Cyclic forms in the musical dictionary musical dictionary: a musical encyclopedia. Lectures on the discipline "Analysis of musical works" Module Aesthetic and methodological foundations of the analysis of a musical work Section Musical art as
7th grade
Topic: Cyclic Forms
Cyclic forms in music are works that presuppose the presence of separate parts, independent in structure, but connected by the unity of design.
In the history of academic music, the "prelude-fugue" cycles, suite cycles, sonata-symphonic cycles are known.
A cycle can also be called a series of interconnected works (each of which may or may not have a cyclical form) or concert programs.
In non-academic music (jazz, rock), conceptual albums and individual major works can gravitate towards cyclical forms.
^ Cycle "Prelude-Fugue"
The two-part cycle "Prelude-Fugue" has been known since the Baroque times
The prelude acts as an improvisational introduction to the fugue.
Cycles "prelude-fugue" can be combined into larger cycles based on some formal or thematic principle. The most famous example is JS Bach's The Well-Tempered Clavier.
Suite (from French Suite - "row", "sequence") is a cyclical musical form, consisting of several independent contrasting parts, united by a common concept.
The suite, known since the 16th century, is characterized by:
the connection of individual parts of the work with traditional applied (song, dance) genres, the simplicity of the structure of the parts;
contrasting comparison of parts;
tendency towards unity or close relationship of tonality of parts.
Sonata-symphonic cycle
The sonata-symphonic cycle includes the most abstract genres of academic music, such as symphony, sonata, quartet, and concert.
It is characterized by:
abstraction from the applied nature of music (even if applied material is used as the material of any part);
the possibility of figurative and semantic contrasts between individual parts (up to their direct opposition);
complex tonal development;
established functions and forms of individual parts (characteristic of certain genres of sonata-symphonic music).
The classical sonata took shape during the 18th century and reached its peak in the Viennese classics (Haydn, Mozart, Beethoven).
The symphony as a genre took shape in the middle of the 18th century, and it also reached its peak in the Viennese classics.
Symphony (from the Greek συμφονία - "consonance") is a genre of symphonic instrumental music of a multipart canonized form of fundamental ideological content.
Free and mixed forms
A piece of music can consist of parts, combined according to a principle different from that in the genres listed, and still have a more or less cyclical nature. These are many genres of applied sacred music (mass, sacred concert, all-night vigil), cantatas, vocal and vocal-choral cycles (plot and lyric).
Large cycles
Whole works can also be combined into a cycle (each of which, in turn, may or may not have a cyclical nature).
These are the above-mentioned cycles of preludes and fugues, R. Wagner's tetralogy Der Ring des Nibelungen, conceptual albums in non-academic music, as well as some major works of jazz and rock music.
Sonata form is a musical form consisting of three main sections:
Exposition - opposition of main and secondary themes
Development - development of these themes
Reprise - repeating these themes with some changes
Let's listen:
J.S.Bach, Prelude and Fugue No. 6, D minor, volume 1, WTC
L. van Beethoven, Sonata No. 1 in F minor
Section 5. Cyclic formsThe musical form is called cyclical, if it consists of several parts, independent in form, contrasting in nature (primarily in tempo), but connected by the unity of the ideological and artistic conception.
The term "cycle" is of Greek origin, meaning a circle. The cyclical form is understood as covering one or another circle of various musical images, genres, tempos. The independence of the parts is expressed in the fact that sometimes they allow for a separate performance ("Funeral March" from b-minor Chopin's sonata, Sonata-memory from the cycle "Forgotten Motives" by Medtner). Cycles can consist of a different number of parts: two-part prelude and fugue, three-part concerto and sonata, four parts in a sonata and a symphony, seven to eight parts in a suite. Cyclic forms are found in various genres of music: vocal and instrumental, solo and orchestral.
Cyclic forms are based on dramatic functions... The connection of parts based on them is the leading principle of cyclic forms. ^ The principles of combining parts in the loop are divided by two types:
Suite principle(according to this principle, the old sonatas of Bach and Handel are also built) is a combination of a number of contrasting works. The suite is based on unity in plurality.
^ Sonata principle - This is the division of a single work into a number of individual works subordinate to the whole. Based on the multiplicity of unity.
Suite is called a cyclic work consisting of several pieces of different character, interconnected by a single concept, but not having a single line of consistent development. The suite can be imagined as showing different images in their comparison, as different statements on the same subject.
The suite as a genre and form arose in the 16th century (other genres of the 16-18th centuries were also written in the form of a suite: partita, sonata, concert).
With the emergence and development of the form and genre of the sonata, the suite temporarily ceases to exist and is revived later, in the 19th century, in a new form. Many compositional techniques originated in the suite, which were further developed later.
^ Antique suite.
The old suite is most vividly presented in the works of composers of the first half of the 18th century: Bach and Handel. An old suite is a series of dance pieces arranged in a cycle in a certain order according to the principle of contrast (tempo, meter, rhythm, character of movement). The unifying principle is the general tonality, genre (all pieces are dances) and often a common intonation basis.
The old suite included 4 obligatory(main ) dance.
1. Allemande(German dance) - four-beat, moderately slow, polyphonic. This is a round dance-procession, performed in the free air at the entrances of the nobility to the city, entering the castle.
2. Courant(Italian dance) - three-beat, moderately fast, polyphonic. This is a pair-solo dance, widespread in court life.
3. Sarabande(Spanish dance) - three-part, slow, more often chordal warehouse. In its origins, this is a funeral dance-procession, later, having lost its obligatory belonging to the funeral rite, it retained a severely mournful, majestic character. The genre features of sarabanda were widely used by composers of different eras (Beethoven Egmont Overture, Shostakovich Symphony 7, finale, middle episode).
4. Gigue(Irish dance) - a very fast collective comic dance with a specific triplet movement (3/8, 12/8) and often has a fugue presentation.
Some of the compulsory dances were repeated twice with a variation development, a take. The variation was mainly reduced to the ornamental chant of one of the voices.
In addition to the obligatory dances, the suite almost always included additional(more often between sarabanda and gigue): minuet, gavotte, bore, sometimes non-dance pieces were included: aria, scherzo, which intensified the contrast. Quite often the suite began with an introduction - a prelude or an overture. In general, the old suite contained plays of a different nature and reflected a fairly wide range of life phenomena, but not in interaction and development, but in their comparison.
^ Dance form in the suite, as a rule, there is an old two-part (for obligatory dances) and three-part for additional ones. In the old suite, some compositional structures were outlined, which later developed into independent musical forms, so the structure of additional dances anticipated the future complex three-part form (Bach English suite in g moll: Gavotte I - Gavotte II - Gavotte I, each of which is in a simple three-part form). The doubles in the suites contributed to the development of the variation form. The nature of the arrangement of contrasting dances in the suite anticipated the arrangement of parts of the sonata cycle
^ New suite.
