Topic |
from the Greek theme, lit. – what is the basis
A musical structure that serves as the basis of a musical work or part of it. The leading position of the theme in the work is affirmed due to the significance of the musical image, the ability to develop the motives that make up the theme, and also due to repetitions (exact or varied). The theme is the basis of musical development, the core of the formation of the form of a musical work. In a number of cases, the theme is not subject to development (episodic themes; themes that represent a whole work).
Thematic ratio. and non-thematic material in production. can be different: from means. the number of thematically neutral constructions (for example, episodic motifs in developmental sections) until T. completely subjugates all elements of the whole. Prod. can be single-dark and multi-dark, and T. enter into a variety of relationships with each other: from very close kinship to a vivid conflict. The whole complex is thematic. phenomena in the essay forms its thematic.
The character and structure of the t. are closely dependent on the genre and form of production. as a whole (or its parts, the basis of which is this T.). Significantly differ, for example, the laws of construction of T. fugue, T. Ch. parts of the sonata allegro, T. slow part of the sonata-symphony. cycle, etc. T. homophonically harmonic. warehouse is stated in the form of a period, as well as in the form of a sentence, in a simple 2- or 3-part form. In some cases, T. has no definition. closed form.
The concept of “T.” endured means. changes in the course of history. development. The term first occurs in the 16th century, borrowed from rhetoric, and at that time often coincided in meaning with other concepts: cantus firmus, soggetto, tenor, etc. X. Glarean (“Dodecachordon”, 1547) calls T. osn. voice (tenor) or voice, to which the leading melody (cantus firmus) is entrusted, G. Tsarlino (“Istitutioni harmoniche”, III, 1558) calls T., or passagio, melodic. a line in which the cantus firmus is carried out in an altered form (in contrast to the soggetto – a voice that conducts the cantus firmus without changes). Dr. theorists of the 16th century. reinforce this distinction by also using the term inventio along with the term tema and subjectum along with soggetto. In the 17th century the difference between these concepts is erased, they become synonyms; so, subject as a synonym for T. has been preserved in Western Europe. musicologist. liter-re up to the 20th century. In the 2nd floor. 17 – 1st floor. 18th century the term “T.” designated primarily the main music. fugue thought. Put forward in the theory of music classical. the principles of construction of T. fugues are based on Ch. arr. on the analysis of theme formation in J. S. Bach’s fugues. Polyphonic T. is usually monophonic, it directly flows into the subsequent musical development.
In the 2nd floor. 18th century Homophonic thinking, which was formed in the work of the Viennese classics and other composers of this time, changes the character of T. In their works. T. – a whole melodic-harmonic. complex; there is a clear distinction between theory and development (G. Koch introduced the concept of “thematic work” in the book Musicalisches Lexikon, TI 2, Fr./M., 1802). The concept of “T.” applies to almost all homophonic forms. Homophonic T., in contrast to polyphonic, has a more definite. borders and a clear interior. articulation, often greater length and completeness. Such a T. is a part of the muses that is isolated to one degree or another. prod., which “includes its main character” (G. Koch), which is reflected in the German term Hauptsatz, used from the 2nd floor. 18th century along with the term “T.” (Hauptsatz also means T. ch. parts in sonata allegro).
Romantic composers of the 19th century, relying generally on the laws of the construction and use of musical instruments developed in the work of the Viennese classics, significantly expanded the scope of thematic art. More important and independent. the motifs that make up the tone began to play a role (for example, in the works of F. Liszt and R. Wagner). Increased desire for thematic. the unity of the whole product, which caused the appearance of monothematism (see also Leitmotif). The individualization of thematism manifested itself in an increase in the value of texture-rhythm. and timbre characteristics.
In the 20th century the use of certain patterns of 19th-century thematicism. connects with new phenomena: an appeal to the elements of polyphonic. thematism (D. D. Shostakovich, S. S. Prokofiev, P. Hindemith, A. Honegger, and others), compression of the theme to the shortest motive constructions, sometimes two- or three-tone (I. F. Stravinsky, K. Orff, last works by D. D. Shostakovich). However, the meaning of intonation thematism in the work of a number of composers falls. There are such principles of shaping, in relation to which the application of the former concept of T. has become not entirely justified.
In a number of cases, the extreme intensity of development makes it impossible to use well-formed, clearly distinguished musical instruments (so-called athematic music): the presentation of the source material is combined with its development. However, the elements that play the role of the basis of development and are close in function to T are preserved. These are certain intervals that hold the entire muses together. fabric (B. Bartok, V. Lutoslavsky), series and general type of motive elements (for example, in dodecaphony), textural-rhythmic, timbre characteristics (K. Penderetsky, V. Lutoslavsky, D. Ligeti). To analyze such phenomena, a number of music theorists use the concept of “dispersed thematism”.
References: Mazel L., Structure of musical works, M., 1960; Mazel L., Zukkerman V., Analysis of musical works, (part 1), Elements of music and methods of analysis of small forms, M., 1967; Sposobin I., Musical form, M., 1967; Ruchyevskaya E., Function of the musical theme, L., 1977; Bobrovsky V., Functional foundations of musical form, M., 1978; Valkova V., On the issue of the concept of “musical theme”, in the book: Musical art and science, vol. 3, M., 1978; Kurth E., Grundlagen des linearen Kontrapunkts. Bachs melodische Polyphonie, Bern, 1917, 1956
V. B. Valkova
