What are the forms of music. musical form

, melodic formulas, etc.), harmony, meter and rhythm, structure and texture, verbal text (poetic, prayerful, prose), timbres and clusters, etc .; 3) a musical-theoretical academic discipline and a branch of musicology dealing with the study of form.

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Musical form on the example of pieces from " children's album" P. Tchaikovsky

Series of meetings "Be in music!" - Musical forms

Motive. Phrase. Offer.

Musical Form: Variations

Fragment of a music lesson. The game "Catch the question" when repeating the theme "Musical form"

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Form and content

When considering the form in its most generalized sense (the second meaning of the term according to the MES), the musical form cannot be distinguished from the specifically musical content. When the object of consideration (formal construction) “blurs” in this way, then the analysis of the form essentially turns into a “holistic analysis” of everything. Yu.N. Kholopov, in Germany - the author of a popular textbook on form Clemens Kühn: “When the “doctrine of forms” is rebaptized into an “analysis of composition”, then, although historically and lexically the features of a given individual composition are fully rewarded, the doctrine of forms as a discipline is largely is abolished."

The opposition of form and content is an obligatory aspect of musicology in Russia during the Soviet period. The so-called "Marxist theory of art", which postulated the primacy of content over form, served as the methodological basis for considering this opposition in the USSR. In the vulgar sociological interpretation of this postulate, form as such could not be the subject of science and musical composition. Composers and music theorists who showed “excessive” attention to form in their work were declared “formalists” by the ideologists of the Marxist theory of art (with inevitable socio-political consequences).

Form and genre, form and style

Musical form - a debatable topic scientific research. Teachings about musical form in Russia, in Germany, in the USA, in France and other regions of the world differ greatly from each other both in methodology and in specific terminology. Relative agreement among scientists different schools, belonging to the European tradition (including Russian), is noted only in analyzes of the music of the classical-romantic era (XVIII - XIX centuries), partly also in relation to baroque music. A more complex situation is with the forms of ancient and traditional (cult and secular, Western and Eastern traditions) music, where the musical form is practically inseparable from the genre (sequence, madrigal, motet, responsories, stichera, mugham, etc.).

The musical form is also considered in connection with the concept of musical style, in the range of scientific research, as in L. Stein's book “Structure and Style. The study and analysis of musical forms ", to statements in popular books about music "for dummies": "Hip-hop, gospel, heavy metal, country and reggae are the same" forms "as are minuets, fugues, sonatas and rondos" .

The structure of the work

The work consists of individual musical phrases- small integral musical fragments. Musical phrases are combined into periods. Periods that sound similar are combined into parts. Fragments (phrases, periods, parts) of a musical work are indicated by Latin letters: A, B, C, etc. Different combinations of fragments form different musical forms. So, a common form in classical music - ABA (song form), means that the original part A disappears when it is replaced by part B, and is repeated at the end of the piece.

There is also more complex structuring: motive(the smallest element of musical form; one accent 1-2 bars), phrase(usually has 2 accents; 2-4 bars), offer(the smallest part of a melody completed by some kind of cadence; 4-8 bars), period(completed musical thought; 8-16 bars; 2 sentences).

Different ways of developing and comparing the elements of a melody led to the formation of various types musical forms:

One piece form (A)

She is also called ballad form or airom [ ] . Most primitive form. The melody can be repeated with minor changes (form AA 1 A 2 ...). Examples: ditties.

Two-part form (AB)

It consists of two contrasting fragments - an argument and a counterargument (for example, the play "The Organ Grinder Sings" from P. I. Tchaikovsky's "Children's Album"). However, if the fragments are not contrasting, that is, the second fragment is built on the material of the first, then the two-part form turns into a variation of the one-part form. However, such works (for example, the play "Remembrance" from R. Schumann's "Album for Youth") are sometimes referred to as two-part.

Three-part form (ABA)

She is also called song or ternary. There are 2 types of three-part form - simple And complex; in simple, each section is a period, the middle one can be a short transition; in complex - each section is, as a rule, a two-part or simple three-part form.

concentric shape

The concentric shape consists of three or more parts, repeating after the central one in reverse order, for example: A B C B A

Classic forms

Sonata

Sonata form is a form in which the exposition (part 1) contains two contrasting themes in different keys (the main part and a side part), which are repeated in the reprise (part 3) in a different tonal ratio - tonally approaching (most often, both in the key of the main Topics). The middle section (part 2) is in typical case"Development", that is, a tonally unstable part, where the development of previous intonations takes place. Sonata form stands out from all other forms: the only form that has not been developed in dance and vocal genres.

Rondo

The freedom inherent in sonata form expands in the rondo. Its form is an ABACADAEAF construction... That is, completely different fragments, keys and sizes are connected by the initial theme A.

Rondo sonata

A mixed form that has features of rondo and sonata form. The form consists of three main sections, in which the extreme sections (both or one of them) are built according to the rondo principle, and the middle one is a development borrowed from the sonata form.

Variations

One of the oldest musical forms (known since the 13th century). Consists of a theme and at least two modified reproductions. A single variation of a theme, for example, a varied reprise in sonata form, does not allow it to be classified as a variation form.

Fugue

Notes

1. Kholopov Yu.N. Musical form // Musical Encyclopedic Dictionary. M., 1990, p.581.
2. In this sense, there can be no distinction between musical form and specifically musical content. Cit. by: Form // Harvard Dictionary of Music. 4th ed. Cambridge, Mass., 2003, p.329.
3. See, for example, his articles “Theoretical Musicology as a Humanitarian Science. Problem analysis music” and “What to do with musical forms Tchaikovsky?” .
4. Kuhn C. Formenlehre der Musik. Kassel, 1987; 10th edition ibid. in 2015.
5. Und wenn "Formenlehre" verschiedentlich zu "Werkanalyse" umgetauft wurde, kann zwar dem sprachlich und historisch Besonderen des Einzelwerkes Genüge getan werden, aber Formen-"Lehre" als Disziplin hebt sich weitestgehend auf. Cit. By:

Musical form The construction of a musical work, the ratio of its parts. The simplest component of music is called a motive, 2-3 motives form a more complete musical structure - a phrase. Several phrases are combined into a sentence, and sentences into a period.

Couplet form A common form of vocal compositions in which the same melody is repeated unchanged (or changes only slightly), but with each repetition in a couplet a new text. Most folk songs are couplet. "Venetian Night" by M. I. Glinka "Toreador couplets" by J. Bizet

Variation form Variations (from Latin variation - change): 1. repeated repetition of the main melody with some of its changes. Moreover, the original theme is always enriched, embellished, becoming more and more interesting, without losing its recognizability. "Polyushko - field" L.K. Knipper

Rondo Rondo (from French rondo - round dance, walking in a circle) is a musical form consisting of repeated construction of the main section - a refrain, with which other episodes alternate. Rondo begins and ends with a refrain, as if forming a vicious circle. Farlaf's Rondo by M. I. Glinka

Suite Suite (fr. Suite - series, sequence). Consists of several independent parts- dances, usually contrasting with each other and united by a common artistic intent. "Suite in the Old Style" A. Schnittke "Pictures at an Exhibition" M. Mussorgsky "Scheherazade" N. Rimsky-Korsakov

Construction (form) of music

Form(lat. forma - appearance, appearance, image, appearance, beauty)

musical form - this is a certain order of parts and sections in a piece of music.

