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МІНІСТЕРСТВО ОСВІТИ І НАУКИ УКРАЇНИ,МОЛОДІ ТА СПОРТУ УКРАЇНИ
НАЦІОНАЛЬНИЙ ПЕДАГОГІЧНИЙ УНІВЕРСИТЕТ
імені М.П.ДРАГОМАНОВА
РЕФЕРАТ
для складання вступного випробування до магістратури зі спеціальності 6.020204 «Музичне мистецтво»
Тема: «Музика»
Виконала
Бєлєнко Олександра Анатоліївна
Київ-2013
MINISTRY OF EDUCATION AND SCIENCE OF UKRAINE, YOUTH AND SPORT OF UKRAINE
DRAGOMANOV NATIONAL PEDAGOGICAL UNIVERSITY
REPORT
Topic: «Impressionism in Music»
Performed by
Belenko Olexandra Anatoliyna
Kyiv-2013
CONTEXT
INTRODUCTION………………………………………………………………3
1.ORIGIN OF IMPRESSIONISM……………………………………………..8
2. STYLE FEATURES…………………………………………………………8
3. REPRESENTATIVES OF IMPRESSIONISM IN MUSIC…………………8
CONCLUSIONS……………………………………………………………….8
BIBLIOGRAPHY………………………………………………………………6
INTRODUCTION
Musical Impressionism ( Fr. impressionnisme, from Fr . Impression - an impression ) - musical direction analogous to impressionism in painting and parallel symbolism in literature , formed in France in the last quarter of the XIX century - beginning of the XX century , especially in the work of Erik Satie, Claude Debussy and Maurice Ravel. These three composer most clearly present for Impressionism in music. In their piano and orchestral pieces, sketches with special modal and harmonic originality expressed feelings induced by the contemplation of nature. The noise of the surf, rippling brook, the rustling of the forest, the morning chirping birds blend into their works with a deeply personal experiences musician-poet in love with the beauty of the world. Both of them loved folk music - French, Spanish, Oriental, admired her unique beauty.
The aim of work is investigate theoretical material and to study musical works on this theme.
To achieve the aim we have defined such tasks:
1.To analize and to learn the theoretical material on the topic.
2. To describe origin of impressionism
3.To open the style feautres
1.ORIGIN OF IMPRESSIONISM
The starting point of " Impressionism " in music can be considered the year 1886-1887 , when in Paris published the first impressionistic pieces of music by Eric Satie ( "Sylvia" , "Angels " and " Three sarabande ") - and as a result, five years later, received the response in professional environment first works of Claude Debussy in the new style (especially " The Afternoon of a Faun ").
Musical impressionism as a precursor to a first in the French impressionism painting. They are not only common roots , but also the cause-and- effect relationship . And the main impressionist in music , Claude Debussy, and especially Erik Satie , his friend and predecessor in the way, and who took the baton of leadership from Debussy , Maurice Ravel, sought and found not only similar , but the means of expression in the works of Claude Monet, Paul Cézanne , Puvis de Chavannes, and Henri de Toulouse- Lautrec .
By itself, the term " Impressionism " in relation to music is emphasized conditional and speculative nature (in particular, has repeatedly protested against itself Claude Debussy, however, does not offer anything specific in return .) It is clear that the means of painting associated with vision and the means of music based mostly on hearsay , can be linked to each other only by means of special , thin associative parallels that exist only in the mind. Simply put, the blurred image of Paris " in the autumn rain " and similar sounds, " the muffled noise of the falling drops " in themselves tend artistic image , but not the actual mechanism. Drawing analogies between the means of painting and music are only possible by means of the personality of the composer, experienced the personal influence of artists and their paintings. If an artist or composer denies or does not recognize such links , then talk about them is at least difficult. However, in front of us as an important artifact has the recognition and ( most importantly ) works themselves protagonists of musical impressionism . Others clearly expressed this idea is Erik Satie, constantly focused on the fact how many people in his work, he is obliged to artists. He attracted Debussy originality of his thinking , independent, earthy character and acerbic wit , not sparing absolutely no authority. Also , Debussy, Satie interested in their innovative piano and vocal works written bold , but not quite a professional hand. [1 ] Here , here are the words with which in 1891 Satie addressed his newfound friend, Debussy, prompting him to go to the formation of a new style :Muvis de Chavannes (1879 ) , " Women on the shore of the Sea" (a favorite picture of Sati in his youth).But if Sati deduced its transparent and rather niggardly by means of symbolic impressionism painting of Puvis de Chavannes , the Debussy (through the same Sati ) experienced the creative influence of the more radical Impressionist Claude Monet and Camille Piscaro .
