from the Greek pantaoia - imagination; lat. and ital. fantasia, German Fantasie, French fantaisie, eng. fancy, fansy, phancy, fantasy
1) A genre of instrumental (occasionally vocal) music, the individual features of which are expressed in deviation from the norms of construction common for their time, less often in an unusual figurative content of traditions. composition scheme. Ideas about F. were different in different musical and historical. era, but at all times the boundaries of the genre remained fuzzy: in the 16-17 centuries. F. merges with ricercar, toccata, in the 2nd floor. 18th century - with a sonata, in the 19th century. - with a poem, etc. Ph. is always associated with genres and forms common at a given time. At the same time, the product called F. is an unusual combination of “terms” (structural, meaningful) that are usual for a given era. The degree of distribution and freedom of the F. genre depend on the development of the muses. forms in a given era: periods of an ordered, in one way or another, strict style (16th - early 17th centuries, baroque art of the 1st half of the 18th century), marked by a "luxurious flowering" of F.; on the contrary, the loosening of established “solid” forms (romanticism) and especially the emergence of new forms (20th century) are accompanied by a reduction in the number of philosophies and an increase in their structural organization. The evolution of the genre of F. is inseparable from the development of instrumentalism as a whole: the periodization of the history of F. coincides with the general periodization of Western European. music lawsuit. F. is one of the oldest genres of instr. music, but, unlike most early instr. genres that have developed in connection with the poetic. speech and dance. movements (canzona, suite), F. is based on proper music. patterns. The emergence of F. refers to the beginning. 16th century One of its origins was improvisation. B. h. early F. intended for plucked instruments: numerous. F. for the lute and vihuela were created in Italy (F. da Milano, 1547), Spain (L. Milan, 1535; M. de Fuenllana, 1554), Germany (S. Kargel), France (A. Rippe), England ( T. Morley). F. for clavier and organ were much less common (F. in the "Organ Tablature" by X. Kotter, "Fantasia allegre" by A. Gabrieli). Usually they are distinguished by contrapuntal, often consistently imitative. presentation; these F. are so close to capriccio, toccata, tiento, canzone that it is not always possible to determine why the play is called exactly F. (for example, the F. given below resembles ricercar). The name in this case is explained by the custom to call F. an improvised or freely built ricercar (arrangements of vocal motets, varied in the instr. spirit, were also called).
F. da Milano. Fantasy for lute.
In the 16th century F. is also not uncommon, in which free handling of voices (associated, in particular, with the peculiarities of voice leading on plucked instruments) actually leads to a chord warehouse with a passage-like presentation.
L. Milan. Fantasy for vihuela.
In the 17th century F. becomes very popular in England. G. Purcell refers to her (for example, "Fantasy for one sound"); J. Bull, W. Bird, O. Gibbons, and other virginalists bring F. closer to the traditional. English form - ground (it is significant that the variant of its name - fancy - coincides with one of the names of F.). The heyday of F. in the 17th century. associated with org. music. F. at J. Frescobaldi are an example of ardent, temperamental improvisation; "Chromatic fantasy" by the Amsterdam master J. Sweelinck (combines the features of a simple and complex fugue, ricercar, polyphonic variations) testifies to the birth of a monumental instr. style; S. Scheidt worked in the same tradition, to-ry called F. contrapuntal. chorale arrangements and choral variations. The work of these organists and harpsichordists prepared the great achievements of J. S. Bach. At this time, the attitude to F. was determined as to the work of an upbeat, excited or dramatic. character with the typical freedom of alternation and development or the quirkiness of the changes of muses. images; becomes almost obligatory improvisation. an element that creates the impression of direct expression, the predominance of a spontaneous play of the imagination over a deliberate compositional plan. In the organ and clavier works of Bach, F. is the most pathetic and most romantic. genre. F. in Bach (as in D. Buxtehude and G. F. Telemann, who uses the da capo principle in F.) or is combined in a cycle with a fugue, where, like a toccata or prelude, it serves to prepare and shade the next piece (F. and fugue for organ g-moll, BWV 542), or used as an intro. parts in a suite (for violin and clavier A-dur, BWV 1025), partita (for clavier a-minor, BWV 827), or, finally, exists as independent. prod. (F. for organ G-dur BWV 572). In Bach, the rigor of organization does not contradict the principle of free F. For example, in Chromatic Fantasy and Fugue, freedom of presentation is expressed in a bold combination of different genre features - org. improvisation texture, recitative and figurative processing of the chorale. All sections are held together by the logic of the movement of keys from T to D, followed by a stop at S and a return to T (thus, the principle of the old two-part form is extended to F.). A similar picture is also characteristic of Bach's other fantasies; although they are often saturated with imitations, the main shaping force in them is harmony. Ladoharmonic. the frame of the form can be revealed through giant org. points that support the tonics of the leading keys.
