Music in Russia and USA. Реферат. Литература.
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Culture 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. Our pop music is not famous outside Russia. But
many people from other countries love our folk and classical music.
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 American performing standards are probably
now higher than anywhere else in the world, and Americans are making rapid
strides in music education. How large a part in all this activity is American
music to play? How good is it? How does it differ from Russian music?
There are many signs of
an awakened interest in American composition. More of it is performed,
published, and recorded than ever before. This interest is not confined to the
United States alone. During the past few years Russians who have always liked
American popular music (like Brithney Spears, Madonna, Michael Jackson) have
discovered that America have several composers in the serious field well worth
its attention. As for the foundations, fortunes are being spent to discover, to
train and to encourage American native talent.
We could imagine a
pattern, which would include Billings, Harris and Gershwin. Each of them
contributed substantially to American musical tradition, and when American can
grasp their interrelationship they perceive that there is indeed an American
music, a hardy one just beginning to fell its strength and destined to stand
beside their other contributions to world culture.
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 “hit” that swept the country – Swanee .
His rise as one of the most successful composers for the Broadway stage was
rapid.
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, 1937, after an unsuccessful operation on the
brain.
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 Gershwin’s works reduce these technical flaws to insignificance.
The music is so alive, so freshly conceived, and put down on paper with such
spontaneity and enthusiasm that is youthful spirit refuses to age. The
capacity of this music to enchant and magnetize audiences’ remains as great
today, even with, familiarity, as it was yesterday, when it came upon us with
the freshness of novelty.
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 (toccata, passacaglia, fugue, etc),
has shown a predilection for ancient modes, and en occasion has drawn thematic
inspiration from Celtic folk songs and Protestant hymns, he is modern in
spirit. His music has a contemporary pulse, the cogent drive and force of
present –day living; there is certainly nothing archaic about it. More
important still, it is essentially American music, even in those works in which
he does not draw his ideas from folk or popular music. The broad sweep of his
melodies suggests the vast plains of Kansas, the open spaces of the West. The
momentum of his rhythmic drive is American in its nervousness and vitality. But
in subtler qualities, too, Harris’s music is the music of America. “The moods”,
Harris once wrote, “which seem particularly American to me are noisy ribaldry,
then sadness, a groping earnestness which amount to suppilance toward those
deepest spiritual yearnings within ourselves; there is little grace or
mellowness in our midst”.
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, 1898. While still a child, he
learned to play the clarinet and the piano. In 1926 he went to Paris to study
with Nadia Boulanger. In Paris he wrote his first major works: of them, The
Concerto for the Piano, Clarinet and String Quartet (1927) was the most
successful. His Fifth Symphony has been dedicated to the “Heroic and
Peace-loving People of the Soviet Union” .
I guess, we know
nothing about American folk music excepting jazz-singers and composers. The
sole and the most famous of them is Louis Armstrong. I believe that all people
know this name and I would like to tell about my favorite album of his
legendary music, it’s called “Louis and the Good Book”.
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. Thus, he not only demonstrated that jazz phrasing is
applicable to these kinds of melodies and tempos, but he did it so well that
the mood of show ballads became an integral part of every form of jazz. This is
not the first time that Louis Armstrong interprets spirituals. In 1938 he
recorded same versions of four pieces with the Lynn Murray choir for MCA. Shadrack ,
based on the traditional form of spirituals, Jonah and the Whale , Going
to Shout All Over the God’s Heaven and Nobody Knows the Trouble I’ve Seen .
Two years later he did a version of Cain and Abel with the big band he
was directing at that time. He had actually recorded Motherless Child in
1930. While the melody is identical to the second part of the Dear Old
Southland interlude by Creamer and Layton, which he recorded in a duo with
the near legendary pianist Buck Washington, the melody of Motherless Child
is also very close to others that he used in several blues, better known in
their broad versions: Steady Roll, Round the Clock, My Daddy Rock Me .
So, a number of spirituals are blues at least in form.
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 Down By the Riverside
starts with a break (the steady rhythm being interrupted for an instant) just
the way it is in dozen of work songs.
In This Train
there is so-called stop-time interlude, which Louis Armstrong used so
successfully in several of his instrumental renderings during the 20’s. The
“call and response” formula can be heard in This Train, Didn’t it Rain, and
Go Down Moses.
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. Oliver’s career as trumpeter –
composer – arranger goes back to the time of Zack Whyte’s orchestra in the
early 30’s and he, more than anyone else, created the style of Jimmy
Lunceford’s powerful orchestra between 1933 and 1939. After that, he was Tommy
Dorsey’s arranger and has since become one of the principal arranger –
directors for MCA.
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 America and America
was Sinatra”.
