Text 12. The Swan lake
«Лебединое озеро» - один из наиболее известных классических балетов 19 века. Предположительно, что источниками либретто могли послужить романтические сюжеты: сказка немецкого писателя Музеуса «Лебединый пруд», а также «Ундина» Ламотт-Фуке – Жуковского. Некоторые образно-сюжетные мотивы либретто родственны произведениям русской литературы. В либретто балета нашли отражение основные темы и образы романтического искусства той эпохи: разлад мечты и реальности, стремление к красоте, идеалу и невозможность его обрести, надежда на счастье, невольное предательство и искупление вины ценою жизни. Сказочная коллизия развивает важнейшую для романтизма тему рока, родового проклятия. Характерно для романтической концепции соотношение человек-природа, которая и защищает, и сопереживает и карает.
Обстоятельства возникновения замысла балета и его осуществления недостаточно ясны. Достоверных данных об авторах либретто также не сохранилось. Однако, сюжет изложен П. И. Чайковским в рукописи партитуры балета. Существуют свидетельства, что в составлении программы и либретто принимал участие и известный деятель русского балета В. Ф. Гельцер. Вероятны также и соавторство, и помощь других лиц.
Сочинение музыки продолжалось около года с перерывами. В конце марта 1875 года начались репетиции в театра, в то время, как Чайковский продолжал работать над инструментовкой. 10 апреля 1876 года сочинение музыки было закончено. После завершения партитуры Чайковский написал несколько вставных номеров для бенефиса знаменитых балерин Собещанской и Карпаковой.
Музыкально-драматургический стержень всего балета – тема-лейтмотив – «Лебединая песнь». От 1 акта до финала балета главная тема балета связана с важнейшими этапами лирико-драматического действия. Важнейшее средство создания в музыке балета романтического и элегического настроения – последовательное использование ритма вальса. Вальсовость пронизывает многочисленные эпизоды музыки балета, выступая в качестве одного признаков сквозного лирического действия с изменениями драматургического значения ритма вальса на протяжении всей композиции. Большие вальсы балета- первые крупные танцевально-симфонизированные формы, открывающие перспективу для балетной музыки 20 века. (http://tchaikovsky.km.ru/lake.html)
Task 1. Render the text in English, paying attention to musical terminology
| “After silence that which comes nearest to expressing the inexpressible is music” Aldous Huxley |
Text 13. The Modern/20th Century Musical Trends
Throughout the twentieth century, many trends developed. These trends permeated all the different areas of music and did not specifically happen at a given point in time or take on a strict form. Some of these trends were incorporated together into the same piece of music. The twentieth century broke all the musical rules of the past and let one form and style flow right into another. It is still important to note that although much change came with the turn of the century, Romantic music continued throughout this era, and remained the dominant form for quite some time.
Impressionism
Impressionism was the very first trend of significance which moved away from Romanticism and towards Modern era characteristics. Though this type of music was programmatic, it still started the movement away from the Romantic era. Impressionistic music was vague in form, delicate in nature, and had a mysterious atmosphere to it.
Expressionism
Although not as important as Impressionism, Expressionism was a prominent early twentieth century movement. Stylistically, expressionistic music was very atonal and dissonant. It was a German movement away from French Impressionism. It was emotional and had a somewhat Romantic feel to it.
Neo-Classicism
Neo-Classicism can be defined as the new classical movement. This movement started in the early 1920s and continued to be a leading musical movement throughout the century. This trend is still popular today. Neo-Classicism is a movement which incorporated the music of the Classical era, in terms of clarity of texture and objectivity. This trend not only based its music on the Classical era, but it also mixed Renaissance, Baroque, and some modern trends in with it.
Jazz
Jazz is a musical movement which dominated the 1900s. It is mainly an American form and remains popular to this day. Jazz can be defined as anything from popular music of the twentieth century to the improvised sounds of a dance band. Some prominent forms of Jazz throughout the century have been Ragtime, Blues, Swing, Dixieland Jazz, Bop, and Boogie-Woogie. Since the second half of the 1900s, new forms and techniques of Jazz have come about. These include funky hard bop regression, cool jazz, progressive jazz, and rock and roll. Generally these newer styles have a greater range in harmony, rhythm, and melody, and are less oriented to dance music. They also sometimes borrow techniques and forms from classical music, and vice versa, as modern classical music often contains Jazz elements.