A special variety of Bach's F. are certain choral adaptations (for example, "Fantasia super: Komm, heiliger Geist, Herre Gott", BWV 651), the principles of development in which do not violate the traditions of the choral genre. An extremely free interpretation distinguishes the improvisational, often out-of-tact fantasies of F. E. Bach. According to his statements (in the book "Experience of the correct way of playing the clavier", 1753-62), "fantasy is called free when more keys are involved in it than in a piece composed or improvised in strict meter ... Free fantasy contains various harmonic passages that can be played in broken chords or all sorts of different figurations... Tactless free fantasy is great for expressing emotions."
Confused lyric. fantasies of W. A. Mozart (clavier F. d-moll, K.-V. 397) testify to the romantic. interpretation of the genre. In the new conditions they fulfill their long-standing function. pieces (but not to the fugue, but to the sonata: F. and sonata c-moll, K.-V. 475, 457), recreate the principle of alternating homophonic and polyphonic. presentations (org. F. f-moll, K.-V. 608; scheme: A B A1 C A2 B1 A3, where B - fugue sections, C - variations). I. Haydn introduced F. to the quartet (op. 76 No 6, part 2). L. Beethoven consolidated the union of the sonata and F. by creating the famous 14th sonata, op. 27 No 2 - "Sonata quasi una Fantasia" and the 13th sonata op. 27 No 1. He brought to F. the idea of symphony. development, virtuoso qualities instr. concerto, the monumentality of the oratorio: in F. for piano, choir and orchestra c-moll op. 80 as a hymn to art sounded (in the C-dur "central part, written in the form of variations) the theme, later used as the "theme of joy" in the finale of the 9th symphony.
Romantics, for example. F. Schubert (series of F. for pianoforte in 2 and 4 hands, F. for violin and pianoforte op. 159), F. Mendelssohn (F. for pianoforte op. 28), F. Liszt (org. and pianoforte . F.) and others, enriched F. with many typical qualities, deepening the features of programmaticity that were previously manifested in this genre (R. Schumann, F. for piano C-dur op. 17). It is indicative, however, that the "romantic freedom" characteristic of the forms of the 19th century concerns F. to the least extent. It uses common forms - sonata (A. N. Skryabin, F. for piano in h-moll op. 28; S. Frank, org. F. A-dur), sonata cycle (Schumann, F. for piano C-dur op. 17). In general, for F. 19th century. characteristic, on the one hand, is a fusion with free and mixed forms (including poems), on the other hand, with rhapsodies. Mn. compositions that do not bear the name F., in essence, are them (S. Frank, "Prelude, chorale and fugue", "Prelude, aria and finale"). Rus. composers introduce F. into the sphere of the wok. (M. I. Glinka, "Venetian Night", "Night Review") and symphony. music: in their work there was a specific. orc. a variety of the genre is symphonic fantasy (S.V. Rachmaninov, "Cliff", op. 7; A.K. Glazunov, "Forest", op. 19, "Sea", op. 28, etc.). They give F. something distinctly Russian. character (M. P. Mussorgsky, "Night on Bald Mountain", the form of which, according to the author, is "Russian and original"), then a favorite oriental (M. A. Balakirev, eastern F. "Islamei" for fp. ), then fantastic (A. S. Dargomyzhsky, "Baba Yaga" for orchestra) coloring; endow it with philosophically significant plots (P. I. Tchaikovsky, "The Tempest", F. for orchestra based on the drama of the same name by W. Shakespeare, op. 18; "Francesca da Rimini", F. for orchestra on the plot of the 1st song of Hell from "Divine Comedy" Dante, op. 32).
