What are the five types of symphonic music? What are the characteristics of each? Urgent～～～～

Never heard of symphonic music has a classification, you are referring to the classification of music or musical instruments

Instrumental instruments are divided into five categories

One, what is symphonic music

symphonic music is not the name of a specific genre, but a category of instrumental music genres in general. The ****same characteristics of this genre are:

1, played by a large orchestra;

2, the music has a profound connotation, with dramatic, epic, tragic, heroic, or the music is solemn, with narrative, descriptive, lyrical, customary, etc.;

3, there is a more rigorous structure and a wealth of means of expression.

According to the convention, symphonic music mainly refers to five genres: symphony, concerto, orchestra suite, overture and symphonic poem. But its scope is also often extended to some of the distinctive orchestral music, such as the symphony orchestra to play fantasies, rhapsodies, rhapsodies, narratives, marches, variations and dances, and so on. In addition, symphonic music also includes title orchestral pieces, such as Chinese composers Zheng Lu and Ma Hongye's "Happy Tidings from Beijing to the Border Village".

Two, the origin and development of symphonic music

Roman Roland, the great French writer, said: "There is no concept of progress in art, because no matter how far we look back, we will find that our predecessors have reached perfection ....... It would be absurd and ridiculous for anyone to think that centuries of effort have brought us any closer to perfection ......."

The origins of symphonic music can be traced back to a very long and distant history. Its name comes from ancient Greece, where it was a catch-all for the words "harmony" and "harmonize". To the ancient Roman period, it has evolved into a general reference to all instrumental ensemble and repertoire of the name of the 15th and 16th centuries, that is, the European Renaissance, the name of the symphony is used as a symbol of all the nature of the harmony, multi-acoustic instrumental music. At the beginning of Baroque music, it mainly referred to the overture and interlude in opera, sacred drama and oratorio, etc. In the early 18th century, the art of music developed rapidly in Europe, and along with the process of the industrial revolution in Europe, the art of music began to gradually move towards the common people and socialization. During this period, the symphony, as an independent art form, slowly took on a clear meaning in terms of its scale and form. The Italian opera overture, with its characteristic "fast-slow-fast" three sections, became the basic prototype of classical symphony. In the middle of the 18th century, the composers of the Mannheim school of music (the cultural center of southern Germany) made a series of active and innovative creations to further perfect the basic form of the symphony. 1740, the Austrian composer Münn (1717-1750), for the first time, added a minuet (note: a French dance in three beats) between the slow movement and the fast movement. movement (third movement), and this four-movement suite form gradually evolved into the fixed form of the classical symphony. The four movements are laid out like this:

The first movement - sonata form (note: it is a basic form of classical music works, whether it is a sonata, symphony, concerto and repertoire in the important movements, have to use it.) It consists of three parts:

Part I: (Presentation) has two themes - the main theme (first theme), and the sub-theme (second theme), which are often in strong contrast. For example, the main theme is conflictual and dramatic, and the sub-theme can be lyrical and sung. There are also sonatas in which the two themes are complementary, and both are sung.

The second part: (Expansion) is the constant splitting and molding of the theme of the presentation part, contrasting and expanding it in all aspects of orchestration, rhythm, intensity and tonality.

The third part: (reproduction) reproduces the two themes of the presentation part in a strict tonal relationship, for example, in the presentation part, the theme of the main part is in the key of C major, the theme of the secondary part is in the key of G major, and in the reproduction part, the theme of the secondary part is to go back to the main key (C major). Scherzo form usually begins with an introduction or prelude and ends with a coda. Such compositions often express grand ideas, reflect deep philosophies, and of course are very strongly lyrical and descriptive.

The second movement - the line or slow movement. Lyrical and characterized by singing music.

Third movement - Minuet. They are light, humorous, elegant and sardonic.

The fourth movement - the finale. It is usually Allegro and often in Rondo form (A+B+A+C+A) or Rondo Sonata form. (What distinguishes the so-called rondo sonata form from the scherzo form is that the theme appears twice in the presentation section, i.e., theme-subtitle-theme, then unfolding section, and recapitulation section.)

