What is the name of musical instruments, shown below?

What instruments are the soloists in these pieces of music?

1. C. Saint-Saens. “Swan” from the suite “Carnival of Animals”

2. J. Bach. "Joke" from the orchestral suite in B minor

3. N. Rimsky-Korsakov. “Flight of the Bumblebee” from the opera “The Tale of Tsar Saltan”

4. A. Lyadov. “Comic” from “Eight Russian Songs for Orchestra”

5. P. Tchaikovsky. "Waltz of the Flowers" (main theme) from the ballet "The Nutcracker"

6. N. Rimsky-Korsakov. Scheherazade's theme from symphonic suite"Scheherazade"

7. K. Saint-Saens. “Elephant” from the suite “Carnival of Animals”

8. P. Tchaikovsky. "Dance of the Sugar Plum Fairy" from the ballet "The Nutcracker"

9. S. Prokofiev. Grandfather’s theme from symphonic tale"Peter and the Wolf"

Instruments: horns, cello, clarinet, double bass, violin, bassoon, flute, piccolo, celesta.

Crossword

Horizontally. 3. Speed ​​of performance of a piece of music. 4. Brass instrument with a retractable slide tube. 5. Low male voice. 6. Correlation of sounds by length, alternation of durations. 8. The color of sound inherent in a voice or instrument. 10.A brass instrument whose name translates as “forest horn.” 12. High male voice.

Vertically. 1. Sequence of chords, their combination with each other.

2. High stringed bowed instrument. 5. Average male voice. 7.Lowest of the group stringed instruments. 9. Noise percussion instrument. 11. Woodwind instrument.

Genre(fr. genre) - This general concept, which surrounds the most essential properties and connections of the phenomena of the world of art, the totality of the formal and substantive features of the work. All existing works reflect certain conditions, while participating in the creation of a definition of the concept of genre.

Arioso- a small aria with a melody of a melodious, declamatory or song nature.

Aria- a completed episode in an opera, operetta, oratorio or cantata, performed by a soloist accompanied by an orchestra.

Ballad- solo vocal compositions, using the texts of poetic works and preserving their main features; instrumental compositions.

Ballet- view performing arts, the content of which is revealed in dance and musical images.

Blues- a jazz song with sad, lyrical content.

Bylina- Russian folk epic song-legend.

Vaudeville- a funny theatrical play with musical numbers. 1) a type of sitcom with couplet songs, romances, dances; 2) the final verse song in a vaudeville play.

Hymn- a solemn song.

Jazz- a type of improvisational dance music.

Disco — musical style with simplified melody and hard rhythm.

Invention- small musical piece, in which any original discovery in the field of melodic development and formation is essential.

Sideshow- a small piece of music performed between parts of a work.

Intermezzo- a small free-form play, as well as an independent episode in an opera or other musical work.

Cantata- large vocal instrumental piece of a ceremonial nature, usually for soloists, choir and orchestra.

Cantilena- melodious, smooth melody.

chamber music - (literally “room”). chamber works- these are either pieces for solo instruments: songs without words, variations, sonatas, suites, preludes, impromptu, musical moments, nocturnes, or various instrumental ensembles: trio, quartet, quintet, etc., where three, four, five instruments respectively participate and all parts are equally important, require careful finishing from the performers and composer.

Capriccio- virtuoso instrumental piece improvisational warehouse with an unexpected change of images and moods.

Concert- a work for one or (less often) several solo instruments and orchestra, as well as public performance musical works.

Madrigal- a small musical and poetic work of love and lyrical content in the 14th-16th centuries.

March- a piece of music with a measured tempo and clear rhythm, usually accompanying a collective procession.

Musical- a musical work that combines elements of opera and operetta; ballet, pop music.

Nocturne— in xviii — early xix V. a multi-part instrumental work, mostly for wind instruments, usually performed outdoors in the evening or at night, from the 19th century. a short lyrical instrumental piece.

Oh yeah- a solemn piece of music dedicated to some significant event or person.

Opera- a musical and dramatic work based on the synthesis of words, stage action and music.

Operetta- a musical and stage comedy work, including vocal and dance scenes, orchestral accompaniment and spoken episodes.

Oratorio- a work for soloists, choir and orchestra, intended for concert performance.

