Music (Greek lit. - the art of muses) is a type of art that reflects reality in artistic sound images. Music is a specific type of creative activity and communication between people.

The figurative systems of music make it possible to embody concepts that define social and philosophical ideas. To concretize the ideas of their works, composers resort to the synthesis of music with words (vocal and program instrumental music), stage action, dance, image (musical stage genres, film music).

Music has great cognitive, educational, and organizational significance in the life of society. As an important means of spiritual education of a person, music shapes aesthetic tastes and ideals, develops emotional sensitivity and a sense of beauty.

Musical arrangement - music accompaniment of a dramatic performance, film, circus performance, radio show, etc. There are 2 types of musical arrangement - compilation, i.e. the use of fragments from existing musical works (for example, selection of excerpts from symphonic and chamber music to accompany silent film), and composing special music.

Noise design - sound design, noises and sounds organized at a certain tempo and rhythm, used in the production of theatrical performances, films, radio and television programs. Performed using special equipment.

Theatrical music - in a broad sense, music in any theatrical performances, that is, both in musical theater productions (Opera, Ballet, Operetta, Musical Drama, Musical Comedy) and dramatic.

IN drama theater it contributes to the creation of a certain emotional atmosphere of the performance; along with other means, it recreates historical, national and local color, deepens the characteristics of characters, emphasizes turning points in the development of action, and dramatic climaxes.

In addition to the musical numbers intertwined with the stage action, relatively large instrumental plays are also used that precede the entire production or individual acts of the performance - Overture and Intermission.

LITERATURE:

Glumov A., Music in the Russian Drama Theater. Historical essays, M., 1955; Settle R., Music in the theatre, L., 1957.

Great Soviet Encyclopedia. - M.: Soviet Encyclopedia. 1969-1978.

Directing and music.

Twentieth-century theater systems are biased toward music.

In the historic year for world theater in 1898, the old principle of musical design of a performance turns out to be exhausted.

At first, Stanislavsky was simply irritated by the traditional music in the overtures and the usual polkas with castanets during the intermissions of Hamlet. A special overture was ordered for “Tsar Fyodor Ioannovich,” the first production of the Art Theater, in 1898 - and the director was not satisfied: “A wonderful symphony has come out,” but it sounds in addition to the drama, without being part of it. If earlier the composer could elevate the average drama and sometimes his “musical numbers” contained some interpretation of the play, emphasizing certain moments in it, now the art of theater has moved into a new stage.

The director feels the insufficiency and obsolescence of the old theatrical aesthetics; he needs music born of the stage, internally connected with the drama developing on the stage.

With the advent of directing, a new unity arises on the dramatic stage: subordinated to a unifying and purposeful will, the world of the performance unfolds.

Music becomes necessary for the director's theater in its broad meaning. In other words, the role of music in the microcosm of drama is potentially equal to the powerful role of music in the larger reality.

Proposing in 1906 the first Russian translation of Richard Wagner’s work “Opera and Drama” (1851), translator A. Shepelevsky insisted on its special relevance in Russia: “Life itself, the very development of art, has raised the question of the intervention of music in the drama...

“Our literary drama,” we read from Wagner, “is as far from the real one as the piano is from the symphonic singing of human voices”;

In fact, at the turn of the twentieth century, a strong movement began in the dramatic theater towards a complex, encompassing reality in the greatest possible connections, stage presentation of drama, and music should take its place in the structure of the action created by the director. The stage fabric reproduced in the performance a complex interweaving of the influences of the individual and his environment. The performance, of which music became a part, was {22} in comparison with the pre-director's theater it is thoroughly animated.

LITERATURE:

Tarshis N. A. Music of a dramatic performance. St. Petersburg: Publishing house SPbGATI, 2010. 163 p.

History of theater music.

Theater music– an active dramatic factor that has great semantic and formative significance; it is able to create a certain emotional atmosphere, emphasize the main idea of ​​the play), specify the time and place of action, characterize the character, influence the tempo and rhythm of the performance, highlight the main climaxes, and give unity to the performance with the help of end-to-end intonation development and leitmotifs. By dramatic functions the music can be in harmony with what is happening on stage (consonant musical background) or contrast with it. There is a distinction between music outside the stage action (overture, intermissions, screensavers) and within the stage. Music can be specially written for the performance or composed of fragments of already known works (compilation method of using musical material).

History of theater music goes back to the most ancient types of theater, which inherited their synthetic character from religious ritual actions. In ancient and ancient eastern drama, word, music, and dance were combined on equal terms. In ancient Greek tragedy, which grew out of the dithyramb, the musical basis was choral unison singing accompanied by instruments. In India classical theater was preceded by musical and dramatic types of folk theatrical performances. In history Chinese theater the leading role also belongs to mixed theatrical and musical performances; a unique synthesis of music and drama is carried out in one of the leading theatrical genres of the Middle Ages - zaju. In Japan, among the old types of theatrical performances, bugaku (8th century) - court performances with gagaku music - are especially notable. An important role is played by music in the theaters no (from the 14th-15th centuries), joruri (from the 16th century), and kabuki (from the 17th century). In medieval Western Europe, where the theatrical heritage of antiquity was consigned to oblivion, professional drama developed mainly in the mainstream of church art. In the 9th-13th centuries. in the Catholic Church, clergy performed Latin liturgical dramas before the altar; in the 14th-15th centuries. liturgical drama grew into a mystery play with spoken dialogues, performed outside the church in national languages. In a secular environment, music was heard during court festivities, masquerade processions, and folk performances. During the Renaissance Western European art turned to the traditions of ancient theater; Tragedy, comedy, and pastoral blossomed on new soil. They were usually staged with lush musical interludes of allegorical and mythological content, consisting of vocal numbers in the madrigal style and dances. One of the most important stages in the history of theatrical music was English theater 16th century. Thanks to W. Shakespeare and his contemporaries - playwrights F. Beaumont and J. Fletcher - stable traditions developed in the English theater of the Elizabethan era, the so-called incidental music - small inserted musical numbers that were organically included in the drama. Subsequently, a new synthetic genre was formed on English soil - ballad opera. Its creators, J. Gay and J. Pepusch, based the dramaturgy of their “Beggar's Opera” (1728) on the alternation of conversational scenes with songs in the folk spirit. In Spain The initial stage of the development of national classical drama is associated with the genres of rappresentationes (sacred performances), as well as eclogue (shepherd idyll) and farce - mixed theatrical and musical works with the performance of songs, poetry readings, dances, the traditions of which were continued in zarzuelas. In France recitatives, choruses, instrumental episodes for the classicist tragedies of J. Racine and P. Corneille were written by M. Charpentier, J. B. Moreau and others.

