Musical syntax. Types of periods. Music theory

Musical syntax studies the structure of musical speech. A piece of music is divided into parts, called constructions. The boundary between constructions is caesura. Signs of caesura are 1) pause, 2) rhythmic stop(long duration), 3) repeat, 4) contrast.

Musical structure containing a complete musical thought, called period. The completeness of musical thought is determined by modal and metro-rhythmic characteristics. The largest parts for which period is divided, are called proposals. Offers are divided into phrases, phrases - on motives. Motive- this is the smallest semantic structural unit.

Combinations of phrases in a period form large-scale thematic structures

1. Periodicity- is formed by combining phrases of the same size (2t+2t+2t+2t). Chopin Waltz No. 9 (A flat major)

2. Summation- is formed from a combination of 2 or several short phrases and one extended one. Grieg "The Death of Ose" from the Peer Gynt Suite (1+1+2)

3. Splitting up- is formed from a combination of a longer phrase and 2 or more short ones. Chaikovsky. Waltz from the Children's Album (4+2+2).

4. Crushing with closure. Grieg. Poetic picture No. 1. A combination of a long phrase, several short ones and again an extended one. (4+1+1+2).

Types of periods. All the variety of periods can be divided according to the following criteria:

I. Structure. According to the structure, there are periods

1. Square- a) the total number of measures is 8,16,32, etc. b) the period is divided into 2 sentences of equal size. Beethoven Sonata No. 8, II movement.

2. Non-square

• extended(2nd sentence is longer than the first) Beethoven Sonata No. 3, II movement (4+6)
• abbreviated(2nd sentence less than first) Beethoven Sonata No. 7 (5+4)

• symmetrical(divided into 2 identical sentences, but the number of bars does not correspond to the squareness norm (6+6, 7+7, etc.) Tchaikovsky Russian song from the Children's Album. (6+6)

3. Periods of 3 sentences. Chopin Prelude No. 9, E major.(4+4+4)

II. Thematicism.

1. Repeat period. The repetition can be exact (Shumann the Bold Rider) or modified.

A modified repeat can be varied or sequential.

With varied repetition, individual elements of the theme change: rhythm, mode, texture of presentation, melody (intonation side), but the theme as a whole is recognizable. Haydn. Sonata in D major, I movement, GP, Mozart Sonata No. 12 in F major, II movement.

The period is considered repeated even if the 2nd sentence reproduces only the initial intonation of the 1st.

With sequential repetition, the theme is carried out at a different height without any special changes. Grieg Concerto in A minor, II movement.

2. Non-repeat period- sentences contain different thematic material, most often the 2nd sentence continues the theme of the 1st. Beethoven "Pathétique Sonata", II movement.

The entire period as a whole can be repeated without changes (recorded with a reprise sign) or with some textural changes. This period is called repeated.

III. Tonal design.

1. Modulating period- ends in a different key compared to the beginning. (Tchaikovsky Waltz from Children's Album)

2. Non-modulating(one-tone) period - ends in the initial key.

A period may have an introduction or an addition(after final approval) which do not affect its structure.

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You've probably ever come across such philosophical concepts as form and content. These words are universal enough to denote similar aspects of a wide variety of phenomena. And music is no exception. In this article you will find an overview of the most popular forms of musical works.

Before naming the common forms of musical works, let’s define what is a form in music? Form is something that relates to the design of a work, to the principles of its structure, to the sequence of musical material in it.

Musicians understand form in two ways. On the one hand, the form is diagram arrangement of all parts of a musical composition in order. On the other hand, form is not only a diagram, but also process the formation and development in a work of those expressive means by which the artistic image of this work is created. What kind of expressive means are these? Melody, harmony, rhythm, timbre, register and so on. The substantiation of such a double understanding of the essence of musical form is the merit of the Russian scientist, academician and composer Boris Asafiev.

Forms of musical works

The smallest structural units of almost any musical work are motive, phrase and sentence. Now let’s try to name the main forms of musical works and give them brief characteristics.

Period– this is one of the simple forms that represents the presentation of a complete musical thought. It occurs frequently in both instrumental and vocal music.

The standard duration for a period is two musical sentences that occupy 8 or 16 bars (square periods), in practice there are periods both longer and shorter. The period has several varieties, among which a special place is occupied by the so-called “deployment type period” and “difficult period”.