House- this is style and movement in electronic music. house is a descendant dance styles early post-disco era (electro, high energy, soul, funk, etc.) the main difference between house music is the repeated rhythm beat, usually in 4/4 time, and sampling - working with sound inserts that are repeated from time to time in music, partially coinciding with its rhythm. One of the most important modern substyles of house is progressive house.

Choir - a piece for a large singing group. choral works are divided into two large groups - with or without instrumental (or orchestral) accompaniment (a cappella).

Song- a poetic work intended for singing. its musical form is usually couplet or strophic.

Medley- a play composed of excerpts from several popular melodies.

Play- a completed musical work of small size.

Rhapsody- a musical (instrumental) work on the themes folk songs and epic tales, as if reproducing the performance of a rhapsode.

Requiem- funeral choral work (funeral mass).

Romance — lyrical work for voice with musical accompaniment.

R&B (Rhythm and Blues, English Rhythm & Blues) is a musical style of song and dance genre. originally, generalized name mass music, based on the blues and jazz styles of the 1930s and 1940s. Currently, the abbreviation rhythm and blues (English r&b) is used to refer to modern rhythm and blues.

Rondo- a piece of music in which the main part is repeated several times.

Serenade — lyrical song to the accompaniment of a lute, mandolin or guitar, performed in honor of a beloved.

Symphony- a piece of music for orchestra, written in sonata cyclic form, highest form instrumental music.

Symphonic Music- unlike chamber music, it is performed in large rooms and is intended for symphony orchestra. symphonic works are characterized by depth and versatility of content, often grand scale and at the same time accessibility of musical language.

Consonance- a combination of several sounds of different pitches sounding simultaneously.

Sonata- a piece of music consisting of three or four movements of varying tempo and character.

Sonatina- small sonata.

Suite- a work for one or two instruments from several dissimilar pieces connected by a common concept.

Symphonic Poem- a genre of symphonic music that expresses the romantic idea of ​​a synthesis of arts. A symphonic poem is a one-movement orchestral work that allows for various sources of program (literature and painting, less often - philosophy or history; paintings of nature).

Toccata- a virtuoso musical piece for keyboard instrument in fast motion and at a precise pace.

Tone- a sound of a certain pitch.

Touche- a short musical greeting.

Overture is an orchestral piece designed to serve as an introduction to opera, ballet, and drama. in their imagery and form, many classical overtures are close to the first movements of symphonies.

Fantasy- a free-form musical piece.

Elegy- a musical piece of a sad nature.

Etude- a piece of music based on virtuoso passages.

Diagnostic work on music for 6th grade

Instructions for students.

The period for performing diagnostic work is 1 lesson.

The work consists of 3 parts, including 14 tasks.

Part 1

Tasks 1-10

For each task there are three possible answers, of which only one is correct. Write the correct letter in the answer form in accordance with the number of the task.

Part 2

Tasks 11-12

Selecting the correct answer based on the correspondence between the term and its definition, the author of the music and his work.

Write the correct letter in the answer form in accordance with the number of the task.

Part 3

Tasks 13-14

13. At the end of the task there are words that must be inserted into the text according to their meaning. Write these words on the answer form.

14. A detailed explanation should be given in the answer form.

When completing assignments, you can use a draft. Please note that entries in the draft will not be taken into account when grading the work.

The points you receive for all completed tasks are summed up. Try to complete as many tasks as possible and gain greatest number points.

We wish you success!

PartI

1. Literary works that in ancient times it was customary not to tell, but to sing:

a) riddles;

b) fairy tales;

c) epics.

2. A piece of music intended to be sung without words:

a) vocalization;

c) romance.

3. Solemn state song:

c) cantata.

4. Work for symphony orchestra and solo instrument:

a) concert;

c) symphony.

5. Find the correct definition of the word polyphony:

a) translated from Greek, this word means polyphony - a type of polyphony, which is based on the simultaneous combination of two or more independent melodies.

b) a musical form consisting of repeated repetition of the main section - the refrain, with which episodes alternate.

c) a musical form consisting of a theme and its modified repetitions.

a) composer M. I. Glinka and poet W. Goethe

b) composer M. I. Glinka and poet A. S. Pushkin;

c) composer P.I. Tchaikovsky and poet A.S. Pushkin.

