Period |
Period (from the Greek. periodos – bypass, circulation, a certain circle of time) – the simplest compositional form, which is part of larger forms or has its own. meaning. Main P.’s function is an exposition of relatively finished music. thoughts (themes) in production. homophonic warehouse. Meet P. dec. structures. One of them can be defined as the main, normative. This is a P., in which the symmetry of the two sentences that make it up arises. They start the same (or similar) but end in different ways. cadence, less complete in the first and more complete in the second sentence. The most common ratio of cadences is half and full. The ending on dominant harmony at the end of the first sentence corresponds to the ending on the tonic at the end of the second (and the period as a whole). There is a harmonic ratio of the simplest authentic. sequence, which contributes to the structural integrity of the P. Other ratios of cadences are also possible: complete imperfect – complete perfect, etc. As an exception, the ratio of cadences can be reversed (for example, perfect – imperfect or full – incomplete). There are P. and with the same cadence. One of the most common options for harmonica. P.’s structures – modulation in the second sentence, most often in the dominant direction. This dynamizes the form of P.; 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 which the number of bars in P. and in each sentence is equal to the power of 2 (4, 8, 16, 32). Squareness arises due to the constant change of light and heavy beats (or, conversely, heavy and light). Two bars are grouped two by two into four bars, four bars into eight bars, and so on.
On an equal footing with the described, other structures are also used. They form P. if they perform the same function as the main. type, and differences in structure do not go beyond a certain measure, depending on the genre and style of music. The defining features of these variants are the type of use of muses. material, as well as metric. and harmonic. structure. For example, the second sentence may not repeat the first, but continue it, that is, be new in music. material. Such P. called. P. of a non-repeated or single structure. Two heterogeneous sentences are also combined in it by conjugation of cadences. However, P. of a single structure may not be divided into sentences, that is, 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 different. thematic ratio. material (a1 a2 a3; ab1b2; abc, etc.).
Deviations from the main type P. may also apply to metric. buildings. The symmetry of the two square sentences can be broken by expanding the second one. This is how a very common extended P. arises (4 + 5; 4 + 6; 4 + 7, etc.). The abbreviation of the second sentence is less common. There are also squares, in which non-squareness arises not as a result of overcoming the original squareness, but in itself, as a property that is organically inherent in this music. Such non-square P. are typical, in particular, for Russian. music. The ratio of the number of cycles in this case can be different (5 + 5; 5 + 7; 7 + 9, etc.). At the end of P., after he concludes. cadence, an addition may arise – a construction or a series of constructions, according to its own muses. meaning adjoining P., but not possessing independent. value.
P. is often repeated, sometimes with a number of textural changes. If, however, changes during repetition introduce something significant into the harmonic plan of the P., as a result of which it ends with a different cadence or in a different key, then it is not a P. and its variant repetition that arises, but a single structure of a complex P. Two complex sentences of a complex P. are two former simple P.
P. arose in Europe. prof. music in the era of the origin of the homophonic warehouse, which replaced the polyphonic (16-17 centuries). An important role in its formation was played by Nar. and household dances. and song and dance. genres. Hence the tendency towards squareness, which is the basis of dances. music. This also affected the national specifics of music claim-va Western-Europe. countries – in it., Austrian, Italian, French. nar. the song is also dominated by squareness. For Russian a drawn-out song is uncharacteristic of squareness. Therefore, organic non-squareness is widespread in Russian. music (M. P. Mussorgsky, S. V. Rachmaninov).
P. in prof. instr. music in most cases represents the initial part of a larger form – a simple two- or three-part. Only starting with F. Chopin (Preludes, op. 25) does it become a form of independent production. Wok. music P. won a firm place as a form of verse in the song. There are also non-couplet songs and romances written in the form of P. (S. V. Rachmaninov’s romance “It’s Good Here”).
References: Catuar G., Musical form, part 1, M., 1934, o. 68; Sposobin I., Musical form, M.-L., 1947; M., 1972, p. 56-94; Skrebkov S., Analysis of musical works, M., 1958, p. 49; Mazel L., Structure of musical works, M., 1960, p. 115; Reuterstein 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., Zukkerman V., Analysis of musical works, M., 1967, p. 493; Bobrovsky V., On the variability of the functions of musical form, M., 1970, p. 81; Prout E., Musical form, L., 1893 Ratner LG Einghteenth century theories of musical period structure, “MQ”, 1900, v. 17, no 31.
V. P. Bobrovsky