Simple two- and three-part forms - these are forms in which the first part, as a rule, is written in the form of a period, and the rest do not outgrow it (that is, for them the norm is either also a period or a sentence).

The middle (middle part) of a three-part form can be contrasting in relation to the outer parts (showing a contrasting image is already a very serious artistic technique), or it can develop, develop what was said in the first part. In the third part of a three-part form, it is possible to repeat the musical material of the first part - this form is called reprise (reprise is repetition).

Verse and chorus forms - these are forms that are directly related to vocal music and their structure is often associated with the characteristics of poetic music.

The verse form is based on the repetition of the same music (for example, period), but with new lyrics each time. In the lead-chorus form there are two elements: the first is the lead (both the melody and the text can change), the second is the chorus (as a rule, both the melody and the text are preserved in it).

Complex two-part and complex three-part forms – these are forms that are composed of two or three simple forms (for example, a simple 3-part + period + a simple 3-part). Complex two-part forms are more common in vocal music (for example, some opera arias are written in such forms), while complex three-part forms, on the contrary, are more typical for instrumental music (this is a favorite form for the minuet and other dances).

A complex three-part form, like a simple one, can contain a reprise, and in the middle part - new material (most often this is what happens), and the middle part in this form is of two types: "like a trio"(if it is some kind of slender simple shape) or "type of episode"(if in the middle part there are free constructions that do not obey either the periodic or any of the simple forms).

Variation form - this is a form built on the repetition of the original theme with its transformation, and there must be at least two of these repetitions in order for the resulting form of a musical work to be classified as variational. The variation form is found in many instrumental works, and no less often in the compositions of modern authors.

There are different variations. For example, there is such a type of variation as variations on an ostinato (that is, unchangeable, held) theme in melody or bass (the so-called soprano-ostinato and basso-ostinato). There are variations figurative, in which, with each new implementation, the theme is colored with various decorations and progressively fragmented, showing its hidden sides.

There is another type of variation - characteristic variations, in which each new theme takes place in a new genre. Sometimes these transitions to new genres greatly transform the theme - just imagine, the theme can sound in the same work as a funeral march, a lyrical nocturne, and an enthusiastic hymn. By the way, you can read something about genres in the article.

As a musical example of variations, we invite you to get acquainted with a very famous work by the great Beethoven.

L. van Beethoven, 32 variations in C minor

Rondo– another widespread form of musical works. You probably know that translated into Russian from French the word "rondo" means "circle". This is no accident. Once upon a time, the rondo was a group round dance, in which general fun alternated with the dances of individual soloists - at such moments they went into the middle of the circle and showed their skills.

So, musically speaking, a rondo is made up of parts that are constantly repeated (general ones - they are called refrains) and individualized episodes that sound between refrains. For the rondo form to take place, the refrain must be repeated at least three times.

Sonata form , so we got to you! The sonata form, or, as it is sometimes called, the sonata allegro form, is one of the most perfect and complex forms of musical works.

The sonata form is based on two main themes - one of them is called "main"(the one that sounds first), the second - "side". These names mean that one of the themes is in the main key, and the second in a secondary key (dominant, for example, or parallel). Together, these themes go through various tests in development, and then in the reprise, usually both are sounded in the same key.

The sonata form consists of three main sections:

• exposition (presentation of the first, second and other topics to the public);
• development (the stage at which intensive development occurs);
• reprise (here the themes presented in the exhibition are repeated, and at the same time their convergence occurs).

Composers loved the sonata form so much that on its basis they created a whole series of forms that differed from the main model in various parameters. For example, we can name such varieties of sonata form as rondo sonata(mixing sonata form with rondo), sonata without development, sonata with an episode instead of development(remember what they said about an episode in a three-part complex form? Here any form can become an episode - often these are variations), concert form(with double exposure - for the soloist and for the orchestra, with a virtuoso cadenza of the soloist at the end of the development before the start of the reprise), sonatina(little sonata), symphonic poem(huge canvas).

Fugue- this is the form that was once the queen of all forms. At one time, fugue was considered the most perfect musical form, and musicians still have a special attitude towards fugues.

