Figuration |

lat. figuratio – image, form, figurative presentation, from figuro – form, form, decorate, colorize

One of the methods of processing musical material, thanks to which textural development is activated in a work (see Texture), F. is a common and effective way of dynamizing the musical fabric.

There are three main species F. Melodich. F. in one-headed. and polyphonic. constructions of music. prod. involves a variant transformation of melodic. lines by means of covering the main. sounds. In a homophonic warehouse, this type of F. is manifested in the activation of voices. In this case, figurative sounds are determined by their relation to the main one and are called passing, auxiliary, detentions, rises, cambiates. harmonic F. is a sequential movement through the sounds that make up the chords (the sounds adjacent to the chords are also very often used). Rhythm. F. is a rhythmic. a formula that repeats a sound or a group of sounds and does not radically change the muses. the logic of this construction. These types of F. in music. practice are often combined, forming mixed types of F., for example. rhythmic-harmonic, melodic-harmonic.

F. has long been used in music. practice. At the earliest stages of the development of music. lawsuits were used diff. types f. – from the figuration of primitive rhythmic. schemes and the simplest descriptions of modal foundations to complex figurations. constructions – chants. In the Middle Ages, F. were used in Gregorian chant (anniversaries) and in production. troubadours, trouvers and minnesingers. The masters of polyphony used elements of F. (detentions, lifts, and cambiates), as well as extended figurines. constructions in the development parts of polyphonic. forms (for example, in developments and interludes of fugues). F. was widely used in the genres of prelude, chaconne, fantasy, and sarabande. Samples of F.’s technique are contained in the Byzantine church. music and in Russian. choral works. 15th-18th centuries In the era of the general bass, F. became widespread in the practice of organ and clavier improvisations, although the theorists of the general bass in their treatises paid little attention to the issues of F. and recommended that F. be used in one of the voices only when the other is melodic. the movement stops. In the work of the French harpsichordists and the English. virginalists F. became one of the chief. ways of developing music. material in instr. forms, where they often represented an extension of melismatich. groups. In the era of classicism, F. were systematically used in instr. prod. (especially in variations – as the most important way of ornamental variation), and in wok. (in opera arias and ensembles) both in secular music and in church music (in separate parts of masses, in Russia – in cult works by D. S. Bortnyansky, M. S. Berezovsky, etc.). In the work of romantic composers, in connection with the evolution of modal thinking, phrasing was often saturated with chromaticism. In the music claim ve 20 century. F. are used in decomp. forms, depending on the individual style of the composer, on specific arts. tasks.

References: Catuar G., Theoretical course of harmony, part 2, M., 1925; Tyulin Yu., A practical guide for an introduction to harmonic analysis based on Bach’s chorales, L., 1927; his, Parallelisms in musical theory and practice, L., 1938; his own, The doctrine of musical texture and melodic figuration, book. 1 – Musical texture, M., 1976, book. 2 – Melodic figuration, M., 1977; Rudolf L., Harmony, Baku, 1938; Mazel L., O melody, M., 1952; Karastoyanov A., Polyphonic harmony, M., 1964; Uspensky H., Old Russian singing art, M., 1965, 1971; Kurth E., Grundlagen des linearen Kontrapunkts.., Bern, 1917, B., 1922 Tosh E., Melodielehre, V., 1931 (Russian translation – Toh E., Teaching about melody, M., 1923); Schmitz H.-P., Die Kunst der Verzierung im 1928 Jahrhundert Instrumentale und vokale Musizierpraxis in Beispielen, Kassel, 18; Ferand E., Die Improvisation in Beispielen aus neuen Jahrhunderten abendlandischer Musik Mit einer geschichtlichen Einführung, Köln, 1955; Szabolcsi B., A meludia türténete Vazlatok a zenei stilus m’ltjbbul 1956 kiadbs, Bdpst, 2 (English translation – A history of melody, NY, 1957); Apel W., Gregorian chant, Bloomington, (Indianapolis), 1965; Ghominski J., Historia harmonii i kontrapunktu, t. 1958, Kr., 1, Paccagnella E., La formazione del languaggio musicale, pt. 1958. Il canto gregoriano, Roma, 1; Wellesz E., Melody construction in Byzantine chant, Belgrade-Ochride, 1961; Mendelsohn A., Melodia si arta onvesmontarn ei, Buc., 1961; Arnold R., The art of accompaniment from a thoroughbass, as practiced in the 1963th and 1th centuries, v. 2-1965, NY, XNUMX.

E. V. Gertzman