Exposure |

exposure (lat. expositio – presentation, display, from expono – lay out, flaunt) – the function of the parts of the muses. forms of music. thought (or musical thought), in contrast to the function of developing, connecting, reprisal, etc. parts; also the name of the corresponding sections in fugue, sonata form, rondo sonata (in the 1st part of the concerto there is a double E.; see also Musical Form, Development, Reprise, Coda). E. carries out the initial. showing the theme (in sonata form – the main theme). For E. typical definitions. features of harmony, thematic and general structure, which together make up the expositions. type of presentation of music. material (according to I.V. Sposobin). Main a sign of this type is “stability of character and economy of funds” (I. V. Sposobin, “Musical Form”, 1947, p. 30): 1) tonal unity and harmonic. stability with active change of chords; 2) thematic. unity; 3) structural integrity, the presence of cohesive structures (sentence, period). General principles of exposure. type of presentation are differently implemented in decomp. music forms (for example, the initial period in a simple three-part form, E. fugue, E. sonata form) and decomp. styles (some means in the Viennese classics, others in the late romantics, and still others in the tonal music of the 20th century). Exposure samples. expositions: J. S. Bach, The Well-Tempered Clavier, Volume 2, Fugue in G Minor, bars 1-24; L. Beethoven, 5th symphony, 1st movement, bars 1-44; S. S. Prokofiev, 9th sonata for pianoforte, 1st movement, bars 1-20; P. Hindemith, “Ludus tonalis”, fugue in C, bars 1-11; I. F. Stravinsky, “Merry branle” from the ballet “Agon”, bars 310-319; A. Berg, Wozzeck, act 2, scene 5, bars 761-768; A. Webern, “The Light of the Eyes” op. 26, bars 8-13; R. K. Shchedrin, sonata for pianoforte, 1st movement, bars 1-9.

References: see at Art. Musical form.

Yu. N. Kholopov