In the 19th century, a new suite appeared, significantly different from the old one in its content and compositional features. The programmatic character characteristic of 19th century music and the striving for greater concreteness of musical images influenced the new suite as well. The founder of the new program suite was Schumann (Butterflies, Carnival, Scenes of Children). In the future, the program suite develops in the work of composers of a later time (Mussorgsky "Pictures at an Exhibition", "Scheherazade" by Rimsky-Korsakov, "Children's Corner" by Debussy).
Later in the 19th and 20th centuries. the genre of the suite receives even broader development, absorbing features borrowed from the old suite - dance, from the Schumann suite - programmatic, multi-genre, from the sonata-symphonic cycle - elements of dramatic development and the scale of parts. The suite includes new dances: waltz, polonaise, national - bolero, tarantella, etc. Dancing numbers are interspersed with non-danceable ones (scherzo, andante, march, nocturne).
The composers of the 19th century used the genre of the suite in a rather diverse way. Suites composed of numbers of a major work: ballet, music for a drama, as well as suites on themes of songs or dances.
^ Sonata cycle.
A sonata-symphonic cycle is a cyclic work belonging to one of the following genres: sonata, symphony, concert, trio, quartet, etc., in which it is customary to present at least one movement (in typical cases, the first) in sonata form.
From the definition it follows that sometimes there are cases when many-part works that do not have a sonata form in any of the parts are considered sonata cycles (Mozart 11 sonatas, Beethoven 12 sonata). The overall significance of the cycle, the unity of the whole, and allowed them to be attributed to the sonata cycle.
The disclosure of deep, serious content based on the significant development of vivid musical images, in the contrasting alternation of parts of a musical work with the unity of the general concept and integrity of the musical form - these are the characteristic features of mature sonata-symphonic cycles. These features are united by the general concept of symphony, which means the highest type of musical thinking, especially characteristic of symphonic cycles. The name of the sonata is retained only for works for one or two instruments, more complex ensembles of the sonata type are named according to the number of instruments (trio, quartet, quintet). A work of a sonata type for orchestra is called a symphony.
The sonata cycle is distinguished by the significance of the content of each movement and their special internal organic connection. In a classical sonata-symphony cycle, there are usually three (sonata, concert) or four (symphony) movements.
Part I- usually has a more effective, dramatic, contrasting, and often conflicting nature, is presented in a developed sonata form and most often in fast movement (sonata allegro).
II h... - usually andante or adagio. As a rule, this is the sphere of lyrics. It conveys feelings, reflections of a person, reveals his inner world (often against the background of pictures of nature). The form of the slow movement: a complex three-part with an episode, a theme with variations, a sonata form without development (less often with development), rarely - other forms.
III part- usually a minuet or scherzo. Introduces a genre-characteristic or everyday element - scenes of folk life. Differs in lively traffic, cheerful character. The form is usually a complex three-part with a trio or sonata.
IV h... - the final is usually in fast movement, with song and dance features. The form of the finals is sonata, rondo, rondo sonata, rarely - a theme with variations.
The classical ratio of parts has become a kind of norm for the sonata-symphonic cycle, since covers different aspects of reality, the artist's main "points of view" on the world: drama, lyrics, genre-characteristic, everyday and epic. The epic in the finale does not mean a calm form of narration, but nationality as the content of the finale. Such a classical ratio of parts is more typical for Haydn and Mozart, Beethoven often changes the second and third parts in places.
There is also a different number of parts in the cycle. ^ Two-part cycle - Gliere Concerto for voice and orchestra, where 1 hour is in sonata form, but at a moderate tempo, of a lyrical character, which, as it were, unites the first and slow lyrical parts of the cycle; 2 hours - in the genre of a waltz, written in the form of a rondo, combines the features of the third movement and the finale of a four-part cycle. Five-part cycle- Scriabin Symphony 2, where the first movement plays the role of a detailed introduction.
In the sonata-symphonic cycle, a number of regularities have been developed that contribute to the unity of the whole. The extreme parts are usually written in the same key (in minor pieces in the final - the major of the same name). The key of the cycle is determined by the key of the first movement. The middle parts are written in other keys, but usually close to the main one. In general, the slow parts are characterized by tonalities S sphere, eponymous or parallel major. The 3 rd movement is usually in the main key of the classics. Later, the choice of keys for the middle parts became freer.
For the unity of the sonata cycle, intonational connections between the parts are very important. There are frequent intonational connections between the side part of the first movement and the slow part of the cycle, as well as between the first movement and the ending. In addition to intonational connections, the same motive or theme can be carried out in different parts of the cycle (Beethoven's "motive of fate" from the 5th symphony), performing a special dramatic function.
The sonata-symphonic cycle has specific features in various genres. So the instrumental concerto is usually three-part (no scherzo). A specific feature is the principle of competition between solo and orchestral parts. This feature, as well as the tradition of the classics to repeat the exposition, is associated double exposure in the first part of the concert (first in the orchestra, then with the soloist). The differences in these expositions are more often of a textured order, however, there are expositions of different thematicism (Beethoven 1 and 2 concerts), in these cases the themes of both expositions are involved in the development. On the whole, the first movement of the concerto bears a virtuoso character, most clearly manifested in the traditional cadenza (before the reprise or coda).
^ Other types of cyclic forms.
Often, a number of romances or songs are combined into vocal cycle connected by a single concept (Schubert "Winter Path", Schumann "Love of a Poet", Musorgsky "Without the Sun", Sviridov "My father is a peasant"). The degree and nature of unity in such cycles can be different (the connection of the text makes tonal unity optional). The general logic of the vocal cycle has some characteristic instrumental cycles: development is based on contrasting juxtapositions and tends to culminate, the last romance (song) has signs of a concluding final part.
Some vocal cycles have a plot development. The action unfolds in them, new characters appear, which is emphasized by musical means: contrasting changes in tempo, genre, tonality, texture, etc.
Sometimes the term “cycle” is applied to a number of independent works united by some feature, for example, one genre or opus, and producing the most favorable artistic impression when these works are performed in a row (Scriabin Preludes, op. 11).
^ Contrast-compound forms.
The concept of "contrast-composite forms" was introduced by the Russian musicologist V. Protopopov in the 60s. XX century.
Contrast Composite called a form consisting of several contrasting parts, in many respects similar to parts of a cyclic form, but less independent, going without interruption and by the degree of their merging into one whole, forming a form close to one-part (non-cyclic).
What has in common with the cyclical contrasting-composite forms is that they contain a sequence of several contrasting parts. With one-movement - there are no breaks between parts and the impossibility of considering these parts as independent pieces that can be performed separately.