In the 20th century F. as independent. the genre is rare (M. Reger, "Choral F." for organ; O. Respighi, F. for piano and orchestra, 1907; J. F. Malipiero, "Fantasy of Every Day" for orchestra, 1951; O. Messiaen, F. for violin and piano; M. Tedesco, F. for 6-string guitar and piano; A. Copland, F. for piano; A. Hovaness, F. from suite for piano "Shalimar"; N I. Peiko, "Concert F" for horn and chamber orchestra, etc.). Sometimes neoclassical tendencies appear in F. (F. Busoni, "Contrapuntal F."; P. Hindemith, sonatas for viola and piano - in F, 1st part, in S., 3rd part; K. Karaev, sonata for violin and piano, finale, J. Yuzeliunas, concerto for organ, 1st movement). In a number of cases, new compositions are used in F. means of the 20th century - dodecaphony (A. Schoenberg, F. for violin and piano; F. Fortner, F. on the theme "BACH" for 2 pianos, 9 solo instruments and orchestra), sonor-aleatoric. techniques (S. M. Slonimsky, "Coloristic F." for piano).
In the 2nd floor. 20th century one of the important genre features of philosophies - the creation of an individual, improvisationally direct (often with a tendency to develop through) form - is characteristic of music of any genre, and in this sense, many of the latest compositions (for example, the 4th and 5th pianos. sonatas by B. I. Tishchenko) merge with F.
2) Auxiliary. a definition indicating a certain freedom of interpretation decomp. genres: waltz-F. (M.I. Glinka), Impromptu-F., Polonaise-F. (F. Chopin, op. 66.61), sonata-F. (A. N. Scriabin, op. 19), overture-F. (P. I. Tchaikovsky, "Romeo and Juliet"), F. Quartet (B. Britten, "Fantasy quartet" for oboe and strings. trio), recitative-F. (S. Frank, sonata for violin and piano, part 3), F.-burlesque (O. Messiaen), etc.
3) Common in the 19-20 centuries. genre instr. or orc. music, based on the free use of themes borrowed from their own compositions or from the works of other composers, as well as from folklore (or written in the nature of folk). Depending on the degree of creativity. reworking the themes of F. either forms a new artistic whole and then approaches paraphrase, rhapsody (many fantasies of Liszt, "Serbian F." for Rimsky-Korsakov's orchestra, "F. on Ryabinin's themes" for piano with Arensky's orchestra, "Cinematic F ." on the themes of the musical farce "Bull on the Roof" for violin and orchestra Milhaud, etc.), or is a simple "montage" of themes and passages, similar to potpourri (F. on the themes of classical operettas, F. on the themes of popular songs composers, etc.).
4) Creative fantasy (German Phantasie, Fantasie) - the ability of human consciousness to represent (internal vision, hearing) the phenomena of reality, the appearance of which is historically determined by societies. experience and activities of mankind, and to the mental creation by combining and processing these ideas (at all levels of the psyche, including the rational and subconscious) of art. images. Accepted in owls. science (psychology, aesthetics) understanding of the nature of creativity. F. is based on the Marxist position on the historical. and societies. conditionality of human consciousness and on the Leninist theory of reflection. In the 20th century there are other views on the nature of creativity. F., which are reflected in the teachings of Z. Freud, C. G. Jung and G. Marcuse.
Literature: 1) Kuznetsov K. A., Musical and historical portraits, M., 1937; Mazel L., Fantasia f-moll Chopin. The experience of analysis, M., 1937, the same, in his book: Research on Chopin, M., 1971; Berkov V. O., Chromatic fantasy J. Sweelinka. From the history of harmony, M., 1972; Miksheeva G., Symphonic fantasies of A. Dargomyzhsky, in the book: From the history of Russian and Soviet music, vol. 3, M., 1978; Protopopov V.V., Essays from the history of instrumental forms of the 16th - early 19th centuries, M., 1979.
Let us now return to improvisational genres that are genetically related to prelude. The most important of these is fantasy. Also providing the possibility of a monologue statement to the Artist-improviser, sheopposes the prelude in terms of the scale and conditions of musical dramaturgy. In contrast to the sketchy prelude, which contains the primary cell of improvisation, fantasy gives it a wide turn, suggests unexpected juxtapositions of contrasting sections, deliberately incomplete, as if “pairing far ideas” (according to Lomonosov). AT
In full accordance with its symbolic name, fantasy is able to embody the process of creative search in pure music, it actively stimulates the heuristic side of musical thinking. It is in fantasy that insights into the future are often made, principles are outlined, subsequently affirmed in later musical styles and other genres. So in the early fantasies of the late XVI-early XVII centuries. techniques of imitation polyphony crystallize. In Schubert's fantasies, a type of continuous sonata-cyclic form is outlined and, what is especially important, the principle of monothematism is formed, which was of such capital importance in the further development of sonata-symphonic genres.