A fugue is built on one theme, which is then repeated many times in an unchanged form in different voices (with different instruments). The fugue begins, as a rule, in one voice and immediately with the theme. Another voice immediately responds to this theme, and what sounds during this response from the first instrument is called counter-addition.

While the theme circulates through different voices, the expositional section of the fugue continues, but as soon as the theme has passed through each voice, development begins in which the theme may not be fully pursued, compressed, or, conversely, expanded. Yes, a lot of things happen in development... At the end of the fugue, the main tonality is restored - this section is called the reprise of the fugue.

We can stop there now. We have named almost all the main forms of musical works. It should be borne in mind that more complex forms may contain several simpler ones - learn to detect them. And also often both simple and complex forms are combined into different cycles– for example, they form together suite or sonata-symphonic cycle.

Section 2. Simple forms

2.1. Period

period (definition)

types of periods

period as a one-part form

PERIOD is the simplest musical form that represents a relatively complete thought. It can also act as a form of independent work.

A period is a form of thematic material in homophonic-harmonic music. The very concept of a period arose in ancient Greece, where it was used in rhetoric. Much later it was introduced into musicology. The final crystallization of various types of this form took place in classical music (mid-18th century).

Structural elements of a period: The largest elements of a period are the sentence (a typical period consists of two sentences). The smaller elements are phrase and motive. A motif may consist of smaller units called submotives. A phrase is a combination of several motives ending with a stop or pause or repetition. A motive is a group of sounds containing one strong beat.

Periods can be classified based on their thematic, tonal structure and internal structure.

WITH from a thematic point of view, two types of periods are distinguished: repeated

And non-repeating structure. In the first case, the period consists of two (less often three) sentences that are thematically similar. Hence the effect of repetition of the material during its deployment and the corresponding name of the whole structure. The first sentence of the period is called the initial, and the second - the next. Their similarity can generally have very wide gradations - from identity to similarity of the very beginnings themselves, and therefore the fundamental scheme of such a period can be expressed as follows: a + a1. In the simplest cases, the first sentence ends with a half cadence on the dominant (or a full imperfect), and the second with a full perfect cadence (in the initial or another key). Despite the simplicity of such a structure, it reveals a strong unifying effect of harmonic functions at the level of form: the dominant of the first sentence resolves (at a distance) into the tonic of the second. Both functions are well perceived by the ear - after all, they fall on important points of the structure that are identical in meaning. Specific cases of repeated construction include a construction in which the second sentence is completely identical to the first, but shifted in height (transposed). Such a period could be called transpositional.

The period of non-repetitive construction, on the contrary, as the name itself already says, avoids repetition of thematic material in the higher sense noted. There are two possible structure options here. In the first of them, the period is constructed according to type a+b, that is, from two sentences that are different from the point of view of the material. Such periods retain the same typical relationships of harmonic cadences as periods of repeated construction

structures: thanks to these cadences, division into sentences becomes possible. Moreover, between both thematically dissimilar sentences, there are various connections - rhythmic, intonation, and so on, which ensure the unity of the whole structure.

The second option for a period of non-repetitive structure is a period that is not divided into sentences, is continuous, monolithic (without a half cadence). Such a period in terms of structure (with a final cadence) becomes sentence-like (and is often defined as such), although it fulfills the typical role of the period in presenting a theme.

From the point of view of tonal structure it is important, first of all,

determination of the extreme points of the period - its beginning and end. From this point of view, it makes sense to distinguish between monotonal periods - that is, those that begin and end in the same key, and modulating periods - that is, those that end in a different key. For classical and similar styles, the most commonly used are modulations into a dominant or parallel key (with the main minor key), although other options often come across. The sound material of single-tone periods can be different: either maintained within the diatonic framework, or using chromaticism, including due to deviations (in the latter case, the period is called modulation). The period types described above have a final cadence (most often on the tonic), which closes the thematic development in them. Therefore, such periods are called closed.

The absence of a completed final cadence in the period gives reason to call it open or open(often ends with a dominant).

From the point of view of metric structure - the method of combining, grouping measures - periods are divided into square and non-square. The first of them contain 8, 16, less often a larger number that is a multiple of 4, and form two, less often four, sentences. The latter do not meet this norm and the total number of bars in the period and its sentences is not a multiple of four (9, 10, 11 bars, etc.).

