (in the orchestra – organ, piano, percussion, strings, flute, horn and hand bells; on the stage – a speaking choir, soloists and 50 children’s voices singing separate remarks).

Sov. composer enriched by D. m., expanded its genre possibilities and means of expression. In addition to wok. and fp. miniatures, operas, ballets, cantatas, large symphonies are created for children. production, concerts. The genre of owls has become widespread. children’s song, which is composed by composers in collaboration with poets (S. Ya Marshack, S. AT. Mikhalkov A. L. Barto, O. AND. Vysotskaya, W. AND. Lebedev-Kumach and others). Mn. owls. composers dedicated their work to D. м. Widely known, for example, fp. plays for children М. Maykapara “Spikers” (op. 28, 1926) and Sat. “First Steps” (op. 29, 1928) for fp. in 4 hands. These products distinguished by grace and transparency of texture, novelty and originality of muses. language, subtle use of polyphony techniques. Popular arr. Nar melodies G. G. Lobacheva: Sat. Five Songs for Preschoolers (1928), Five Songs for Children (1927); they are distinguished by the ingenuity of accompaniment, elements of onomatopoeia, intonation. clarity and laconism of melodies. Of great value is the creative heritage of M. AND. Krasev. They wrote ok. 60 pioneer songs, several miniature operas based on Nar. fairy tales, fairy tales K. AND. Chukovsky, and S. Ya Marshak. The music of the operas is pictorial, colorful, close to the folk. splint, available for children’s performance. Creativity M. R. Rauchverger is mainly addressed to preschool children. Best product the composer is characterized by modernity of music. intonations, melodic expressiveness. revolutions, sharpness of harmony. The cycle of songs “The Sun” on the verses of A. L. Barto (1928), the songs “Red Poppies”, “Winter Holiday”, “Appassionata”, “We are Merry Guys”, the vocal cycle “Flowers”, etc. Great contribution to D. м. entered the computer A. N. Aleksandrov, R. G. Boyko, I. О. Dunayevsky A. Ya Lepin, Z. A. Levin, M. A. Mirzoev, S. Rustamov, M. L. Starokadomsky, A. D. Filippenko. Many popular children’s songs were created by T. A. Popatenko and V. AP Gerchik, E. N. Tilicheeva. One of the favorite genres of the children’s audience is a comic song (“About Petya” by Kabalevsky, “Quite the opposite” by Filippenko, “Boy and Ice” by Rustamov, “Bear Tooth”, “City of Lima” by Boyko, “Photographer at the Zoo” by Zharkovsky, etc.) . In music D. B. Kabalevsky, addressed to children, reflects the composer’s deep knowledge of the world of feelings, thoughts, ideals of modern. young generation. As a children’s songwriter, Kabalevsky is characterized by melodic. wealth, modernity, language, art. simplicity, proximity to the intonations of modern. ice folklore (his first children’s coll. – “Eight songs for children’s choir and piano”, op. 17, 1935). Kabalevsky is one of the founders of the children’s lyric genre. songs (“Song by the fire”, “Our land”, “School years”). He wrote 3 pedagogical notebooks. fp. pieces arranged in order of increasing difficulty (Thirty Children’s Plays, op. 27, 1937-38). His production. distinguished thematically. wealth, proximity to mass forms of music-making – songs, dances, marches. Outstanding arts. have advantages. for children S. C. Prokofiev. Classical techniques are combined in them with the novelty and freshness of the muses. language, innovative interpretation of genres. Fp. Prokofiev’s plays “Children’s Music” (partially orchestrated by the author and combined into the suite “Summer Day”) are characterized by clarity of presentation, refers. the simplicity of music. material, texture transparency. One of the best production D. м. – symphonic. Prokofiev’s fairy tale “Peter and the Wolf” (1936, on his own text), combining music and reading. Characteristics of its core are distinguished by imagery. heroes (Petya, Duck, Birdie, Grandfather, Wolf, Hunters), introducing young listeners to orc. timbres. The song-sketch “Chatterbox” based on the verses of Barto (1939), the suite “Winter Bonfire” – for readers, the boys’ choir and symphonies are popular. orchestra (1949). For young performers written 2nd fp. concert d. D. Shostakovich, Kabalevsky’s triad of youth concerts (for piano, violin, cello and orchestra), 3rd piano. concert A. М. Balanchivadze, fp. concert by Y. A. Levitin. Features of all these products. – reliance on song elements, the implementation of stylistic in music. features of children’s and youth music. everyday life – marches, drumming, the sound of the button accordion, guitar, a combination of symphony and the availability of music.