The heuristic activity of the musical form, characteristic of fantasy, manifests itself harmoniously in the best works, without paradoxicality and sharp violations of compositional logic. For example, in Schubert's fantasy
The Wanderer is remarkable for its compositional modulation from the first to the second movement: the turning point in the side part of the sonata Allegro turns into an intense development, from the culmination of which a long decline in the dramatic wave leads to a mournful Adagio. Such examples, showing how important the combination of improvisational freedom and harmonious architectonics is for this genre, confirm the deep thought of V. Medushevsky, expressed by him about the phenomenon of fantasy. The researcher sees a special responsibility for the author of fantasy, who is tempted by the temptation of ostentatious freedom - "freedom from ..." instead of "freedom for ...". "In the work of geniuses, the power of fantasy ... is not at all a mistress, but, on the contrary, a devoted and faithful servant."
The era of romanticism brought with it a new genre variety - fantasy, composed on borrowed themes. It also has genetic roots associated with the prelude: let us recall the baroque organ preludes on the themes of chorales. The development of fantasy "on themes" in the 19th century. was associated with an attraction to folk art, as well as with the awakening of an inquisitive interest in the music of the past (Fantasy and fugue on the theme of Liszt's "BACH"). Since in the XX century. both factors are enhanced, this type of fantasy remains fertile ground, and they are widespread in modern music. As for fantasy in the primordial sense, its role in the 20th century It is no coincidence that the decline is not accidental: in the conditions of innovation that has engulfed all areas of musical art, pure music no longer needs a special “laboratory of creative search”, which was fantasy for almost three centuries of its history.
Fantasy "on themes" is undoubtedly distinguished by its greater breadth and democracy: in comparison with the main form, enclosed in the framework of a lyrical statement, it is much more objective and often belongs to the realm of the epic. Therefore, it is natural for her to turn to a symphony orchestra (Glinka's Kamarinskaya) or a combination of a soloist with an orchestra (Fantasy on Russian folk themes for violin and Rimsky-Korsakov's orchestra).
Fantasy (in music) Fantasy(from the Greek phantasm - imagination), an instrumental piece of music, in which the improvisational beginning, the free development of musical thought, is of great importance. In the 16th century F. for guitar, lute and keyboard instruments were created as polyphonic pieces close to ricercaru and toccate. In the 17th century F. was influenced by the concerto, symphony, overture, sonata, rondo. In 17√18 centuries. it was often used as an introduction to other pieces, for example, to the fugue, and sometimes to the sonata (Fantasy and Mozart's sonata in c-moll). In the 19th century F. approaches the sonata (2 sonatas for piano "quasi una fantasia" by Beethoven, including "Moonlight"). F. are often created as free versions of sonata form (F. for pianoforte by Schumann, Chopin), sometimes close in structure to a symphonic poem (F. for piano "Wanderer" by Schubert). At the same time, F. became widespread as a virtuoso piece based on the development (mostly variational) of themes from operas, ballets (F. for piano Liszt on themes from Mozart’s opera Don Giovanni, etc.), melodies of folk songs (“Fantasy on themes Russian Folk Songs" for violin and orchestra by Rimsky-Korsakov, etc.).
Great Soviet Encyclopedia. - M.: Soviet Encyclopedia. 1969-1978 .
See what "Fantasy (in music)" is in other dictionaries:
A musical form that deviates in its construction from the established musical forms of rondo and sonata. The form of F. is free and depends on the desire of the composer. Nevertheless, the construction of F. must have a certain consistency. Although… …
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- (German symphonische Fantasie, French fantasie symphonique, English symphonic fantasia) genus symphonic. one-part program work (see Program music), orc. kind of fantasy. It can also be considered as a kind of genre ... ... Music Encyclopedia
From ancient times ist. material was reflected in nar. song (see Historical songs). East The theme was also developed within the framework of cf. century. church music (for example, Russian stichera of the 12th century, dedicated to princes Boris and Gleb). Emerged in the 17th century. in Europe, opera and ... ... Soviet historical encyclopedia
The structure of a musical composition, which is based on the proportionality of parts and symmetry. In the musical architectonics, the following functions were established: sentence (see), period (see), two and three-generation warehouses (see Knee). All these F. have more ... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron
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Historical outline
The term is first noted in German manuscripts of clavier music (dated to c. 1520); in printed editions for the first time - in the vihuel collection "Teacher" by the Spanish composer Luis de Milan (1536). In the late Renaissance and early Baroque, the word "fantasy" as a designation for a musical piece of a certain "free" (i.e., not dance or song) form was widely used in collections published in Italy (for example, Frescobaldi's fantasies) and throughout Western Europe. Europe (for example, Morley's fantasy).
