Surely you have read, heard and, perhaps, even used this phrase yourself in different combinations – “Celtic music”, “Celtic music” and even “traditional Celtic music”, “folk Celtic music”, “funny Celtic dances”, “Ancient Celtic chants”, etc. etc. The phrase itself is very, very popular, but what kind of music is actually hidden behind it, no one can really explain. “Celtic music” can be fully electronic ambient with tracks like “Sacred Stonehenge and eighteen druids in a circle”, Latin American with electronic bagpipes, aggressive punk rock, violins, pipes and harmonica of funny drunk Irish men. Can you imagine how much everything fits into one definition? And after all, this is far from everything, you can fit anything into the “Celtic music”, even though the gloomy unstable mooing of the neruids, circling, holding hands, around the sacred bush. The musical genres described today by the word “Celtic music” can be divided into two categories: Continue reading
Style is the sum of all the elements and techniques used in music, its “final” look. The concept of style includes harmonic, melodic, polyphonic and rhythmic material, methods of its use, as well as the form, instrumentation and other factors that determine the nature of a musical work, the impression it makes on the listener. Styles are usually classified by composer and by era. For example, we can talk about the “Bach style”, referring to the harmonic, melodic, polyphonic, rhythmic and other material that is characteristic of most of Bach’s works; In comparison with this norm, the features, for example, “Beethoven’s style” are more pronounced. In addition, Bach was one of the largest composers of the 18th century. and in many ways reproduced the norms that were characteristic of other authors of that era, so we can talk about the “18th century style”, meaning “the style of most composers of this time, including Bach”. Continue reading
Genre (from French genre – genus) is a historically established division, the type of work in the unity of its form and content. They differ in the way of performance (vocal, vocal-instrumental, solo), purpose (applied, etc.), content (lyrical, epic, dramatic), place and conditions of performance (theater, concert, chamber, film music, etc.).
Historical song, aria, romance, cantata, opera, march, waltz, prelude, sonata – all these are examples of various musical genres. Each of them combines many works. Waltzes, for example, were written by almost all composers of the 19th – 20th centuries. Thus, a genre is a certain type of musical work within which an unlimited number of compositions can be written. Genres differ from each other in features of content and form, and these differences are Continue reading
Rondo (from French rondeau – “circle”, “movement in a circle”) is a musical form in which repeated (at least 3) conducts of the main theme (refrain) alternate with episodes that differ from each other
A – B – A – C – A – … – A
An unchanging main theme – refrain – is like a chorus, side themes – episodes – are, by sense, tunes. The number of episodes can be from two or more (as indicated by points in the scheme). Rondo is an old form. It comes from round dance songs with a refrain, which was repeated without change, and only the verses were updated in the refrain, but not the melody (A B A B1 A B2 A … A). In professional music, this is one of the most common forms. In medieval France, troubadours and trouvers composed rondo in the form of poetry and music. Medieval musical and poetic rondos have a special structure that does not Continue reading
Overture (from French ouverture, introduction) in music is an instrumental (usually an orchestral) play performed before the start of any performance – a theater performance, opera, ballet, motion picture, etc., or a one-part orchestra piece, often owned to program music.
Overture prepares the listener for the upcoming action.
The tradition of announcing the beginning of the performance with a short musical signal existed long before the term “overture” was entrenched in the works of first French and then other European composers of the 17th century. Until the middle of the 18th century Overtures were composed according to strictly defined rules: their lofty, generalized music usually had no connection with the subsequent action. However, the requirements for the overture gradually changed: it was increasingly subordinated to the general artistic design of the work.
What is an Overture (Overture) Continue reading