Aleatory Music or Chance Music
Aleatory music is an extremely random style of music. The composer and/or the performer will randomly pick musical materials and make it into a piece of music. There are no rules to this form of music, and, thus, any kind of music can be created as a result. After the composer writes a piece in this unusual style, the performer then improvises on it, to make it stranger and more unique. Some techniques involved in aleatory music are having the audience improvise along with the performer, using electronic or computer media, or reading poetry somewhere inside of the work.
Electronic
The newest trend of the twentieth century lies in electronic music. Electronic music takes electronically generated sounds and turns it into a work of music. Like conventional music, electronic music has four general properties to it. These are amplitude, pitch, duration, and timbre. Electronic music is typically composed on either a synthesizer or a computer. The most current trends in this form of music show electronic music in combination with Jazz.
Task 1.Read the text.
Task 2.Answer the questions:
1. What new musical trends appeared in the 20th century?
2. What are the main characteristic features of the musical development in the 20th century?
3. How can you characterize impressionism as a new musical style?
4. What were the main features of expressionism like?
5. How can be neoclassical style defined?
6. What other musical trends was this style based on?
7. When did jazz appear?
8. What forms of jazz can be mentioned as prominent?
9. What features can jazz be characterized by?
10. What are the main features of aleatory music?
11. How is electronic music composed?
12. Combination of what trends is considered the most current trend in modern music?
Task 3. Render the text.
Task 4. Speak about the modern music styles you like, explain your choice.
| “Jazz tickles your muscles, symphonies stretch your soul” Paul Whiteman |
Text 14. The Modern/20th Century Composers
Bartok, Bela (1881-1945)
Bela Bartok was a famous Hungarian composer who transcribed Hungarian folk songs and also wrote his own orchestral, opera, ballet, and chamber music. Stylistically, he mixed his innate musical talent along with his intellectual skill to create his mastery of modern form. His most famous works are the Sonata for Two Pianos and Percussion, Concerto for Orchestra, and Mikrokosmos.
Britten, Benjamin (1913-1976)
Born in 1913, Benjamin Britten was an English composer. He wrote music in choral, orchestral, solo vocal, and operatic styles. He is also well known as being a significant composer of opera. He used various themes from American, Japanese, and British cultures in his works. His most famous opera is Peter Grimes. Britten was very opposed to war, and this can be seen in his War Requiem, which was a statement about his objection against militarism.
Bernstein, Leonard (1918-1990)
Leonard Bernstein was one of the most influential composers of the 20th century. He was a virtuoso pianist, a television star, a gifted conductor, a businessman, and a classroom teacher.
Bernstein was first inspired by music when, at eight years old, he heard music played in his first trip to a synagogue. He was moved to tears by the choir and the organ sounds. He would never be the same again, and the musical world can be thankful for that. He learned how to play the piano, and continued playing and performing for the rest of his life. Composer Serge Koussevitsky gave him positive encouragement and helped him to become a successful conductor when he was only in his twenties. Some of the famous groups that he conducted were the New York Philharmonic, The New York City Symphony Orchestra, and the Boston, St. Louis, Cincinnati, and Israeli orchestras.
Some of his well known works are the symphony Jeremiah and Serenade for Violin Solo, String Orchestra and Percussion. His compositions Masque and Turkey Trot are known for being very lively and rhythmic. He is also known for his ballet Fancy Free, his musical, On the Town, and his opera Candide.
Copland, Aaron (1900-1990)
The composer Aaron Copland was born in 1900 in Brooklyn, New York. His personality often clashed with his musical compositions, as he was a quiet and soft-spoken man, while his music was loud, brilliant, and tense. As a child, he studied the piano and music theory. When he was old enough to leave home, he traveled to France to further immerse himself in the musical world. There he made his first business mistake, as he sold a short composition of his, The Cat and The Mouse, for twenty-five dollars. Thousands of copies were sold and he did not receive and royalties from the song.