The smallest structure in musical speech is motive(from the Latin - "I move"). This is the name of the most vivid, memorable melodic turn. The size of the motive can be different - from one or two sounds to a whole bar.

A larger musical construction that includes several motifs is called − phrase(in Greek - "expression"). For a long time, phrase length has been associated with breathing in vocal music. And only with the development of instrumental music, this concept became more broad.

Phrases are combined into offers. The standard sentence size is 4 bars. Offers are ending cadences (from the Latin "I end") - the final musical turn. Cadence completes a piece of music, its part or a separate structure. There are many varieties of cadences that differ in functional content (T, S, D, VI).

Proposals are made up period. The period is a complete, independent musical form. A period usually consists of 2 sentences with different cadences. There is a period of repeated and non-repeated structure, square (8 cycles) and non-square (from 5 cycles), small (8 tons) and large (16 tons). Sometimes a period has an additional section that sounds like a musical afterword, such a section, depending on the location of the cadence, may be called an addition or extension.

The period is one of the main forms in vocal music, organizing a verse or chorus. The simplest vocal form in which the music remains the same but the words change is couplet form. Its simplicity explains its widespread use. There is not a single composer who created vocal music who would not have written a song in couplet form (see songs and romances by Schubert, Mozart, Glinka, Tchaikovsky, Rachmaninoff and other composers).

One part form (A) is a simple musical form consisting of one period. This form is most often found in the miniatures of romantic composers who sought to capture the elusive moment ( a prime example- Chopin Preludes), or in children's music to make performance more accessible. Form scheme: A or A1

Two-part form (AB) is a simple musical form consisting of two periods. Quite often, the second period is built on the material of the first (i.e., a repeated structure - see some of Scriabin's Preludes), but there are works in which the periods are different (Lyubava's Song from 2d. "Sadko" by Rimsky-Korsakov; Rozina's Aria from 2d. " Barber of Seville» Rossini). Form scheme: A A1 or A B.

The most important (and simplest) principle for creating a musical form is repetition. Its extraordinary popularity is due to several reasons:

repetition allows us to return the musical thought and makes it possible to better listen to it, to appreciate previously unnoticed artistic details;

repetition helps to clearly divide the form into parts delimited from each other;

the repetition of musical material after the presentation of the new one completes the form, asserting the supremacy of the original image.

Thus, forms based on repetition have become unusually widespread in music in numerous variants. And the simplest of them is the tripartite form (ABA), consisting of three periods, where

A - is a presentation of a musical theme;

B - development of the theme A or new contrasting material; A - reprise, exact or modified repetition of part A.

If the reprise exactly repeats the first part, it is often not even written out with notes, but is denoted: play from the beginning to the word "End" (in Italian: dacapoalFine).

The three-part form (like all the previous ones) is simple and complex. Unlike the simple three-part form, in which each part is written in the form of a period, in the complex three-part form, the parts are not a period, but a simple two-part or three-part form. For example:

A B A

ababa

The three-part form is one of the most popular principles for constructing a piece of music. Pieces written in the simple three-part form can be found in the repertoire of every musician: these are plays, dances, marches, romances, works for orchestra, parts or sections of large compositions. A huge number of examples of simple and complex 3-part form is contained in the works of P.I. Tchaikovsky. and PP in symphonies (see the 4th and 6th symphonies).

A more complex form, which is rooted in the folk song and dance tradition of France, is also based on the principle of repetition. We are talking about the rondo form (translated from French means “circle, round dance, circular round dance”). singsong. From this alternation, the rondo form arose.

Like a chorus folk song, in the rondo there is a theme that repeats - this is a refrain. The refrain (in French - “chorus”) must sound at least 3 times and can have any simple form: period, two-part or three-part.

Between repetitions of the refrain, various musical constructions are heard, which are called episodes. Thus, rondo is a form based on the alternation of refrain with episodes.

A B A C A

refrain episode refrain episode refrain

The rondo form is widely used in instrumental and vocal music: instrumental pieces (Mozart, Turkish March from the Piano Sonata in A Major, No. 11, Figaro's Aria "The Frisky Boy" from the opera "The Marriage of Figaro"; Beethoven, "For Elise", "Fury about the lost penny "and many others), romances and songs (Glinka," Passing Song "; Dargomyzhsky" Old Corporal "), choirs, opera arias (Glinka, Antonida's Rondo from Ivan Susanin, Farlaf's Rondo from Ruslan and Ludmila"), the last parts of large forms - sonatas and symphonies (for example, Mahler's symphonies), as well as entire opera or ballet scenes (see Tchaikovsky's Nutcracker, Prokofiev's "Love for Three Oranges") can be organized in the form of a rondo. Very often, the rondo form is used in the plays of French harpsichordists (Dackin, "Cuckoo", Rameau, Tambourine, "Chicken", Couperin, "Little windmills”, “Sister Monica” and many other plays).

Variations (from the Latin "change, variety") is a musical form that consists of a theme and its altered repetitions.

And A1A2A3A4 ...

Variations

The theme can be composed by the composer himself, borrowed from folk music or from the work of another composer.1 It is written in any simple form: in the form of a period, two-part, three-part. The theme is repeated with various changes in mode, tonality, rhythm, timbre, etc. In each variation, from one to several elements of musical speech can change (depending on the era and style of the composer).

The type of variation depends on how and how much the theme is changed. Variety of variations:

1. Variations on the unchanged bass (bassoostinato) or ancient variations were known as early as the 16th century in Europe. The then fashionable passacaglia and chaconne dances were written in a form based on the constant repetition of the theme in the bass, while only the upper voices varied (see: G. Purcell, Dido's lament from the opera Dido and Aeneas). The technique of basso ostinato did not remain the property of only ancient music - in the 20th century, due to a surge of interest in early music, this technique found a new life. Interesting examples of the use of basso ostinato can be found, for example, in Drauhgtmans Contract by Michael Nyman (the bass theme is led by the organ against the background of the “trembling” of the strings, at the point of the “golden section” the harpsichord is connected to these instruments, creating a cold, eerie sound with its metallic timbre).

2. Variations on an unchanging melody (sopranoostinato) are the closest to folk music. The melody is repeated without change, and the accompaniment varies. This type of variation was introduced into Russian classical music by M.I. Glinka, which is why they are sometimes called "Glinka" (see: "Ruslan and Lyudmila": Bayan's Song, Persian Choir; Ravel, "Bolero"; Shostakovich, episode of the invasion from Symphony No. 7 .).