To determine whether a structure is square or not, what is important is not so much the total number of measures as their grouping; for example, an eight-bar may have a non-square grouping - 5+3. Periods that span 12 measures and consist of 3 clauses occupy an intermediate position.

The following types of non-square periods are distinguished:

period with addition; after a complete perfect cadence, one or more additional cadences are introduced;

period with expansion; the intended complete perfect cadence turns out to be imperfect or interrupted, so the "real" complete perfect cadence appears later.

In addition to standard periods (normal exposure period), there are heterogeneous deviations from the noted schemes:

complex period (with a large number of bars and extended, independent additions);

double period, which is characterized by double exposure of thematic material. It consists of two periods, and the second may differ slightly from the first

table 2

Since a period is a form of completed or relatively completed musical thought, it can also act as a form of an independent work (one-part form). In the classical style it occurs rather as an exception, and then mainly in compositions of instructional significance (Czerny's studies). It could be found in Bach's time (small preludes by J.S. Bach). But most of all, the one-part form manifested itself in the work of the romantics in instrumental miniature (F. Chopin, O. Scriabin). An independent composition requires that it contain

increasingly important stages are presented: exposure of the material, its definite development and completion. Therefore, extended or padded periods are typical in this case. In addition, the simple one-part form is used in the themes of ancient variations, passacaglia, chaconne, as an introduction to a major work, as a verse in vocal music, folk songs (especially dance ones).

2.2. Simple two-part form

definition; origin of the form

non-reputable pr2khch form

recognized pr2khch form

form complications

A simple two-part form consists of two parts, each of which is a simple construction, no more complex than the period (a+b).

The origin and development of the simple two-part form is associated primarily with everyday dances and song genres. This form is rooted in folk music and is closely related to the juxtaposition of two parts: the lead and the chorus. A number of dances of the 17th century (alemande, courante, minuet, gavotte) were composed in the so-called ancient two-part form of type a a1, in which the second part is twice or three times as dominant as the first. In the 18th century it was typical for landlers, and in the 19th for cyclic waltzes. Various examples of the two-part form are found in the songs and dances of Schubert, Schumann, Glinka, Dargomyzhsky, instrumental plays and romances by Tchaikovsky, themes of variations, mass songs, romances and, as a component of more complex forms, parts of sonata and rondo-sonata forms.

First part of a simple two-part form , in which the main musical theme is exhibited, represents a period, less often a large sentence. In the second part there is a subsequent development and completion of musical thought. Each part of a two-part form can be repeated. The first period often modulates into a dominant or parallel key. The second part ends in the main key. Tonal closeness is the main sign of completeness and independence of the two-part form.

The simple two-part form comes in two variants:

An unremarkable simple two-part form - it is based on a contrasting combination of two constructions, ensuring the unity of the whole by means of tonality (a + a1 b + b1). The second part of this form is either contrasting or developing. In the first case, the thematic material is more or less independent in nature; in the second case, thematic elements from the first part are used (secondary presentation, extended development).

A reprisal simple two-part form - in the second part it combines two functions that are implemented sequentially - the functions of contrast and completion - reprise (a + a1 in + a1). The second part of this form is divided into two sections, the first provides a certain contrast, and the second repeats one of the sentences of the first part. The reprise offer may be extended.

The first part of a simple two-part form is characterized by an expositional type of presentation:

from the thematic side, it is characterized by repetition or similarity of both sentences, balance of the melodic line;

with harmonic - the period can be monotonal or modulating in the key of the dominant group or parallel major;

in size it is often a square period 4+4, 8+8.

The second part combines the features of middleness and persistence and ends in the main key. The form of the second part is usually a period or a long sentence.

Vocal works written in a simple two-part form sometimes have an introduction and a conclusion (like a coda). In general, the common features of the simple two-part form are the connection with everyday genres, song and dance themes, small sizes, clarity of structure, and reliance on squareness.

A simple two-part form can be complicated by repetition of parts, for example:

2.3. Simple three-part form

definition; scope of application of the form

features of parts

varieties of shape

A simple tripartite is a form consisting of three parts, each of which is no more complex than a period. The first part is a presentation of the theme, the second part is called the middle, and the third part is a reprise - a repetition of the first part.