Contrast-compound forms also have specific features. They can contain 2, 3, 4 or more parts, have or not have a reprise, meet in different historical epochs and in different genres. The origin of contrasting-composite forms dates back to the time of the emergence of opera (recitative aria), and in instrumental music - toccata and fugue. In the second half of the 18th and 19th centuries. with the development of the sonata principle, contrasting-compound forms fade into the background, but they still retain their significance for vocal music (many arias, ensembles, and opera finals were written in this form). This form was widely used in such genres as fantasy, rhapsody, poem and, especially, in Liszt's transcriptions. Contrast-compound forms were greatly developed in the works of Glinka (Capriccio, many numbers in operas), Tchaikovsky (Italian, Spanish Capriccio). Shostakovich's 12th symphony is a striking example of the contrast-composition form.
For all their diversity, Protopopov divides contrasting-composite forms into several types:
two-part (Fantasy f moll by Chopin),
suites (Capriccio by Glinka, Tchaikovsky, Rimsky-Korsakov),
sonata-symphonic (Beethoven quartet cis moll, Shostakovich 11 and 12 symphonies).
Section 1. Free and mixed forms.
In addition to the typical forms discussed above, there are special forms called free and mixed.
Free such forms are called that do not correspond to the typical structures considered above, but represent constructions of a special order (musical development is carried out in individual structures).
Free forms originated in ancient organ music and flourished in the works of Bach (mainly in the fantasy genre). In contrast to the clear structural forms of homophonic music, improvisation, prelude, free sequential-modulation deployment, and continuity of development prevail here. Free forms are rare among the Viennese classics. These forms flourished in the works of composers of the second half of the 19th century (Chopin, Liszt, Tchaikovsky). One of the reasons for the spread of free forms was the desire of romantic composers to make the musical form more flexible, able to more fully correspond to the individual content (often programmatic) of each individual work.
Distinguish two major kinds of free forms:
systemic forms, i.e. in their development, based on a certain system, for example, reprisal;
non-systemic forms with free interleaving of sections.
^ Non-system free forms extremely diverse, individual in structure and do not lend themselves to a certain classification. They are used mainly in large instrumental compositions and contain a large number of topics and sections: ^ ABCDA, ABCDB, ABCDAE.
Mixed forms.
Single-part forms that combine the features of several previously established typical structures are called mixed forms.
In mixed forms, symphonic poems, one-part sonatas, fantasies, ballads, less often separate parts of cyclic works are often written. The composers' striving for greater concretization of the figurative content and a more complete and direct reflection of life processes and phenomena through new, more plastic forms led to programmed music. The struggle for the programmatic content of music, and the forms serving its fullest expression, contributes to the convergence and the interpenetration of different arts(literary program in instrumental music, poetry and music in romance), as well as different genres inside one art. Works that combine the features of lyrics, epic, drama, fantasy (ballad) are widespread, which entails and interpenetration of various forms, for example, variations of the lyric-epic cast and sonata, which provide great opportunities for dramatic development.
In the work of Russian classical composers, new combinations of forms, genres, methods of development, characteristic of folk music with complex genres and forms of developed professional musical art, arise. These combinations determine the nationally unique type of mixed forms in Russian music.
Among the mixed forms, the following are most common varieties:
^ Combination of sonata and variability.
This type of mixed forms was widely developed by Russian classics. Creating large-scale compositions in the folk style, Russian composers used for this sonata form transforming it in accordance with the new ideological and artistic tasks of the development of national music variational development methods.
Russian composers usually build double variations(on two themes) based on the creation of large, contrasting sections of the form, built on alternating themes. If the comparison of such contrasting sections is given twice (with tonal contrast at the beginning of the piece and tonal convergence at the end), and there is also a section where both themes freely develop (including polyphonic techniques), then the contours become obvious sonata form.
Single-movement forms, combining variation and sonata, are found not only in symphonic, but also in piano works by Russian composers, built on the variation of folk themes (Balakirev Fantasy "Islamey").
Western European composers of the 19th century, who created large works based on the variation of folk themes, also combined the principles of sonata and variation (Liszt, Spanish Rhapsody). However, in Western European music, there is another type of combination of sonata and variation, where sonata arises on the basis of free variation (transformation) one topic... The freedom to vary provided a greater degree of contrast in the sections. This principle of constructing large works based on the transformation of one topic is called monothematic(widespread in the works of Liszt, Symphonic poems "Preludes", "Tasso").
^ Combination of sonata and cyclic forms .
In some of the romantics' sonata forms, there are side parts that go at a different tempo in relation to the main one and represent an expanded, independent and closed form (Tchaikovsky 6th Symphony, 1 hour), approaching an independent part of the cycle. On the other hand, in the cyclical forms of the 19th century, the process of strengthening the unity of the cycle continues. This is reflected in the strengthening of connections between different parts of the cycle (thematic connections, attaca). All this creates the prerequisites for combining all parts of the cycle into a large one-part work, for compressing the cycle into one-part.
The desire for the completeness and concreteness of the embodiment of various contrasting images, for a greater unity of large ideological and artistic concepts, as well as for the continuity of development leads to the creation of works, combining in itself features of the sonata cycle and one-part sonata form.
Combining sonata, i.e. reprise form with cyclic, i.e. non-reprise presupposes a significant transformation of the sonata recapitulation, without which the recapitulation and code could not perform the functions of the scherzo and the finale of the cyclic form. The role of the slow part of the cycle is played either by a slow episode in the development, or by a side part in the exposition (Liszt Sonata h moll).
A mixed form can also have completely individual, unique features, combining features of various typical structures (Medtner Sonata-Remembrance, where features of a sonata, sonata cycle and rondo are combined).
^ Module 6. Specific Forms of Vocal Music
03/31/2013 at 12:30 Blog
TICKETS FOR MUSIC LITERATURE.
Sonata-symphonic cycle. Sonata form. Exposition.
Sonata-symphonic cycle ("Sonata" - "sound", "symphony" - "consonance") Is a very complex multi-part musical form. In this form, composers writesymphonies, sonatas, concerts and instrumental ensembles (trios, quartets, quintets and others). The classical sonata-symphonic cycle has developed in the work of composersViennese school: J. Haydn, W. A. Mozart and L. van Beethoven.
Each part of the sonata-symphonic cycle is assigned a certain character, tempo and tonality. All parts have their place in the cycle and play a certain role in it. According tothe classification of the musicologist Aranovsky , 1 part - this is "Acting Man",Part 2 - "Thinking Man"Part 3 - "Man playing",Part 4 - "Man in Society".
