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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 Movements, 1945). Stravinsky’s early interest in American jazz rhythms dates from Ragtime (1918). A more ambitious work , Ebony Concerto (1945), for jazz band, appeared after he had settled permanently in the United States.

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 Rite of Spring. It excited everybody, exhilarated a number, and outraged more. Stravinsky’s later styles were also viewed with alarm – often by those who had just accustomed themselves to his earlier style. They were dry, the wells of inspiration had run out, some said. The truth was, of course, that Stravinsky was simply being himself, and like every great artist, his style changed, as he did, from work to work. No one, however, has ever denied Stravinsky’s consummate draftsmanship, his deep respect for the past, or his extraordinary impact on the music of the present day.

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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