Frank
Sinatra has been called the greatest popular singer of the century. Whether
that is true, in a century that also offers us Bing Crosby, Ella Fitzgerald and
many others is, of course, a matter of personal emotional choice and,
therefore, unknowable. What can be said is that under the intense and fickle
scrutiny of the pop marketplace for nearly two-thirds of a century, Sinatra's
music was in the air the world breathed and fell out of fashion only long
enough for the deserters either to grow up or recognize that what was offered
in its place was almost always trash by comparison.
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
Amateur Hour, in which he was matched with three other aspirants to sing
"Shine." After the program they were sent out as a group, the Hoboken
Four, on a Major Bowes road show.
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 All" with James, but
the record would not become a major hit until Columbia reissued it during the
recording ban in 1943. Sinatra was on a fast trajectory to the top himself. He
left James to take an offer from Tommy Dorsey, with whom he recorded more than
90 songs before he left. The Dorsey years connected him to Axel Stordahl, who
would arrange and conduct the first four Sinatra records under his own name in
1942 and become his chief musical architect for the next decade. He also made
two movies with Dorsey, Las Vagas Night at Paramount and Ship Ahoy
at MGM. But aside from two pictures with Gene Kelly, Sinatra's film career
would be of passing interest until the 1950s.
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 Sinatra, and it burst wide
open when in 1943 when he was booked as a supporting act to Goodman at the
Paramount Theater. Goodman introduced him, turned to kick off his band, and
before he could lower his arm heard an ear-shattering scream of 3,000 mostly
female fans explode behind him. "What they hell is that?" Goodman
muttered.
During the bobby-sox years, Sinatra
recorded for Columbia and turned out a steady flow of romantic ballads backed
by Stordahl's tasteful orchestrations. But nothing as intense as the Sinatra
phenomenon of the '40s could sustain indefinitely. The energy ran out of the
Sinatra boom and by the 1952, it is said, he was washed up.
With the '40s behind him, however,
the stage was set for his golden age. Capitol Records signed him up and
concentrated on marketing him to young adults through carefully planned long
playing albums organized around a mood, an idea, a feeling, a concept. In
the Wee Small Hours , crafted by Nelson Riddle, became the matrix for his
recording career from then on. Among the ballad albums, All Alone ,
arranged by Gordon Jenkins in 1962, stands in a class by itself for its stark
sense of melancholy.
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.
The albums and a string of successful
films took Sinatra into the '60s at the top of his fame and form. He played the
Newport Jazz Festival in the '60s, recorded with the Basie and Ellington, and
played the Chairman to a colorful Clan that included Dean Martin, Sammy Davis
and other chums. Talent was the admission ticket.
Yet, the force of youth movement and
rock music in the late '60s and early '70s seemed to shake his own confidence
in his own hipness, and he tried to embrace some of the new material. But after
a period of retirement and a few false starts in the recording studio, he
returned to form doing the kind of music that told stories worth telling. In
the '90s his stubbornness paid off. The youth icons of the '60s and '70s
finally came to him to sing his song on his terms. Duets may have
received mixed critical reaction, but once again Sinatra was king of the hill,
scoring the largest album sales of his career.
Sinatra received
the Kennedy Center Honors in 1983. He died May 14, 1998, at the age of 82.
In 1998, Sinatra
was elected by the Readers into the Down Beat Hall of Fame.
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 European musical thinking as deplorable savagery to be
resolutely put down.
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.
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 Rimsky – Korsakov and Lyadov who educated
the young composers of their time in the spirit of the finest Russian classical
traditions, which they strove to protect from modernistic influences.
Procofyev was a man of
independent thinking who traveled his own way. He was one of the greatest
masters of the new, Soviet period in the history of the Russian music. Never
satisfied with his achievements, Procofyev was forever probing, forever working
on new ideas. The development of music in the first half of this century is
unthinkable without him.
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 Angel , but did not live to
see it on the stage. No more than two fragments of it were performed in his
lifetime.
Ballet music appealed
to Procofyev even more than the opera. Besides his Buffoon he wrote
three other ballet scores while abroad – The Age of Steel, The Prodigal Son ,
and On the Dnieper . The Fourth Symphony , the last to be written
abroad, was the most interesting.
Procofyev’s best works,
written after his return to the Soviet Union are: the ballet Romeo and Juliet
(1935 - 1936), the symphonic fairy – tale Peter and the Wolf (1936), the
heroic cantata Alexander Nevsky (1938 – 1939), the opera War and
Peace (1941), the Fifth Symphony (1944), the ballet Cinderella (1944).
The last five years
of his life brought such important works as the Seventh Symphony, the oratorio
On guard of peace, the symphonic suite Winter Fire and the ballet The Stone
Flower. Unforgettable are Procofyev’s sonatas and concertos for violin and many
other compositions revealing the finest qualities of his tremendous talent.
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, Petrouchka, The Rite of Spring). This
period is marked by interest in Russia folk song and brilliant orchestral
coloring. The most varied rhythms are used for percussive effects to accentuate
the brutally harsh sonorities, and a highly dissonant harmony results from the
use of polytonality.
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 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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