In the 50-60s. the genre of children’s cantata was formed, expressing laconic muses. means a variety of interests, feelings and thoughts of modern. children and youth. These are: “Song of the Morning, Spring and Peace” (1958), “On the Native Land” (1966) Kabalevsky, “Children next to their fathers” (1965), “Red Square” (1967) Chichkov, “Lenin in our heart” (1957), “Red Pathfinders” (1962) Pakhmutova, “Pioneer, be ready!” Zulfugarov (1961).

Music occupies a large place in children’s films: Tsar Durandai (1934) and Little Red Riding Hood (1937) by Alexandrov; Cinderella by Spadavecchia (1940); “Children of Captain Grant” (1936) and “Beethoven Concerto” (1937) by Dunayevsky; “Red Tie” (1950) and “Hello, Moscow!” (1951) Lepin; “Aibolit-66” by B. Tchaikovsky (1966). A lot of music sounds in children’s cartoons. films: “The Bremen Town Musicians” comp. G. I. Gladkova (1968), “Crocodile Gena” comp. M. P. Ziva (1969). Among the best examples of children’s estr. eccentric music. songs with a developed plot: “Seven Funny Songs” by Kabalevsky, “An Elephant Walks Through Moscow” by Penkov, “Petya is Afraid of the Dark” by Sirotkin, etc. They are usually performed by adult singers in front of a children’s audience. Unity contributes to the development of children’s opera and ballet. in the world of children’s music. theatre, main in Moscow in 1965 and led by N. I. Sats. The children’s operas “The Wolf and the Seven Kids” by Koval (1939), “Masha and the Bear” (1940), “Teremok” (1941), “Toptygin and the Fox” (1943), “The Unsmeyana Princess” (1947), ” Morozko” (1950) Krasev, “Three Fat Men” Rubin (1956), “Tulku and Alabash” Mamedov (1959), “Song in the Forest” Boyko (1961), “Snow White and the Seven Dwarfs” (1963) Kolmanovsky, “Boy Giant » Khrennikov (1968); ballets for children The Three Fat Men by Oransky (1935), Klebanov’s The Stork (1937), Chulaki’s The Tale of the Pope and His Worker Balda (1939), Chemberdzhi’s Dream Dremovich (1943), Morozov’s Doctor Aibolit (1947) ), The Little Humpbacked Horse by Shchedrin (1955), Tsintsadze’s Treasure of the Blue Mountain (1956), Pinocchio (1955) and Golden Key (1962) by Weinberg, Zeidman’s Golden Key (1957); opera-ballet The Snow Queen by Rauchverger (1965), etc.

In the 60s. children’s operettas were written: “Barankin, be a man” by Tulikov (1965), “Zavalyayka Station” by Boyko (1968).

Music development. creativity for children is closely connected with the growth of children’s performing culture, the system of muses. education and upbringing of children (see Musical education, Musical education). A wide network of children’s muses has been created in the USSR. schools, including seven-year schools and ten-year schools (over 2000 children’s music schools). New forms of children’s performing culture arose (children’s amateur performances at the Houses of Pioneers, choral studios, etc.). Prod. for children are performed on radio and television, at the conc. stage, in children’s theaters, in prof. choir. uch. institutions (State choral school in Moscow, Children’s choral school at the Leningrad academic chorus chapel). Under the USSR Committee of the USSR there is a section of D. m., which contributes to its propaganda and development.

Issues related to D. m. are reflected at the conferences of the International Society for Musical Education (ISME) at UNESCO. The ISME Conference (Moscow, 1970) showed the significant interest of the world musical community in the achievements of the Soviets. D. m.

References: Asafiev B., Russian music about children and for children, “SM”, 1948, No 6; Shatskaya V., Music at school, M., 1950; Ratskaya Ts. S., Mikhail Krasev, M., 1962; Andrievska N. K., Children of the opera M. V. Lisenka, Kiev, 1962; Rzyankina T. A., Composers for children, L., 1962; Goldenstein M. L., Essays on the history of the pioneer song, L., 1963; Tompakova O. M., A book about Russian music for children, M., 1966; Ochakovskaya O., Musical publications for secondary schools, L., 1967 (bibl.); Blok V., Prokofiev’s Music for Children, M., 1969; Sosnovskaya O. I., Soviet composers for children, M., 1970.

Yu. B. Aliev