Copland returned to New York after his education in France. While back in the United States, he composed his famous Symphony for Organ and Orchestra. He went on to become the director of many musical foundations such as the International Society for Contemporary Music, the League of Composers, and his own foundation.
Copland was very interested in educating people about modern music. He gave concerts with fellow friend and composer Roger Sessions. These Copland-Sessions concerts served to educate audiences about the new and dissonant music that he and Sessions composed. He was also the director of the Berkshire School of Music in Tanglewood, Massachusetts after the great conductor Serge Koussevitzky died.
Some of his most famous works are Lincoln Portrait, a large orchestral piece with text from the Gettysburg address, and Appalachian Spring, which was a Pulitzer Prize and Critic's Circle of New York winning ballet. Additional songs for which he is known are Hoedown and Simple Gifts. Copalnd was an extremely versatile composer and composed music for choruses, orchestras, theater, and chamber music groups. It is a special honor of his that he was one of the first major composers asked to write a piece of music for a radio broadcast. Additionally, he wrote the scores for the films The Heiress, The City, Our Town, and Of Mice and Men. His compositions for film are emotional and have also been performed in concert halls.
Aaron Copland retired from composing music in 1965. This was due to the fact that younger composers were ignoring him, and the general public did not receive his newer works very well. Among these works that were ignored by the public was Inscapes, one of the great postwar American scores. From then on, Copland focused on a conducting career, specializing in his own scores.
Gershwin, George (1898-1937)
American born composer George Gershwin was born in Brooklyn, New York in 1898. He was a composer of both pop and concert music. As a child, Gershwin learned about music by playing the piano. At age sixteen, he received additional piano practice at a job where he played popular song hits all day long. He began to compose and play some of his original works but was largely ignored.
Eventually, Gershwin took a job as a rehearsal pianist at a Ziegfeld production. At this point in his life, he wrote his first musical comedy, La La Lucille, which turned out to be a hit. From then on he rapidly turned out Broadway successes. These were the famous Oh Kay, Strike Up the Band, Girl Crazy, Funny Face, Of Thee I Sing, Lady Be Good, and George White's Scandals. These scores contained songs that the country would grow to love, full of popular music and touches of early rock and roll.
Soon after, George Gershwin produced another one of his most famous works, Rhapsody in Blue. This was a jazz piece written as a form of art. This whole philosophy was very new to the public, and yet they instantaneously fell in love with this piece. It was performed in concerts, broadcast on radio stations, and recorded and distributed in high volume, making it a well-known musical composition throughout the world. After Rhapsody in Blue, he composed two very famous compositions, American in Paris and the Cuban Overture.
Porgy and Bess was George Gershwin's last important composition. This was a grand opera folk opera written about the African American Southern culture. The all-African cast was so important that it was hailed as the first completely successful and completely American opera. It was written so emotionally and dramatically that members of the cast could not believe that the opera's composer wasn't at least partially African American. Porgy and Bess exemplified the skill and talent that George Gershwin possessed.
Tragically, Gershwin died at the young age of thirty-nine due to a cancerous brain tumor. His legacy continued on and Gershwin's music is still influential today, making him one of the most important composers of the twentieth century.
Ives, Charles (1874-1954)
Charles Ives was born in 1874 in Danbury, Connecticut. He learned about music from his father who was the lead member of the town band. At Yale he took a course in music, but rather than use conventional notation, he invented his own musical alphabet. Ives' unusual philosophy certainly did not make him a conservative musician.
From 1906 to 1930, when he retired, Ives was a businessman at an insurance company. From that point on he focused wholeheartedly on his music. Throughout his life, he tried not to miss a musical affair in his hometown of Danbury. He attended performances by the town band and played the organ in church. When he wrote music he incorporated the sounds he heard in town performances into it, faults and all. Some typical characteristics of his music were off-key singing, squeaky and out of tune violin playing, and the wheeze of the harmonium.