Conversational dialogues alternate here with recitatives, arias, and dance entrances (entries) in the traditions of the French court ballet (ballet de cour) 1st floor. 17th century

In the 18th century, the first work in the genre of melodrama appeared in France - the lyrical scene “Pygmalion” by Rousseau, performed in 1770 with music by O. Coignier.

Until the 2nd half of the 18th century, music for theatrical performances often had only the most general connection with the content of the drama and could be freely transferred from one performance to another. “The initial symphony should be connected with the play as a whole, intermissions with the end of the preceding and the beginning of the next act, the final symphony with the ending of the play. It is necessary to keep in mind the character of the main character and the main idea of ​​the play and be guided by them when composing music” (I. Sheibe ). “Since the orchestra in our plays in some way replaces the ancient choir, experts have long expressed a desire for the character of the music to be more consistent with the content of the plays; each play requires a special musical accompaniment” (G. Lessing). Soon appeared theatrical music in the spirit of new requirements, including those belonging to the Viennese classics - W. A. ​​Mozart (for the drama “Thamos, King of Egypt” by Gebler, 1779) and J. Haydn (for the play “Alfred, or the Patriot King” by Bicknell, 1796); however, the greatest impact on future fate theatrical music was influenced by L. Beethoven's music for Goethe's "Egmont" (1810), which is a type of theatrical music that generally conveys the content of the key moments of the drama. 19th century theater music developed in the direction outlined by Beethoven, but in the conditions of the aesthetics of romanticism. At the turn of the 19th and 20th centuries New trends have emerged in the approach to theatrical music. Outstanding directors of this time (K. S. Stanislavsky, V. E. Meyerhold, G. Craig, O. Falkenberg, etc.) abandoned concert-type music and demanded special sound colors, unconventional instrumentation, and the organic inclusion of musical episodes in the drama. The director's theater of this time brought to life a new type of theatrical composer, taking into account not only the specifics of the drama, but also the features of the given production. In the 20th century 2 trends interact that bring music closer to drama: the first of them is characterized by the strengthening of the role of music in dramatic performances (the experiments of C. Orff, B. Brecht, numerous authors of musicals), the second is associated with the theatricalization of musical genres (stage cantatas of Orff, Stravinsky’s “Le Noces”, theatrical oratorios by A. Honegger, etc.). The musical design of Brecht's performances serves as one of the main means of creating the effect of “alienation”, designed to destroy the illusion of the reality of what is happening on stage. According to Brecht's plan, music should consist of emphatically banal, light-genre song numbers - zongs, ballads, choruses, which have an inserted character, the verbal text of which concentratedly expresses the author's thought.

Russian theater music has a centuries-old history. In ancient times, dialogue scenes played out by buffoons were accompanied by “demonic songs,” playing the harp, domras, and whistles. In the folk drama, which grew out of buffoon performances ("Ataman", "Mavrukh", "Comedy about Tsar Maximilian", etc.), Russian songs and instrumental music sounded. The genre of Orthodox musical liturgical performance developed in the church - “Washing of the feet”, “Cave performance”, etc. (15th century). In the 17th-18th centuries. the so-called school drama(playwrights - S. Polotsky, F. Prokopovich, D. Rostovsky) with arias, choruses in church style, secular cants, laments, instrumental numbers. The Comedy Hall (founded in 1672) had a large orchestra with violins, viols, flutes, clarinets, trumpets, and organ. Starting from the time of Peter the Great, solemn theatrical performances (prologues, cantatas) based on the alternation of dramatic scenes, dialogues, monologues with arias, choruses, and ballets became widespread. Major Russians (O. A. Kozlovsky, V. A. Pashkevich) and Italian composers were involved in their design. Up to the 19th century. in Russia there was no division into opera and drama troupes; partly for this reason, mixed genres predominated here for a long time (opera-ballet, vaudeville, comedy with choirs, musical drama, drama with music, melodrama, etc.). Tragedies and dramas “set to music” played a significant role in the history of Russian theatrical music, which in many ways prepared the way for Russian classical opera of the 19th century.

New period opened in the Russian theater of the 19th century M. I. Glinka music for the drama “Prince Kholmsky” by N.V. Kukolnik, written shortly after “Ivan Susanin” (1840). In the overture and intermissions, the figurative content of the main moments of the drama is generally revealed, and the symphonic principles of post-Beethoven theatrical music are developed.

Russian theater music 2nd half. 19th century is largely connected with the dramaturgy of A. N. Ostrovsky. Expert and collector of Russian folk song, Ostrovsky often used the technique of characterization through song. His plays featured ancient Russian songs, epic chants, parables, bourgeois romances, factory and prison songs, and others.

