Solfeggio |

Solfeggio, solfeggio

Italian solfeggio, hence the name music G and F sounds

1) Same as solmization.

2) Uch. subject included in the cycle of music-theoretical. disciplines. The purpose of S. is the education of hearing, awareness of the elements of music. speeches and their role in music. prod. S. is designed to develop melodic. and harmonic. memory, idea of ​​rhythmic. music ratios. sounds, about timbre, about certain elements of music. forms, etc. Music. The material on which the education of hearing is carried out is specially created exercises or excerpts selected from the arts. liters. The page includes three osn. forms:

a) solfegging, i.e. singing melodies with the pronunciation of names. sounds, as well as the performance of one-headed. and polygon. singing exercises (scales, intervals, chords, etc.),

b) music. dictation,

c) auditory analysis. All these forms represent a single complex of logically consistent exercises and are used in interaction, contributing to harmony. the development of the musician’s ear.

In the owls uch. establishments use a system of fixed, i.e. absolute, sounding to. There are other systems, including the relative (moving to), digital. The absolute system is based on the study of mode and key, the user of it must accurately imagine the steps of the mode in a given key. At the rate of S. there is an extensive methodology. and uch. lit. Outstanding musicians from France, Germany, Italy, the USA, Hungary, Bulgaria, Poland and other countries made a valuable contribution to the development of this discipline. Among the Russian and Soviet musicians who worked fruitfully in this area are K. K. Albrecht, N. M. Ladukhin, A. I. Rubets, M. G. Klimov, P. N. Dragomirov, V. V. Sokolov, I. I. Dubovsky, N. I. Demyanov, V. V. Khvostenko, A. L. Ostrovsky, S. E. Maksimov, B. V. Davydova, D. A. Blum, B. K. Alekseev, etc.

3) Spec. vocal exercises, ch. arr. with accompaniment of fp., which are performed in vowels and serve to develop the voice of the vocalist. In the USSR they are called. vocalizations.

4) The name of the piece for the clavier by F. E. Bach, the piece for voice with piano. R. Shchedrin.

References: Albrecht K. K., Course of solfegy, M., 1880; Dragomirov P. N., Textbook of solfeggio, M.-P., 1923; Ladukhin N. M., Solfeggio course in 5 parts, M.-P., 1923, reprinted. M., 1938; his own, A thousand examples of musical dictation for 1, 2 and 3 voices, M., 1959; his own, Two-part solfeggio in the keys “to”, M., 1966; Sokolov Vl., Collection of examples from polyphonic literature, Moscow, 1933; his own, Primary solfeggio, M., 1945; his own, Polyphonic solfeggio, M., 1945; Sposobin I. V., Collection of solfeggio by various authors. For 2 and 3 voices, parts 1-2, M., 1936; Klimov M. G., Initial solfeggio, M., 1939; Dubovsky I.I., Methodological course of monophonic solfeggio for music schools, M., 1938; Khvostenko V. V., Solfeggio (monophonic) based on the melodies of the peoples of the USSR, vol. 1-3, M., 1950-61; Ostrovsky A. L., Essays on the methodology of music theory and solfeggio, L., 1954, 1970; his own, Solfeggio Textbook, no. 1-4, L., 1962-78 (Issue 2 was written jointly with B. A. Nezvanov); Litsvenko I. G., Course of polyphonic solfeggio, vol. 1-3, M., 1958-68; Ostrovsky A. L., Nezvanov B. A., Solfeggio Textbook, vol. 2, L., 1966; Agazhanov A.P., Four-part dictations, M., 1961; his own, Solfeggio course, no. 1-2, M., 1965-73; Agazhanov A.P., Blum D.A., Solfeggio in the keys “to”, M., 1969; them, Solfeggio. Examples from polyphonic literature, M., 1972; Davydova E.V., Methods of teaching musical dictation, M., 1962; Alekseev B.K., Harmonic Solfeggio, M., 1975; Questions of methods of education of hearing, Sat. Art., L., 1967; Muller TP, Three-part dictations, M., 1967; Maksimov S. E., Singing system, M., 1967; Alekseev B., Blum D., Systematic course of musical dictation, M., 1969; Education of musical ear, Sat. Art., M., 1977.

A. P. Agazhanov