This fixed form, of which we have just spoken, was only used during the classical symphonic period, but it was also used for the final movement. It was only in the classical symphonic period that it was relatively fixed. But there are special examples, for example: Haydn wrote a symphony in six movements. As for the contrast between fast and slow movements, there are also variations. He wrote a "Farewell Symphony", which ends in a slow movement. As for the number of movements, composers vary a lot according to the requirements of different compositions, there are three movements, there are also two movements, such as the familiar Beethoven's "Pastoral Symphony" has five movements, and Shostakovich's "Symphony No. 14", as many as eleven movements. Shostakovich's "Symphony No. 14", as many as eleven movements. Therefore, the composition of the symphony and the contrast between fast and slow movements is not static.

In the mid-to-late 18th century, the rise of the Viennese Classical School and the great creations of some gifted composers led to the development of the symphony as an art form into full maturity. Here we first mentioned the Austrian composer Haydn. He created more than 120 symphonies in his life***. His contribution to the art of the symphony was to establish the form and scale of the symphony in a complete and rigorous manner, and he was therefore known as the "Father of the Symphony". His artistic achievements directly influenced his two descendants, Mozart and Beethoven. The symphony's form, scale, connotation and so on, are in the creation of these two latter composers to get the real maturity and perfection.

Mozart created 41 symphonies in his life, and his symphonies are substantially improved compared with Haydn's symphonies in terms of completeness of form, richness of connotation, and profundity of thought. With his genius, he injected a new vitality into the symphony as an independent form of instrumental music. His last three symphonies - Symphony No. 39 in E-flat Major, Symphony No. 40 in G Minor and Symphony No. 41 in C Major (Jupiter) - are the culmination of all his symphonic compositions. These three symphonies combine genius musicality, richness of thought and novelty and creativity, and have become shining examples of classical symphonic composition.

Beethoven, who is honored as the "Sage of Music", raised the achievements of symphonic music creation to an unprecedented height in his short decades of creation. In the history of the world's symphonic music art, his creation is regarded as an extremely important milestone. And his work is an outstanding example of the bridge between classicism and romanticism.

Roman Roland once praised Beethoven as "the greatest musical poet of the French Revolution and the Napoleonic Empire, the artist who most vividly depicted the stormy times of the Napoleonic period; his portrayal includes the suffering of the people, their sorrows; the tensions of the war, and the intoxicating ecstasy of the free spirit."

Beethoven's symphonies are more rigorous in form, richer in content and more skillful in technique than those of Haydn and Mozart. And by for people to pay attention to is, his symphony ideological profound, philosophical complexity, he will be the first symphony has a social revelation and struggle of the profound connotation. His achievements in symphonic music creation lie in the major pioneering based on inheritance. For example, in terms of formal structure, he expanded and perfected the organizational framework of the symphony, the sonata form. At the same time, he replaced the traditional minuet, which was too mild, with a more dynamic harmonic (note: also known as a witty piece, they are mostly in 3 beats, with lively rhythms, faster speeds, and often sudden contrasts between strengths and weaknesses), thus endowing the symphony with a richer and more organic nature. From another point of view, in order to achieve the purpose of expressing major social themes and human struggles and spirituality, he expanded the symphony orchestra to a more reasonable level. At the same time, in order to achieve his overall artistic conception, he even added the human voice into it, and in his Ninth Symphony, the chorus sings the "Ode to Joy" which reveals an incomparably sublime spiritual realm. This ingenious conception and bold practice fully illustrates Beethoven as a generation of symphony master, showed extraordinary vigor and outstanding genius.

We usually divide Beethoven's nine symphonies into two categories, untitled and titled; his First, Second, Fourth, Seventh and Eighth Symphonies are untitled; the Third (Heroic), Fifth (Fateful), Sixth (Idyllic) and Ninth (Choral) are titled. His symphonies in these two categories formed two compositional routes, which had a profound influence on the symphonic compositions of later generations.

Beethoven's tonal compositions also gave great influence to later symphonic compositions. For example, the familiar Fifth (Fate), the shortest theme to date, has only four tones, and this Fate motif is always present throughout the four movements.

In addition, Beethoven perfected and expanded the orchestra. Among his symphonies, we find him utilizing instruments that were not used during the time of Haydn and Mozart. For example, piccolo, bassoon, trombone and some percussion instruments such as triangles, cymbals, drums, etc., and more importantly, in his Ninth Symphony quoted the human voice. We face the Beethoven symphony, let us feel the strongest is the Beethoven spirit.