One needs only to list the names of the most striking works of Debussy and Ravel, to get a complete picture of the impact on their work as visual images , landscapes and Impressionist art . So , Debussy for the first ten years, wrote "Clouds ", " Prints " ( most of which are shaped , water-color sketch sound - "Gardens in the Rain "), "Images " ( the first of which , one of the masterpieces of Impressionism piano , " Reflections on the water " causes direct association with the famous canvas of Claude Monet's" Impression : Sunrise") ... In the famous words of Mallarme , impressionist composers learn to" hear the world ", to transfer to the sound of the water , the oscillation of leaves, the wind blowing and the refraction of sunlight in the evening air . Symphonic Suite "Sea from sunrise until noon ," sums up in a dignified manner landscape sketches Debussy .
Despite the often publicized personal rejection of the term " Impressionism ", Claude Debussy repeatedly spoken like a true Impressionist painter. So , speaking of the earliest of his famous orchestral works , "Nocturne" , Debussy acknowledged that the idea of the first ( "Clouds" ) came to him in one of the cloudy days , when he watched from the bridge over the Seine Concorde ... As As the procession in the second part (" Festivals "), that this idea was born to Debussy : " ... at the sight of passing away of equestrian squad of soldiers of the Republican Guard , helmets which sparkled under the rays of the setting sun in the clouds ... gold dust " [4 ] . Similarly, the writings of Maurice Ravel and can serve as a kind of physical evidence of direct links from painting to music that existed within the flow of impressionists. The famous "Playing water" cycle of plays "Reflections" , the piano book " Rustles Night" - this list is not complete and it goes on. Somewhat apart , as always, Satie one of the works that could be called , in this regard , it is perhaps - " Heroic prelude to the gates of heaven."
The world around impressionism in music through a magnifying glass reveals subtle psychological reflections , subtle sensations born contemplating taking place around minor changes . These features make related impressionism with other existing parallel artistic trend - literary symbolism. First turned to the works of Joseph Peladana Erik Satie . A little later work Verlaine , Mallarmé , and Louis - especially Maeterlinck found direct implementation in the music of Debussy , [5 ] Ravel and some of their followers.
Ramon Casas ( 1891), "Monetary mill"
Despite the obvious novelty of the musical language in Impressionism often recreated some of the expressive techniques of the art of the previous time, in particular , the music of French Harpsichord XVIII century Rococo era . It would be necessary only to recall such famous iconic plays Couperin and Rameau, as "Little windmills "or" Chicken ".[6]
style Features
The Impressionists created works of art and sophisticated at the same time clear on the expressive means , emotionally restrained, and strict conflict-free (pure ) in style. At the same time has changed and the treatment of musical genres. In the field of symphonic and piano music created mainly software miniatures, cycles (return to Rococo ) , which is dominated by colorful, genre or landscape beginning.
Has become much richer timbre and harmonic coloration that. Impressionist harmony is characterized by a sharp increase of color , a self-contained component of sound. This development took place under the influence of a number of external influences, including French folk music and new to Western Europe in the late XIX century building music systems , such as the Russian music , Gregorian chant , the church of the early Renaissance polyphony , the music of the East , Negro spirituals and other U.S. This reflected in particular in the use of natural and artificial modes , the elements of the modal harmony, "wrong" parallel chords , etc.The instrumentation is characterized Impressionist reducing the size of the classical orchestra, transparency and timbral contrast , the division of groups of instruments , fine texture and detailed study of the active use of clean tones as solo instruments or entire peer group . [6 ]
2. REPRESENTATIVES OF IMPRESSIONISM IN MUSIC
Chief among the emergence and existence of musical impressionism constantly remained in France, where the same opponent played by Claude Debussy , Maurice Ravel, 1910 after remaining virtually the sole head and leader of the Impressionists. Erik Satie, speaking as a pioneer of style, by their nature, are not able to advance in active concert practice and, since 1902 , openly declared himself not only in opposition to Impressionism , but also founded a number of new styles, not only opposed , but hostile to him. What is interesting , in such a situation for another ten or fifteen years Satie remained a close friend , a friend and rival of both Debussy and Ravel, "officially" taking up the post of "Baptist " and the founder of this style of music. Equally, and Maurice Ravel, despite the very difficult and sometimes even openly disputed personal relationship with Erik Satie, never tired of repeating that the meeting with him was crucial for him and repeatedly stressed how much in his work, he is obliged to Erik Satie . Literally at every opportunity, Ravel and repeated it himself Satie " in your face" than a lot of surprised this conventional " bumbling genius and the herald of the new era ". [ 10 ]