In Western European classical music of the 18th and first half of the 19th, strict (ornamental) 2 variations developed, created by the Viennese classics (J. Haydn, W. Mozart, L. Beethoven).

Rules of strict variations: 1. Preservation of mode, meter, general contours of the theme and functional basis; 2. Change (ornamentation, complication) of accompaniment; 3. One of the middle variations (usually the 3rd) is written in the minor or major of the same name (see: Mozart, Sonata No. 11, 1 hour; Beethoven, Sonata No. 2, 2 hours, Sonata No. 8, 2 hours, etc. ).

The techniques that composers used in variations are associated with the art of improvisation popular in the 17th-18th centuries. Each virtuoso performer, performing at a concert, was obliged to fantasize on a theme proposed by the public (the melody of a popular song or an opera aria). 3 Traditions of infinitely varied variation of the original theme exist and still in jazz music.

4. Free or romantic variations appeared in the second half of the 19th century. Here, each variation is practically an independent piece and its connection with the theme was very weak. Vivid examples of such variations in a wide variety are presented in the works of R. Schumann: these are the piano cycles "Carnival", "Butterflies", "Symphonic Etudes" and other works. Many variations on borrowed themes were left by the brilliant virtuoso pianist F. Liszt (transcriptions on Schubert's songs, on the themes of Mozart, Haydn, Beethoven, themes from Italian operas and on his own themes).

1 In the era early renaissance(XIV-XVI centuries) borrowing someone else's theme was not considered an infringement on copyright - there were special genres that determined the degree of borrowing. A parody was an essay on someone else's topic, and a paraphrase was an essay on one's own topic. A composition on someone else's or one's own theme is common in composer practice to the present day and reveals the degree of mastery in processing the original musical thought.

2 Ornament - pattern, decoration. Ornamental variations implied complication, “carving” of the texture.

3Little Mozart, touring with his father in Europe, surprised the audience with free improvisation on any proposed topic. In the 19th century F. Listi N. Paganini stunned listeners with virtuoso improvisations.

composition is determined by consideration of its design (scheme, template or structure) and development over time. The musical form (especially in ancient and cult music) is practically inseparable from the genre (sequent, madrigal, responsory, stichera, mugham, etc.). "Hip-hop, gospel, heavy metal, country and reggae are just as 'forms' as are minuets, fugues, sonatas and rondos." However, the concept of genre is usually used to describe contemporary music. Classical pieces of music are usually classified according to their form. The concept of musical form is inextricably linked with the embodiment of musical content - development (holistic organization of melodic motifs, mode and harmony, meter, polyphonic technique, timbres, and other elements of music).

Most forms of classical music took shape by the middle of the 19th century. New forms that appeared between the 1890s and 1950s include specific music and minimalism. In musicological studies of the 20th century, a number of new compositional patterns were revealed, which were called "parametric forms". Parametric forms are associated with the technique of constructing a composition at the level of different means (components) of the musical fabric - rhythm, dynamics, harmony, strokes, texture, etc. These forms, in the absence of a melodic-thematic factor or a significant weakening of its formative role, come to the fore of modern compositional process.

Greek morpn, lat. forma - appearance, image, outlines, appearance, beauty; German Form, French form, ital. form, eng. shape, shape

I. The meaning of the term. Etymology
II. Form and content. General principles of shaping
III. Musical forms before 1600
IV. Polyphonic musical forms
V. Homophonic musical forms of modern times
VI. Musical forms of the 20th century
VII. Teachings about musical forms

I. The meaning of the term. Etymology. The term "F. m." applied in several ways. values: 1) composition type; def. compositional plan (more precisely, "form-scheme", according to B.V. Asafiev) muses. works ("form of composition", according to P. I. Tchaikovsky; for example, rundo, fugue, motet, ballata; partly approaches the concept of genre, that is, the type of music); 2) music. the embodiment of content (a holistic organization of melodic motifs, harmony, meter, polyphonic fabric, timbres, and other elements of music). In addition to these two main meanings of the term "F. m." (musical and aesthetic-philosophical) there are others; 3) individually unique sound image of muses. a piece (a specific sound realization of its intention inherent only in this work; something that distinguishes, for example, one sonata form from all others; in contrast to the form-type, it is achieved by a thematic basis that is not repeated in other works and its individual development; outside of scientific abstractions, in live music there is only individual F. m.); 4) aesthetic. order in music compositions ("harmony" of its parts and components), providing aesthetic. the dignity of the music. compositions (the value aspect of its integral structure; "forme means beauty ...", according to M. I. Glinka); the positive value quality of the concept of F. m. is found in the opposition: "form" - "formlessness" ("deformation" - a distortion of the form; what has no form is aesthetically flawed, ugly); 5) one of the three main. sections of applied music-theoretical. science (along with harmony and counterpoint), the subject of which is the study of F. m. Sometimes music. form is also called: the structure of the muses. prod. (its structure), smaller than all products, relatively complete fragments of music. compositions - parts of the form or components of music. op., as well as their appearance as a whole, structure (for example, modal formations, cadences, developments - "form of a sentence", a period as a "form"; "random harmonious forms" - P. I. Tchaikovsky; "some form, let's say, a type of cadenza" - G. A. Laroche; "On certain forms of modern music" - V. V. Stasov). Etymologically, Latin forma - lexical tracing paper from Greek morgn, including, except for the main. meanings "appearance", the idea of ​​a "beautiful" appearance (in Euripides eris morpas; - a dispute between goddesses about a beautiful appearance). Lat. the word forma - appearance, figure, image, appearance, appearance, beauty (for example, in Cicero forma muliebris - female beauty). Related words: formose - slender, graceful, beautiful; formosulos - pretty; rum. frumos and Portuguese. formoso - beautiful, beautiful (in Ovid "formosum anni tempus" - "beautiful season", i.e. e. spring). (See Stolovich L. N., 1966.)

II. Form and content. General principles of shaping. The concept of "form" can be a correlate in decomp. in pairs: form and matter, form and material (in relation to music, in one interpretation, the material is its physical side, the form is the relationship between the sounding elements, as well as everything that is built from them; in another interpretation, the material is the components of the composition - melodic, harmonic formations, timbre finds, etc., and form - the harmonious order of what is built from this material), form and content, form and formlessness. Main terminology matters. a pair of form - content (as a general philosophical category, the concept of "content" was introduced by G. V. F. Hegel, who interpreted it in the context of the interdependence of matter and form, and the content as a category includes both, in a removed form. Hegel , 1971, pp. 83-84). In the Marxist theory of art, form (including F. m.) is considered in this pair of categories, where the content is understood as a reflection of reality.