Ives wrote his music in a manner as cryptic as its sound. His score would have notes jotted all over the page with no bar separations and strange chords, rhythms, and quarter tones. One of his most famous works, written in this style, is his second sonata for the piano, entitled Concord, Massachusetts. This was arranged into four movements known separately as "Emerson," "Hawthorne," "The Alcotts," and "Thoreau." This piece brought out the spirit of Concord in the middle of the century, and was hailed for its power and display of emotion. Another popular piece of Charles Ives' was his Symphony for Orchestra and Piano.
Charles Ives was certainly one of the most influential, original, and unique composers of the 20th century. He died at eighty years of age, leaving eleven volumes of chamber music and six volumes of orchestral scores, most never performed. He was only semi appreciated in his lifetime, but the world today now appreciates his importance to the world of music. He was innovative, well ahead of his time, and risky and bold in his musical experimentation. Ives and his music are studied today for their freshness and daring.
Stravinsky, Igor (1882-1971)
Igor Stravinsky was born in Russia in 1882. His earlier works, such as his symphony No. 1 in E Flat, showed the old school Romantic musical style of Russia. However, Stravinsky began to turn away from this style of music and progressed towards the music of Claude Debussy, while adding a Russian flavor to it. Some of the works he completed in this new style were The Faun and the Shepherdess, Fireworks, and the major ballet Firebird. In these compositions, clean orchestral textures, irregular rhythms, and emphasis on stamping were used. Two additional ballets written in this style were Le Sacre du Printemps and Petrouchka. These works were less Romantic and had more of a barbaric feeling to them.
Eventually tiring of this style, Stravinsky decided to search for a new style of music once again. In this transitional period, he wrote the opera Le Rossignol, and Symphonies for Wind Instruments. After World War I, he moved further away from his fiery ballets by composing Tango, Ragtime, and L'Histoire du Soldat. These new scores were less aesthetically pleasing but used more objectification. At this time, he also reworked the old masterpieces of Pulcinella and Oedipus Rex. This style was called neo-Classicism, which was a return to classical music with modern day elements added in. Stravinsky is regarded as the most influential modern composer in both France and America. His most famous Neoclassicist works are the Concerto for Two Solo Pianofortes, the ballets Apollo and Jeu de Cartes, Symphony in Three Movements, Symphony in C, Ebony Concerto, Mass, Symphony of Psalms, and the classic full length opera, The Rake's Progress.
After Stravinsky finished The Rake's Progress he moved away from neo-Classicism and towards the serial music style. His most famous works in this category were Movements for Piano and Orchestra, Cantata, In Memoriam Dylan Thomas, Three Shakespeare Songs, Threni, Introit, The Dove Descending Breaks the Air for chorus, and Requiem Canticles. Stravinksy was a multifaceted and talented man who left an impression still burning on the musical world today.
Vaughn Williams, Ralph (1872-1958)
Ralph Vaughan Williams was born in England during the year 1872. Composers influenced in the musical style of Brahms were his musical mentors. His earlier music showed the influence of Brahms, yet they also has Williams' unique and original sound to them. Throughout his life, he was fascinated by the English folk song.
Vaughan Williams had the unique talent of being able to absorb musical techniques and styles from other composers while still remaining true and original to himself.Composers who influenced him were Stravinksy, Bach, Brahms, Byrd, and Debussy. His earliest compositions were French impressionist music, such as his In the Fen Country, and String Quartet No. 1. He soon changed his musical style to incidental music. In this format, his famous works were The Wasps, the song cycle On Wenlock Edge and Fantasia on a Theme by Thomas Tallis.
Vaughan Williams was a composer in almost every category of music. He wrote a few of operas, none which had success on stage, even though they were filled with artistically pleasing music. His other major musical compositions were Hodie, Merciless Beauty, Serenade to Music, 10 Blake Songs, Five Mystical Songs, Dona nobis pacem, and Sancta Civitas. All of his symphonies show Ralph Vaughan Williams' wide range of style and form, each piece having a truly unique sound. His music was always original and unique, with much drama and emotion.
Task 1.Read the text.
Task 2. Translate the underlined expressions and sentences into Russian.
Task 3. Speak about the famous composers of the 20th century.
Task 4. Using the expressions from the text speak about your favorite composer (group, trend) in the 20th century music
| “The chief trouble with jazz is that there is not enough of it; some of it we have to listen to twice” Don Herald |
Text 15. What is jazz?
