Endless canon |

lat. an infinite canon, a perpetual canon

A form of imitation presentation in which there is no conclusion. caesuras (see Imitation), and the development of the melody leads to its beginning. This allows you to perform B. to. without stopping any number of times (hence the name). B. to. are subdivided into 2 categories. In B. to. I category, all the distances between the introductions of the initial and imitating voices are the same:

J. S. Bach. The Art of the Fugue, No 4.

M. I. Glinka. “Ivan Susanin”, final of the 3rd act.

In B. to. II category, these distances are not equal:

F. Schubert. Sonata for piano op. 143 final.

The use of B. to. is determined by the peculiar effect of stiffness, movement in place or in a circle, due to repetition. There are independent. comic productions. in the form of B. to. More often they are found inside the muses. plays, which usually take place no more than 2-3 times.

expresses special. the value of B. to. acquires when the repetition is significantly removed from the beginning – this creates the impression of free, unrestricted development, after exhaustion of which the familiar music returns. material (minuet from the d-moll quartet by J. Haydn or Canon perpetuus, No 13 from J. S. Bach’s Musical Offering).

Literature: see under the article Canon.

T. F. Müller