A simple three-part form is used:

in independent works of various genres (preludes, etudes, nocturnes, children's plays, dances, arias, romances, etc.);

as an integral part of a larger form;

as a separate part of the cycle;

in opera and ballet numbers.

A simple three-part form is a symmetrical form, all of whose components are approximately equal from a scale point of view. Already from this point of view, this form has wider, compared to the two-part, possibilities for introducing a more developed contrast, which, in turn, requires a complete thematic reprise corresponding to the first part of the form to balance the whole. It is for this reason that non-reprise three-part forms, in contrast to two-part forms, are a rare phenomenon in instrumental music, mainly due to the influence of song forms and genres (for example, the theme of F. Schubert’s quartet “Death and the Maiden”). However, there are variants of the form in which the proportions of the parts are not respected; often the middle exceeds the size of the first part, for example, the play “Estrella” from “Carnival” by R. Schumann: 12 + 16 + 8 bars.

The first part of a simple tripartite form is a single-tone or modulating period of two sentences, rarely double, with an extension, with an addition, a square, non-square, open period or sentence. Type of presentation - expositional.

The second part is the middle, which in one way or another is opposed to the extreme sections. The middle is characterized by a developing, unstable type of presentation; fragmentation, deviations, sequences and other development techniques are typical. In shape, the middle can represent: period; small (8t) or large offer (16t); or be a construction that is not

a period, for example, built on: alternation of move-like formations; on sequencing or fragmentation or repetition of harmonically unstable revolutions; Polyphonic development techniques are often used: canonical imitations, counterpoint, etc.

The third part, which, like the middle, does not contain more complex structures than the period, is a reprise and repeats the musical material of the first part. The general principle of the three-part form in terms of thematic and tonal structure has several interpretations. The simplest examples of the simple tripartite form are the same material conducted three times: in the keys of the tonic, the dominant (or parallel major), and the tonic again. The middle in such cases is a transposition of the first part into another key and the contrast in form is provided primarily at the tonal level. In addition, rhythm, harmony, texture (a+a1+a) can vary slightly here.

More complexly organized is the form in which the middle part is constructed as a free, unstable development of the previous thematic material. The means that serve to achieve instability are the fragmentation of thematic material, sequences, deviations, the use of methods of motivic and polyphonic development, etc.; the middle in such cases can be considered as a modulating part, which contrasts with the extremes (a+R+a).

Another type of simple three-part form occurs when the middle part is filled with a new, structurally and tonally shaped theme. Hence the often used definition of such forms as two-theme, in contrast to the one-theme described above. But in a number of cases, a new topic can be introduced according to the principle of derivative contrast, that is, built from the intonations of the previous thematic material (a + b + a).

Sometimes there are seemingly mixed ways of constructing the middle part. Yes, in particular, in the scherzo from the sonata op. 2 No. 2 by L. Beethoven (up to trio) the middle part is divided into two thematically and functionally distinct sections. The first of them develops the previous material and modulates from A major to G sharp minor, which is, in this case, the goal of the previous tonal development; the second, on the other hand, introduces a new theme, which, however, avoids cadence completion and, modulating, returns to the main key (a+Rb+a) – intermediate form. In addition, the middle can be a transition (like a connective) without a pronounced thematic theme (a+trans.+a).

Harmonic development in the middle part can be reduced to three types:

1. a new tonality is not established, but the tonic is not used in its basic form;

2. there are deviations into related tonalities;

3. from the beginning of the middle a new key appears, but at the end of the section there is a return to the main key, often with a stop at its dominant (an organ point is possible).

Types of reprises:

variational (varied) - with textural changes;

abbreviated - not carried out in full, most often this is a sentence;

dynamic (dynamized) - a change in textural, harmonic, structural and other means that can be quite significant and significantly influence the nature of the thematic material.

A simple three-part form may have an introduction and a coda.

A simple three-part form can be complicated by repetition of parts:

To analyze a work:

Table 7

Forms derived from the simple two- and three-part form:

Forms that, according to external structural characteristics, belong to more complex ones, but in terms of their means of formation, meaning and content are simple song forms, are derivative. One of the most stable forms of this type is formed by superimposing a simple three-part form and a simple two-part form. Its scheme is as follows:

A reprise of such a form is at the same time an expositional part of a simple two-part form linked to it. There are four parts in this form. After the simple three-part one there is another part, which is the normative second part of a simple two-part non-reprise form. The play “The Death of Ose” from the suite “Peer Gynt” by E. Grieg has a similar structure.