The content of the music - ext. the spiritual aspect of the work; what the music expresses. Center. music concepts. content - music. idea (sensually embodied musical thought), muz. image (a holistically expressed character that opens directly to the musical feeling, like a “picture”, an image, as well as a musical depiction of feelings and mental states). The content of the claim is imbued with a desire for the lofty, the great (“A real artist ... must strive and burn for the broadest great goals,” a letter from P. I. Tchaikovsky to A. I. Alferaki dated August 1, 1891). The most important aspect of music content - beauty, beauty, aesthetic. ideal, callistic component of music as an aesthetic. phenomena. In Marxist aesthetics, beauty is interpreted from the standpoint of societies. human practices as aesthetic. the ideal is a sensually contemplated image of the universal realization of human freedom (Stolovich L. N., 1956; Goldentricht S., 1967, p. 362; also Borev Yu. B., 1975, p. 47-61). In addition, the composition of the muses. content may include non-musical images, as well as certain genres of music. works include off-music. elements - text images in wok. music (almost all genres, including opera), stage. actions embodied in the theater. music. For the completeness of art. the development of both sides is necessary for a work - both an ideologically rich sensually impressive, exciting content, and an ideally developed art. forms. The lack of one or the other adversely affects the aesthetic. the merits of the work.

Form in music (in the aesthetic and philosophical sense) is the sound realization of content with the help of a system of sound elements, means, relationships, i.e., how (and by what) the content of music is expressed. More precisely, F. m. (in this sense) is stylistic. and a genre-determined complex of music elements (for example, for a hymn - designed for the mass perception of celebrations. simplicity and lapidarity of a melody-song intended to be performed by a choir with the support of an orchestra), defin. their combination and interaction (chosen character of rhythmic movement, tonal-harmonious fabrics, dynamics of shaping, etc.), holistic organization, defined. music technique. compositions (the most important purpose of technology is the establishment of "coherence", perfection, beauty in musical composition). Everything will be expressed. the means of music, covered by the generalizing concepts of "style" and "technique", are projected onto a holistic phenomenon - a specific muse. composition, on F. m.

Form and content exist in an inseparable unity. There is not even the smallest detail of the muses. content, which would not necessarily be expressed by one or another combination of expresses. means (for example, the finest, inexpressible words express the shades of the sound of a chord, depending on the specific location of its tones or on the timbres chosen for each of them). And vice versa, there is no such, even the most "abstract" technical. method, which would not serve as an expression of c.-l, from the components of the content (for example, the effect of successive extension of the canon interval in each variation, not directly perceived by the ear in each variation, the number of which is divisible by three without a remainder, in the "Goldberg Variations" J. S. Bach not only organizes the variational cycle as a whole, but also enters into the idea of ​​the inner spiritual aspect of the work). The inseparability of form and content in music can be clearly seen when comparing arrangements of the same melody by different composers (cf., for example, "Persian Choir" from the opera "Ruslan and Lyudmila" by Glinka and I. Strauss's march written on the same melody-theme) or in variations (for example, I. Brahms's B-dur piano variations, the theme of which belongs to G. F. Handel, and Brahms' music sounds in the first variation). At the same time, in the unity of form and content, content is the leading, dynamically mobile factor; he has a decisive role in this unity. When implementing the new content, a partial discrepancy between form and content may arise, when the new content cannot fully develop within the framework of the old form (such a contradiction is formed, for example, during the mechanical use of baroque rhythmic techniques and polyphonic forms to develop a 12-tone melodic thematism in contemporary music). The contradiction is resolved by bringing the form in line with the new content, while defining. elements of the old form die off. The unity of F. m. and content makes possible the mutual projection of one onto the other in the mind of a musician; however, such a frequently occurring transfer of the properties of content to form (or vice versa), associated with the ability of the perceiver to “read” figurative content in a combination of elements of form and think it in terms of F. m., does not mean the identity of form and content.

Muses. art, like other types of art, is a reflection of reality in all its structural layers, conditioned by evolution. stages of its development from elementary lower forms to higher ones. Since music is a unity of content and form, reality is reflected both by its content and its form. In the musical-beautiful as the "truth" of music, aesthetic-value attributes and inorganic are combined. world (measure, proportionality, proportionality, symmetry of parts, in general, the connection and harmony of relations; the cosmological concept of the reflection of reality by music is the oldest, going from the Pythagoreans and Plato through Boethius, J. Tsarlino, I. Kepler and M. Mersenne to the present; see. Kayser H., 1938, 1943, 1950; Losev A.F., 1963-80; Losev, Shestakov V.P., 1965), and the world of living beings ("breath" and warmth of living intonation, the concept of imitating the life cycle of muses. development in the form of the birth of musical thought, its growth, rise, reaching the peak and completion, respectively, the interpretation of musical time as time " life cycle"music. "organism"; the idea of ​​content as an image and form as a living, integral organism), and specifically human - historical and social - spiritual world (implication of the associative-spiritual subtext that animates the sound structures, orientation to the ethical and aesthetic ideal, the embodiment of the spiritual freedom of a person, the historical and social determinism of both the figurative and ideological content of music, and F. m .; "Musical form as a socially determined phenomenon first of all, it is known as a form ... of social discovery of music in the process of intonation "- Asafiev B.V., 1963, p. 21). Merging into a single quality of beauty, all layers of content function, thus, as a reflection of reality in the form of a transfer of a second, "humanized" nature. Musical Op., Artistically reflecting the historical. and socially determined reality through the ideal of beauty as a criterion for its aesthetic. evaluation, and therefore turns out to be the way we know it - "objectified" beauty, a work of art. However, the reflection of reality in the categories of form and content is not only the transfer of the given reality into music (reflection of reality in art would then only be a duplication of what exists without it). Just as human consciousness "not only reflects the objective world, but also creates it" (V. I. Lenin, PSS, 5th ed., vol. 29, p. 194), so art, music is a transformative, creative sphere. human activity, the area of ​​creating new realities (spiritual, aesthetic, artistic values) that do not exist in the reflected object in this form. Hence the significance for art (as a form of reflection of reality) of such concepts as genius, talent, creativity, as well as the struggle against obsolete, backward forms, for the creation of new ones, which is manifested both in the content of music and in F. m. Therefore, F m. is always ideological (i.e., bears the stamp of a certain worldview), although b. h. it is expressed without direct verbal political and ideological. formulations, and in non-program instr. music - without k.-l. at all. logical-conceptual forms. Reflection in music socio-historical. practice is associated with a radical processing of the displayed material. The transformation can be so significant that neither the musical-figurative content nor the F. m. can in any way resemble the reflected realities. A common opinion is that in the work of Stravinsky - one of the most prominent exponents of modern. reality in its contradictions, allegedly did not receive a sufficiently clear reflection of the reality of the 20th century, is based on naturalistic, mechanical. understanding the category of "reflection", on the misunderstanding of the role in the arts. reflecting the conversion factor. Analysis of the transformation of the reflected object in the process of creating art. The work was given by V. I. Lenin in his article "Leo Tolstoy as a Mirror of the Russian Revolution".