At the turn of the 19th and 20th centuries in theatrical music there has been a deep reform. K. S. Stanislavsky was one of the first to propose, in the name of the integrity of the performance, to limit ourselves only to the musical numbers predetermined by the playwright, moved the orchestra behind the stage, and demanded that the composer “get used to” the director’s plan.

If the Moscow Art Theater limited the role of music for the sake of the integrity of the performance, then directors such as A. Ya. Tairov, K. A. Marjanishvili, P. P. Komissarzhevsky, V. E. Meyerhold, E. B. Vakhtangov defended the idea of ​​synthetic theater. Director's score for the play Meyerhold considered it as a composition built according to the laws of music. He believed that music should be born from the performance and at the same time shape it; he sought a contrapuntal fusion of musical and stage plans (he involved D. D. Shostakovich, V. Ya. Shebalin and others in the work).

In a number of modern productions there is a noticeable tendency towards the musical, for example in the performance of the Leningrad Theater. Lensovet (director I.P. Vladimirov) “The Taming of the Shrew” with music by G.I. Gladkov, where the characters perform pop songs (the function is similar to the zongs in the B. Brecht theater), or “The Chosen One of Fate” Show staged by S. Yu. Jura (comp. S. Rosenzweig). In terms of the active role of music in the dramaturgy of the play, individual productions approach the type of synthetic theater of Meyerhold ("Pugachev" with music by Yu. M. Butsko and especially "The Master and Margarita" by M. A. Bulgakov with music by E. V. Denisov at the Moscow Drama Theater and comedies on Taganka, directed by Yu. P. Lyubimov).

In the 70s 20th century Yu. M. Butsko, V. A. Gavrilin, G. I. Gladkov, S. A. Gubaidulina, E. V. Denisov, K. A. Karaev, A. P. Petrov, N. worked a lot in the field of theatrical music. I. Peiko, N. N. Sidelnikov, S. M. Slonimsky, M. L. Tariverdiev, A. G. Shnitke, R. K. Shchedrin, A. Ya. Eshpay and others.

Ukrainian theater music in the theater of the 70-90s of the XIX century.

Ukrainian theatrical process of the late XIX - early XX centuries. certifies commonality with the modernist trends of Europe.

The musical design of the performances was provided by composers N. Lysenko and K. Stetsenko.

Ukrainian music was an integral component of everyday, realistic and romantic theater, complementing its psychological action, and more clearly delineating human characters. The unique charms of Ukrainian folk songs meant a lot here.

One of famous composers XIX century there was S. Gulak-Artemovsky, an opera singer and playwright who studied at the Kyiv Theological Seminary. In 1839, M. Glinka, O. Dargomyzhsky and M. Volkonsky organized a concert and used the funds raised to send the talented young man to Italy. S. Gulak-Artemovsky's debut took place on the stage of the Florence Opera.

In the second half of the 19th century. Among Ukrainian professional composers, the work of P. Nishchinsky and P. Sokalsky is distinguished. P. Nishchinsky graduated from the University of Athens, where she received a Master of Science degree. In Odessa he organized and directed choirs. The pinnacle of his work is considered to be the musical film “Vechernitsy”, written for T. Shevchenko’s play “Nazar Stodolya”. IN late XIX century, composer Pyotr Sokalsky (1832-1896) wrote the operas “Mazepa” and “May Night” (based on the stories of N. Gogol).

One of the first professional composers in Galicia was Mikhail Verbitsky (1815-1870). In 1863, he wrote music based on the words of P. Chubinsky “Ukraine is Not Dead Yet,” which became the national anthem of Ukraine.

Made a special contribution to the development of national musical culture Nikolay Lysenko (1842-1912) – outstanding composer, pianist, choral conductor, folklorist, music theorist and teacher, founder of a professional school.

Literature:

Tairov A., Notes of a director, M., 1921;

Dasmanov V., Musical and sound design of the play, M., 1929;

Sats N.I., Music in theater for children, in her book: Our way. Moscow Theater for Children, M., 1932;

Begak E., Musical design of the performance, M., 1952;

Glumov A., Music in the Russian Drama Theater, M., 1955;

Types and genres.

Musical genre comes from French "genre", which means type, kind, type, species, manner, genus.

Classification of musical genres: musical genres are most often divided into three large groups - genres of vocal music(singing with or without instrumental accompaniment), genres instrumental music and genres vocal and instrumental music.

Vocal genres are associated with the word (romance, song), while the ideological and aesthetic content of an instrumental work (sonata, symphony) is expressed only in musical sounds. The intermediate group is the genres of vocal-instrumental music (cantata, oratorio), which combines the capabilities of vocals and instrumental music.

The concept of musical genre is used in various aspects:

wide - symphonic, chamber, opera genre, etc.;

narrow - grand opera, comic opera, lyric opera, musical drama, etc.; symphony, chamber symphony, suite;

overture; symphonic poem, sonata, quartet, etc.; aria, arioso, cavatina, romance, song, etc.

A musical genre has certain functions:

Semantic, determining the content of the work of art itself.

Communicative - functions that are associated with artistic communication and its organization.

Tectonic (structure-forming) that determine the construction of the work.

There are all sorts of ways to classify musical genres. One of the common classifications is the differentiation of genres according to the conditions of their construction and execution. According to this classification, genres are divided into:

Entertainment music (including contemporary pop music)

Chamber music (performed by chamber ensembles)

Symphonic music (performed by large orchestras)

Choral music (performed by choirs)

Theatrical music (including opera, music for plays, films, etc.)

Classical instrumental music is divided into symphonic and chamber music. Symphonic music is music intended to be performed by a symphony orchestra. The main genres of symphonic music: symphony, overture, concerto, suite, as well as symphonic poem, symphonic fantasy, divertissement, etc.

