Sentence (musical theory of forms)

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In the musical theory of forms in the succession of Arnold Schönberg, phrase refers to a theme that is very often found in the instrumental music of the Viennese Classical period , consisting of a

  • Phrase,
  • their (varied) repetition and
  • a sequel that is usually twice as long and ends with a cadence .
Beethoven op. 67, Allegro con brio . Berlin Philharmonic under the direction of Wilhelm Furtwängler , 1937.

An example of this would be the main theme of the Allegro con brio of Symphony No. 5 in C minor, Op. 67 by Ludwig van Beethoven :

\ relative c '{\ clef treble \ key c \ minor \ time 2/4 \ set Timing.beamExceptions = #' () \ set Timing.baseMoment = # (ly: make-moment 1/2) \ set Timing.beatStructure = # '(1) << {\ voiceOne r8 g' ^ Phrase gg es \ noBeam as as as g \ noBeam es' es es c2 ~ c8 \ noBeam g ^ \ markup {\ left-align "varied phrase repetition"} ggd \ noBeam as 'as as g \ noBeam f' ff d2 ~ d8 \ noBeam g ^ continuation gf es2 (d8) if necessary es2 (d8 \ noBeam) if necessary es4 rcr ^ half-close g'2} \ new Voice {\ voiceTwo r2 c, , ~ c ~ c ~ cb ~ b ~ b ~ bc (b) c (b8 \ noBeam) bbb c4 r <as fis '> r <gg' b> r} >>}

The definitions and uses of the term by Schönberg and some of his students, as well as by later music theorists, emphasize different aspects to different degrees. More recently, William Caplin in particular has given theoretical considerations to this type of topic and its components. Sometimes the sentence is interpreted as the successor to the baroque spinning type .

Erwin Ratz

Beethoven op. 2 No. 1, Allegro ; Pianist: Artur Schnabel , recorded around 1935.

Because Schönberg's Fundamentals of Musical Composition (written 1937–1948) were first published in German translation in 1979, the definition of the Schönberg pupil Erwin Ratz was first established in German-speaking countries , whose introduction to musical forms appeared in 1951:

“The eight-bar movement (2 x 2) + 4 consists of a two-bar, its repetition and a four-bar development, the essence of which is that part of the motifs exposed in the two-bar is dropped, thus condensing and accelerating the musical performance . As a rule, there is also an acceleration in the harmonic disposition in the development part. "

As a first example, Ratz cites the main theme of the first movement of the Piano Sonata in F minor, Op. 2 No. 1 by Ludwig van Beethoven . According to Ratz , the sentence can close with either a full or a half-close , although the “frequent half-close”, according to him, “is already connected with the propulsive character of the sentence ”, “with the coming to rest in the full close to a certain extent Degree reluctant ”.

Arnold Schoenberg

Schönberg himself represents the sentence (in the English original: sentence ) as a compelling compositional consequence of a decision that is usually due in the third measure of a topic: After the formulation of a first "phrase", which usually takes two measures, this can either be repeated (varied) or replaced by another phrase. At this point, decide whether the topic will develop into a sentence or a period . The immediate repetition of the opening phrase is the easiest way to fulfill the requirement of "comprehensibility". After that, however, the requirement of “variety” must be taken into account. Therefore, a development (i.e. stronger variation) of the previous motivic material is required for the continuation. In order for the section to come to an end on its own, this development must, however, be directed towards the dismantling of the previous material:

“The construction of the beginning determines the construction of the continuation. In the beginning, a theme must clearly show its basic motif in addition to key, tempo and time signature; the continuation must meet the requirements of comprehensibility. Immediate repetition is the simplest solution and it is characteristic of the structure of the sentence .

If the beginning consists of a two-measure phrase, the continuation (bars 3 and 4) can consist either of an unchanged or a transposed repetition of it. Insignificant changes can be made in the melody or harmony, provided that this does not obscure the repetition as such. "

“Since there is a repetition at the beginning of a sentence, in order to achieve variety it is necessary to continue with motifs that are further varied. [...] The procedure to be used for the continuation consists of a kind of development which in some respects is comparable to the condensation technique in the liquidation . Development not only means growth, multiplication, expansion and expansion, but also includes diminution, condensation and intensification. The purpose of liquidation is to counter the tendency towards unlimited expansion. It consists in gradually removing characteristic features of the motif until only uncharacteristic ones remain, which no longer require continuation. Often there are only leftovers that have little in common with the basic motif. In connection with a full or half-close, this procedure can be used to create an appropriate delimitation for a sentence. "

William Caplin

Two phrases, three form functions

For the sequence initial phrase ( basic idea ) and its (varied) repetition, Caplin coined the term “ presentation phrase ” . Here referred presentation the initiating "shape function" ( formal function ) this phrase: In classical instrumental music, according to the thesis, the listener is u. a. communicated in such a way that a formal unit begins. As important aspects, Caplin emphasizes that the tonic is prolonged in this phrase and that there is no cadence .