The most general principles of form-building, which concern any style (and not a certain classical style, for example, the Viennese classics of the Baroque period), characterize F. m. as any form and, naturally, are therefore extremely generalized. Such most general principles of any F. m. characterize the deep essence of music as a type of thinking (in sound images). Hence the far-reaching analogies with other types of thinking (first of all - logically conceptual, it would seem completely alien in relation to art, music). The very posing of the question of such most general principles of F. m. European music culture of the 20th century (Such a position could not exist either in the Ancient World, when music - "melos" - was conceived in unity with verse and dance, or in Western European music until 1600, i.e. until instr. music became an independent category musical thinking, and only for the thinking of the 20th century it became impossible to confine ourselves to posing the question of the formation of a given era only).

The general principles of any F. m. suggest in each culture the conditionality of one or another type of content by the nature of the muses. lawsuit in general, his istorich. determinism due to specific social role, traditions, racial and national. originality. Any F. m. is an expression of muses. thoughts; hence the fundamental connection between F. m. and the categories of music. rhetoric (see further in section V; see also Melody). Thought can be either autonomous-musical (especially in the many-headed European music of modern times), or associated with the text, dance. (or marching) movement. Any music. the idea is expressed within the framework of the definition. intonation building, music-express. sound material (rhythmic, pitch, timbre, etc.). To become a means of expressing music. thoughts, intonation The material of the FM is organized primarily on the basis of an elementary distinction: repetition versus non-repetition (in this sense, the FM as a determinant arrangement of sound elements in the temporal unfolding of thought is a close-up rhythm); different F. m. in this respect - different types of repetition. Finally, F. m. (although to an unequal degree) is the refinement, the perfection of the expression of muses. thoughts (aesthetic aspect of F. m.).

III. Musical forms before 1600. The problem of studying the early history of musical music is complicated by the evolution of the essence of the phenomenon implied by the concept of music. Music in the sense of the art of L. Beethoven, F. Chopin, P. I. Tchaikovsky, A. N. Scriabin, together with its inherent F. m., did not exist at all in the Ancient World; in the 4th c. in Augustine's treatise "De musica libri sex" b. h. explanation of music, defined as scientia bene modulandi - lit. "the science of modulating well" or "knowledge of the correct formation" consists in expounding the doctrine of meter, rhythm, verse, stops and numbers (F. m. in the modern sense is not discussed here at all).

Initial The source of F. m. is primarily in rhythm (“In the beginning there was a rhythm” - X. Bülow), apparently arising on the basis of a regular meter, directly transferred to music from a variety of life phenomena - pulse, breathing, step, rhythm of processions , labor processes, games, etc. (see Ivanov-Boretsky M.V., 1925; Kharlap M.G., 1972), and in the aestheticization of "natural" rhythms. From the original the connection between speech and singing (“Speaking and singing was at first one thing” - Lvov H. A., 1955, p. 38) the most fundamental F. m. (“F. m. number one”) occurred - a song, a song form that combined also a purely poetic, verse form. The predominant features of the song form: an explicit (or residual) connection with the verse, stanza, evenly rhythmic. (coming from the feet) the basis of the line, the combination of lines into stanzas, the system of rhyme-cadences, the tendency towards equality of large constructions (in particular, towards squareness of the 4 + 4 type); in addition, often (in more developed song f. m.) the presence in f. m. of two stages - outlining and developing-concluding. Muses. an example of one of the oldest samples of song F. m. - Table Seikila (1st century AD (?)), see Art. Ancient Greek modes, column 306; see also whale. melody (1st millennium BC (?)):

Undoubtedly, the origin and origin. the development of the song form in the folklore of all peoples. The difference between the P. m. of songs comes from different conditions of existence of the genre (respectively, one or another direct life purpose of the song) and a variety of metric., Rhythmic. and structural features of poetry, rhythmic. formulas in dance genres (in later times - 120 rhythmic formulas by the Indian theoretician of the 13th century Sharngadeva). Related to this is the general significance of "genre rhythm" as the primary factor in shaping - characteristic. sign defined. genre (especially dance, march), repeated rhythmic. formulas as quasi-thematic. (motive) factor F. m.

Wed-century. European F. m. are divided into two largely sharply different large groups - monodic F. m. and polyphonic (predominantly polyphonic; see section IV).

F. m. monodies are represented primarily by Gregorian chant (see Gregorian chant). Its genre features are associated with a cult, with the defining meaning of the text and a specific purpose. Liturgical music. everyday life distinguishes from music in later Europe. sense applied ("functional") character. Muses. the material has an impersonal, non-individual character (melodic turns can be transferred from one melody to another; the lack of authorship of melodies is indicative). In accordance with the ideological installations of the church for monodich. F. m. is typical of the dominance of words over music. This determines the freedom of meter and rhythm, which depend on express. pronunciation of the text, and the characteristic "softness" of the contours of the F. m., as if devoid of a center of gravity, its subordination to the structure of the verbal text, in connection with which the concepts of F. m. and genre in relation to monodich. music are very close in meaning. The oldest monodic. F. m. belong to the beginning. 1st millennium. Among the Byzantine musical instruments (genres), the most important are the ode (song), psalm, troparion, hymn, kontakion, and canon (see Byzantine music). They are characterized by elaboration (which, as in other similar cases, indicates a developed professional composing culture). Sample of Byzantine F. m .:

Anonymous. Canon 19, Ode 9 (III plagal mode).

Later, this Byzantine F. m. received the name. "bar".

Higher, monumental monodich. F. m. - mass (mass). The current developed FM of the Mass forms a grandiose cycle, which is based on the succession of parts of the ordinary (ordinarium missae - a group of constant chants of the mass, independent of the day of the church year) and propria (proprium missae - variables) strictly regulated by the cult and everyday genre purpose. hymns dedicated to this day of the year).

The general scheme of the form of the Roman Mass (Roman numerals indicate the traditional division of the form of the Mass into 4 large sections)

The philosophies developed in the ancient Gregorian Mass retained their significance in one form or another for subsequent times, right up to the 20th century. The forms of the parts of the ordinary: Kyrie eleison is three-part (which has a symbolic meaning), and each exclamation is also made three times (structure options are aaabbbece or aaa bbb a 1 a1 a1; aba ede efe1; aba cbc dae). Lowercase P. m. Gloria quite consistently uses one of the most important principles of motive-thematic. structures: repetition of words - repetition of music (in 18 parts of Gloria repetition of words Domine, Qui tollis, tu solus). P. m. Gloria (in one of the options):

Later (in 1014), Credo, which became part of the Roman Mass, was built as a lowercase F. m., akin to Gloria. P. m. Sanestus is also built according to the text - it has 2 parts, the second of them is most often - ut supra (= da capo), according to the repetition of the words Hosanna m excelsis. Agnus Dei, due to the structure of the text, is tripartite: aab, abc or aaa. An example of F. m. monodich. for the Gregorian Mass, see column 883.