Chamber instrumental music is intended for small performers. In the past, this was the name given to music played at home. Chamber instrumental music includes sonata, trio, quartet, as well as a large number of“small chamber genres” - small instrumental pieces, including nocturne, prelude, cantilena, barcarolle, caprice, allegro, andante, etc.

folk music

Ethnic music

Russian music

Contemporary folk music

Spiritual music

Christian sacred music

Catholic music

Orthodox music

Protestant music

Classical European music

Music of the Middle Ages

Gregorian (Gregorian) chant

• Early polyphony

  Notre Dame School, France

  Notre-Dame de Paris

  Romanticism

  Expressionism

Futurism

Jazz

New Orleans jazz

Dixieland

Western swing

Contemporary popular music

• Pop music

  Minstrel show

• Music hall

Pop music

Electonic music

• Breakbeat

New School Breaks

Rock music

• Rock'n'roll

  Rockabilly

  Psychobilly

Neorocabilly

Features, classification and functions of theatrical music

Theatrical music is obliged to be laconic, concrete and equal to the simplicity behind the form.

The music for the performance may be specially written, or it may be selected from previously written works.

“Sound design” for the performance – musical, noise and sound design. Before musical design, the inclusion in the performance of vocal works, dances, instrumental songs, fragments of symphonic works, chorus - in a word, music of all genres and forms. Before noise design - inclusion in the stage performance of theatrical noises, as well as such sound ів, like screams tvarin, dzvin, etc. A secret idea, a plan for such design is called the sound crown of the performance.

Actors in theaters have embraced the orchestra, and now the dramatic actor is increasingly playing to a musical backing track. The noise design was completely eliminated, and it became possible to use bulky and not always sophisticated equipment for removing stage noise. All this has truly expanded the director’s creativity in the artistic design of the performance. theaters are always in search of new expressions and techniques - active, lively, dynamic Those who really want to capture the emotional light of everyday people.

Each piece has its own specific, genre-specific designs that require a musical musical solution. Actions and performances do not require music. And at the same time, staged in various theaters, the music acquires its own peculiarities, especially in this production. Therefore, the music of dramatic performances is subject to great difficulties tizations and classifications.

Music in a dramatic performance is divided into a number of typical types:

Overture;

Musical intermission (introduction before the scene or scene);

Musical finale to an act or performance;

Musical numbers during the stage performance.

The overture sounds at the beginning of the performance when the curtain is closed and indicates the first contact with the spectator.

Musical pieces that were first heard in the overture can be continued and developed during the course of the performance (leitmotif). Before the musical intermission, there is a pause when it is necessary to rearrange the scenery or to pause the change of paintings.

Since the overture and musical intermissions introduce the audience into the next day’s performance, they are called “endings”, and musical finales can, for example, complete the show, lead into the music already established in the performance.

The most rich role of music is that it is included directly in the course of the stage action. Based on the method of music production, music in the world is divided into two main categories.

The music that appears on the outside is the visible side of the action. This music is called stage music, as well as real, authentic, motivated, “music in the course of the story,” “from the author’s perspective,” etc. Since such music is often based on furnishings, it has been wise to call such music “plot.”

The music that is introduced into the performance by the director is brought to another category, less plot-based, and rises above it in that it sounds not in the middle of the action, but after it.

It’s hard not to physically be on stage and not to be respected here. Only the spy senses this, and the living individuals “do not suspect” about her. And such music is closely connected with the action and its active element. This music is like the inner, spiritual life of the heroes. Such music is called psychological, spiritual, emotional, lustrative, background, etc. So how do you add music to a play? introduce a director, and sometimes call it “music by a director.”

Functions of story music. The plot music of a performance, when kept in the minds of the minds, can have highly significant functions:

Characterize the active characters;

Indicate at the place and hour of the day;

Create the atmosphere and mood of the stage performance;

Tell us about the activity invisible to the peepers.

Plot music also plays an important role in characterizing the place and hour of the day. In this case, music becomes an attribute of any kind, an attribute of everyday life or historical settings, and allows you to create a unique coloring of this or another era, characterizing a group of people.

Functions of mental music. Introducing mental music into the performance is much more important than the plot. Their intelligence can become supernatural with the reality of life that is shown on stage. Therefore, mental music always evokes a powerful inner fulfillment. At the same time, the range of possibilities of such music is even wider, and it can be achieved by highly complex orchestral, as well as vocal-choral abilities. Most often, mental music is used to create an atmosphere of action and an emotional background.

In episodes with text, intellectual music can manifest itself more actively and “directly”, as if it created only a dark emotional background. Whenever a wimpy scene occurs and is prompted by dialogue, the replicas convey only part of what the characters are thinking about. Music exposes the depth of their experience and enhances their inner activity. Mental music can reveal the hero’s internal monologue. The dramatic internal monologue begins to sound after any situation, when the hero, having lost himself, evaluates them, measures them, and often experiences an emotional upheaval. This allows the music to “emerge” here in full, it helps us to understand those that are important, and sometimes tactless, to put into words. In such episodes there is an interaction with the corresponding mise-en-scène.

Mental music, as well as plot, can characterize active characters. Intellectual music makes it possible not only to highlight the characteristics of heroes, but also to find out different solutions in comedy scenes, and it acts as a result of satirical criticism and parody. Intellectual music, in a number of cases, can become an indirect and direct participant in the story, an important part of the plot development: it can also help or, for example, distort the development of the story.

1. The concept of “musical arrangement” of cultural and leisure programs

2. Classification in cultural and leisure programs

3. Functions of music in cultural and leisure programs

Musical arrangement is an integral part of the technological process of creating cultural and leisure programs.

The stage director must have a perfect command of the basics of musical knowledge, general provisions and the principles of musical design of cultural and leisure programs.