In the High Baroque era, music of a certain “prelude” nature was often called fantasy, as, for example, Fantasia on (choral) “Komm heiliger Geist, Herre Gott”
The largest number of musical compositions (mainly for piano), designated by composers as fantasies, appeared in the era of romanticism, such as, for example, the fantasia "The Wanderer" by F. Schubert (D. 760), Fantasia-Impromptu by F. Chopin (op.66 posthum ), two fantasies - A-flat major "Desire" and F-sharp minor "Hats off", etude op.76-1 in A-flat major "Fantasy for the left hand" Ch.Alkan, Fantasia op.17 R. Schumann, "Waltz-Fantasy" M.I. Glinka, “Great fantasy on a theme of Paganini” (Grande fantaisie de bravoure sur La clochette) F. Liszt, “In the village. Quasi fantasia "M.P. Mussorgsky, Fantasy "Islamey" by M.A. Balakireva, Fantasy on themes by Ryabinin A.S. Arensky, Fantasy Sonata g-moll by A.N. Scriabin and many others. other Symphonic works by P.I. Tchaikovsky's "The Tempest" and "Francesca da Rimini" are called fantasies; his "Romeo and Juliet" has a double designation - "fantasy overture".
Art and fantasy
- Reality and fantasy in human life.
- Implementation of creative imagination in works of art (on the example of "Waltz-Fantasy" by M. Glinka).
Music material:
- M. Glinka. "Waltz Fantasy". Fragment (hearing);
- M. Glinka. Romance "I remember a wonderful moment" (at the request of the teacher).
- G. Struve, lyrics by K. Ibryaev. "Schoolship" (singing);
- A. Rybnikov, lyrics by I. Kokhanovsky. "Do you believe me?" (singing).
Characteristics of activities:
- To identify the possibilities of the emotional impact of music on a person.
- Recognize the intonational-figurative, genre foundations of music as an art form.
- Explore the variety of genre incarnations of musical works.
In human life there are, as it were, two plans, two currents. One is external events. For example, we know what kind of house a person lives in, how he dresses, what habits he has, etc.
The other makes up the innermost thoughts, deep experiences, spiritual quests of a person. Often it is in it that the main content of human life is concentrated. After all, Exupery said: “Only the heart is vigilant. You can’t see the most important thing with your eyes.”
Of course, just looking at a person, it is difficult to know his inclinations, tastes, affections. However, his inner world often manifests itself outwardly: in a look, a smile, intonations of a voice.
We say: “this person is spiritually rich” when his words and deeds convince us of the existence of a special inner world that colors the external manifestations with sincerity and depth. In the same way, we note someone's emptiness and spiritual impoverishment when we see that a person lives exclusively by material, practical interests.
Musical works are to some extent similar to people. They can also have their own depth and character: sometimes complex, sometimes frivolous. Therefore, different people love different music: some listen to Mozart and Brahms, others are content with simple songs. After all, music is different.
Listen, for example, to the music of M. Glinka.
The "Waltz-Fantasy" masterfully combines the two principles expressed in the title of the work.
On the one hand, this is a waltz - a smooth, whirling dance with a triple rhythm. It is known that waltzes can be different - cheerful and solemn, sad and reverent.
On the other hand, in this work, Glinka embodies a gentle, flying rotation that takes our imagination into a wonderful world of fantasy.
Mikhail Ivanovich Glinka met a charming girl, a student of the Smolny Institute, Ekaterina Kern, the daughter of the legendary Anna Kern, to whom A. Pushkin's poem "I Remember a Wonderful Moment" is dedicated. Glinka was seriously carried away by her.
Hearing: M. Glinka. Romance "I remember a wonderful moment" (at the request of the teacher).