Однажды главного редактора самого знаменитого американского джазового журнала "Down Beat", распространяющегося в 124 странах мира, какой-то репортер во время интервью спросил: "А что такое джаз?". "Вы никогда не видели, чтобы человек был так быстро пойман на месте столь простым вопросом!", говорил впоследствии этот редактор. В отличие от него, какой-либо другой джазовый деятель в качестве ответа на тот же вопрос мог бы рассказывать вам об этой музыке два часа и более, ничего конкретно не объяснив, так как в действительности до сих пор не существует точного, краткого и в то же время полного и объективного определения слова и самого понятия "джаз".
Зато существует огромная разница между музыкой Кинга Оливера и Майлса Дэйвиса, Бенни Гудмена и "Модерн джаз квартета", Стэна Кентона и Джона Колтрейна, Чарли Паркера и Дэйва Брубека. Многие составные части и само постоянное развитие джаза за 100 лет привели к тому, что даже вчерашний набор его точных характеристик не может быть полностью применен сегодня, а завтрашние формулировки могут быть диаметрально противоположны (например, для диксиленда и бибопа, свингового биг-бэнда и комбо джаз-рока).
Трудности в определении джаза заключаются также и. в том, что эту проблему всегда пытаются разрешить прямо в лоб и говорят о джазе много слов с малым результатом. Очевидно, ее можно было бы решить косвенно, определив все те характеристики, которые окружают этот музыкальный мир в обществе и тогда легче будет понять, что же находится в центре. При этом вопрос "Что есть джаз?" заменяется на "Что подразумевают под джазом?". И тут мы обнаруживаем, что это слово имеет самые различные значения для разных людей. Каждый человек наполняет этот лексический неологизм определенным смыслом по своему собственному усмотрению.
Существуют две категории людей, использующих это слово. Одни любят джаз, а других он не интересует. Для большинства любителей джаза характерно очень широкое применение этого слова, но никто из них не может определить, где начинается и кончается джаз, потому что у каждого на этот счет имеется свое мнение. Они могут найти между собой общий язык, однако каждый убежден в своей правоте и знании того, что есть джаз, не углубляясь в детали. Даже сами профессиональные музыканты, которые живут джазом и регулярно исполняют его, дают весьма различные и расплывчатые определения этой музыки.
Бесконечное разнообразие толкований не дает нам никаких шансов придти к единому и бесспорному заключению о том, что такое есть джаз с чисто музыкальной точки зрения. Тем не менее, здесь возможен иной подход, который во 2-й половине 50-х предложил всемирно известный музыковед, президент и директор Нью-йоркского Института джазовых исследований Маршалл Стернс (1908-1966), неизменно пользовавшийся безграничным уважением в джазовых кругах всех стран Старого и Нового Света. В своей прекрасной хрестоматийной книге "История джаза", впервые опубликованной в 1956 г., он дал свое определение этой музыки с чисто исторической точки зрения.
Стернс писал: "Прежде всего, где бы вы ни услышали джаз, его всегда гораздо легче узнать, чем описать словами. Но в самом первом приближении мы можем определить джаз как полуимпровизационную музыку, возникшую в результате 300-летнего смешивания на североамериканской земле двух великих музыкальных традиций - западноевропейской и западноафриканской,- т.е. фактического слияния белой и черной культуры. И хотя в музыкальном отношении преобладающую роль здесь сыграла европейская традиция, но те ритмические качества, которые сделали джаз столь характерной, необычной и легко распознаваемой музыкой, несомненно, ведут свое происхождение из Африки. Поэтому главными составляющими этой музыки являются европейская гармония, евро-африканская мелодия и африканский ритм".