One of the important elements of the cultural and leisure program is music. She is capable of conveying with great power feelings and thoughts, various emotional states of a person. That is why knowledge of the properties of music as an expressive means, its functions in a cultural and leisure program is necessary for directors of cultural and leisure programs to organize a more effective artistic and emotional impact on the viewer through the means of musical art.

Musical arrangement - this is the inclusion of music of all genres and forms in the leisure program: vocal, instrumental, choral, fragments symphonic works, folk, brass, pop - in live sound and in the form of musical phonograms.

Classification of music in cultural and leisure programs:

1. Musical prologue - this is the initial musical section, a fragment of a song or play, a work aimed at preparing the development of the main episodes, the leisure of the event, written in the character of the entire performance or contrasting with it.

The musical prologue acts as an introduction or exposition. Its task is to gather the attention of the audience and introduce it into the general atmosphere of the event, in a certain era, environment, and prepare for the emotional perception of the content of the main section.

The peculiarity of the musical prologue - exposition - is a laconic and succinct story about the events that will be told in the main part of the event using a work of musical art or a combination of music with other means of artistic expression (word, choreography, cinema, pantomime, etc.) .

The musical prologue can be represented in the following forms:

A) overture;

b) musical - plastic poster;

c) musical and poetic composition;

d) music video- film material.

A. The most common form of musical prologue is overture.

It uses musical works, songs, dance and pop melodies, as well as individual musical phrases, chords, and call signs.

b) musical - plastic poster- synthesis of music, pantomime and choreography.

Feature - the content of such a prologue is embodied in dances and plastic movements, accompanied by music, and has a clear thematic focus and plot mood.

With). musical and poetic composition- this is the unity of words and music, possessing conciseness, capacity of content, and dramatic completeness.

The nature of the musical prologue is determined by the specifics and nature of the program.

In KVN it is a musical entrance and greeting of teams.

At holidays, carnivals, in rituals, folk festivals, the musical prologue is served by theatrical costumed processions of participants, marches and parades of brass bands, traditional rituals and parades of amateur groups and athletes at the opening of festivals and sports events. Musical themes, heard for the first time in the prologue, can be continued and developed as the program progresses.

Each cultural and leisure program consists of several interconnected episodes.

2. Musical episode - a relatively independent fragment or section of a program, the content of which is revealed using expressive means musical language. Its specificity is that it has an internal logic of construction and must be completed.

If the exposition presents the main themes or one theme, then the episode carefully develops one of them or a separate aspect of the main theme.

A musical episode is a synthesis of ready-made musical works, belonging to one or different composers in which the essence, content of a life event is concentrated, having dramatic completeness, i.e. beginning, climax and resolution.

3. Insert musical numbers are widely used in cultural and leisure programs. Insert musical number - a piece of music intended for independent performance. It could be a song, romance, instrumental composition, fragment from a musical film, etc. The specificity of musical numbers in cultural and leisure programs is that they must be related to the theme and idea and organically integrated into the plot of the program. The director’s task is to turn the song into a kind of musical story about a person’s life, his fate, feelings and thoughts.

4. Musical intermission - represents a miniature overture to the action that will unfold in the subsequent fragment of the program.

Its stage feature is that it is a kind of introduction, but also the conclusion of the previous episode, i.e. there are links between two episodes.

The intermission music is designed to maintain the tempo-rhythm of the program, to organize the thoughts and imagination of the audience, to make it a participant in the action that develops in musical images images during permutations, pauses, rebuilding.

5. Musical finals - a significant part of the cultural and leisure program, structurally separated from previous episodes, but organically connected with them for the mass performance of a musical work, the completion of the action. The musical finale carries a special meaning, summing up the thoughts and feelings that arose in the viewer; it contains the main idea of ​​the holiday, the general idea of ​​the program.

A common form of musical finale is the performance of combined orchestras, choirs, choreographic groups, etc., with activation techniques auditorium: collective singing, chanting, procession.

Music, depending on the conditions of its use, a leisure program can have a wide variety of functions:

A). One of the most important functions of music - emotional and semantic characteristics the entire program, individual fragments. It manifests itself in several directions: characterization of characters, location and time of action.

Musical characteristic images are polysemantic. Music can convey the state of the characters, their mood, character traits, inclinations, temperament, national and social affiliation of the characters.

This function musical art will help create a social portrait of the character, since, as a rule, in leisure programs they are of a generalized nature: soldier, sailor, peasant, worker or satirical images: drunkard, bureaucrat, etc. works are selected according to their characteristics.

It is especially important for performances in stadiums, streets, playgrounds, parks, etc., in which the action is resolved more plastically than verbally, since performers and spectators are often separated by a fairly large distance.

Music plays a significant role in characterizing the place and time of action. It allows you to create a certain flavor of a particular era to which the program is dedicated. The songs are a musical document of the era, because... Possessing a sense of time, he selects into himself the psychology and mood of those years when they were created.

Related information.

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• We will help you get rid of the need to deal with royalties to the authors of the compositions. We will also take this upon ourselves.

Why is the musical design of a store so important?

The buyer, crossing the threshold of the store, finds himself in a special world, the world of the brand. If he has already been there and returned again, it means that something has hooked him. Of course, this cannot be said about grocery supermarkets, where people go to buy groceries. And they do this every day. The only thing that will force them to change their usual store is the poisoning of “overdue” items or strong markups. Another thing is a clothing, household appliances and electronics store. Here, the main thing for its owner is not to evoke negative emotions among buyers. Everything helps, from friendly staff and discounts to the musical design of the hall.

Different musical accompaniments have different effects on purchasing activity. If you play calmer music, your customers will choose goods more slowly and their activity will decrease. If you choose rhythmic dance music, thereby pushing buyers to make a decision as quickly as possible.