The following "continued phrase" ( continuation phrase ) first meets the media shape function "continuation" ( continuation ). Accordingly, the musical structure articulates here that it embodies the middle (no longer the beginning, not yet the end) of the section. This is typically done by:

  • Fragmentation, compression (i.e. shortening the length of the section)
  • higher harmonic event density
  • Sequence technique
  • higher rhythmic activity

The continuation phrase ends with a full or half-close. The form function “continuation” is therefore replaced by the form function “ cadential ” in the course of the phrase .

Compound sentence

As a compound sentence , Caplin describes a principally 16-bar theme type, consisting of a presentation and continuation phrase of eight bars each. Here is the beginning of thought "composed" ( compound basic idea ) by itself contains already two contrasting thoughts, the second non cadences of which (otherwise would be to Caplins theory, an antecedent ( antecedent ) before). As an example of this, Caplin et al. a. the main theme in the first movement of Wolfgang Amadeus Mozart's piano quartet in G minor, K. 478 (mm. 1–16).

literature

  • Michael Beiche: Art. Sentence . In: Concise Dictionary of Musical Terminology , ed. by Hans Heinrich Eggebrecht and Albrecht Riethmüller , editor Markus Bandur, Steiner, Wiesbaden 1971–2006, ISBN 978-3-515-10167-7 ( online ).
  • William Caplin: Functional components in an eight-bar movement . In: Musiktheorie 1/3 (1986), ISSN 0177-4182, pp. 239-260.
  • William Caplin: Classical Form. A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven . Oxford University Press, New York 1998, ISBN 978-0-19-514399-7 .
  • William Caplin: What are Formal Functions? In: William Caplin, James Hepokoski, James Webster: Musical Form, Forms & Formenlehre: Three Methodological Reflections , ed. by Pieter Bergé, Leuven: Leuven University Press 2009, ISBN 9789058678225 , pp. 21–40.
  • William Caplin: Analyzing Classical Form. An Approach for the Classroom . Oxford University Press, New York 2013, ISBN 978-0-19-998730-6 .
  • Carl Dahlhaus : Sentence and Period: To Theory of Musical Syntax In: Zeitschrift fur Musiktheorie 9 (1978), pp. 16-26.
  • Clemens Kühn : Theory of Forms in Music . 6th edition Kassel: Bärenreiter 2001 ISBN 3-7618-1392-9 .
  • Erwin Ratz : Introduction to the theory of musical forms. About formal principles in JS Bach's inventions and their significance for Beethoven's compositional technique . Vienna: Österreichischer Bundesverlag 1951; 3rd edition Vienna: Universal Edition 1973, ISBN 3-7024-0015-X .
  • Arnold Schönberg : Fundamentals of Musical Composition [1937–1948], posthumously ed. by Gerald Strang and Leonard Stein , London 1967; German as foundations of musical composition , trans. by Rudolf Kolisch and ed. by Rudolf Stephan , Universal Edition, Vienna 1979, ISBN 978-3-7024-0136-8 .

Web links

Individual evidence

  1. ↑ E.g. Kühn 2001, p. 59.
  2. ↑ Ratz 1973, pp. 21-22.
  3. ↑ Ratz 1973, p. 23.
  4. ↑ Schönberg 1979, p. 21: "The difference between a sentence and a period lies in the treatment of the second phrase and its continuation."
  5. ↑ Schönberg 1979, p. 21.
  6. ↑ Schönberg 1979, p. 31.
  7. ↑ Caplin 2013, pp. 45, 47, 59f.
  8. ↑ Caplin 2013, p. 36.
  9. ↑ Caplin 2013, pp. 168f.
  10. ↑ Caplin 2013, pp. 101f.