Usually at least one part sonata-symphonic cycle (most often the first) is written insonata form ... This form occupies a special place among musical forms, it is calledthe highest musical form.Only the sonata form gives the composer the opportunity to reflect complex life phenomena.Sonata form often compared todrama - a literary work that is intended for staging in the theater. The action in the drama unfolds as follows:
tie- acquaintance with the main characters;
plot development- certain events that make the heroes act, do things and, thus, reveal their essence;
denouement- the result, the result to which the action comes.
The sonata form, in turn, consists ofthree large sections : exposition (from Latin - "presentation") - showing the main topics;development (change, development of exposition themes);reprise ( return of the main themes of the exposition, but with obligatory changes).
Areas of application of the sonata form:
first movements (or finals) of symphonies, sonatas, concerts, quartets;
overtures and selected symphonic pieces.
vocal works (usually choirs) are a rather rare case.
Exposition presents two main, usually contrasting, images:The main party (GP) and side batch (PP ). They are complemented by two auxiliary parties:binder (St. p) and the final (sn ). The complete structure of the exposition looks like this:
G P sv.p P P zp.
Main party- this is the main image of the sonata form (masculine or theatrical) and is written, as a rule, in the main key.
Binding Party- this is a transition from the key of the main part to the key of the secondary part.
Side batch(feminine, graceful image) - opposed to the main one and is usually written in the tonality of the dominant (Vscale), if the basic key of the sonata form is major or in a parallel key (IIIscale) if the main key is minor.
Final batch(the motor character of the theme) completes the exposition and affirms the tonality of the secondary part (it also does not always happen, especially in the sonata-symphonic cycles of the second half of the 19th century).
The connecting and final parties, as a rule, are dependent and built on the material of the Main or Side parties and rarely take part in further development. However, this classical scheme is quite often violated by the composers themselves for the sake of the content that they put into this sonata form. For the composer, it is not just a set of tonal and timing patterns, but a living organism, acting according to its own laws. HaveMozart, for example, quite oftenbinding and final parties have their own musical individuality and participate in further development (development), and instead of one main and secondary, he writes several themes that are different in melody and texture. This was due to the generous musical talent of Mozart and the fact that all themes were considered by the composer asparticipants in a performance or drama actions (see: Sonata No. 11 in B flat major and Sonata No. 14 in C minor).
Development of presupposes any scenario. The standard scheme, according to which only GPs and PPs should take part in development, does not always work, since artistic tasks often exceed regulatory requirements. Depending on thethe concept of the sonata and this movement the following are possibledevelopment options:
changes in GP and PP;
development of SV and ZP;
the emergence of a new topic;
polyphonic connection of themes;
general forms of movement.
Theme changes may be as follows:1. Changing the case of the topic; 2. The melody and accompaniment change places; 3. Tonal theme changes; 4. Textured theme changes (accompaniment change); 5. Variational, sequential and motivational principles of development.
The simplest design options are found in sonatasHaydn (for example, in Sonata No. 37, "Children's", 1 movement or later works imitating the classical style -Prokofiev, Symphony No. 1, "Classical" ). Have Mozart and Beethoven, as a rule, more complex variants of development, which are associated with the dramatic or theatrical content of the content of the sonata form (see:Mozart, Sonatas No. 14, 18; Beethoven, Sonatas Nos. 1, 2, 21). The development of these composersoften starts with an exposition and there may be less development effort involved in the development of the material. It also happens that an important role in the development of the sonata form is played byintroduction, which, as a director, controls the development in the form (see.Haydn, Symphony No. 103, “With Tremolo Timpani”; Beethoven, Symphony No. 5 in C minor, Sonata No. 8 "Pathetic"; Schubert, Symphony No. 8 in B minor, movement 1). A rich form of development of themes in development can also be found in sonatas of the twentieth century (see.Prokofiev, Sonata No. 2, extreme parts; Myaskovsky, Sonata No. 2 in B minor; Medtner, Fantasy Sonata).
Reprise should return the previous order of themes, with the difference that the PP should be in the main key, and not in the dominant one, as in the exhibition. However, there are also quite a few deviations from this standard: often, development continues in a reprise, or it appears “on the crest of the culmination” of development (see:Tchaikovsky, Symphony No. 4, 1 movement). Some sonatas do not end their development with a reprise, but have an additional, final section - a coda.
Code – an additional section, sounding after the recapitulation, related to the addition or expansion of the structure of the sonata form. It may sound general forms of movement or the theme that came out on top in terms of dramatic importance (see:Beethoven, Sonata No. 8, 1 movement, the code is approved by the GP; Brahms, Rhapsody in B minor, the code contains a modified PP that runs in the bass;Mozart, Sonata No. 14, 1 movement, code is dominated by GPU).
When analyzing the sonata form, it is important not only to correctly find the parts and determine their tonalities, but also to try to understand the regularity of the appearance of this music and to reveal the concept of interactions of the “heroes” of the current drama.
Tasks: analyze1 movement of Mozart's sonatas (No. 14 or No. 18 - optional). Indicate the boundaries of the sections of the sonata form (exposition, development, recapitulation), find the boundaries of themes, determine their tonality, methods of development in development and the presence of exposition themes there, determine the presence or absence of the code and its role in this part of the sonata.Quiz: find out the work, tell about the nature of the sounding music (it is desirable to know the part that will sound at the moment), name the principles for the development of themes.This principle does not always work: very often the creators of the sonata form themselves violated the established rules, because the creative idea often did not fit into the tonal plans set by tradition (see: Mozart, Sonata No. 16, F major; Beethoven, Sonata No. 1 and many others).
Comments: 003/31/2013 at 12:28 pm Blog
TICKETS FOR MUSIC LITERATURE. Forms. Cyclic forms, continued.
More complex forms of organizing music arecyclical forms. Cycle (translated from Greek - "circle") also takes place in everyday life: it is a change of day and night, seasons, repetitive situations and much more.
Musical cycle Is a large multi-part work in which the parts are arranged in a certain order. Cycles areof two types: suite and sonata-symphonic.
Suite cycle. The first suites appeared in the C eramiddle ages and consisted of two contrasting tempo and characterdancing - slow, majesticpavans (dance of Spanish-Italian origin) and mobile Italian-Frenchgalliards. The principle of alternation of dances contrasting in tempo and character formed the basisclassical model suite formed by the eramature baroque (middle Xviii century). Four dances the constituent parts of the suite (were the main ones) at the time of Bach were already considered obsolete, intended only for listening. They were interspersed with modern ones for the Baroque era.dance (gavotte, burré, paspier, rigodon, etc.) andnon-dance (overture, aria, toccata, fantasy, variation, etc.) numbers.
Compulsory dances of the suite have the following characteristic features:
Allemande(translated as "German"). The dance is a procession of a slow or moderate tempo in size C. A characteristic feature is the beginning from the off-beat.