F. m. Gregorian melodies - not abstract, separable from the genre of pure music. construction, but the structure determined by the text and genre (text-musical form).

Typological parallel to F. m. Western-Europe. church monodic. music - dr.-rus. F. m. The analogy between them concerns the aesthetic. prerequisites for F. m., similarities in genre and content, as well as music. elements (rhythm, melodic lines, correlation between text and music). The decipherable samples that have come down to us from other Russian. music is contained in manuscripts of the 17th and 18th centuries, but its musical instruments are undoubtedly of the most ancient origin. The genre side of these F. m. is determined by the cult purpose of Op. and text. The largest segmentation of genres and F. m. according to the types of services: Mass, Matins, Vespers; Compline, Midnight Office, Hours; the All-Night Vigil is the union of Great Vespers with Matins (however, the non-musical beginning was the bonding factor of F. m. here). Generalized textual genres and F. m. - stichera, troparion, kontakion, antiphon, theotokion (dogmatist), litany - reveal a typological similarity with similar Byzantine f. m.; also a composite F. m. is a canon (see Canon (2)). In addition to them, a special group is made up of concrete-textual genres (and, correspondingly, f. m.): blessed, "Every breath", "It is worthy to eat", "Quiet light", sedate, Cherubic. They are original genres and F. m., like texts-genres-forms in Western Europe. music - Kyrie, Gloria, Te Deum, Magnificat. The fusion of the concept of P. m. with the text (and with the genre) is one of the characteristic. principles of ancient F. m.; the text, in particular its structure, is included in the concept of F. M. (F. M. follows the division of the text into lines).

Gregorian Mass din Feriis per annum" (Roman numerals indicate frets).

In many cases, the basis (material) F. m. chants (see Metallov V., 1899, pp. 50-92), and the way they are used is variance (in the free variance of the chants structure of other Russian melodies - one of the differences between their F. m. European chorale, for which a tendency towards rational structure alignment is characteristic). The complex of tunes is thematic. the basis of the general composition of F. m. In large compositions, the general contours of F. m. composition (non-musical) functions: beginning - middle - end. The diverse types of F. m. are grouped around the main. contrasting types of F. m. - chorus and through. Chorus F. m. are based on the diverse use of a pair: verse - chorus (choruses can be updated). An example of a refrain form (triple, that is, with three different refrains) is the melody of a large znamenny chant "Bless, my soul, the Lord" (Obikhod, part 1, Vespers). F. m. consists of the sequence "line - chorus" (S-P, S-P, S-P, etc.) with the interaction of repetitions and non-repetition in the text, repetitions and non-repetition in the melody. Cross-cutting F. m. are sometimes characterized by a clear desire to avoid the typical Western European. music of rationally constructive methods of constructing musical instruments, exact repetitions, and reprises; in the most developed F, m. ​​of this type, the structure is asymmetric (on the basis of the radical non-squareness), infinity of soaring prevails; the principle of F. m. is unlimited. linearity. The constructive basis of F. m. in through forms is the division into a number of parts-lines in connection with the text. Samples of large cross-cutting forms are 11 gospel stichera by Fyodor Krestyanin (16th century). For analyzes of their F. m., performed by M. V. Brazhnikov, see his book: "Fyodor Krestyanin", 1974, p. 156-221. See also "Analysis of Musical Works", 1977, p. 84-94.

The secular music of the Middle Ages and the Renaissance developed a number of genres and musical instruments, also based on the interaction of word and melody. These are various types of songs and dances. F. m .: ballad, ballata, villancico, virele, canzo (canzo), la, rondo, rotrueng, estampi, etc. (see Davison A., Apel W., 1974, NoNo 18-24). Some of them are perfectly poetic. form, which is such an important element of F. m., that outside the poetic. text, it loses its structure. The essence of such F. m. is in the interaction of textual and musical repetition. For example, the rondo form (here 8 lines):

Diagram of an 8-line rondo:
Line numbers: 1 2 3 4 5 6 7 8
Poems (rondo): A B c A d e A B (A, B are refrains)
Music (and rhymes): a b a a a b a b

G. de Macho. 1st rondo "Doulz viaire".

Initial P. m.'s dependence on word and movement persisted until the 16th and 17th centuries, but the process of their gradual release, the crystallization of structurally defined types of composition, has been observed since the late Middle Ages, first in secular genres, then in church genres (for example, imitation and canonical F. m. in masses, motets of the 15th-16th centuries).

A new powerful source of shaping was the emergence and rise of polyphony as a full-fledged type of muses. presentation (see Organum). With the establishment of polyphony in F. m., a new dimension of music was born - the previously unheard-of "vertical" aspect of F. m. Since historically the first "horizontal" aspect is not eliminated by this and even remains dominant, there is a huge internal enrichment of F. m.

Having established itself in Europe music in the 9th century, polyphony gradually turned into the main. type of music fabrics, marking the transition of muses. thinking to a new level. Within the framework of polyphony, a new, polyphonic, appeared. the letter, under the sign of which the majority of the Renaissance f. m. was formed (see section IV). polyphony and polyphony. writing created a wealth of musical forms (and genres) of the late Middle Ages and the Renaissance, primarily the mass, motet, and madrigal, as well as such musical forms as the company, clause, conduct, goket, various types of secular song and dance forms, diferencias (and other variational f. m.), quadlibet (and similar genres-forms), instrumental canzona, ricercar, fantasy, capriccio, tiento, instrumental prelude f. m. - preamble, intonation (VI), toccata (pl. from named F. m., see Davison A., Apel W., 1974). Gradually, but steadily improving art F. m. - G. Dufay, Josquin Despres, A. Willart, O. Lasso, Palestrina. Some of them (for example, Palestrina) apply the principle of structural development in the construction of F. m., which is expressed in the growth of structural complexity by the end of production. (but no dynamic effects). For example, the Palestrina madrigal "Amor" (in the collection "Palestrina. Choral Music", L., 1973) is constructed in such a way that the 1st line is drawn up as a correct fugato, in the next five imitation becomes more and more free, the 7th is sustained in a chordal warehouse, and canonically beginning the last one with its imitation resembles a structural reprise. Similar ideas of F. m. are consistently carried out in Palestrina's motets (in multi-choir F. m., the rhythm of antiphonal introductions also obeys the principle of structural development).