7. N. A. Rimsky-Korsakov wrote an opera for the 100th anniversary of A. S. Pushkin:

a) “Sadko”;

b) “Snow Maiden”;

c) “The Tale of Tsar Saltan.”

8. The St. Petersburg Conservatory is named after:

a) M.I. Glinka;

b) N. A. Rimsky-Korsakov;

c) P.I. Tchaikovsky.

9. The State Academic Chapel of St. Petersburg is named after:

a) M.I. Glinka;

b) N. A. Rimsky-Korsakov;

c) P.I. Tchaikovsky.

10. From the listed surnames, select only the surnames of Russian composers known to you:

a) K.I. Chukovsky, A.S. Pushkin, N.V. Nekrasov;

b) F. Schubert, E. Grieg, L. Beethoven;

c) V. Kikta, V. Gavrilin, S. Rachmaninov.

PartII

11. Establish a correspondence between the names of means of expression and their definitions:

12. Match the names of works and composers:

PartIII

Fill in the missing words according to their meaning:

In his diary, the artist V. Boris-Musatov writes about the interpenetration of music and painting:

“I sit at home and ask ____________________ to myself alone.

Instead of ______________ all colors are in them. I _______________________________.

My dreams are always ahead. They create whole _________________________ for me.

My thoughts are colors, my colors are __________________.”

Words: improvisation, tunes, sounds, concerts, symphonies.

Justify the choice of words and terms.

Symphonic music- musical works intended for performance by a symphony orchestra. Includes large monumental works and small plays. Main genres: symphony, suite, overture, symphonic poem.

A symphony orchestra, a large group of musicians, includes three groups of instruments: wind, percussion, and bowed strings.

The classical (pair or double) composition of a small symphony orchestra was formed in the work of J. Haydn (paired brass, timpani and string quintet). A modern small symphony orchestra may have an irregular composition.

In a large symphony orchestra (from the beginning of the 19th century), the wind and percussion groups were expanded, harps and sometimes a piano were introduced; the group of bowed strings has been numerically increased. The name of the symphony orchestra is determined by the number of instruments in each wind family (pair, triple, etc.).

Symphony(from the Greek symphonia - consonance), - a piece of music for a symphony orchestra, written in sonata cyclic form - the highest form of instrumental music. Usually consists of 4 parts. Classic type symphonies developed at the end of the 18th - beginning of the 19th centuries. (J. Haydn, W. A. ​​Mozart, L. V. Beethoven). By Romantic composers great importance acquired lyric symphonies (F. Schubert, F. Mendelssohn), program symphonies(G. Berlioz, F. Liszt).

Western European composers of the 19th and 20th centuries made an important contribution to the development of symphonies: J. Brahms, A. Bruckner, G. Mahler, S. Frank, A. Dvorak, J. Sibelius and others. Significant place occupy symphonies in Russian music: A.P. Borodin, P.I. Tchaikovsky, A.K. Glazunov, A.N. Scriabin, S.V. Rachmaninov, N.Ya. Myaskovsky, S.S. Prokofiev, D. D.Shostakovich, A.I.Khachaturyan and others.

Cyclic forms of instrumental music, - musical forms, consisting of several relatively independent parts, which together reveal a single artistic design. The sonata cyclic form consists, as a rule, of four parts - the fast 1st in sonata form, the slow lyrical 2nd, the fast 3rd (scherzo or minuet) and the fast 4th (finale). This form is typical for a symphony, sometimes a sonata, chamber ensemble the shortened cyclic form (without scherzo or minuet) is typical for a concerto or sonata. Other type cyclic form form a suite, sometimes variations (orchestral, piano), in which the number and nature of parts can be different. There are also vocal cycles (series of songs, romances, ensembles or choirs), united by a plot, words of one author, etc.

Suite(French suite, lit. - row, sequence), an instrumental cyclic musical work of several contrasting parts. The suite is distinguished from the sonata and symphony by the absence of strict regulation of the number, nature and order of parts, and by its close connection with song and dance. Suite 17-18 centuries. consisted of an allemande, chime, sarabande, gigue and other dances. In the 19th-20th centuries. orchestral non-dance suites were created (P.I. Tchaikovsky), sometimes program ones (“Scheherazade” by N.A. Rimsky-Korsakov). There are suites composed of music from operas, ballets, as well as music for theatrical productions.