Decorating a music room for holidays and entertainment.

Decorating a music hall for the holiday is very interesting, exciting, creative process. At the same time, this is quite complex and time-consuming work. Therefore, all kindergarten teaching staff take part in it.
We try to ensure that the interior of the music hall corresponds to the theme of the holiday and at the same time is bright, close to children's perception. To produce decorative elements, we use a variety of available and inexpensive worthwhile materials: fabric scraps, printer paper, paper for children's creativity, corrugated paper, etc. When working with paper we use different methods works: poking, protruding, origami, etc.
Autumn decoration.

Another option for autumn decoration. All decorative elements: animals, leaves, mushrooms, etc. are made of office paper folded like an accordion.

Spring decoration.

Easter holiday.
Shortly before the holiday, all teachers were asked to decorate an Easter egg to their taste. We put beautiful, elegant eggs in baskets.

Defenders of the Fatherland Day.

Eternal flame.
The eternal flame and the number 9 are made of corrugated paper using the poking method.

New Year.

A bright, elegant music hall is created for children and spectators festive mood and contributes to the development of aesthetic taste, a deeper perception of the theme of the holiday.

The music hall is a special place in kindergarten. It is here that the child’s aesthetic development mainly takes place, his meeting with the wonderful world of music and dance, and his introduction to folk festive culture. And of course, the interior of this room requires a special approach. The music hall should delight children, surprise them, and cultivate artistic taste, both on weekdays and during special events.

Purpose of a music room in a preschool institution

The music hall is educational environment for preschoolers. It is intended for conducting music lessons with students, as well as for holding festive events - matinees, leisure and entertainment.

This room in a kindergarten is usually the largest and brightest. They are trying to equip it the best way, because it's kind of business card preschool institution.

The music room is, as a rule, the largest and brightest room in a preschool educational institution.

Since mass events are held in the music hall, compliance with SanPin requirements and fire safety rules is extremely important. Indeed, in practice, they are often ignored in the pursuit of innovation and presentability. appearance. For example, due to the need to install multimedia equipment Children’s active activities are often transferred from the light part to the dark part (where there are no windows), or in pursuit of excessive comfort, the windows are darkened with heavy curtains, and the floor is completely covered with carpet, which makes wet cleaning very difficult.

Music hall zoning

According to specific features In the educational field “Music”, the space of the music hall is conventionally divided into certain zones.

1. Quiet zone. It is most significant for musical education, since it is here that children sing and listen to musical works. The quiet zone equipment includes a musical instrument (piano) and a small space where children can sit on chairs. Sometimes an easel is installed here to demonstrate visual material, a rack for children’s instruments, a table to put a model there or place a toy character. In this area it is very important to observe the principle of interaction between children and music director“eye to eye”, with preschoolers always located to the right of the teacher.
2. Active zone. This is a fairly large space for dance and rhythmic exercises, musical and movement creativity. At the same time, the music director, who is at the piano, must have the opportunity to see all the students. Since part of the active activity of preschoolers occurs while sitting or lying on the floor, it is desirable that there is a carpet in the active area (children will not feel discomfort). There is no place for voluminous furniture and decorations; shelving (if any) must be securely fastened.
3. Work zone. This space is designed for productive children's activities, which often take place in integrated music classes (music + art). Here children can express their emotions through paints, pencils, colored paper, plasticine, etc. (materials and tools are located in a special rack). This area should, of course, be equipped closer to the windows. Since such a corner is not needed at every music lesson, sometimes (especially if the hall is not very spacious) it is quickly installed immediately before it takes place.

The main zones of the music hall include the active and calm zone.

Photo gallery: main areas of the music hall

In the quiet zone, preschoolers sing songs and listen to musical compositions. The active zone is a fairly large space for dance and rhythmic exercises. In the quiet zone, a rack for musical instruments

An innovative approach to organizing the subject-developmental environment of a music hall involves installing multimedia equipment in the room. It is important for integration educational areas, makes the musical and didactic material more diverse, allows you to interest children as much as possible and form a holistic picture of the world around them.

Multimedia equipment is indispensable in an integrated music lesson

Various options for decorating a music room in a preschool educational institution, including with your own hands

Since the music room is intended for the aesthetic development of children (of course, it is inseparable from the cognitive), its interior takes on special significance.

Choosing beautiful curtains for the hall

Curtains or drapes play an important role in the design of any room.

Curtains, as a rule, are made from fairly heavy fabric. They are symmetrical and have an official, solemn appearance. Traditionally, curtains have folds, pleating, and sometimes lining (to prevent the main fabric from fading in the sun). They are often complemented by various decorative elements: lambrequin, bandeau, tiebacks, throws, decorative cornices, etc. Curtains are less strict and are a simplified version of curtains. Their upper part is always visible, not hidden by a lambrequin. It is appropriate to choose a simple string cornice for the curtains.

In a music room, curtains are especially important because they must support fabulous atmosphere, remind the children about magical worlds. Therefore, they are most often sewn in a romantic style.

Curtains should create a special creative atmosphere, remind children of wonderful unknown worlds

Curtains should not only be beautiful, but also made of safe material and easy to care for. Preschoolers should find it interesting to look at the canvas, and it is from such decorative elements that children will form an aesthetic taste and develop their imagination from an early age.

There are many design options for curtains, you just need to use a creative approach to solving this issue. In addition, this part of the interior needs to be changed periodically. One of the options is to focus on seasonality: in the fall you can choose curtains in golden, orange, red tones, in the winter - silver or turquoise, in the spring - green shades.

In any case, curtains for a music room should have an elegant and festive look.

As for the color scheme of this part of the interior, adults usually like calm and restrained shades. Also, a combination of light and dark shades, a contrasting pattern on a light background, always looks original.

