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| Àíãëèéñêàÿ ìóçûêàÀíãëèéñêàÿ ìóçûêàCulture is one of the most important components, which form every nation. It is one occurrence that distinguishes and unites all the people who live in the world. But it is impossible to imagine the culture without music, a very big part of our life. Every nation has one’s own music and I think that inside music are concluded all peculiarities of the nation, it is contain the key for understand the soul of people. When I was associated with foreigners (they were Americans) I noted
that they liked our folk music, they frequently listened it and each of
them had without fail an audiocassette with Russian folk music. They told
me about the most popular in United States Russian singers and composers. On the contrary we know nothing about American folk and classical music and I would like to discuss about it. By my opinion a serious study of American music is arrestingly
important at this time. Music has become on of American leading industries There are many signs of an awakened interest in American composition. We could imagine a pattern, which would include Billings, Harris and I would like to tell about my three favorites American composers. George Gershwin was born in Brooklyn on September 25, 1989. He was by
no means a prodigy, and his musical education was spasmodic. He took
lessons at the piano and later studied harmony. In his teens, he acquired a
job as song plugger at one of the largest publishing houses. Before long he
was writing songs of his own; and in 1919, he was the proud present of a In 1924, he composed his first serious work in the jazz idiom, the
historic “Rhapsody in Blue” the success of which made Gershwin famous
throughout the world of music. After that he divided his activities between
writing popular music for the Broadway stage (and later for the Hollywood
cinema) and serious works for concert hall consumption. In both fields, he
was extraordinary successful and popular. He died in Hollywood on June 11, It is mainly since Gershwin’s death that complete awareness of his
musical importance has become almost universal. The little defects in his
major works – those occasional awkward modulations, the strained
transitions, the obscure instrumentation – no longer appear quite so
important as they did several decades ago. What many did not realize then
and what they now know – is that the intrinsically vital qualities of That he had a wonderful reservoir of melodies was, of course, self- evident when Gershwin was alive. What was not quite so obvious then was that he had impressed his identity on those melodies – his way of shaping a lyric line, his use of certain rhythmic phrases, the piquant effect of some of his accompaniments – so that they would always remain recognizably his. Other my favorite American composers is Roy Harris. Few American composers of XX century and our time have achieved so personal a style as Roy Harris. His music is easily identified by many stylistic traits to which he has doing through his creative development: the long themes which span many bars before pausing to catch a breath, the long and involved development in which the resources of variation and transformation are utilized exhaustively, the powerfully projected contrapuntal lines, the modal harmonies and the asymmetrical rhythms are a few of the qualities found in most Harris’s works. Through Harris has frequently employed the forms of the past Such moods as noisy ribaldry, sadness, groping earnestness are caught in Harris’s music, and to these moods are added other American qualities; youthful vigor, health, optimism and enthusiasm. Harris was born in the Lincoln country, Oklahoma, on February 12, I guess, we know nothing about American folk music excepting jazz-
singers and composers. The sole and the most famous of them is Louis Anyone who has ever read a history book on jazz knows that there’s a connection between jazz, spiritual music, work songs and the blues. But often historians don’t explain this relationship clearly enough. The phrasing of the arrangements for the brass and read sections in big jazz bands are of course a direct inheritance from the preacher’s call and the parishioner’s customary response in church. The some is true for today’s funky songs, which derives from gospel. But all this illuminates only specific styles without saying anything about the antecedence and legacy of jazz in general. This album introduces some aspects of this history and by my opinion is the best album of Louis Armstrong. During the first three years of his recording career, Louis Armstrong
played blues and stomps. In fact, that was what he recorded in his very
first session with king Oliver in 1923. Then same rhythmical airs and other
hits of that era were added. During those years his technique and musical
concepts acquired such a degree of substance and affluence that he became