He dedicated a romance to Catherine, written in Pushkin's poems dedicated to her mother, and at the same time began working on the piano "Waltz-Fantasy" - a kind of waltz poem inspired by the image of Ekaterina Ermolaevna, as if drawing her in a ball setting.
Glinka's love was mutual, but the romance soon ended: both were not free, moreover, Ekaterina Ermolaevna soon left on the advice of doctors for the Caucasus. In 1842, Kern returned to St. Petersburg, but her meeting with Glinka no longer had the same significance for him. Soon, through a mutual friend, he returned her letters to her, and then went abroad without regrets.
The short period of the affair with E. Kern is characterized by the rise of Glinka's creative activity. "Waltz-Fantasy" is one of the pinnacles of this period, a real gem of Russian musical classics.
The music of the "Fantasy Waltz" reflected all the poetry of this feeling, which brought Glinka a lot of both joyful and bitter experiences.
In "Waltz Fantasy" Glinka refers to the genre of dance music, which was the most popular at that time. However, from a small piece for applied purposes, the composer makes a detailed symphonic poem, which has absorbed the richest range of human feelings. This work by Glinka was the seed from which Russian lyric-psychological symphonic music would grow in the future.
The first impression of acquaintance with the "Fantasy Waltz" is a feeling of amazing charm, sophistication and tenderness. The main theme of the waltz is imbued with a thoughtful and sad mood. Motifs alternate with it, conveying other shades of feeling - sometimes elegiacly sad, sometimes dramatically agitated, sometimes captivatingly elegant.
It's so wonderful not to sing
Don't pull the bow
Or underpaint with a brush, falling asleep,
Only a genius could know
And waltz into the clouds
Magic melodies soar...
N. Gubin
Hearing: M. Glinka. "Waltz Fantasy".
Art awakens fantasy, evokes images of distant lands, which, perhaps, a person is never destined to visit, tells about events and heroes that he will never meet, it gives an experience that he himself would never have acquired. Art gives birth to a dream, and a dream is always richer than reality. Poets of all times knew this, endowing fantasy with magical wings that carry a person into the realm of unseen miracles.
Reality and fantasy - these two worlds coexist constantly, giving birth not only to poets and musicians, but also people of other romantic professions - pilots, geologists, travelers.
One rainy day, in inhuman anguish,
Unable to endure the hardships, under the gnashing of anchors,
We board the ship - and a meeting takes place
The immensity of dreams with the limit of the seas.
These lines are from a poem by the French poet C. Baudelaire "Swimming".
Please note: “the meeting of the immensity of the dream with the limit of the seas” denotes such horizons of the human meta, in comparison with which even the seas - these eternal symbols of the boundless space - seem to be limiting, narrow and cramped.
What is fantasy?
Why is it sometimes called the highest reality, the soul of all that exists?
This is probably due to the fact that without imagination it is impossible to create anything: from the simplest thing to a work of art.
Many poets, artists and composers - people living in the world of their fantasies - were surprised by the fact that they did not understand anything in everyday reality. At the same time, they shocked everyone with their knowledge of man, the innermost secrets of his soul.
“I am 85 percent a musician, I am only 15 percent human,” said Sergei Rachmaninov, and in these words you can hear every conceivable obsession with art that a great artist is capable of.
After all, the life of every artist takes place in a complex interweaving of reality and creative imagination, an interweaving that gives rise to a completely new, special world of his works. And, surprisingly, these works teach us to understand living life more deeply.
Questions and tasks:
- Remember the works of various types of art you know, where both reality and fantasy are combined at the same time.
- Why in Ch. Baudelaire's poem "Swimming" does the poet compare "the immensity of a dream" with the "ultimacy of the seas" in favor of a dream?
- Think about what "hardships", "anguish" and "bad weather" Baudelaire spoke of in his poem.
- Why, in your opinion, M. Glinka embodied fantasy in the waltz genre? Maybe it would be better to use a different genre for this (for example, a march)?
- In your opinion, does I. Brahms' Symphony No. 3 belong to the kind of music that awakens the imagination? What images does it evoke in you?
Presentation
Included:
1. Presentation, ppsx;
2. Sounds of music:
Glinka. Waltz fantasy, mp3;
Glinka. I remember a wonderful moment (in Spanish N. Kopylova), mp3;
3. Accompanying article, docx.