Contrasting curtains always look advantageous

Since there are always many windows in a music room, it is the shade of the curtains that will determine the overall color palette of the room. Therefore, preschool employees should have an idea of ​​how different colors influence children's perception and emotional condition. This is especially true for children under 5 years of age, whose psyche is less stable than that of older preschoolers.

1. Pink color evokes a joyful mood and helps relieve stress.
2. Yellow evokes associations with warmth and comfort, care and stability. This coloring is especially useful for anxious children.
3. Green calms, but at the same time awakens curiosity and the desire to develop. It will instill confidence in the kids in their abilities.
4. Orange invigorates and stimulates vigorous physical activity. It will help overly shy and sensitive children to relax.
5. Blue is the color of composure, responsibility, and represents order (useful in terms of maintaining discipline in a music lesson).

Psychologists have proven that color has a significant impact on a person’s well-being, performance and mood - this is also relevant for a preschooler

Curtains in kindergarten should not be black, brown, purple - these colors suppress the child's psyche. It is also better not to make them pure white - children will subconsciously develop a feeling of insecurity.

We must remember that curtains should not only be stylish, but, above all, children should like them. Their tastes should definitely be taken into account. For example, a good solution is to decorate the curtains with appliqué or choose material with a mischievous pattern.

Cute little animals and daisies will cheer up kids

It would also be appropriate to use bright fittings (cornices) and lambrequins.

Lambrequin is a decorative drapery located horizontally at the top of the curtain, in the form of a short element spanning the entire width of the curtain.

Lambrequins will give the interior of a music hall a special coziness and at the same time a festive look.

Lambrequins will create a special coziness and festive look in the hall

In a music hall, curtains are often located not only on the windows, but also act as a curtain on the central wall (it is this that depicts the key theme at all holidays). With their help you can even create the effect of a real scene.

Curtains can act as a curtain in the hall, creating the effect of a real stage

Such a curtain should be made of dense and durable fabric (after all, it is often decorated with balls, appliqués, garlands, etc.). Since it will be quite heavy, it needs to be mounted on a reliable cornice.

Photo gallery: ideas for decorating curtains in the music room of a kindergarten

Interesting design of lambrequins - arcs overlap each other. Usually the windows are located in the side part of the music room, but here they are in the center. Although the use of short curtains does not involve lambrequins, here everything looks stylish and in place Green color has a calming effect on children, and orange lifts the mood. Soft blue flowers give the curtains a delicate and sophisticated look. Curtains are in harmony with the interesting design of the ceiling (protrusions)

Video: the designer gives advice on designing curtains and curtains for the stage in the music hall of a kindergarten (TV program “Useful News”)

https://youtube.com/watch?v=efqlA3OC_Vw Video can’t be loaded: Decorating the assembly hall in the Kindergarten with textiles (https://youtube.com/watch?v=efqlA3OC_Vw)

How to decorate a stand in a music hall

The musical life of kindergarten students is quite rich, especially if they are preparing for any festive event. Special thematic stands, which can be located in the music hall or near it (if the room is not too spacious), help to reflect it.

Stands are always colorfully decorated, since they perform both informational and aesthetic functions. The drawings, one way or another, are related to music: they are images of notes, instruments, treble clefs etc. Such details in the design of the music room help maintain children’s interest in the subject, help set the children in a creative mood during class, and support good mood, including teachers and parents.

The stand usually displays photographs of preschoolers participating in music competitions, children's diplomas, certificates of honor, scenes from matinees, large printed lyrics of songs and poems. The information on the stand must be changed periodically depending on events occurring in preschool institution(this can be not only a holiday, but also just a summer vacation for children, the onset of autumn, etc.).

Photo gallery: information content of music stands

The stand demonstrates the achievements of students (diplomas), brief information about musical instruments and children's photos The stand presents performances by children's groups in various bright costumes The stand contains rules for playing children's musical instruments At the stand interesting information on how to make musical instruments with your own hands The stand reflects musical life kindergarten

Today, preschool educational institutions employees can order a ready-made stand, choosing any template to their taste. Let's give some examples.

Photo gallery: ready-made stand templates

The colorful stand depicts notes and multi-colored keys. The music is depicted in the form of a lovely fairy with with a magic wand Mischievous little animals playing musical instruments will support children's interest to the subject A cartoon steam locomotive on the stand will take the children to the wonderful world of music The stand depicts a funny bear with an accordion, which will cheer everyone up A simple stand in a delicate pink and blue color scheme

Stands made by the hands of passionate teachers always look interesting. Here adults can fully unleash their creative potential. For example, you can draw the same stave or paste pictures of musical instruments. A good idea is to draw (or cut out from coloring books) literary characters, for example, the unlucky quartet from Krylov’s famous fable.

As a background for the stand, you can draw the characters from Krylov’s fable “Quartet”

Stands can be made for various holidays, for example, Victory Day, Mother's Day, New Year.

The patriotic stand features photographs of veterans and children's drawings.

The anniversary of the kindergarten can also be a reason for creativity.

The stand is prepared for the anniversary of the kindergarten

Decorating a music room for the holidays

Each holiday is a whole event in the life of a kindergarten, imbued with an atmosphere of joy. And above all, it is reflected in the design of the music room. All teachers are usually involved here, creating decorations and decorative elements with their own hands. This kind of work unites the team, creates a pre-holiday atmosphere, and develops imagination.

In order not to create complex volumetric decorations, in many kindergartens the central wall is covered with fabric neutral color(or it is simply hung at the top on an inconspicuous cornice), to which it is convenient to attach applicative elements made of paper and material. For each holiday the wall is transformed. For example, in the fall you can see a mighty oak tree with multi-colored leaves, in the winter - a window into the winter courtyard, decorated with an elegant snow pattern, in the spring - a beautiful lilac bush, etc.