Overture(French ouverture, from Latin apertura - opening, beginning), orchestral introduction to opera, ballet, dramatic performance etc. (often in sonata form), as well as an independent orchestral piece, usually of a programmatic nature.

Symphonic poem - genre of symphonic program music. A one-movement orchestral work, in accordance with the romantic idea of ​​a synthesis of arts, allowing for a variety of program sources (literature, painting, less often philosophy or history). The creator of the genre is F. Liszt.

Program music- musical works that the composer provided with a verbal program that concretizes perception. Many programmatic essays are associated with plots and images of outstanding literary works.

The word “orchestra” is now familiar to every schoolchild. This is the name of a large group of musicians who jointly perform a piece of music. Meanwhile in Ancient Greece the term “orchestra” (from which later arose modern word“orchestra”) designated the area in front of the stage where the choir was located - an indispensable participant ancient Greek tragedy. Later, a group of musicians began to be located on the same site, and it was called an “orchestra”.

Centuries have passed. And now the word “orchestra” itself has no specific meaning. Nowadays there are different orchestras: brass, folk, button accordion orchestras, chamber orchestras, pop-jazz, etc. But none of them can withstand competition with “ sonic miracle"; This is how a symphony orchestra is often and, of course, quite rightly called.

The possibilities of a symphony orchestra are truly endless. At his disposal are all shades of sonority, from barely audible vibrations and rustles to powerful thunderous peals. And it's not even about the latitude itself dynamic shades(they are available to any orchestra at all), but in that captivating expressiveness that always accompanies the sound of true symphonic masterpieces. Timbre combinations, powerful wave-like rises and falls, expressive solo cues, and fused “organ” layers of sounds come to the rescue here.

Listen to some examples of symphonic music. Remember the fairy-tale picture of the famous Russian composer A. Lyadov, “The Magic Lake,” amazing in its soulful silence. The subject of the image here is nature in its untouched, static state. The composer also emphasizes this in his statement about the “Magic Lake”: “How picturesque, clean, with stars and mystery in the depths! And most importantly - without people, without their requests and complaints - only dead nature - cold, evil, but fantastic, like in a fairy tale.” However, Lyadov's score cannot be called dead or cold. On the contrary, it is warmed by a warm lyrical feeling - reverent, but restrained.

The famous Soviet musicologist B. Asafiev wrote that in this “poetic contemplative musical picture... Lyadov’s work takes over the sphere of lyrical symphonic landscape.” The colorful palette of “Magic Lake” is made up of veiled, muffled sounds, rustles, rustles, barely noticeable splashes and vibrations. Thin openwork touches predominate here. Dynamic build-ups are kept to a minimum. All orchestral voices carry an independent visual load. There is no melodic development in the true sense of the word; like flickering highlights, individual short phrases-motifs glow... Lyadov, who knew how to sensitively “hear silence,” with amazing skill paints a picture of an enchanted lake - a smoky, but inspired picture, full of a fabulous aroma and pure, chaste beauty. Such a landscape could only be “painted” with the help of a symphony orchestra, because no instrument and no other “orchestral organism” is able to depict such a visual picture and find such subtle timbre colors and shades for it.

But here is an example of the opposite type - the finale of the famous “Poem of Ecstasy” by A. Scriabin. The composer shows in this work the diversity of human states and actions in a steady and logically thought-out development; the music consistently conveys inertia, the awakening of the will, the confrontation with threatening forces, the struggle against them. Climax follows climax. Towards the end of the poem, the tension grows, preparing a new, even more grandiose rise. The epilogue of “The Poem of Ecstasy” turns into a dazzling picture of colossal scope. Against a sparkling background shimmering with all colors (an organ is also connected to the huge orchestra), eight horns and a trumpet joyfully proclaim the main musical theme, the sonority of which reaches superhuman strength towards the end. No other ensemble can achieve such power and majesty of sound. Only a symphony orchestra is capable of so richly and at the same time colorfully expressing delight, ecstasy, and a frantic upsurge of feelings.

Lyadov's “Magic Lake” and the epilogue of “The Poem of Ecstasy” are, so to speak, the extreme sound and dynamic poles in the rich sound palette of the symphony orchestra.