Application

SAMPLE plan for analyzing a musical work (or part thereof),

written in period form

1. The analyzed musical material is a musical work or part of it.

if a part: how it ends (perfect cadence or otherwise);

if a musical work: its genre, features of the content, the need to choose a given form in connection with the content and genre.

2. The type of presentation of musical material in the period is expositional: is it so? By what criteria is this determined?

3. The formative meaning of the melody (see the direction of the melodic movement) in a given period.

4. Formative meaning of harmony (see climax, cadence of sentences).

5. Period structure: indivisible, of two or more sentences. Present a diagram of the period, indicating the sentences in lowercase letters, indicating the number of measures in each of them and other structural features.

6. If this is a long (complicated) period, what criteria are used to determine this?

7. If divided into sentences: characteristics of the cadences of each of them, the significance of the differences in cadences for formation.

8. If it is a two-sentence period:

whether it is square or not (by what criteria is this determined, what is the connection with the content, genre).

repeated or non-repeated structure (by what criteria is this determined, what is the connection with the content, genre).

9. This period is single-tone (closed) or modulating

if the period is modulating: the place of modulation, its values ​​for a given period.

if this period is part of another form: the meaning of modulation or closure for communication with other parts of the form.

10. Is there an introduction to the period, an addition, an expansion? Their significance for shaping, the need to include these elements in connection with the content and genre.

Period(from the Greek periodos - detour, rotation, a certain circle of time) - the simplest compositional form, part of larger forms or having an independent form. meaning. Basic P.'s function is presentation of a relatively completed music. thoughts (themes) in production. homophonic warehouse. There are P. diff. structures. One of them can be defined as the main, normative one. This is P., in which the symmetry of its two constituent sentences arises. They start the same (or similar), but end differently. cadences, less complete in the first and more complete in the second sentence. The most common cadence ratio is half and full. The ending on the dominant harmony at the end of the first sentence is answered by the ending on the tonic at the end of the second (and the period as a whole). A harmonic relationship arises in the simplest authentic language. sequence, which contributes to the structural integrity of the P. Other cadence ratios are possible: complete imperfect - complete perfect, etc. As an exception, the ratio of cadences can be the opposite (for example, perfect - imperfect or complete - incomplete). There are also P. with the same cadences. One of the most common harmonious options. P.'s structure is modulation in the second sentence, most often in the dominant direction. This dynamizes the P. form; modulating P. is used exclusively as an element of larger forms.

Metric also plays an important role. the basis of P. Typical for many (but not all) styles and genres of European music is squareness, with the number of measures in P. and in each sentence equal to the power of 2 (4, 8, 16, 32). Squareness occurs due to the constant change of light and heavy measures (or, conversely, heavy and light). Two-beats are grouped two by two into four-beats, four-beats into eight-beats, etc.

Other structures are used on equal terms with the one described. They form P. if they perform the same function as the main one. type, and the differences in structure do not go beyond a certain measure depending on the genre and style of music. The defining features of these options are the type of use of muses. material, as well as metric. and harmonious structure. For example, the second sentence may not repeat the first, but continue it, that is, be new according to music. material. This P. is called. P. of non-repeated or uniform structure. Two heterogeneous sentences are also united in it by conjugating cadences. However, a sentence of a single structure may not be divided into sentences, that is, it may be fused. In this case, the most important structural principle of P. is violated. And yet the construction remains P. if it sets out the definition. thematic material and occupies the same place in the form of the whole as the normative P. Finally, there are P., consisting of three sentences with the most varied. thematic ratio material (a1 a2 a3; ab1b2; abc, etc.).