IV. polyphonic musical forms. Polyphonic F. m. are distinguished by the addition to the three main. aspects of F. m. (genre, text - in wok. music and horizontal) one more - vertical (interaction and system of repetition between different, simultaneously sounding voices). Apparently, polyphony existed at all times ("... when the strings emit one tune, and the poet composed another melody, when they achieve consonances and counter-sounds ..." - Plato, "Laws", 812d; cf. also Pseudo-Plutarch , "On Music", 19), but it was not a factor in the muses. thinking and shaping. In the development of the F. m. caused by it, especially important role belongs to Western European polyphony (since the 9th century), which gave the vertical aspect the value of equal rights with the radical horizontal (see Polyphony), which led to the formation of a special new kind of F. m. - polyphonic. Aesthetically and psychologically polyphonic. F. m. on the joint sound of two (or several) components of music. thoughts and require correspondence. perception. Thus, the occurrence of polyphonic. F. m. reflects the development of a new aspect of music. Thanks to this music. lawsuit acquired new aesthetics. values, without which his great achievements would not have been possible, including in Op. homoph. warehouse (in the music of Palestrina, J. S. Bach, B. A. Mozart, L. Beethoven, P. I. Tchaikovsky, S. S. Prokofiev). See homophony.

The main channels of the formation and flourishing of polyphonic. F. m. are laid by the development of specific polyphonic. writing techniques and go in the direction of the emergence and strengthening of the independence and contrast of voices, their thematic. elaboration (thematic differentiation, thematic development not only horizontally, but also vertically, tendencies towards through thematization), the addition of specific polyphonic. F. m. (not reducible to the type of polyphonically expounded general F. m. - song, dance, etc.). From various beginnings of polyphonic. F. m. and polygonal. letters (Bourdon, various types of heterophony, duplication-seconds, ostinato, imitation and canonical, responsorial and antiphonal structures) historically, the starting point for their composition was paraphony, the parallel conduct of a counterpunctuated voice, exactly duplicating the given main one - vox (cantus) principalis (see Organum), cantus firmus ("statutory melody"). First of all, it is the earliest of the types of organum - the so-called. parallel (9th-10th centuries), as well as later gimel, foburdon. Aspect polyphonic. F. m. here is a functional division of Ch. voice (in later terms soggetto, "Subjectum oder Thema" - Walther J. G., 1955, S. 183, "theme") and the opposition that opposes it, and the sense of interaction between them at the same time anticipates the vertical aspect of polyphonic. F. m. (it becomes especially noticeable in the bourdon and indirect, then in the “free” organum, in the “note against note” technique, later called contrapunctus simplex or aequalis), for example, in treatises of the 9th century. "Musica enchiriadis", "Scholia enchiriadis". Logically, the next stage of development is associated with the establishment of the actual polyphonic. structures in the form of a contrasting opposition in the simultaneity of two or more. voices (in a melismatic organum), partly using the principle of bourdon, in some types of polyphonic. arrangements and variations on the cantus firmus, in the simple counterpoint of the clauses and early motets of the Paris School, in the polyphonic church songs. and secular genres, etc.

The metrization of polyphony opened up new possibilities for rhythmic. contrasts of voices and, accordingly, gave a new look to polyphonic. F. m. Starting with rationalistic. organization of the metrorhythm (modal rhythm, mensural rhythm; see Modus, Mensural notation) F. m. gradually acquires specificity. for European music is a combination of perfect (further even sophisticated) rationalistic. constructiveness with sublime spirituality and deep emotionality. Big role in the development of new F. m. belonged to the Parisian school, then other French. composers of the 12th-14th centuries. OK. 1200 in the clauses of the Paris School, the principle of rhythmically ostinato processing of the choral melody, which is the basis of F. m., arises (with the help of brief rhythmic formulas that anticipate the isorhythmic talea, see Motet; example: clauses (Benedicamusl Domino, see Davison A., Apel W ., v. 1, pp. 24-25).The same technique became the basis of two- and three-part motets of the 13th century (example: motets of the Parisian school Domino fidelium - Domino and Dominator - Esse - Domino, c. 1225, ibid., 25-26) In motets of the 13th century, the process of thematization of counterpositions unfolds through various kinds of repetitions of lines, pitches, rhythmic figures, even attempts to simultaneously connect various melodies (see the motet "En non Diu! - Quant voi larose espanie - Ejus in oriente" of the School of Paris; Parrish K., Oul J., 1975, pp. 25-26). Subsequently, strong rhythmic contrasts could lead to sharp polymetry (rondo B. Cordier "Amans ames", ca. 1400, see Davison A., Apel W., v. 1, p. 51. Following the rhythmic contrasts, there appears a discrepancy in the length of the phrases of various voices (the germ of counterpoint structures); the independence of the voices is emphasized by their diversity of texts (moreover, the texts can even be in different languages, eg. Latin in tenor and motetus, French in triplume, see Polyphony, note example in column 351). More than a single repetition of a tenor melody as an ostinato theme in counterpoint with a changing counterposition gives rise to one of the most important polyphonic. F. m. - variations on basso ostinato (for example, in the 13th century French motet "Salve virgo nobilis - Verbum caro - Veritatem", see Wolf J., 1926, S. 6-8). The use of rhythmic ostinato formulas led to the idea of ​​separation and independence of the parameters of pitch and rhythm (in the 1st part of the mentioned tenor motet "Ejus in oriente", bars 1-7 and 7-13; in the instrumental tenor motet "In seculum" in this In the same relation to the pitch line remetrization during rhythmic ostinato, the formula of the 1st ordo of the 2nd mode contains two parts of a two-part form (see Davison A., Apel W., v. 1, p. 34-35). The pinnacle of this development was isorhythmic. F. m. 14-15 centuries. (Philippe de Vitry, G. de Machaux, J. Ciconia, G. Dufay and others). With an increase in the value of the rhythmic formula from a phrase to an extended melody, a kind of rhythmic pattern arises in the tenor. theme - talea (talea). Its ostinato holdings in the tenor give F. m. equal rhythm. (i.e., isorhythmic) structure (isorhythm - repetition in a melodic voice of only an expanded rhythmic formula, the pitch content of which changes). To ostinato repetitions can be added - in the same tenor - repetitions of heights that do not coincide with them - color (color; for isorhythmic F. m., see Saponov M. A., 1978, pp. 23-35, 42-43). After the 16th century (A. Willart) isorhythmic. F. m. disappear and find a new life in the 20th century. in the rhythm-mode technique of O. Messiaen (proportional canon in No. 5 from "Twenty Views ...", see its beginning in Art. Polymodality, column 333) and in serialism.