Let us now turn to an example of a different kind. The second part of D. Shostakovich's Eleventh Symphony has the subtitle - “January 9th”. In it the composer talks about terrible events"Bloody Sunday". And at that moment, when the screams and groans of the crowd, gun shots, the iron rhythm of the soldier’s step merge into a sound picture of amazing strength and power, the deafening barrage suddenly ends... And in the ensuing silence, in the “whistling” whisper string instruments the quiet and mournful singing of the choir can be clearly heard. By apt definition musicologist G. Orlov, one gets the impression “as if the air of Palace Square groaned with grief at the sight of the atrocity that had taken place.” Possessing an exceptional sense of timbre and brilliant mastery of instrumental writing, D. Shostakovich was able to create the illusion of a choral sound through purely orchestral means. There were even cases when, during the first performances of the Eleventh Symphony, listeners kept getting up from their seats, thinking that there was a choir on the stage behind the orchestra...

A symphony orchestra is capable of conveying a wide variety of naturalistic effects. Yes, outstanding German composer Richard Strauss in the symphonic poem “Don Quixote,” illustrating a famous episode from Cervantes’ novel, surprisingly “visually” depicted the bleating of a herd of sheep in the orchestra. In the suite French composer C. Saint-Saëns' "Carnival of Animals" wittily conveys the cries of donkeys, the clumsy gait of an elephant, and the restless roll call of hens and roosters. The Frenchman Paul Dukas in the symphonic scherzo “The Sorcerer’s Apprentice” (written based on the ballad of the same name by V. Goethe) brilliantly painted a picture of a riotous water element(in the absence of the old wizard, the student decides to turn the broom into a servant: he forces him to carry water, which gradually floods the whole house). There is no need to even say how many onomatopoeic effects are scattered in opera and ballet music; here they are also conveyed by means of a symphony orchestra, but prompted by the immediate stage situation, and not literary program, as in symphonic works. It is enough to recall such operas as “The Tale of Tsar Saltan” and “The Snow Maiden” by N. Rimsky-Korsakov, I. Stravinsky’s ballet “Petrushka” and others. Excerpts or suites from these works are often performed in symphony concerts.

And how many magnificent, almost visual pictures of the sea elements can be found in symphonic music! Suite by N. Rimsky-Korsakov “Scheherazade”, “The Sea” by C. Debussy, overture “Silence of the Sea and Happy Sailing” by F. Mendelssohn, symphonic fantasies “The Storm” by P. Tchaikovsky and “The Sea” by A. Glazunov - list similar works very big. Many works have been written for the symphony orchestra, depicting pictures of nature or containing apt landscape sketches. Let us mention, for example, L. Beethoven’s Sixth (“Pastoral”) Symphony with its strikingly powerful image of a suddenly erupting thunderstorm, symphonic picture A. Borodin “In Central Asia”, symphonic fantasy A. Glazunov “Forest”, “scene in the fields” from the Fantastic Symphony by G. Berlioz. However, in all these works the image of nature is always associated with emotional world the composer himself, as well as the idea that determines the nature of the work as a whole. And in general, descriptive, naturalistic, onomatopoeic moments occupy a very small proportion in symphonic canvases. Moreover, program music itself, that is, music that consistently conveys a literary plot, also does not occupy a leading place among symphonic genres. The main thing that a symphony orchestra can be proud of is a rich palette of diverse means of expression, the colossal, still not exhausted possibilities of various combinations and combinations of instruments, the richest timbral resources of all groups that make up the orchestra.

A symphony orchestra differs sharply from other instrumental groups in that its composition is always strictly defined. Take, for example, the numerous pop-jazz ensembles that now exist in abundance in almost all corners globe. They are not at all similar to one another: the number of instruments varies (from 3-4 to two dozen or more) and the number of participants. But the most important thing is that these orchestras are not similar in their sound. Some are dominated by strings, others by saxophones and brass. wind instruments; in some ensembles the leading role is played by the piano (supported by drums and double bass); to pop orchestras various countries includes national instruments, etc. Thus, in almost every pop orchestra or jazz, they do not adhere to a strictly defined instrumental composition, but freely use combinations of various instruments. Therefore, the same piece sounds differently in different pop-jazz groups: each of them offers its own specific treatment. And this is understandable: after all, jazz is an art that is fundamentally improvisational.

