Composition |

from lat. compositio – compilation, composition

1) A piece of music, the result of the creative act of the composer. The concept of composition as a complete artistic whole did not develop immediately. Its formation is closely connected with the decrease in the role of improvisations. started in music. art and with the improvement of musical notation, which at a certain stage of development made it possible to accurately record music in the most essential features. Therefore, modern the meaning of the word “K.” acquired only from the 13th century, when musical notation developed means of fixing not only the height, but also the duration of sounds. Music originally. works were recorded without indicating the name of their author – the composer, which began to be affixed only from the 14th century. This was due to the growing importance of the individual features of art in K. the mind of its author. At the same time, in any K., the general features of the muses are also reflected. art of a given era, the features of this era itself. The history of music is in many ways the history of the Muses. compositions – outstanding works of major artists.

2) The structure of a musical work, its musical form (see Musical form).

3) Composing music, a kind of art. creativity. Requires creativity. giftedness, as well as a certain degree of technical training – knowledge of the main. patterns of construction of music. works that have developed in the course of the historical music development. However, the music the work should not be a set of common, familiar musical expressions, but art. whole, corresponding aesthetic. the demands of society. To do this, it must contain new art. content, due to social and ideological. factors and reflecting in a figuratively unique form the essential, typical features of contemporary reality for the composer. The new content also determines the novelty of expressive means, which, however, in realistic music does not mean a break with tradition, but its development in connection with new arts. tasks (see Realism in music, Socialist realism in music). Only representatives of all kinds of avant-garde, modernist movements in music break with the traditions that have developed over the centuries, refusing from mode and tonality, from the former logically meaningful types of form, and at the same time from socially significant content that has a certain artistic and cognitive value (see Avant-gardism , Aleatoric, Atonal music, Dodecaphony, Concrete music, Pointillism, Expressionism, Electronic music). Creative himself. process at dec. composers proceeds in different ways. For some composers, music, like improvisation, pours out easily, they immediately record it in a finished form that does not need any significant subsequent refinement, decoration and polishing (W. A. ​​Mozart, F. Schubert). Others find the best solution only as a result of a long and intense process of improving the initial sketch (L. Beethoven). Some people use an instrument when composing music, most often a fp. (for example, J. Haydn, F. Chopin), others resort to checking for ff. only after the work is completely finished (F. Schubert, R. Schumann, S. S. Prokofiev). In all cases, the criterion for the value of a created work by realist composers is the degree of its correspondence to the arts. intention. Avant-garde composers have a creative the process takes the form of a rational combination of sounds according to one or another arbitrarily established rules (for example, in dodecaphony), and often the element of chance is of fundamental importance (in aleatorics, etc.).

4) A subject taught in conservatories, etc. ice educational institutions. In Russia it is usually called an essay. K. course, as a rule, is conducted by the composer; classes consist primarily in the fact that the teacher gets acquainted with the work of the student-composer or a fragment of this work, gives him a general assessment and makes comments about its individual elements. The teacher usually gives the student the freedom to choose the genre of his composition; at the same time, the general plan of the course provides for a gradual advance from the simpler to the more complex, up to the higher genres of wok.-instr. and instr. music – operas and symphonies. There is means. number of accounts allowance for K. Until 19 c. the value of the guidelines for K. often acquired manuals on counterpoint (polyphony), general bass, harmony, even on questions of music. execution. Among them, for example, “Treatise on harmony” (“Traité de l’harmonie”, 1722) J. P. Rameau, “The experience of instruction in playing the transverse flute” (“Versuch einer Anweisung die Plute traversiere zu spielen”, 1752) I. AND. Quantz, “The experience of the correct way to play the clavier” (“Versuch über die wahre Art das Clavier zu spielen”, 1753-62) K. F. E. Bach, “The experience of a solid violin school” (“Versuch einer grundlichen Violinschule”, 1756) by L. Mozart. At times, musical works were also considered as guides to composing music – such as, for example, The Well-Tempered Clavier and The Art of Fugue by I. C. Bach (this kind of “instructive” compositions were created in the 20th century, for example. “Play of Tonalities” – “Ludus tonalis” by Hindemith, “Microcosmos” by Bartok). Since the 19th century, when the modern understanding of the term “K.”, a guide to K. usually combine courses of basic. music theorist disciplines, the knowledge of which is necessary for the composer. These disciplines are taught in modern. conservatories as separate uch. subjects – harmony, polyphony, the doctrine of form, instrumentation. At the same time, in the manuals on K. elements of the doctrine of melody are usually expounded, questions of genres and styles are treated, i.e. e. areas of music. theories up to the present. time not taught as independent. three. disciplines. Such are the uch. composition guide J. G. Momigny (1803-06), A. Reichi (1818-33), G. Weber (1817-21), A. B. Marx (1837-47), Z. Zechter (1853-54), E. Prouta (1876-95), S. Yadasson (1883-89), V. d’Andy (1902-09). A prominent place among such works is occupied by the “Big Textbook of Composition” by X. Riman (1902-13). There are also uch. manuals for composing music of certain types (for example, vocal, stage), certain genres (for example, songs). In Russia, the first textbooks by K. were written by I. L. Fuchs (on it. lang., 1830) and I. TO. Gunke (in Russian 1859-63). Valuable work and comments about K. and its teaching belong to N. A. Rimsky-Korsakov, P. AND. Tchaikovsky, S. AND. Taneevu. Textbooks K., owned by owls. authors, intended preim. for beginners who have not yet passed the basic. theorist. items. These are the works of M. P. Gnesina (1941) and E. О.

References: 3) and 4) (they list mainly works related to the period when the modern understanding of the term “K.” was already established, and interpreting the subject of K. as a whole. Of the 20th century manuals on composing “new music”, only some rye, belonging to its most prominent representatives) Gunka O., Guide to composing music, dep. 1-3, St. Petersburg, 1859-63; Tchaikovsky P.I., About composer’s skill. Selected excerpts from letters and articles. Comp. I. F. Kunin, M., 1952, under ch. Tchaikovsky P. I., On composer creativity and skill, M., 1964; Rimsky-Korsakov HA, On musical education. Article I. Compulsory and voluntary training in the art of music. Article II Theory and practice and obligatory theory of music in the Russian conservatory, in the book: A. N. Rimsky-Korsakov, Musical articles and notes, St. Petersburg, 1911, republished in the Complete Collected Works, vol. II, M., 1963; Taneev S.I., Thoughts on his own creative work, in: In memory of Sergei Ivanovich Taneev, Sat. articles and materials ed. Vl. Protopopova, M., 1947; his, Materials and documents, vol. I, M., 1952; Gnesin MP, Initial course of practical composition, M.-L., 1941, M., 1962; Bogatyrev S., On the reorganization of composer education, “SM”, 1949, No 6; Skrebkov S., About the composing technique. Teacher’s Notes, “SM”, 1952, No 10; Shebalin V., Sensitively and carefully educate the youth, “SM”, 1957, No 1; Evlakhov O., Problems of education of the composer, M., 1958, L., 1963; Korabelnikova L., Taneyev about the upbringing of composers, “SM”, 1960, No 9; Tikhomirov G., Elements of composer technique, M., 1964; Chulaki M., How do composers write music?. “SM”, 1965, No 9; Messner E., Fundamentals of composition, M., 1968.