Spinning type

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Spinning type denotes a musical form principle that is one of the typical stylistic features of the late baroque . The term was coined by Wilhelm Fischer as the opposite to what he called "song type," which roughly in the form of teaching by Arnold Schoenberg called period corresponds to:

“A front sentence with a full or half-close is followed by a motivically related or unfamiliar modulating 'continuing spinning', consisting of one or more sequential sequences; sometimes a third group closes the whole thing as a 'final sentence' or 'epilogue'. "

According to Fischer, the antecedent can consist of a single phrase, the repetition, sequencing or imitation of a phrase, or a series of related or contrasting phrases (so that the antecedent itself sometimes appears as a continuation type). The spinning is mostly based on the fifth step sequence . Melodically, it could be related to the antecedent or contain new motif material. A “rhythmic narrowing” is also typical, in that the links of the further spinning are usually shorter (usually half as long) as the links of the antecedent, and in the case of several sequence groups the links of later sequences are shortened again. According to Fischer, an epilogue after the spinning is relatively rare.

As an example, Fischer et al. a. the first eight bars of the first movement of the sonata for viola da gamba and harpsichord ( BWV 1029) by Johann Sebastian Bach . Clemens Kühn illustrates the form principle and a. based on the opening ritornello of Antonio Vivaldi's Violin Concerto in A minor, Op. 3 No. 6 (1711) and the aria Prepare yourself, Zion from Bach's Christmas Oratorio . Another example would be the first section of Bach's Invention in D minor BWV 775:

JS Bach, Invention in D minor BWV 775, mm. 1-18. Listen ? / iAudio file / audio sample

In terms of its effect, the Kühn spinning type is characterized by "flowing drifting on" (instead of symmetry) and "unhindered motivic energy" (instead of "opposing contrast"), or by " movement instead of balance ".

Individual evidence

  1. Fischer 1915, p. 29.
  2. Fischer 1915, p. 36.
  3. Fischer 1915, p. 43.
  4. Fischer 1915, pp. 43-44.
  5. Fischer 1915, p. 44.
  6. Fischer 1915, p. 32.
  7. Kühn 2001, pp. 42–45.
  8. Kühn 2001, p. 45.

literature

  • Wilhelm Fischer : On the history of the development of the Viennese classical style . In: Studien zur Musikwissenschaft 3, Vienna 1915, pp. 24–84.
  • Clemens Kühn : Theory of Forms in Music . 6th edition. Bärenreiter, Kassel 2001, ISBN 3-7618-1392-9 .

Web links