Courant- French dance (translated from French means "running", "running"). The tempo of the dance is moderate - fast in a three-beat meter.
Sarabande- an old Spanish dance. Sarabande's music has a harsh, gloomy character, played at a slow pace, three-beat meter. I.S.Bach's sarabanda, as a rule, waslyric and philosophical center of the suite.
Gigue- an old Irish dance. Music is characterized by a fast tempo, triplet movement in size6 and 12 eighths. The dance was performed to the accompaniment of an ancient violin, which was nicknamed for its unusually convex shape"Gigue" which means "ham" ... This word became the name of the dance.
Famous Baroque suites: J.S.Bach. French and English suites, 6 Partitas, orchestral suites (Joke); G.F. Handel. Suite for Harpsichord No. 7, G minor, Music for the Royal Fireworks, Music on the Water.
In the second halfXIX century arose special kinda suite of fragments of operas, ballets or music for the performance (cm: Tchaikovsky, suites for the ballets The Nutcracker, The Sleeping Beauty;Prokofiev , suites for the operas "The Gambler", "Love for 3 Oranges", etc.), and in the twentieth century -from film music ( Shostakovich , suite for c / f. "Gadfly", "Counter";Tariverdiev , suite for the film "17 Moments of Spring" and many others.).
Sonata-symphonic cycle - the most complex form of organizing music, comparable to the scale andthe dramaturgy of the novel. The classic model of this type of cycle is presented in creativityViennese classics (J. Haydn, W.A. Mozart, L. Beethoven) and has the followingcharacter traits:
Sonata (from lat. - "sound")– cyclic work (usually of 3 parts), in which one or more parts are written insonata form, assuming the presenceexposition (action tie),development ( development ), recapitulations (repetition of the exposition material), codes ( final section, development result).
Symphony (from Greek - "consonance")- cyclic work (usually of 4 parts), in which one or more parts are written insonata form. The units were located as follows:
Tasks:
1.
Defineshape
inPreludes, op.11, no. 10. A. N. Skryabin
and explain how the structure expands (prepared).
2.
Determine the shape (show all boundaries) and tonality inBarcarole from "The Seasons" by P. Tchaikovsky (
on the exam).
Quiz:
name the forms in the proposed compositions (the most popular). Suite(from French - "row", "sequence", "string").
According to the classification Aranovsky, the parts of the symphony have the following meanings: 1 part - "Acting man", 2 hours - "Thinking man", 3 hours - "A man playing", 4 hours - "A man in society".
03/31/2013 at 12:22 pm Blog
TICKETS FOR MUSIC LITERATURE. Forms.
Forms of Musical Works
From the smallest form components to complex forms.
The entire world we see has clear boundaries and forms. Even what we disparagingly call the word "amorphous" also has certain spatial coordinates. It is almost impossible to imagine something truly formless.In music, As in speeches(and in any another art form) the form is simply necessary forclear expression of certain thoughts and moods.Very often people hold the mistaken opinion that composers create only by inspiration, by inspiration, “in free flight”, without being guided by any framework and rules. This is absolutely not the case.Tchaikovsky said: "Inspiration is a guest who does not like to visit the lazy." And Pyotr Ilyich himself was an exemplary example of following this rule: every day the composer stubbornly composed, sometimes "squeezing" the music out of himself, as he was afraid to forget how to write. This fact seems incredible, given the number of works created by Tchaikovsky. And it’s quite difficult to believe in any effort while listening to the famous “Four Seasons”, written by the composer without much desire, at the request of the periodical edition of the magazine.
Another example of the subordination of beautiful music to strict rules of form is polyphonic worksJ.S.Bach ("The Well-Tempered Clavier", "Musical Offering", "The Art of the Fugue" and many others) in which the boundaries of musical thoughts were calculated with mathematical precision.Mozart , who created a huge number of works practically without drafts, relied on the well-established classical laws of harmony and form. Examples, thus, can be continued, but not in quantity. These examples helped us make sure thatany piece of music needs certain laws of form.
Established in the tradition, understandable form, wellperceived onhearing, making the understanding of the work more accessible... On the contrary, when the work is too unusual in shape, it ismakes perception difficultworks to complete rejection and rejection(e.g. songs and vocal loopsMussorgsky , symphonies Mahler, collages D. Cage , some works of contemporary authors). However, over time, these forms also find their explanation and become more understandable. Hearing baggage of a person XXIcentury is not comparable with the perception of people XIX century and more ancient times. Therefore, for a modern person, the music of Mussorgsky, which at one time seemed "terrible" and "barbaric", does not seem so.
Summarizing the above arguments, let us summarize. So,
musical forms are needed for:
creating clear boundaries for musical thoughts and moods;
facilitating the perception of the work;
organization of large constructions (suite, sonata, opera, ballet).
Let us now turn to the conceptmusical form and its constituent components.
Musical form Is a certain order of parts and sections in a piece of music.
The smallest structure in musical speech ismotive (from Latin - "moving"). This is the name of the most vivid, memorable melodic turn. The size of the motive can be different - from one or two sounds to a whole bar (see:Schubert , "The Beautiful Miller", №7. Impatience is the left hand game; No. 3. "Stop!" - the size of the initial motive;Bach, "Kh.T.K.", 1st volume. Fugue in C minor).
A larger musical structure that includes several motives is called -phrase (in Greek - "expression"). For a long time, phrase length has been associated with breathing in vocal music. And only with the development of instrumental music, this concept became wider (Schubert, "The Beautiful Miller Woman", №1. "Let's hit the road!"; No. 12. "Pause" - motives are combined into a phrase).
Phrases are combined intosuggestions . Standard offer size -4 bars. Offers are endingcadances (from Latin "I end") - the final musical turn. Cadance completes a piece of music, its part or a separate structure. There are many types of cadances, differing infunctional content (T, S, D, VI).
The proposals are madeperiod . Period Is the smallest, complete, independent musical form. The period, as a rule, consists of 2 sentences with different cadences. Distinguish the periodrepeated and not repeated buildings, square (8 bars) and non-square (from 5 bars), small (8 t.) and large (16 tons). Sometimes a period has an additional section, which sounds like a musical afterword, such a section, depending on the location of the cadence, may be calledcomplementing or enlargement .
Period is one of the main forms invocal music by organizing a verse or chorus. The simplestvocal form, in which the music remains the same, but the words change, iscouplet form. Its simplicity explains its widespread use. There is not a single composer who has created vocal music who has not written a song in verse form (see songs and romancesSchubert, Mozart, Glinka, Tchaikovsky, Rachmaninoff and other composers).
