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… …

Contents 1 Name 2 Names 3 General meanings 4 In psychology ... Wikipedia

- (Greek phantasia). 1) the ability to imagine, create new independent images, carried out in art. works with the help of paints, stone, speech or sounds. 2) dream, fiction. 3) In music: a composition in which the author, not obeying ... ... Dictionary of foreign words of the Russian language

This term has other meanings, see Fantasy (meanings). Fantasy English. Fantasia Cartoon poster Type of cartoon ... Wikipedia

- “Arensky. Fantasy for Piano and Orchestra on the Themes of Ryabinin's Epics. "Overture Fantasy by Francesca da Rimini". In these names there is the same word fantasy. What does this mean? Actually, what does it mean, you are all beautiful ... ... Music dictionary

1918 1919 1920 1921 1922 See also: Dru ... Wikipedia

- (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

Pyotr Ilyich (25 IV (7 V) 1840, a village at the Kamsko-Votkinsk plant in the Vyatka province, now the city of Votkinsk Udm. ASSR 25 X (6 XI) 1893, St. Petersburg) Russian. composer, conductor, musician societies. figure. Genus. in the family of mining engineer Ilya Petrovich Ch. ... ... Music Encyclopedia

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• How the Dead Live by Will Self. The novel "How the Dead Live" is Self's universally recognized masterpiece. Sixty-five-year-old Lily Bloom, a woman with a quarrelsome character and a sharp tongue, who has lived half her life in America, dies in London. Her…

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, she
opposes 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 unfinished, 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 the method of compositional modulation from the first to the second movement: the turning point in the side part of the sonata Allegro turns into an intensive 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).

FROM musical thinking closely related musical imagination .

General psychology considers in imagery and fantasy as a mental activity consisting in "the creation of ideas and mental situations that have never been generally perceived by a person in reality."

As for the musical imagination, it has specific feature associated with musical images, their abstractness.

musical imagination can be defined as the ability of the psyche to correlate musical images with extra-musical pictures, states and ideas or with other musical works.

This does not mean that every musical image is translated into verbal language, compared with something from real life. But, thanks to the musical imagination, these images can be verbalized which helps to comprehend their meaning, the closeness of the inner essence of a person - his emotions, thoughts, ideas, etc.

An impetus for the development of musical imagination are, on the one hand, musical performances, the source of which is memory. On the other hand, the imagination is stimulated by musical and non-musical associations, and most importantly - a versatile experience: life, literature, art.

Imagination training helps to activate and musical memory, and auditory representations.

Musical imagination is classified into two main types:

1) on generating purely musical associations.

2) to defiant non-musical performances.

Examples of musical imagination of the first type are reactions to any onomatopoeia in music (to the call of the cuckoo in the play "Cuckoo" by Daken or to the buzzing of the spinning wheel in Schubert's song "Marguerite at the Spinning Wheel").

The musical imagination of the second type is manifested, first of all, in the perception of polystylistic devices. Here, the role of musical experience.

In particular, the beginning of the finale of Shostakovich's Sonata for Viola and Piano evokes vivid allusions to Beethoven's Moonlight Sonata (No. 14). But for a person not familiar with this Sonata, the opening bars of Shostakovich's work will not have such a significant and multidimensional meaning. Largely due to the musical imagination, polystylistic devices in music (in the form of quotations, allusions, stylizations, etc.) have such an active communicative function.

Of all the basic musical abilities, the musical imagination is closest to synesthesia. This ability is, as it were, an approach to synesthetic reactions. Therefore, the musical imagination is directly related to musicality.

Development of thinking in the process of perceiving music, it follows a specific path. When creating and performing a work, the composer and performer are able to use the informational possibilities of the listener's life impressions. This stimulates the work imagination, as they conjure up in the listener's imagination certain associations. But a specific image does not always appear in this case. According to E. V. Nazaikinsky, “vague, complex sensations, often of an emotional nature,” which the listener is often unable to describe in literature, appear. However, this does not mean that he did not perceive the content. There is a so-called continuum thinking , that is, thinking of the pre-verbal level, its forerunner. This is an important component in the development of the intellect, in which the thought process is most intensively synthesized with sensations and emotional-sensory functions. It is to continual thinking that in most cases, like no other art, music appeals. Therefore, it is so difficult, and sometimes impossible, to describe music in words, and even translated into verbal language, it still leaves a wide range of interpretations.

The innovative trends of the 20th century in poetry and painting testify to how important continual thinking is for the human psyche: futurism, cubism (cubo-futurism in Russia), Suprematism, abstractionism, etc. Many poems by Velimir Khlebnikov, paintings by V V. Kandinsky, K. S. Malevich, P. N. Filonov and others.