Deviations from the basic type P. can also concern metric. buildings. The symmetry of two square sentences can be broken by expanding the second one. This is how the very common extended P. arises (4 + 5; 4 + 6; 4 + 7, etc.). Less common is the abbreviation of the second sentence. There are also P., in which non-squareness does not arise as a result of overcoming the original squareness, but in itself, as a property organically inherent in a given music. Such non-square P. are typical, in particular, for Russians. music. The ratio of the number of clock cycles can be different (5 + 5; 5 + 7; 7 + 9, etc.). Upon completion of P., he will conclude. cadence, an addition may arise - a construction or a series of constructions, according to its own music. meaning adjacent to P., but not independent. meaning.

P. is often repeated, sometimes with a number of textural changes. If changes during repetition introduce something significant into the harmonic plan of the poem, as a result of which it ends with a different cadence or in a different key, then it is not the poem and its variant repetition that arises, but a single structure of the complex phrase. Two complex sentences of the complex phrase. - these are two former simple P.

P. originated in Europe. prof. music in the era of the emergence of the homophonic system, which replaced the polyphonic one (16-17 centuries). People played a major role in its formation. and everyday dances. and song and dance. genres. Hence the tendency towards squareness, which forms the basis of the dance. music. This also affected the national specificity of music Western-European claims countries - German, Austrian, Italian, French adv. The song is also dominated by squareness. For Russian squareness is uncharacteristic of a drawn-out song. Therefore organic. non-squareness is widespread in Russian. music (M. P. Mussorgsky, S. V. Rachmaninov).

P. in prof. instr. In most cases, music represents the initial part of a larger form - a simple two- or three-part one. Only starting with F. Chopin (Prelude, op. 25) does it become an independent form of production. Into the wok. music P. has gained a strong place as a form of verse in a song. There are also non-verse songs and romances written in the form of P. (the romance by S. V. Rachmaninov “It’s good here”).

Literature: Catuar G., Musical form, part 1, M., 1934, o. 68; Spogin I., Musical form, M.-L., 1947; M., 1972, p. 56-94; Skrebkov S., Analysis of musical works, M., 1958, p. 49; Mazel L., The structure of musical works, M., 1960, p. 115; Roiterstein M., Musical forms. One-part, two-part and three-part forms, M., 1961; Musical form, ed. Yu. Tyulina, M., 1965 p. 52, 110; Mazel L., Tsukkerman V., Analysis of musical works, M., 1967, p. 493; Bobrovsky V., On the variability of functions of musical form, M., 1970, p. 81; Prout E., Musical form, L., 1893 (Russian translation - Prout E., Musical form, M., 1900, pp. 17-31, 32-42, 75-94, 1917); Ratner L. G. Einghteenth century theories of musical period structure, "MQ", 1956, v. 42, No. 4.

V. P. Bobrovsky

A period is a construction that expresses a relatively complete thought.

The first sentence of a two-sentence period usually ends with a half or full imperfect cadence, expressing the incompleteness of the thought. The second sentence usually ends with a full perfect cadence, expressing the completeness of the thought. But the period can also be open, i.e. not end with even half a cadence. Developing as an ordinary period, it can at the very end avoid the cadence and move into the next section of the form (especially often in the themes of the middle movements, rondo episodes, etc.).

A period is called monotonal if it ends in the same key in which it began (not counting deviations within it) and modulating if in a different one.

The period of repeated construction is a period divided into two sentences with similar beginnings. A period that is not divided into sentences or divided into sentences that are dissimilar at the beginning is called a period of non-repetitive structure. The period indivisible into sentences is the period of a single structure.

A period consisting of two melodic structures with different cadences, each of which, in its internal structure, is itself a typical period, is called a complex period.

Types of period: from 2 sentences, from 3 sentences, from 4 sentences (complex period), single structure, special period of the deployment type (in the old two-part form).

Periods of 2 and 4 sentences can be square (the number of measures is equal to the power of 2 - 4+4, 8+8) and non-square (5+5, 4+6, etc.). Violations of non-squareness are common: expansion (pushing back the cadence by sequences, interrupted revolutions, etc.), compression (“early” cadence), truncation (sudden termination), addition (post-cadence fixing construction), introductory construction. The period may be complicated by the features of other forms, including 3-part (the 1st and 3rd sentences are normative, the second is of the middle type).

In song and dance music, periods are found as early as the 15th and 16th centuries. With the establishment of homophony (XVII-XVIII centuries), the period serves as the basis for milestones of larger forms; Starting from the era of romanticism, the period can also be a form of independent work.