the first jazz virtuoso. Beginning with the late 20’s he added a new kind
of melody to his repertoire: the “ballad”. In these interpretations another
side of his talent unfolded, incorporating a whole series of standards into
his jazz repertoire. Standards refer to themes taken up by all musicians. On My Way in this volume obviously belongs to the blues, which are
most commonly known in the 12 measures from today. One stanza, musically of
four measures – iambic pentameter in prosody – the stanza is repeated and
finally a third stanza which rhymes with the first, completing the couplet. A jazz musician playing spirituals? In a sense that Louis Armstrong has been doing all along. A few other features need to be painting out. The second chorus in In This Train there is so-called stop-time interlude, which Louis But for me Louis Armstrong’s greatest talent is the way he handles the exposition of a melody. The trumpet solo in Swing low, Sweet Chariot and down By the Riverside sow what I mean. Of course his play is forceful and convincing. But there are suspensions; almost imperceptible melodic changes showing his offbeat rhythm. All this will immediately and most directly bring out the melody, enhancing it to a point of opening up new vistas that might otherwise have gone unnoticed. The arrangements are by Sy Oliver who was also the musical director. As for pop American music I believe that since death of Frank Sinatra
in the U.S have not anyone real pop-singer. By my opinion “Sinatra was Frank Sinatra has been called the greatest popular singer of the
century. Whether that is true, in a century that also offers us Bing Sinatra was born December 15, 1915, in Hoboken, N.J., and as a
schoolboy nursed ambitions to be a journalist. The earliest known example
of Sinatra on record come from his 1935 performance on the Major Bowes Sinatra touched the big time in 1939 when Harry James, fresh out of
the Benny Goodman band and not yet a major star in him own right, hired him
to be vocalists in his new band. In August he recorded "All Or Nothing At The band singer period ended in September 1942. When Sinatra went out
on as a soloist, it was to join the stock company of vocalists on the
weekly "Lucky Strike Hit Parade." But there was buzz in the air about After Wee Small Hours, Sinatra turned to develop a side of his musical
personality that had never been exploited -- the swinging Sinatra doing
upbeat tempos against jazz-styled big band charts that caught some of the
feeling that the new Count Basie band was generating on the instrumental
side. Sinatra received the Kennedy Center Honors in 1983. He died May 14, In 1998, Sinatra was elected by the Readers into the Down Beat Hall of From the times of the Pilgrims American people have liked music and made it a part of their lives. They have played and sung and fashioned their own songs for all occasions. There were, however, no European courts for the cultivation of art
music and opportunities were rare for the training and development of
individual talents. When sufficient number of professional musicians had
arrived to establish centers of serious musical culture American role as a
backward province of European music was firmly established. I was only
natural that the foreign arbiters of taste would regard any deviations from Small wonder, then, that a serious dichotomy developed in the field of American composition. American educated young people, fresh from French or German influences, did their loyal best to write good German or French music. For subject matter they turned to “remote legends and misty myths” guaranteed to keep them from thinking about the crudities of the land, which they found so excruciating upon their return from abroad. They did, however, bring back with them a professional competence, which was to be their significant contribution to the American scene. Meanwhile the uneducated creator, finding good stuff about him,
carried on a rapidly developing music speech, which was a blend of European
folk music, African rhythm, and regional color, and discovered that the
public the public liked his music and was ready to pay for it handsomely. The American serious group, however, anxious to preserve their new- found dignity, nervously dismissed this music as purely commercial (a lot of it was and is), and until it was made respectable by the attention paid to it by Ravel and Stravinsky there were only occasional attempts to borrow from its rhythms and melodies. The highly successful popular group, on the other hand, has developed the notion that the technique of composition is not only unnecessary but an affectation. Such needs as may arise for their concerted numbers, ballets, and orchestrations they can well afford to pay for from the hacks (the underprivileged literate musicians). Gershwin’s contribution to the American scene is significant beyond his music itself in that he was able to reconcile the two points of view and achieve popular music in the large traditional forms. Americans