There are different brass bands. Some consist solely of brass instruments(with mandatory inclusion of drums). And most of them cannot do without woodwinds - flutes, oboes, clarinets, bassoons. Orchestras also differ from each other folk instruments: the Russian folk orchestra is not like the Kyrgyz one, and the Italian one is not like folk orchestras Scandinavian countries. And only a symphony orchestra - the largest musical organism - has a long-established, strictly defined composition. Therefore, a symphonic work written in one country can be performed by any symphony ensemble in another country. Therefore, the language of symphonic music is truly an international language. It has been used for more than two centuries. And he doesn't age. Moreover, nowhere else are there as many interesting “internal” changes as there are in a modern symphony orchestra. On the one hand, often replenished with new timbre colors, the orchestra becomes richer every year, on the other hand, its main skeleton, formed back in the 18th century, emerges more and more clearly. And sometimes composers of our time, turning to such an “old-fashioned” composition, once again prove how great its expressive capabilities still are...

Perhaps for none of them musical groups There is not so much wonderful music created! Among the brilliant galaxy of symphonic composers shine the names of Haydn and Mozart, Beethoven and Schubert, Mendelssohn and Schumann, Berlioz and Brahms, Liszt and Wagner, Grieg and Dvorak, Glinka and Borodin, Rimsky-Korsakov and Tchaikovsky, Rachmaninov and Scriabin, Glazunov and Taneyev, Mahler and Bruckner, Debussy and Ravel, Sibelius and R. Strauss, Stravinsky and Bartok, Prokofiev and Shostakovich. In addition, the symphony orchestra, as is known, is an indispensable participant in opera and ballet performances. And therefore, to the hundreds of symphonic works we should add those fragments from operas and ballets in which the orchestra (and not soloists, choir or just stage action) plays a primary role. But that's not all. We watch hundreds of films and most of them are “sounded” by a symphony orchestra.

Radio, television, CDs have firmly entered our lives, and through them - symphonic music. In many cinemas, small symphony orchestras play before screenings. Such orchestras are also created in amateur performances. In other words, out of the huge, almost immense ocean of music that surrounds us, a good half is in one way or another connected with symphonic sound. Symphonies and oratorios, operas and ballets, instrumental concerts and suites, music for theater and cinema - all these (and many other) genres simply cannot do without a symphony orchestra.

However, it would be wrong to assume that any musical composition may be performed in an orchestra. After all, it would seem that knowing the principles and laws of instrumentation, every competent musician can orchestrate a piano or some other piece, that is, dress it in a bright symphonic outfit. However, in practice this happens relatively rarely. It is no coincidence that N. Rimsky-Korsakov said that instrumentation is “one of the aspects of the soul of the composition itself.” Therefore, already thinking about the idea, the composer counts on a certain instrumental composition. Therefore, both light, unpretentious pieces and grandiose, large-scale canvases can be written for a symphony orchestra.

There are, however, cases when a composition receives a second life in a new, symphonic version. This is what happened to the genius piano cycle M. Mussorgsky's “Pictures at an Exhibition”: it was masterfully orchestrated by M. Ravel. (There were other, less successful attempts to orchestrate Pictures at an Exhibition.) The scores of M. Mussorgsky’s operas “Boris Godunov” and “Khovanshchina” came to life again under the hands of D. Shostakovich, who carried out their new orchestral edition. Sometimes in creative heritage the composer, two versions of the same work coexist peacefully - solo-instrumental and symphonic. There are few such examples, but they are quite interesting. Ravel's Pavane exists in both piano and orchestral versions, and both live on equal terms. concert life. Prokofiev orchestrated the slow movement of his Fourth piano sonata, making her independent, purely symphonic work. Leningrad composer S. Slonimsky wrote vocal cycle"Songs of the Freemen" on folk texts; This work also has two versions of equal artistic significance: one is accompanied by piano, the other is accompanied by orchestral accompaniment. However, most often, when a composer sets to work, he has a good idea of ​​not only the idea of ​​the composition, but also its timbre embodiment. And genres such as symphony, instrumental concert, symphonic poem, suite, rhapsody, etc., are always closely connected with the sound of a symphony orchestra, one might even say, inseparable from it.