Intellectualization of the creative process began at the end of the 19th century in the art of artists who, as it were, anticipated the musical thinking of the 20th century: S. I. Taneyev, M. Reger, C. Ives. It should also be noted that the unique figure of A. N. Scriabin, whose creative process by the 20th century had acquired pronounced rationalistic traits with the inclusion of mathematical calculations, especially when working on Prometheus.

The increased role of rationality is manifested in the active evolution of polyphonic genres and techniques, in the emergence of neoclassicism, aspects of which are found in the works of such different artists as Stravinsky and Hindemith, Prokofiev and Poulenc.

Ratio underlies dodecaphony, seriality, seriality, pointillism, minimalism, sonoristics, etc.

In the second half of the century, individual, mathematically organized writing methods appeared, such as, for example, the stochastic system of J. Xenakis, where probability theory, Markov chains, and Boolean algebras were used.

Engineering design resembles the process of creating electronic and concrete music by E. Varèse, P. Henri, P. Schaeffer and others.

Eclecticism and polystylistics are intellectual in nature.

The primacy of the intellectual is associated with the increased interest in recent decades in monograms, allusions, intonation hints, quotations, etc.

Apparently, in general, rationalistic artistic thinking dominates in modern times (B. Meilakh). This is evidenced by the meticulous planning of many composers of their creative process, for example, Prokofiev, Stravinsky.

However, in the 20th century and in its second half, one can also note the creative process with a predominance of intuitive start . It is, as a rule, characteristic of composers working in the major-minor tonal system.

In particular, the share of Shostakovich was exceptionally high: "I compose music as I hear it, as I feel it." It is often difficult for artists of a similar mental warehouse to explain the choice of one or another means of expression, as, for example, to B. A. Tchaikovsky: “It was necessary. There is no conscious intention to do so. Everything is connected with the image, with the creative need.

There is a creative process, where in unity are combined rational and intuitive .

For example, in the creative process of B. I. Tishchenko, an individual mathematical calculation for calculating options in the serial development of a modification form, in particular in Sonata No. 3 for piano, counterpoint of numerical and motivic symbolism coexist with intuitive. Therefore, here one can also note the variety of preliminary sketches, including schedules, verbal creative tasks, and the alignment of musical material only in the imagination. Illinois and high rationalism are present in the creative process of GI Ustvolskaya. It is no coincidence that in one of the interviews, the composer remarked with pathos: “They don’t analyze my music. It is written in blood."

Apparently, the lack of an intuitive beginning is due to the emergence of compositional methods based on chance: aleatorics, sonority without pitch, various improvisation techniques. They are found in the works of K. Penderetsky, P. Boulez, R. Shchedrin and others. A musical work exists in 3 types: the notes recorded by the composer, the live sound created by the performer, the interaction of artistic images of music with the life experience of the listener.

In all these activities, images of the imagination are necessarily present.

Creating a piece of music composer operates with imaginary sounds, thinks through the logic of their deployment, selects intonations that are most suitable for conveying feelings and thoughts.

Executor in the transfer of the musical image is based on technical abilities, but how well the performer feels and understands the integral musical image depends on the success of the performance of the work.

Listener will be able to understand the composer's intention and performance, if in his inner representations the sounds of music can evoke life associations that correspond to the spirit of the musical work.

Often a person with a richer life experience with no musical experience responds to music more deeply than a person with musical training, but less life experience.

Musical imagination is closely related to life experience.

One and the same vital content can be embodied by composers in different ways. At the same time, people are sad and happy the same way on all continents and at all times. But the expression of these feelings in music is consistent with the principles of historical development. Therefore, sadness and joy in the music of different composers sound differently.

Features of the perception of music are due to the work of the imagination, which cannot be the same in people. In this connection, the same work is perceived differently by different people.

The activity of the musical imagination is closely connected with musical and auditory performances, i.e. the ability to hear music without actually hearing it.

At the same time, in the work of the imagination, in addition to inner hearing, a huge role is played by visual images. Neuhaus gave the conceptual meaning of the works through the description of visual pictures in his imagination.

It is known that program works are perceived more easily, since the author outlines the path along which the listener's imagination will move.

For people gifted with creative imagination, any music is both programmatic and does not need a program, because. expresses everything in his own language.