Single-part form (A) Is a simple musical form consisting of one period. This form is most often found in miniatures of romantic composers who sought to capture the elusive moment (a vivid example is the PreludesChopin ), or in children's music to make performance more accessible.Form diagram: BUT or BUT
a a 1 a b
The two-part form ( AB ) - a simple musical form consisting of two periods. Quite often, the second period is built on the material of the first (i.e., repeated structure - see some PreludesScriabin ), but there are works in which the periods are different (Lyubava's Song from 2d. "Sadko"Rimsky-Korsakov ; Rosina's aria from 2d. "The Barber of Seville"Rossini ). Form diagram: A A1 or And V.
The most important (and simplest) principle for creating a musical form is an repetition. Its extraordinary popularity is due to several reasons:
repetition allows us to return a musical thought and makes it possible to better listen to it, to appreciate previously unnoticed artistic details;
repetition helps to clearly divide the form into parts delimited from each other;
the repetition of musical material after the presentation of a new one gives the form completeness, affirming the primacy of the original image.
Thus, forms based on repetition have become extraordinarily widespread in music in numerous variations. And the simplest of them isthree-part form ( ABA ) , consisting of three periods, where
BUT - is a presentation of a musical theme;
IN - development of the themeBUT or new contrast material;BUT - recapitulation, exact or altered repetition of a partBUT .
If the reprise exactly repeats the first part, it is often not even written out in notes, but means: play from the beginning to the word "End"(in Italian: dacapoalFine).
The three-part form (just like all the previous ones) happenssimple andcomplex ... Unlike the simple three-part form, in which each part is written in the form of a period, in the complex three-part form, the parts are not a period, but a simple two-part or three-part form. For example:
A B A
a b a b a
The three-part form isone of the most popular principles building a piece of music. Works written in a simple three-part form can be found in the repertoire of every musician: these are plays, dances, marches, romances, works for orchestra, parts orand sections of major essays. A huge number of examples for a simple and complex 3-part form are contained in the worksP.I. Tchaikovsky. In addition to independent instrumental pieces from"Children's Album", "Seasons" and other works, the composer's favorite 3-part form often organizes the GP and PP in symphonies (see.4th and 6th symphony ).
On principle repetitions a more complex form is also based, rooted infolk song and dance tradition of France. It's about formrondo ( translated from French means "circle, round dance, circular dance song"). In the music of round dances, a constant, unchanging chorus alternated with a changing solo. From this alternation, the rondo form arose.
Like the chorus of a folk song, there is a theme in the rondo that is repeated - this isrefrain. The refrain (French for "chorus") shouldsound at least 3 times and can have any simple form: period, two-part or three-part.
Between the repetitions of the refrain, various musical constructions sound, which are calledepisodes ... Thus,rondo Is a form based on the alternation of refrain with episodes .
A B A C A
refrain episode refrain episode refrain
The rondo form is widely used in instrumental and vocal music:instrumental pieces( Mozart, Turkish March from the Piano Sonata in A major, no. 11, Figaro's Aria "Frisky Boy" from the opera "Figaro's Marriage";Beethoven, "To Eliza", "Rage over the lost penny" and many others),romances and songs( Glinka, "Passing Song";Dargomyzhsky "The Old Corporal"), choirs, opera arias (Glinka, Rondo Antonida from "Ivan Susanin", Rondo Farlaf from "Ruslan and Lyudmila"),the last movements of large forms - sonatas and symphonies(e.g. symphoniesMahler ), as well as integersopera or ballet scenes(see "Nutcracker"Tchaikovsky, "The Love for Three Oranges" Prokofiev ) can be arranged in a rondo shape. Very often the rondo form is used in playsFrench harpsichordists ( Daken, "Cuckoo", Ramo, Tambourine, "Chicken" Couperin, "Little Windmills", "Sister Monica" and many other plays).
Variations (from Latin "change, variety") - a musical form that consists of a theme and its modified repetitions.
A A 1 BUT 2 BUT 3 BUT 4 …
Variations
Topic can be composed by the composer himself, borrowed from folk music or from the work of another composer. It is written in any simple form: in the form of a period, two-part, three-part. The theme is repeated with various changes in mode, tonality, rhythm, timbre, etc. Each variation can vary from one to several elements of musical speech (depending on the era and style of the composer).
The type of variation depends onhow andhow strong the theme changes.Kinds of variations:
1.Variations on constant bass ( basso ostinato ) orvintage variations were known back inXvicentury in Europe. Fashionable then dancespassacaglia andchaconne were written in a form based on the constant repetition of the theme in the bass, while only the upper voices varied (cm: H. Purcell , Dido's lament from the opera Dido and Aeneas). The technique of basso ostinato did not remain the property of only ancient music - in the twentieth century, due to the surge of interest in early music, this technique found a new life. We find interesting examples of the use of basso ostinato, for example, in the work Drauhgtmans ContractMichael Nyman (the bass theme is played by the organ against the background of the "fluttering" of the strings, at the point of the "golden section" the harpsichord is connected to these instruments, creating a cold, eerie sound with its metallic timbre).
2.Variations on unchanging melody ( soprano ostinato ) closest to folk music. The melody is repeated unchanged, and the accompaniment varies. This type of variation introduced into Russian classical musicM.I. Glinka , therefore they are sometimes called"Glinkinskie" (see: "Ruslan and Lyudmila": Bayan's Song, Persian choir;Ravel, "Bolero";Shostakovich, episode of the invasion from Symphony No. 7.).
In Western European classical musicXviiiand the first halfXIXformed 3.strict (ornamental) variations , created by Viennese classics (J. Haydn, W. Mozart, L. Beethoven).
Strict rules variations: 1. Preservation of the fret, meter, general contours of the theme and functional basis;2. Change (ornamentation, complication) of the accompaniment;3. One of the middle variations (usually the 3rd) is written in the eponymous minor or major (see:Mozart, Sonata No. 11, 1 hour;Beethoven, Sonata No. 2, 2 hours, Sonata No. 8, 2 hours. and etc.).
The techniques that composers used in variations are associated with the popularXVII- Xviiicenturiesthe art of improvisation. Each virtuoso performer, performing at a concert, was obliged to fantasize on a theme proposed by the public (a melody of a popular song or an opera aria). Traditions of infinitely varied variation of the original theme still exist today injazz music.
4.Free orromantic variations appeared in the second halfXIXcentury. Here, each variation is practically an independent piece and its connection with the theme was very weak. Vivid examples of such variations in a wide variety are presented in the workR. Schumann : these are the piano cycles "Carnival", "Butterflies", "Symphonic Etudes" and other works. Many variations on borrowed themes were left by the brilliant virtuoso pianistF.List (transcriptions for songs by Schubert, on themes by Mozart, Haydn, Beethoven, themes from Italian operas and on our own themes).
