Invention
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The term invention used in the theory of musical forms - from "invenire" (German: "to encounter sb or sth., To find, to find (mostly by chance, sometimes by searching)") or "inventio" (German: " 1. inventing, invention; 2nd . meton a. ingenuity; b. konkr. nachklass. invention, the invented ") - is not clearly defined. It has been in use since the mid-16th century and can have one of the following meanings, among others:
- Alternative designation for pieces of music whose genre name is not specified,
- Pieces that are considered to be particularly inventive or novel.
In a narrower sense, the term invention relates to pieces that are developed from a musical idea ( suction ghetto or theme ). They therefore consist of the idea (inventio) and its subsequent elaboration (elaboratio). The topic is processed differently, e.g. B. according to the principle of imitation (imitation of the theme in a different voice), sequence (repetition of the theme on a different pitch ), transposition (theme appears in a different key ), inversion , augmentation (increasing the note values), diminution (reduction in size) the grade values), split off (only part of the topic is used). The opponent of the topic in another voice is what is known as counterpoint . The invention is usually two-part.
With Johann Sebastian Bach , the invention is a two-part piano piece in which the musical idea is processed polyphonically , see Inventions and Symphonies .
Individual evidence
- ↑ invenire . In: PONS Latin-German
- ↑ inventio . In: PONS Latin-German