There is a division of people for 2 types depending on what signal system a person relies on in his activity:

- artistic type - based on 1 signal system, which operates with specific ideas based on feelings, such people do not require words, intuitively understanding the meaning of a piece of music;

- thinking type - based on a 2-signal system that regulates behavior with the help of words, for which, in understanding the meaning of a musical work, comparisons, metaphors, associations are required that activate the imagination and cause emotional experiences similar to the structure of a musical work.

Psychological mechanism reincarnation - the main thing in the perception and comprehension of the work, where the highest point is - peak experience or peak experience, which requires the development of neuropsychic organization, experience and developed imagination.

Musical fantasy. What does this mean?
The Greek word phantasia translates as "imagination". We are accustomed to use it in the meaning - a whim, fiction. In music, however, fantasies began to be called works that were peculiar in form and did not fit into the framework of traditional forms. “He fantasizes,” they sometimes said about an improviser. So, in the work of J.S. Bach, organ fugues were sometimes preceded by fantasies. Fantasies were written by Mozart, Beethoven, Chopin.

L. van Beethoven
Sonata "in the spirit of fantasy" No. 14 in C-sharp minor, Op. 27 No. 2
("Lunar")

W. A. ​​Mozart
Fantasia in D minor, KV 397

F. Chopin
Fantasia in F minor, Op. 49

In the 19th century, fantasies appeared in program music, where the logic of its development should correspond to the literary program.

P.I. Tchaikovsky
Overture-Fantasy "Francesca da Rimini"

Another common type of musical fantasy is a work composed on themes borrowed by the composer; themes of folk songs, opera excerpts, etc.

A.Arensky.
Fantasy for piano and orchestra on the themes of Ryabinin's epics.

F.List
Fantasy on Hungarian folk themes

A. Tsygankov
Russian fantasy

One can often hear fantasies on the themes of songs of this or that composer, on music from operettas and other similar orchestral compositions.

Fantasy on the themes of songs by T. Khrennikov

A. Rosenblat.
Concert fantasy on the themes of G. Bizet's opera "Carmen".

Fantasy- (gr. phantasie - imagination, fiction)
1. A piece of music in a free form that does not coincide with the established forms of construction
2. An instrumental piece characterized by a bizarre, fantastic content and character of the music
3. Free interpretation of various genres
4. A genre of instrumental or orchestral music that is close to paraphrase, rhapsody or "montage" of themes and passages, similar to potpourri

CARTOON
MUSICAL
FANTASIES

"Fantasy"(eng. "Fantasia") is a classic feature-length musical animated film created by the Walt Disney Company in 1940. The picture consists of nine numbers, the music for which was performed by the Philadelphia Orchestra under the direction of Leopold Stokowski.

Fantasy was one of Walt Disney's most daring experiments. The cartoon was the first to use stereo sound, and the style of the picture tends to be abstract and avant-garde.
The film consists of nine episodes, in which fragments of classical works serve as background music. Each of the parts of the film is made in its own style and plot is independent, and small film inserts with the participation of the Philadelphia Orchestra under the direction of Leopold Stokowski act as connecting links between them.

Each episode begins with an orchestral introduction. The film begins like a performance: a curtain rises in the semi-darkness, silhouettes of musicians appear against a blue background, accompanied by the noise of tuned instruments. The narrator greets the audience. While he tells the audience about the three types of music, the sound of the instruments gradually clears up and their sound merges into harmony. Three types of music - narrative, telling a story, illustrative (background) and absolute, existing for its own sake.

J. S. Bach - Toccata and Fugue in D minor, BWV 565
P. Tchaikovsky - Suite from the ballet "The Nutcracker"
P. Duke - "The Sorcerer's Apprentice"
I. Stravinsky - "The Rite of Spring"
L. van Beethoven - Symphony No. 6
A. Ponchielli "Dance of the Hours" from the opera "La Gioconda"
M. Mussorgsky - Night on Bald Mountain
F. Schubert - Ave Maria
K. Debussy "Moonlight"

A cartoon was released in 1999 "Fantasy-2000" using modern technologies.

L. van Beethoven "Fifth Symphony"
O. Respighi "The Pines of Rome"
D. Gershwin "Rhapsody in Blue"
D. Shostakovich "Piano Concerto No. 2, Allegro, Opus 102"
C. Saint-Saens "Carnival of the Animals", final
P. Duke "The Sorcerer's Apprentice"
E. Elgar "Pomp and Circumstance, Marches 1, 2, 3, 4
I. Stravinsky Suite from the ballet "Firebird"

text from multiple sources

from the Greek pantaoia - imagination; lat. and ital. fantasia, German Fantasia, 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 in 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 form (often with a tendency toward a through development)—is characteristic of music of any genre, and in this sense, many of the newest 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 themes 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.