For this design of the central wall, you can use the following ideas.

Photo gallery: ideas for decorating the central wall (elements are attached to fabric)

For the holiday of March 8, you can attach a beautiful tree with soft pink flowers to the wall. Elements corresponding to the theme are attached to the central wall. Paper Christmas trees, snowflakes, and a snow maiden made of fabric are attached to the wall. An image of an autumn girl in a red-orange sundress and rowan branch in hands If teachers show preschoolers a play, then the central wall also needs to be decorated accordingly

As for removable decorative elements, then it is best to hang them on safety pins; such jewelry can be stored for several years.

On the remaining walls (which are not draped with fabric) you can carefully glue balloons, rhinestones, ribbons, paper applications and even light fabric.

This design is laconic, but fully conveys spring mood women's holiday

The ceiling also requires special festive decoration. Decorations can be mounted on chandeliers. A more convenient option is to stretch a fishing line or silk thread around the perimeter of the hall and hang New Year’s rain, Christmas tree balls, snowflakes, ribbons, autumn leaves, etc. on it.

Photo gallery: ideas for decorating the ceiling for the holiday

The highlight of the design is multi-colored ribbons radiating from the center in different directions. Original idea- in the center of the ceiling there is a blue umbrella from which paper raindrops fall. Multi-colored rain resembles the northern lights

As for window decoration, for the New Year's celebration perfect option- snow-white piercings (on the Internet today you can find a huge number beautiful templates). It is good to attach bright images of fruits and ears of corn to the autumn holiday, and delicate flowers in pastel colors in spring.

The piercings on the windows perfectly convey the New Year's atmosphere

Let's look at interesting ideas that will make holidays in kindergarten more memorable.

New Year

The palette of winter decoration is cold: blue, light blue, white and silver shades. The highlight of the design can be the most important attribute of the New Year - the Christmas tree: it can be made not multi-colored, but decorated with balls only in blue and silver. The same tones are present in the rest of the decor.

The Christmas tree can be decorated modestly, but tastefully - with balls only in winter tones - blue and silver

On the central wall you can decorate a curtain exclusively from snowflakes. Of course, this is very time-consuming work, but it is worth it.

Creating a curtain of snowflakes is a very labor-intensive job.

If the chandeliers on the ceiling are quite voluminous, then this can be interestingly played up with the help of balloons and tinsel.

Decorated chandeliers look elegant and very elegant

Using a simple white fabric you can create a cozy winter meadow.

Silver snowflakes sewn onto white fabric transport viewers to a winter forest

Video: New Year's decoration of the music hall

Video: decorating a music hall for the New Year

https://youtube.com/watch?v=alf6cV-dwjU Video can’t be loaded: Decorating a music hall for the New Year (https://youtube.com/watch?v=alf6cV-dwjU)

Autumn is a wonderful colorful time of year. Therefore, you need to use bright colors when decorating a music room. Three-dimensional applications of trees, fruits, vegetables, mushrooms, and artificial tree branches are suitable. An interesting idea is to make birch trees from whatman paper and decorate them with yellow foliage (by the way, they can be used on other holidays, only decorated with snow or green leaves).

Original design idea - birch trees from whatman paper

Another great option is to focus on birds that fly to warmer climes in the fall. The draped, weightless fabric of a soft blue color will convey the movement of air.

The weightless fabric seems to transmit air vibrations when birds fly

When holding an autumn holiday, it is always appropriate to decorate the hall in the Russian style.

Autumn holidays are often held in Russian folk style, so the hall can be decorated in this way

Video: decorating a music room for the autumn holiday

https://youtube.com/watch?v=rPkxfh2SnZc Video can’t be loaded: Decorating the hall for autumn holiday in kindergarten. (https://youtube.com/watch?v=rPkxfh2SnZc)

February 23 and Victory Day

As for such patriotic holidays as February 23 and Victory Day, here the music hall is already decorated in a strict but solemn style: posters, numbers made of paper or satin ribbons, doves, fireworks, balls of blue, red and white.

The decoration of the hall for patriotic holidays should be strict, but solemn

March 8

International Women's Day is a holiday of spring, tenderness and beauty. Therefore, the music room must be decorated accordingly. Most often it is attached to the central wall big number"Eight". You can show your imagination in its design, for example, make it out of yellow balloons, symbolizing mimosa flowers.

Mimosa is a symbol of women's holiday, so you can use this image in the decoration of the hall

Other interesting idea- make a charming anthropomorphic Spring dress from delicate white and pink flowers, and hair from paper leaves.

Beauty Spring is dressed in a delicate dress made of flowers

High school graduation

Graduation is the last holiday for children in kindergarten. And the task of adults is to make it unforgettable. Most often, the hall is decorated using balloons. Of course, this design is carried out by special agencies that collect rainbows, garlands, clouds, flowers, the sun and everything else that the imagination is capable of from balloons. However, parents and preschool employees should adopt this idea: their favorite toys came to say goodbye to preschoolers. To do this, you should install a table or bench at the bottom of the central wall of the hall, on which (and around it) lay out a lot of plush toys. It looks very touching and symbolizes the children’s transition to adulthood.

Preschoolers came to say goodbye to their favorite toys

Also, at such a holiday, it would be appropriate to organize an exhibition of children's drawings or a photo exhibition about the life of a preschool institution in the music room.

The design of a music hall requires preschool employees to good taste and creative approach. After all, this place should evoke positive emotions in preschoolers; it is here that they most often come into contact with fairy tales and magic. An elegant room contributes to a deeper children’s perception of the theme of the holiday. The task of the music director and other teachers is to constantly find interesting design ideas, because the most original things and decorations can be created with your own hands.