In 1913, Maurice Ravel was officially "open" work virtually unknown to the general public by the French composer Ernest Fanelli ( 1860-1917 ) , a pupil of Delibes and, incidentally , a fellow student at the Conservatory Claude Debussy . Caught in a distressed financial situation , Fanelli was forced to quit before the term training at the conservatory and then for twenty years as an accompanist and humble scribe notes. He created in 1890 an unusually colorful " Pastoral experience " for orchestra and fine " Humoresque " ahead of such experiments Debussy for five to seven years, however, before the opening of Ravel they were not performed and were virtually unknown to the general public. [ 11]
Followers of musical impressionism of Debussy were French composers of the early XX century - Florent Schmitt , Jean - Jules Roger- Ducasse , Andre Caplet and many others.Before others experienced the charm of the new style of Ernest Chausson , who was friendly with Debussy and in 1893 he became acquainted with the first sketches of " Afternoon of a Faun " from the hands, in the author's performance on the piano. Recent works Chausson clearly bear the traces of the impact only conceives of Impressionism - and one can only wonder what might look like later works of this author, even though he lived a little longer. Following Chausson - and other vagneristy , members of the Circle of Cesar Franck experienced the influence of the first impressionist experiments. So , and Gabriel Pierne , and Guy Roparts and even the most orthodox vagnerist Vincent d'Indy ( first performer of Debussy's orchestral works ) in his work gave full tribute to the beauty of impressionism. Thus Debussy (as if an afterthought ) still prevailed over his former idol - Wagner, and the powerful influence which he has overcome so hard ... The strong influence of the earliest examples of Impressionism experienced the venerable master such as Paul Dukas , and in the period up to first World war - Albert Roussel , already in his second Symphony ( 1918 ), who quit in his work from impressionistic tendencies to the dismay of their fans. [12 ]
At the turn of the XIX-XX centuries, the individual elements of the style of impressionism were developed in other composers' schools in Europe , originally intertwined with national traditions . Of similar examples can be called as the most striking : in Spain - Manuel de Falla , in Italy - Ottorino Respighi , Brazil - Heitor Villa- Lobos, in Hungary - an early Bella Bartok , England - Frederick Delius , Cyril Scott , Ralph Vaughan Williams, Arnold Bax and Gustav Holst , Poland - Karol Szymanowski , in Russia - an early Igor Stravinsky - ( the period of " The Firebird ") , a late Ljadov , Mikalojus Konstantinas Tchurlenis and Nikolai Tcherepnin .
In general, it should be recognized that the life of this musical style was rather short even for a fleeting XX century. The first traces of waste from the aesthetics of musical impressionism and the desire to expand the scope of its forms of musical thinking can be found in the works of Claude Debussy himself after 1910. [13 ] As the pioneer of a new style of Eric Satie - that the earliest, after the premiere of " Pelleas "in 1902 , he strongly leaves growing ranks of Impressionism, and after another ten years - to organize the criticism and opposition to direct opposition to this current . By the early 30 's of the XX century, Impressionism was already old-fashioned, turned into a historical style and completely gone from the arena of contemporary art solution ( as some colorful elements) - in the works of the masters completely different stylistic trends (for example , the individual elements of impressionism can be identified in the works of Olivier Messiaen , Toru Takemitsu , Tristan Murail , etc.)
CONCLUSIONS
Impressionism is one of the most important trends in culture and art of the 19th century, the main representatives of which were Maurice Ravel, Erik Satie and Claude Debyussi.This direction is very unusual timbre goes, this pedal technique, original combinations of harmonies, the music is full of mystery and mission.
BIBLIOGRAFY
1.Schneerson , the French music of the XX century . - M: Music , 1964 . - S. 23.
2. Erik Satie, Yuri Hanon Memories hindsight. - St. Petersburg. : Center of Central Music & Faces of Russia , 2010 . - S. 510. - 682 . - ISBN 978-5-87417-338-8
3. Erik Satie. Ecrits. - Paris: Editions champ Libre, 1977 . - S. 69.
4. Emile Vuillermoz. Claude Debussy. - Geneve, 1957 . - S. 69.
5. Claude Debussy . Selected Letters (edited by A.Rozanov ) . - L.: Music , 1986 . - S. 46.
6. Go to: January 2 , edited by Keldysh . Music encyclopedia . - Moscow: Soviet Encyclopedia , 1990 . - S. 208.
7. Schneerson , the French music of the XX century . - M: Music , 1964 . - S. 22.
8. Vincent d'Indy. Richard Wagner et son influence sur l'art musical francais. - Paris, 1930- S. 84.
9. S. Volkov Cultural History of St. Petersburg. - The second. - M.: " Eksmo ", 2008. - S. 123. - 572 p. - 3000 copies. - ISBN 978-5-699-21606-2
10. Compiled by Gerard M. and R. naughty . Ravel in the mirror of his letters . - L.: Music , 1988 . - S. 222.
11. Compiled by Gerard M. and R. naughty . Ravel in the mirror of his letters . - L.: Music , 1988 . - S. 220-221 .
12. Schneerson , the French music of the XX century . - M: Music , 1964 . - S. 154.
13. Filenko G. French music of the first half of the XX century. - L.: Music , 1983 . - S. 12