From the history of blues: from plantations to the studio
The blues, like everything with stunning success, has been an underground music trend for decades. It is understandable, because the White Society could not accept the music of African-Americans working…

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How to make your voice beautiful: simple tips
The voice is also of no small importance in life, as is the appearance of a person. According to statistics, it is with the human voice that most of the…

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Black and White: New Piano Classics
A rich instrument, practically an entire orchestra. This is about the piano. Seven octaves - what chords you want to build. But sometimes even one crystal-tinkling note in silence is…

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Composer’s worldview and content

A real revelation for a music lover can be an acquaintance with the composer’s worldview. For this, in addition to listening to the works of a musical genius, it is worth looking at his articles and memoirs, letters, and carefully reading his biography. Then, the unexplored mysteries of musical creations will be revealed to an inquisitive researcher, and this will give him great aesthetic pleasure. SEARCHING THE MEANING P.I. Tchaikovsky is known throughout the world not only as an outstanding composer, but also as a prominent representative of Russian musical and cultural studies of the 19th century. He had a keen interest in religion, philosophy, and literature. The entire musical heritage of the composer is the result of an intense search for a worldview meaning. Tchaikovsky seeks spiritual support in Orthodoxy, and then inclines towards the pessimistic philosophy of A. Schopenhauer and F. Nietzsche. Such spiritual searches give rise to an imperious and formidable “theme of rock” (“fatum”, “fate”), which has become the leading one in his music of a mature period of creativity. Significant works of the composer of the 80s: symphonies – the fourth and sixth, the opera The Queen of Spades, the symphonic poem Manfred – the brainchild of the painful spiritual experiences of the great composer, in which the “theme of rock” has a dominant role. Pyotr Ilyich did not like to talk about the content of his works, believing that in the language of words it would be perceived in a simplified way. Approaching the plan of these works by Tchaikovsky, one can reveal the worldview aspect of the musical matter he created only in general terms: a person always strives for happiness, but real life is an alternation of difficult reality with mythical dreams of happiness, the achievement of which is inexorable fatum. CREATIVITY – THE HIGHEST MEANING Content of the works of A.N. Scriabin – a brilliant contemporary of P.I. Tchaikovsky, fed the philosophy of F. Nietzsche, Theosophy, Eastern religious teachings, refracted in the bright personality of the composer. The universe was perceived by Scriabin as the result of some kind of artistic creation, which the composer called the “divine game”. Scriabin was convinced that under the influence of the great power of art, the consciousness of humanity would infinitely rise, which would lead to a new, qualitatively different form of an endless universal creative process, to universal harmony, to universal Ecstasy. The composer believed Utopian, supported by his comrades-in-arms, that it was he who would create the “Mystery” – a mysterious action, the performance of which would be the beginning of universal change. Without touching Scriabin’s worldview, one won’t understand the mysterious sounds, giving birth to which the composer seemed to want to create an ephemeral musical fabric different from rough earthly matter. It is difficult to explain the phenomenal remarks with which his notes are full. The names of his musical compositions are intricate: “Poem of Ecstasy”, “Toward the Flame”, “Divine Poem”, “Dancing Garlands”. The names that Scriabin gives to the main themes of his compositions are mysterious: the theme of the creations that have arisen, the disturbing rhythms, the theme of the divine game, the theme of flight. New ideas required the creation of a new musical language. The composer seeks the possibilities of combining sound and light and creates a “Poem of Fire”, in the score of which there is a light string for execution by a hypothetical light musical instrument. He dreamed that during the performance of the poem (a kind of rehearsal of the future “Mystery”), the concert hall shimmered with waves of various colors that would polyphonic intertwine with the musical sound. The technical capabilities of the last century were too modest for such a performance of the “Poem of Fire” (“Prometheus”). Today, there are many options for playing Scriabin’s Prometheus with lighting effects. The work sounded unusually vivid with light in 2009 in St. Petersburg. A.N. Scriabin “The Poem of Fire” (“Prometheus”) Author – Alla Chaika Tags: history of musiccomposerspersonalitymusic literaturepsychologyconscious creativity (votes: 2, average: 5.00 out of 5)

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