Но почему же джаз возник именно на территории Северной Америки, а не Южной или Центральной, где также было достаточно белых и черных? Ведь когда говорят о родине джаза, его колыбелью всегда называют Америку, но при этом обычно подразумевают как раз современную территорию США. Дело в том, что если северную половину американского континента исторически заселяли, главным образом, протестанты (англичане и французы), среди которых было много религиозных миссионеров, стремящихся обратить негров в христианскую веру, то в южной и центральной части этого огромного материка преобладали католики (испанцы и португальцы), которые смотрели на черных невольников просто как на рабочий скот, не заботясь о спасении их души. Поэтому там не могло возникнуть значительного и достаточно глубокого взаимопроникновения рac и культур, что в свою очередь оказало прямое влияние на степень сохранения родной музыки африканских рабов, преимущественно в области их ритмики. До сих пор в странах Южной и Центральной Америки существуют языческие культы, проводятся тайные ритуалы и безудержные карнавалы под сопровождение афро-кубинских (или латиноамериканских) ритмов. Неудивительно, что именно в этом ритмическом отношении южная часть Нового Света уже в наше время заметно повлияла на всю мировую популярную музыку, тогда как Север дал в сокровищницу современного музыкального искусства нечто иное, например, спиричуэлс и блюз.
Следовательно, продолжает Стернс, в историческом аспекте джаз - это синтез, полученный в оригинале из 6 принципиальных источников. К ним относятся:
1. Ритмы Западной Африки;
2. Рабочие песни (work songs, field hollers);
3. Негритянские религиозные песни (spirituals);
4. Негритянские светские песни (blues);
5. Американская народная музыка прошлых столетий;
6. Музыка менестрелей и уличных духовых оркестров. (http://www.jazz.ru/books/history/)
Task 1.Translate the text into Russian.
Task 2.Speak about your own attitude to jazz. Try to explain the reasons why jazz is so popular among the people
Text 16. THE BEATLES
The impact of the Beatles upon popular music cannot be overstated; they revolutionized the music industry and touched the lives of all who heard them in deep and fundamental ways. Landing on these shores on February 7, 1964, they literally stood the world of pop culture on its head, setting the musical agenda for the remainder of the decade. The Beatles' buoyant melodies, playful personalities and mop-topped charisma were just the tonic needed by a nation left reeling by the senseless assassination of its young president, John F. Kennedy, barely two months earlier. Even adults typically given to scorning rock and roll as worthless "kid's stuff" were forced to concede that there was substance in their music and quick-witted cleverness in their repartee. Without exaggeration, they transfixed and transformed the world as we knew it, ushering in a demographic shift in which youth culture assertively took over from its stodgy Eisenhower-era forbears.
The long journey resulting in the mob scene that greeted the Beatles' arrival at Kennedy Airport began in Liverpool back in 1958. A series of groups, including the Quarrymen and the Johnny and the Moondogs, variously included Liverpool natives John Lennon, Paul McCartney and George Harrison. With a rhythm section consisting of bassist Stu Sutcliffe (an art student with great looks and scant musical ability) and drummer Pete Best, the group assumed the name "the Beatles." The group became a fixture on the rough-and-tumble bar scene in Hamburg, Germany, where their five-set-a-night marathons helped mold them into a tight performing unit. Their early repertoire consisted of well-chosen rock and roll and rhythm & blues covers, running the gamut from Chuck Berry to Little Richard. In April 1961, Sutcliffe left and McCartney switched from guitar to bass. On the local scene in their hometown of Liverpool, the group landed a lunchtime residency at a club called the Cavern, where they were discovered by a local record merchant and entrepreneur, Brian Epstein, who became their manager in December 1961.
Epstein helped polish the group's appearance, dressing them in dapper collarless gray suits and making them appear more friendly than menacing. After being rejected by Decca Records following a January 1962 audition, the Beatles signed with EMI-Parlophone that April, having impressed producer George Martin. In August, Ringo Starr (born Richard Starkey), who'd been drumming with Rory Storm and the Hurricanes, was brought into replace Pete Best. The group's first single, "Love Me Do/P.S. I Love You," briefly dented the U.K. Top Twenty in October 1962, but their next 45, "Please Please Me," formally ignited Beatlemania in their homeland, reaching the Number Two spot. It was followed by four consecutive chart-topping British singles, issued throughout 1963: "From Me to You," "She Loves You," "I Want to Hold Your Hand," "Can't Buy Me Love." They conquered the U.K., even inducing a classical music critic from the London Sunday Times to declare them "the greatest composers since Beethoven." The group's success was based around the Lennon/McCartney songwriting partnership, Harrison's guitar-playing prowess, and Starr's amiable disposition and artful simplicity as a drummer.