In music meetvariations for two and sometimeson three topics that vary alternately. Variations on two themes are calleddouble:
A B A 1 IN 1 BUT 2 IN 2 BUT 3 IN 3 … orA A 1 BUT 2 BUT 3 ... B B 1 IN 2 IN 3 …
1st 2nd Variations 1st Variations 2nd Variations
theme theme theme theme
Examples of double variations:Glinka, "Kamarinskaya";Beethoven, Symphony No. 5, 2 hours, Sonata No. 8, "Pathetic", part 2, Symphony No. 9, 4 hours.
Variations on three themes are calledtriple .
Variations can be an independent work (theme with variations) or part of any other major form.
TICKETS FOR MUSIC LITERATURE. Elements of musical speech.
Elements of musical speech.
From the time ofancient civilizations(Ancient Greece, Egypt, Sumerians, etc.) humanity lives in3 most important coordinate systems , giving information about the outside world. This isletters, numbers and notes. With the help of certain sounds and certain modes, the ancients instilled in their pupils noble feelings and thoughts, improved their physical development. Greek thinkerPythagoras consideredmusic, sound waves, one of the most important creative energies,on the basis of which the thinker created the theoryharmony of spheres, by measuring the distance between the planets using interval ratios. In the minds of the Greeks and peoples close to themmusic and mathematics were inextricably linked. Music accompanied various rituals (solemn and sorrowful), united people during labor actions and wars, and helped to heal diseases.
INXXI century music has lost many of its functions, turning mainly intobackground and entertainment property of the general public. People have almost completely lost the ability to understand and navigate well in the 3rd coordinate, accessible to ancient civilizations - innotes. Only a small percentage of people specially trained in music understand the information hidden in the musical notation to varying degrees. Meanwhile, many foreign and domestic scientific developments have already confirmedthe value of studying music for the harmonious development of a person:
Learning music (especially playing one or more instruments) harmoniously developsboth hemispheres of the brain , while the exact sciences affect only the left;
A person with a harmoniously developed brain is able to acceptnon-standard solutions in difficult situations;
Music lessons lead to the study of related disciplines - literature, visual arts, theater, etc. - which helps toversatile human development;
Music gives a person the opportunitycreatively realize your potential making new acquaintances and friends with musical interests;
Musicthinns perception of the world,sharpens the senses and intuition.
Let us now turn to the very concept of "music" and its components.
Music (from the Greek "muse")- art that reflects reality and affects a person with the help of organized sounds (in pitch, duration, volume and timbre).
The constituent components of music, thanks to which it expresses a certain structure of emotions, plots, ideas, are calledelements of musical speech (EMR) ... Understandingthe role of each EMR necessary for:
Realizations with the help of which"Bricks" the building of the musical work was built;
Understandingpersonality style every composer;
The ability to analyze each individual element to draw up a picture of the whole, developsanalytical thinking;
Consolidation of knowledge and skills, acquired on solfeggio, special subject, piano, musical literature.
EMR includes:
Of great importance for the expressiveness of the melody isits direction.Ascending movement melody is usually associated with increased tension, anddownward - with relaxation (the influence of the patterns of breathing and the peculiarities of the work of the vocal cords). But sometimes, in order to achieve a special effect, composers use, for example, a downward movement to intensify anxiety, tension, and vice versa. More often the melody moveswavy: wide strokes upward are filled with a smooth progressive movement downward, etc.
Texture (from Latin - "making, processing") -melody and accompaniment organization system (technical warehouse of musical sonority). Distinguish3 type of texture: 1. Homophonic-harmonic (the most popular, dividing the musical fabric into melody and accompaniment; known since the 18th century); 2.Polyphonic (implies several leading melodic lines, there is no division into melody and accompaniment; it has been known since about the 15th century); 3.Mixed (combination of both types of texture).
Accompaniment (from French) -melody accompaniment ... The division of the musical fabric into melody and accompaniment is peculiar tohomophonic-harmonic texture , as opposed to monophonic, chord, or polyphonic. The accompaniment servesharmonic support of the melody (harmony from the Greek. "Harmony, proportion" - a coordinated sequence of functions of various tonalities). Distinguishtwo types of presentation of the accompaniment: 1. chord and 2.figured . Figures, in turn, there are3 types:
Harmonic (predominance of reliance on tonality functions -TSD);
Melodic (melodious or free presentation of functions);
Mixed (a combination of both types of figurations);
Lad (from the Greek. "consent, harmony, order") -consistency of musical sounds in pitch. In classical music, two main modes are often used -major andminor .
Timbre – (from French "coloring") -sound coloration. The voices of the instruments, due to their special arrangement, have a unique sound. They differ in timbre andvoices in the choir (upwards):bass - tenor - alto - soprano.
Each separately taken EMR affects the nature of the created image. Therefore, composers are always thoughtful about the choice of constituent components for expressing certain thoughts and feelings. And listeners forthe correct understanding of the composer's creative intention is necessary to understand the EMR. An example of image analysis using EMR: Prokofiev. Ballet "Romeo and Juliet". Juliet is a girl. The famous number from Prokofiev's ballet is the first characteristic of the image of Juliet - young, sincere, carefree, sensual. This image is created thanks to the quickpace,flyingmelodiesinstrumental type (melody-scale in the upward movement). Juliet's gracefulness and grace is emphasizedtimbrestrings and light strokes (staccato). The emotional uplift of the girl enhances the majorfret (in C major with extended key chords - A flat, D flat, E flat major), brightdynamics(forte with accents). Sparse homophonic-harmonictexture withrare soundchordsare also aimed at creating the impression of lightness, elusiveness of Juliet.Tasks: 1. Find in the proposed work, play the instrument and characterizemelody , define the typeaccompaniment andtextures . Prepared: Schubert. Serenade (arranged by F. List - collection "Golden Lyre"). On the exam: Schubert. "The Beautiful Miller", №1. "Let's hit the road!". 2. Explain whichimage help createEMR in the proposed works (prepared and not prepared).Quiz: What EMRs help to create an image in the brightest numbers of the quiz?The melody can be set in a certain interval (thirds, sixths) or chords. It depends on the artistic intention of the composer. Such a melody, as a rule, has more expression than a monophonic one.EMR quiz.
1. Bach I.S.,Toccata and Fugue in D minor.
2. Bach I.S.,The Well-Tempered Clavier, 1st volume. Prelude and Fugue in C major.
3. Wagner R,Flight of the Valkyries.
4. Rimsky-Korsakov N.A., Flight of the Bumblebee.
5. Rimsky-Korsakov N.A.,Scheherizade's theme.
6. Grieg E,Suite from music to the drama "Peer Gynt", Morning.
Quiz by forms.