are ex – Europeans, to be sure, and as such have responsibilities to the preservation and continuance of European culture, but American are also a race – and a vigorous one – and it is increasingly evident that we are capable of developing cultural traditions of our own. As for Russian music it is impossible to describe its contribution to the world musical culture, and will be difficult to estimate it. Of course, the great musical occurrence is the Russian classical music, and I would like to tell about my favorites Russian composers. Sergei Procofyev was five when his mother gave him his first piano lesson. At the age of six he was already composing and actually writing small pieces for the piano and a few years later he write an opera to his own libretto called The Giant. Procofyev graduated from the Conservatoire in the spring of 1914. Taking his final exams as a pianist, he won the highest distinction: the Anton Rubinstein gold medal and prize. Procofyev worked for nearly fifty years in all spheres and genres of music. His powerful and original talent has won universal recognition. His best works – and these are not few – have enriched the legacy of world musical culture. Procofyev belonged to the older generation of Soviet composers who
entered upon the scene before the October Revolution. He was a pupil of Procofyev was a man of independent thinking who traveled his own way. Operas and ballets held an important place among the works he
created. The opera Love for Three Oranges was written in1919 and has become
very popular. Procofyev wrote another opera in the twenties – The Flaming Ballet music appealed to Procofyev even more than the opera. Besides
his Buffoon he wrote three other ballet scores while abroad – The Age of Procofyev’s best works, written after his return to the Soviet Union
are: the ballet Romeo and Juliet (1935 - 1936), the symphonic fairy – tale The last five years of his life brought such important works as the Other greatest Russian composer is Igor Stravinsky. Stravinsky was a pupil of Rimsky – Korsakov, but his reputation was
made by the music he wrote for the Diaghilev Ballet in Paris (The Firebird, About 1920, Stravinsky struck out in directions that were new, partly
in technique and partly in the kinds of subjects and mediums employed. His
technique showed a new restrained, a less dissonant and more tonal style,
and greater clarity of form; in short, a tendency toward the neoclassic
style. His material was typically drawn from the classics of the eighteenth
century. The great variety of the musical types after 1920 is astonishing:
oratorios, chamber music, concertos, ballets, symphonies, pieces for a
piano, and so on. Every work of Stravinsky’s has a special individuality,
and in each he achieves a uniqueness of style and solves a problem to which
he seldom returns. Directly after first World War, Stravinsky wrote a
number of works marked by economy of means and expression, using a few solo
players (The Soldier’s Tale; The Wind Octet). Later, in his “third” period,
he returned to the larger forms of the symphony (Symphony in Three On the whole, Stravinsky’s style is essentially anti-romantic. The elasticity and primitive vigor of his rhythms was calculated to represent his non-romantic subject matter, and his melodies, especially in later works, are deliberately matter – of – fact, dry, and occasionally commonplace, as a reaction to the expressive melodies of Romanticism. Stravinsky uses the tonal material of the diatonic (seven – tone) scale, sometimes combined with the old modes. His early polytonality is replaced later by clearer tonality, but his dissonant harmony is often the result of the combination of polyphonic voices. A special feature of his style is parallel dissonant chords or intervals. Stravinsky was always a virtuoso orchestrator. A fondness for the dry brilliant sonorities of the woodwinds and particularly the percussion instruments tended to relegate the strings to the background. To individualize the voice parts of chords, Stravinsky often used instruments of different timbre. As a young man, Stravinsky burst on the musical scene with ballet The As for Russian pop music I could say almost nothing. I don’t know a contemporary pop singer or compositor who, by my opinion, bring in world musical culture anything really great. But I think that our time arranges to make anything memorable in the musical area and may be soon we could see a birth a new Russian musical talent. In conclusion I should say that music is the greatest occurrence in our life. From this work we can see that music don’t has limits and however it try to unite the people in the world. Someone famous said that mathematics is the universal language. I’m ready to argue – music is the universal language, because this language understands everyone. If you want understand foreigner – listen his native music and you will see his true soul.
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