The Beatles' conquest of America early in 1964 launched the British Invasion, as a torrent of rock and roll bands from Britain overtook the pop charts. The Fab Four's first Number One single in the U.S. was "I Want to Hold Your Hand," released on Capitol Records, EMI's American counterpart. This exuberant track was followed by 45 more Top Forty hits over the next half-dozen years. During the week of April 4, 1964, the Beatles set a record that is likely never to be broken when they occupied all five of the top positions on Billboard's Top Pop Singles chart, with "Can't Buy Me Love" ensconced at Number One. Their popularity soared still further with the release of their playfully anarchic documentary film, A Hard Day's Night, in August 1964.
When all was said and done, the Beatles charted 20 Number One singles in the States - a number even greater than runner-up Elvis Presley's 17 chart-toppers. For such feats of sales and airplay alone, the Beatles can unassailably be regarded as the top group in rock and roll history. Yet their significance as a band extends beyond numbers to encompass their innovations in the recording studio. The Beatles' legacy as a concert attraction, during their harried passage from nightclubs to baseball stadiums, is distinguished primarily by the deafening screams of female fans overcome by the group's very appearance. Consequently, the Beatles began to indulge their creative energies in the studio, layering sounds and crafting songs in a way no one had attempted before. The results included such musically expansive and lyrically sophisticated albums as Rubber Soul (1965) and Revolver (1966). For various reasons, ranging from safety concerns to frustration that no one could hear or was listening, the Beatles retired from touring after a San Francisco concert on August 29, 1966.
Ten months later, they released Sgt. Pepper's Lonely Hearts Club Band, an album that has almost universally been cited as the creative apotheosis of rock and roll, a watershed event in which rock became "serious art" without losing its sense of humor (or sense of the absurd). Realizing the band members' collective ambitions took four months and all the technical wiles of producer George Martin. A completely self-contained album meant to be played and experienced from start to finish, Sgt. Pepper broke the mold in that no singles were released from it. The album's heady artistic reach further cemented the notion of a viable counterculture in the minds of youthful dropouts everywhere. Anyone who was alive in the summer of 1967 can remember the pleasant shock of hearing it and the reverberations it sent outward into the world of rock and roll and beyond.
In the wake of Sgt. Pepper, the Beatles began to splinter in ways that were, at first, subtle but that gradually grew more pronounced. Subsequent events included the death of manager Epstein due to an overdose of sleeping pills; the release of the TV film Magical Mystery Tour, which earned the Beatles some of their first negative reviews; a trip to India to meditate with Maharishi Mahesh Yogi, about whom Lennon wrote the scabrous putdown "Sexy Sadie"; and the launching in January 1968 of Apple Corps, Ltd., a disastrously mismanaged entertainment empire that helped bring down the Beatles amid a tangled maze of money matters.
Through all the chaotic events of the late Sixties, the Beatles managed to retain their integrity and focus as recording artists. Released in August 1968, the single "Hey Jude"/"Revolution" became their most popular single. The Beatles (1968), a double-LP popularly referred to as "the White Album," was like a prism that found the group refracting into four individual and highly estimable talents. The album and film Let It Be, recorded in 1969 but shelved until 1970, essentially documented the Beatles' dissolution and breakup amid internal squabbles and the presence of John Lennon's new mate, Yoko Ono. Yet the Beatles came together and exited on a high note, uniting in the summer of 1969 to record their swan song, Abbey Road.
On April 10, 1970, Paul McCartney announced his departure from the Beatles, and the group quietly came to an end. Throughout the Seventies, fans hoped for an eventual reunion, while the group members pursued solo careers with varying degrees of artistic and commercial success. Those hopes were forever dashed by the murder of John Lennon in New York City on December 8, 1980. (http://www.rockhall.com/)
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Task 1. Read the text.
Task 2. Using the information from text, speak about the main periods, works and events in the artistic career of the Beatles.
Task 3.Speak about your attitude to the Beatles and share your opinion on the role the Beatles played in modern culture