Ornaments |

from. lat. ornamentum – decoration

Sounds of relatively short duration, decorating the main melodic pattern. O. includes acc. sorts of passages, tyrates, figurations, graces. The sphere of O. also includes tremolo and vibrato. Adjacent to it are certain types of unnotated rhythmic. changes carried out in the process of performance – rubato, Lombard rhythm, etc. uneven notes (notes inégales). The latter were used in French. harpsichord music 17-18 centuries. Their main variety – allowed in the definition. conditions, the performance of paired sixteenths, eighths, quarters in a free, close to dotted rhythm. O. details melodic. line, saturates it with expression, increases the smoothness of sound transitions. Widely used in variational forms.

In its origins and evolution O. is closely connected with improvisation. For a long time in Western Europe. prof. monophony prevailed in music. Since, in this case, the composer and the performer were usually combined in one person, favorable conditions were created for the rich development of the art of improvised variant decorations covering melodic music. line in general or in creatures. fragments. This type of melody decoration is called. free O. It occupies an important place in the still insufficiently explored muses. cultures of non-European peoples. Main forms of free O., established in the old Western European. music, diminution (3) and coloratura. Coloratura may also include small, relatively stable decorations. sounds, to-rye are usually called melismas. Arpeggios can also be classified as melismas, which, as an exception, refers to several. chord-forming sounds. Decorations are designated special. icons or written in small notes. The general trend of the historical European development O. – the desire for regulation with the inevitable preservation of elements of improvisation.

In recordings of Byzantine and Gregorian hymns, ch. arr. the earliest, along with the main special types of neum-decorations (for example, quilisms), the essence of which has not yet been fully elucidated, are found with ingenious badges. O.’s abundance differed, according to most researchers, other Russian. kondakar singing (see also Fita).

In Western Europe. (especially Italian-Spanish) polygoal. wok. music of the late Middle Ages and the Renaissance (motets, madrigals, etc.) as improvisations. element perform. art-va the diminution technique has received great development. She also made one of the texture compositions. the foundations of such ancient instr. genres like prelude, ricercar, toccata, fantasy. Dep. diminutive formulas gradually stood out from the diverse manifestations of free speech, first of all at the conclusion of melodic. constructions (in clauses). Around ser. 15th c. in him. org. tablature appeared the first graphic. badges for writing decorations. K ser. 16th century became widely used – in decomp. variants and connections – mordent, trill, gruppetto, to-rye are still among the main. instr. jewelry. Apparently, they were formed in the practice of instr. performance.

From the 2nd floor. 16th century free O. developed hl. arr. in Italy, especially in a different melodic. the richness of the solo wok. music, as well as in the violinist gravitating towards virtuosity. music. At that time in violin. music has not yet found wide application of vibrato, which gives expression to extended sounds, and the rich ornamentation of the melody served as a substitute for it. Melismatic decorations (ornements, agréments) received special development in the art of the French. lutenists and harpsichordists of the 17th and 18th centuries, for whom there was a characteristic reliance on dance. genres subjected to sophisticated stylization. In the French music there was a close connection instr. agréments with secular wok. lyrics (the so-called airs de cour), which itself was permeated with dance. plastic. English virginalists (late 16th century), prone to song thematics and its variations. development, in the field of O. more gravitated towards the diminution technique. Few are melismatic. the icons used by the virginalists cannot be accurately deciphered. In the Austrian clavier art-ve, which began to develop intensively from the middle. In the 17th century, up to J. S. Bach, inclusive, gravitations towards Italian. diminutional and French. melismatic styles. At the French musicians of the 17th and 18th centuries. it became customary to accompany collections of plays with tables of decorations. The most voluminous table (with 29 varieties of melismas) was prefaced to the harpsichord collection by J. A. d’Anglebert (1689); although tables of this kind are found to be negligible. discrepancies, they have become a kind of vernacular. jewelry catalogs. In particular, in the table prefixed by Bach to the “Clavier Book for Wilhelm Friedemann Bach” (1720), much is borrowed from d’Anglebert.

The departure from free O. towards regulated jewelry among the French. the harpsichordist was enshrined in the orc. music by J. B. Lully. However, the French the regulation of jewelry is not absolutely strict, since even the most detailed table indicates their exact interpretation only for typical applications. Small deviations are allowed, corresponding to the specific features of the muses. fabrics. They depend on the suit and the taste of the performer, and in editions with written transcripts – on the stylistic. knowledge, principles and taste of editors. Similar deviations are inevitable in the performance of the plays of the French luminary. harpsichordism of P. Couperin, who persistently demanded the exact implementation of his rules for deciphering jewelry. Franz. it was also common for harpsichordists to take diminutive ornamentation under the author’s control, which they wrote out, in particular, in variations. duplicates.

To con. 17th century, when the French harpsichordists have become trendsetters in their field, such ornaments as trill and grace note, along with melodic. function, they began to perform a new harmonic. function, creating and sharpening dissonance on the downbeat of the bar. J. S. Bach, like D. Scarlatti, usually wrote out discordant decorations in the main. musical text (see, for example, Part II of the Italian Concerto). This allowed I. A. Sheiba to believe that by doing so, Bach deprives his works. “the beauty of harmony”, because the composers at that time preferred to write out all the decorations with icons or small notes, so that in graphic. records clearly spoke harmonich. euphony of the main chords.

F. Couperin has a refined French. the harpsichord style reached its peak. In the mature plays of J.F. Rameau, a desire was revealed to go beyond the limits of chamber contemplation, to strengthen the effective dynamics of development, to apply it to music. writing wider decorative strokes, in particular, in the form of background harmonies. figurations. Hence the tendency to a more moderate use of decorations in Rameau, as well as in the later French. harpsichordists, for example. at J. Dufly. However, in the 3rd quarter. 18th century O. has reached a new heyday in production. Associated with sentimentalist trends. A prominent representative of this art. direction in music was made by F. E. Bach, the author of the treatise “The experience of the correct way to play the clavier”, in which he paid much attention to the questions of O.

The subsequent high flowering of Viennese classicism, in line with the new aesthetic. ideals, led to a more rigorous and moderate use of O. Nevertheless, she continued to play a prominent role in the work of J. Haydn, W. A. ​​Mozart and the young L. Beethoven. Free O. remained in Europe. music premier. in the field of variation, virtuoso conc. cadenzas and wok. coloratura. The latter is reflected in the romantic. fp. music 1st floor. 19th century (in especially original forms by F. Chopin). At the same time, the dissonant sound of melismas gave way to consonant; in particular, the trill began to begin preim. not with auxiliary, but with the main. sound, often with the formation of an out-of-beat. Such a harmonic and rhythmic. softening O. contrasted with the increased dissonance of the chords themselves. The unprecedented development of harmonica became characteristic of romantic composers. figurative background in fp. music with a wide coloristic. the use of pedalization, as well as timbre-colorful figurations. invoices in orc. scores. In the 2nd floor. 19th century O.’s value decreased. In the 20th century the role of free O. increased again in connection with the strengthening of improvisations. began in some areas of music. creativity, for example. in jazz music. There is a huge methodological-theoretical. Literature on the problems of O. It is generated by tireless attempts to maximally clarify the phenomena of O., “resisting” this in their improvisation. nature. Much of what the authors of the works present as strict comprehensive rules for decoding, in fact, turns out to be only partial recommendations.

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