1. Tchaikovsky P.I,"Children's Album", No. 5. March of wooden soldiers.
2. Grieg E., "Wedding Procession in Trollhaugen".
3. Schubert F.,"The Beautiful Miller Woman", №1. "Let's hit the road!".
4. Mozart V.A.,Symphony No. 40, 1 movement.
5. Mozart B, A,Sonata No. 14 in C minor, 1st movement.
6. Handel G, F,Almira's aria from the opera "Rinaldo".
Quiz for "The Wedding of Figaro".
1. Mozart V.A.,"The Wedding of Figaro".Overture, GP.
2. "The Wedding of Figaro"1 day. Figaro's Aria "Frisky Boy" (in Russian or Italian).
3. "The Wedding of Figaro"1d. Duet of Marceline and Susanna (in Russian or Italian).
4. "The Wedding of Figaro"1d. Cherubino's aria "I can't tell, I can't explain" (in Italian or Russian)
5. "The Wedding of Figaro"4d. Barbarina's Cavatina "I Lost a Pin" (in Italian or Russian)
CYCLIC FORMS, cycles, - 1) muses. forms, consisting of several parts connected by a unity of design, independent in structure. The most important cycles are suite and sonata-symphonic. The suite principle presupposes direct. connection with dance. and song genres, contrasting juxtaposition is independent. parts, the tendency towards unity or close relationship of their tonalities, compare. the freedom of the whole in relation to the number, order and nature of the parts, the simplicity of their structure (see Suite). Classic sonata symphony. the cycle is characterized by a generalized, significantly mediated implementation of genres, the depth of figurative and semantic contrasts (up to conflict), complex tonal development, well-established functions and forms of parts (see Symphony, Sonata, Concert, Quartet). Compositing. the unity of the parts of the cycle is manifested in the tempo organization of the whole, in tonal-harmonic., thematic. and figurative connections. L. Beethoven developed a cycle with "through" dramaturgy, which influenced the op. 19th - 20th centuries; it often has a leitmotif principle, the following of parts without interruption, a generalization of the previous development in the finale (see, for example, the 5th, 6th and 9th symphony of Beethoven). Sometimes the cycle is interpreted purely individually (for example, the 6th symphony of Tchaikovsky), including in op. software, with non-traditional. number of parts (3rd symphony. Myaskovsky). Cycle features are inherent in many. free and mixed forms. Cycles of the "prelude - fugue" type can be combined into large cycles (I. S. Bach, D. D. Shostakovich, etc.), where their alternation is subject to the strict order of the tonotonal relationships chosen by the composer. In large vocal (vocal-instrumental) Ts. F. muses interact. shaping and structure of the text (for example, in cantata, mass, spiritual concert, all-night vigil devoid of dramatic development). Wok. and chorus. cycles of the 19th - 20th centuries - plot ("The Beautiful Miller's Woman" by Schubert) and plotless ("Estonian Calendar Songs" by Tormis - a large cycle, consisting of 5 cycles), with more ("Italian Songs" by Wolf) or fewer parts - are united by a continuous idea, continuous figurative and intonation ... development, common culminations; they can approach a suite ("Madrigal" by Myaskovsky), a symphony (14th symphony by Shostakovich). Ts. F., Built on a specially invented principle (for example, "Ludus tonalis" by Hindemith), are diverse, in contact with other forms, in particular with the contrast-composition (Prelude, chorale and fugue by Frank). 2) The cycle is also called several somehow related works (the tetralogy "Ring of the Nibelung"; the cycle of Kiev epics), conc. programs.
Livanova T.N., Big composition at the time of I.S.Bach, in collection: Questions of mueykoznaniya, v. 2, M., 1955; Kuryshsva T., Chamber wok. cycle in SOAR. Russian music, in collection: Questions of muses. forms, in. 1, M., 1966; Protopopov V., Principles of muses. Beethoven's forms, M., 1970; Sposobin I., Muz. form, M., 1984. V.P. Frayonov.
Cycles. A cycle can also be called a series of interconnected works (each of which may or may not have a cyclical form) or concert programs. In non-academic music (jazz, rock), conceptual albums and individual major works can gravitate towards cyclical forms.
Cycle "Prelude-Fugue"
The two-part cycle "Prelude-Fugue" has been known since the Baroque times. It assumes the functionalization of the prelude as an improvisational introduction to the fugue.
Cycles "prelude-fugue" can be combined into larger cycles based on some formal or thematic principle. The most famous example is the “Well-Tempered Clavier” by JS Bach, built according to the principle of a certain alternation of Ladotone correspondences. An example from the music of the XX century - "24 Preludes and Fugues" by D. D. Shostakovich.
Suite cycle
In the 20th century, the genre of the suite was significantly rethought, new techniques were applied to it (for example, dodecaphonic orchestral suites by A. Schoenberg and A. Berg), new material was covered (for example, in P. Hindemith's suite "1922" fashionable dances of the corresponding time: shimmy, boston, ragtime).
Some works of non-academic music (mostly progressive rock) also gravitate towards the suite form. Examples include "Lizard" from the album of the same name by the rock band King Crimson and "Atom Heart Mother" from the album of the same name by Pink Floyd. However, compositions that tend to loose and mixed forms (in traditional musical-theoretical terminology) are also often called "rock suites".
Sonata-symphonic cycle
The most abstract genres of academic music, such as symphony, sonata, concert, belong to the sonata-symphonic cycle. It is characterized by:
- abstraction from the applied nature of music (even if applied material is used as the material of any part);
- the possibility of figurative and semantic contrasts between individual parts (up to their direct opposition);
- complex tonal development;
- established functions and forms of individual parts (characteristic of certain genres of sonata-symphonic music).
The classical sonata took shape during the 18th century, reached its peak in the Viennese classics and remains, with some reservations, a living genre. The symphony as a genre took shape in the middle of the 18th century; it also reached its peak in the Viennese classics and remains a living genre of academic music. (The symphonic form should not be confused with the symphony, which may also be characteristic of works that do not belong to this form). In the second half of the 20th century, leitmotif and monothematic principles became characteristic of many works of this genre. The concert as a kind of sonata-symphonic cyclic work, which is characterized by the opposition of the sound of the entire ensemble and individual groups or soloists, took shape in its now known form by the end of the 18th century.
Free and mixed forms
A piece of music can consist of parts, combined according to a principle different from that in the genres listed, and still have a more or less cyclical nature. These are many genres of applied sacred music (mass, sacred concert, all-night vigil), cantatas, vocal and vocal-choral cycles (plot and lyric).
Large cycles
Sources of
- Zhdanova G.V. Symphony // Musical Encyclopedic Dictionary / Ch. ed. G. V. Keldysh... - M.: Sov. encyclopedia, 1990 .-- S. 499 .-- 150,000 copies- ISBN 5-85270-033-9.
- Yu.I. Neklyudov Suite //
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