Beethoven's motto is "Through suffering, to joy; through struggle, to victory." His music was for all mankind, and our time still needs the Beethoven spirit of fortitude, valor, courage and perseverance.

In the late 18th and early 19th centuries, Romantic artistic thinking began to permeate the field of music. Schubert's Symphony in B minor (unfinished) with the symphonic nature of the art song, Berlioz and Liszt's title symphonies Symphonie fantastique and Symphony Dante, Schumann's poetic Spring Symphony, Brahms' four symphonies full of the spirit of tradition, but with Romantic connotations, a series of symphonies of Tchaikovsky and Dvorak with a strong sense of nationalism, and also Saint-Sa?ns, Mussorgsky, Riedel, and Riesling, who were the most important artists of the 19th century, were all part of this trend. In the late 19th century, the Austrian composer Mahler composed ten symphonies, in which he developed the symphonic form of expression to the limit in order to express the complex spiritual world within himself. His Eighth Symphony, for example, has been called the "Symphony of a Thousand". In addition to Mahler, in the late 19th century, there were many composers of national schools of music who should be called masters of symphonic music. For example, the compositions of Sibelius of Finland, Janá?ek of Czechoslovakia, and Glazunov and Rachmaninoff of Russia have, to some extent, made outstanding contributions to the world art of symphonic music.

At the turn of the 19th and 20th centuries, many currents of thought, symbolizing the artistic style of the new era, began to emerge more and more. From the impressionism of Debussy (France), the late romanticism of Richard Strauss (Germany) and the early atonal technique of Schoenberg (Austria), all permeated symphonic composition, laying the foundation for the diverse symphonic music creations of the 20th century. Among the many composers of the 20th century, there are countless figures who have made outstanding contributions to the creation of symphonic music and other genres. Among them, the most influential are the Russian composers Prokofiev, Khachaturian and Shostakovich, the British composer Britten, the Hungarian composer Bartok, the American composers Stravinsky and Gershwin, and so on. Their symphonies, concertos, symphonic poems, rhapsodies, fantasies and many other works have greatly enriched the world's symphonic music treasury. And this constitutes an important chapter in the creation of symphonic music in the 20th century.

The process of the creation and development of symphonic music is closely connected with the rapid progress of human civilization. From a historical point of view, it was indeed born along with the cultural and economic development of the whole human society. From a developmental point of view, in the new century and even farther into the future, it will certainly make greater contributions to the development of human social progress and the spiritual needs of people's lives as an elegant cultural and artistic classic and a rich spiritual food.

Three: General knowledge of symphony orchestra

1. Formation of symphony orchestra

The symphony orchestra was really formed in the last few hundred years, strictly speaking, in the period of the Vienna Classical School's prosperity. Before that, the structure of the symphony orchestra was not perfect, and it was only a few orchestras with incomplete compositions. In the compositions of Haydn and Mozart, for example, the orchestra was limited to a small orchestra of chamber music character. Symphony orchestra form and establishment is in Beethoven's creation to reach the ultimate perfection. For example, in Beethoven's symphonic compositions, the symphonic orchestra with two or three winds was basically established. Later, throughout the early 19th century to the late Romantic music process, the symphony orchestra preparation and combination of forms has been further perfected. The emergence of large-scale four-barrel symphony orchestras and the addition of various characteristic instruments enriched the acoustics and artistic expression of the symphony orchestra. These characteristics are fully reflected in the creations of Mahler, Richard Strauss and the modern composers of the 20th century, such as Proefiev, Shostakovich and Stravinsky.

2, the preparation of the symphony orchestra

The symphony orchestra is a large family of instrumental music in the kingdom of music, generally speaking, it is divided into five instrumental groups: strings, woodwinds, brass, percussion and color instruments. The following is a description of each instrument (they are all from treble to bass):

String section: violin, viola, cello, double cello.

Woodwind group: piccolo, flute, oboe, English horn, clarinet, tuba.

Brass section: trumpet, horn, trombone, euphonium.

Percussion group: timpani, gongs, cymbals, tambourines, and triangles.

Color instrument group: piano, harp, xylophone, aluminum bell organ, etc.

Because the symphony orchestra employs so many instrumental compositions, it has a very rich expressive power. Symphonic orchestra according to the needs of the style of the work, it is divided into the preparation of different. Such as single-wind compositions, double-wind compositions, three-wind compositions, four-wind compositions and so on.