In the development of the vertical aspect of polyphonic. F. m. will exclude. the development of repetition in the form of imitation technique and canon, as well as mobile counterpoint, was important. Being subsequently an extensive and diverse department of writing technique and form, imitation (and canon) became the basis of the most specific polyphonic. F. m. Historically, the earliest imitations. canonical F. m. is also associated with ostinato - the use of the so-called. exchange of voices, which is an exact repetition of a two- or three-part construction, but only the melodies that make it up are transmitted from one voice to another (for example, the English rondelle "Nunc sancte nobis spiritus", 2nd half of the 12th century, see "Musik in Geschichte und Gegenwart", Bd XI, Sp. 885, see also the rondelle "Ave mater domini" from Odington's De speculatione musice, circa 1300 or 1320, in Coussemaker, "Scriptorum. ..", t. 1, p. 247a). The master of the Paris school Perotin (who also uses the technique of exchanging voices) in the Christmas quadruple "Viderunt" (c. 1200), obviously, consciously already uses continuous imitation - the canon (a fragment falling on the word "ante" in tenor). The origin of these types of imitations. technology marks a departure from the stiffness of ostinato F. m. On this basis, purely canonical. forms - a company (13-14 centuries; a combination of a company-canon and a rondel-exchange of voices is represented by the famous English "Summer Canon", 13 or 14 centuries), Italian. kachcha ("hunt", with a hunting or love plot, in form - a two-voice canon with a cont. 3rd voice) and French. shas (also "hunting" - a three-voice canon in unison). The form of the canon is also found in other genres (Machot's 17th ballad, in the form of shas; Machaud's 14th rondo "Ma fin est mon commencement", probably historically the 1st example of a canon canon, not without connection with the meaning of the text: " My end is my beginning"; 17th le Masho - a cycle of 12 three-voice canons-shas); thus the canon as a special polyphonic. F. m. is separated from other genres and P. m. The number of voices in the F. m. cases were extremely large; Okegem is credited with the 36-voice canon-monster "Deo gratias" (in which, however, the number of real voices does not exceed 18); the most polyphonic canon (with 24 real voices) belongs to Josquin Despres (in the motet "Qui habitat in adjutorio"). P. m. of the canon were based not only on simple direct imitation (in Dufay, in the motet "Inclita maris", c. 1420-26, apparently, the first proportional canon; in his chanson "Bien veignes vous", c. 1420- 26, probably the first canon in magnification). OK. 1400 imitations F. m. passed, perhaps through kachcha, into motet - at Ciconia, Dufay; further also in F. m. parts of masses, in chanson; to the 2nd floor. 15th c. the establishment of the principle of end-to-end imitation as the basis of F. m.

The term "canon" (canon), however, had in the 15-16 centuries. special meaning. The author's remark-saying (Inscriptio), usually deliberately confusing, puzzling, was called canon ("a rule that reveals the will of the composer under the cover of some darkness", J. Tinktoris, "Diffinitorium musicae"; Coussemaker, "Scriptorum ...", t. 4, 179 b), indicating how two can be derived from one notated voice (or even more, for example, the entire four-voice Mass of P. de la Rue - "Missa o salutaris nostra" - is derived from one notated voice); see cryptic canon. Therefore, all products with a canon-inscription are F. m. with deducible voices (all other F. m. are constructed in such a way that, as a rule, they do not allow such encryption, that is, they are not based on the literally observed "principle of identity"; the term B. V. Asafiev). According to L. Feininger, the types of Dutch canons are: simple (one-dark) direct; complex, or compound (multi-dark) direct; proportional (mensural); linear (single-line; Formalkanon); inversion; elision (Reservatkanon). For more on this, see the book: Feininger L. K., 1937. Similar "inscriptions" are found later in S. Scheidt ("Tabulatura nova", I, 1624), in J. S. Bach ("Musikalisches Opfer", 1747).

In the work of a number of masters of the 15th-16th centuries. (Dufay, Okeghem, Obrecht, Josquin Despres, Palestrina, Lasso, etc.) presents a variety of polyphonic. F. m. (strict writing), DOS. on the principles of imitation and contrast, motive development, independence of melodious voices, counterpoint of words and verse lines, ideally soft and exceptionally beautiful harmony (especially in the wok genres of mass and motet).

The addition of Ch. polyphonic forms - fugues - are also marked by a discrepancy between the development of Samui F. m. and, on the other hand, concepts and terms. In terms of meaning, the word "fugue" ("running"; Italian consequenza) is related to the words "hunting", "race", and initially (from the 14th century) the term was used in a similar meaning, indicating the canon (also in inscription canons: " fuga in diatessaron", etc.). Tinctoris defines fugue as "identity of voices". The use of the term "fugue" in the meaning of "canon" persisted until the 17th and 18th centuries; the term "fuga canonica" - "canonical fugue" can be considered a remnant of this practice. An example of a fugue as a canon from several departments in instr. music - "Fuge" for 4 string instruments ("violins") from "Musica Teusch" by X. Gerle (1532, see Wasielewski W. J. v., 1878, Musikbeilage, S. 41-42). All R. 16th century (Tsarlino, 1558) the concept of fugue is split into fuga legate ("coherent fugue", canon; later also fuga totalis) and fuga sciolta ("divided fugue"; later fuga partialis; succession of imitation-canonical sections, for example, abсd, etc. . P.); the last P. m. is one of the pre-forms of the fugue - a fugato chain of the type: abcd; so-called. motet form, where the difference in topics (a, b, c, etc.) is due to a change in text. The essential difference between such a "lowercase" F. m. from a complex fugue is the absence of a combination of topics. In the 17th century fuga sciolta (partialis) passed into the actual fugue (Fuga totalis, also legata, integra became known as the canon in the 17th-18th centuries). A number of other genres and F. m. 16 century. evolved towards the emerging type of fugue form - motet (fugue), ricercar (to which the motet principle of a number of imitation constructions was transferred; probably the closest fugue to F. m.), fantasy, Spanish. tiento, imitative-polyphonic canzone. To add the fugue in instr. music (where there is no former connecting factor, namely the unity of the text), the tendency to thematic is important. centralization, i.e., to the supremacy of one melodic. themes (as opposed to vocab. multi-darkness) - by A. Gabrieli, J. Gabrieli, by J. P. Sweelinck (for the predecessors of the fugue, see the book: Protopopov V. V., 1979, p. 3-64).

By the 17th century formed the main relevant to this day polyphonic. F. m. - fugue (of all kinds of structures and types), canon, polyphonic variations (in particular, variations on basso ostinato), polyphonic. (in particular, chorale) arrangements (for example, to a given cantus firmus), polyphonic. cycles, polyphonic preludes, etc. A significant influence on the development of polyphonic F. of this time was exerted by a new major-minor harmonic system (updating the theme, nominating the tonal-modulating factor as the leading factor in F. M.; the development of the homophonic-harmonic type of writing and the corresponding F . m.). In particular, the fugue (and similar polyphonic f. m.) evolved from the predominant modal type of the 17th century. (where modulation is not yet the basis of polyphonic F. m.; for example, in Scheidt in "Tabulatura nova", II, Fuga contraria a 4 Voc .; I, Fantasia a 4 Voc. super lo son ferit o lasso, Fuga quadruplici ) to the tonal ("Bach") type with tonal contrast in the form of cf. parts (often in parallel mode). Exclude. significance in the history of polyphony. F. m. had the work of J. S. Bach, who breathed new life into them thanks to the establishment of the effectiveness of the resources of the major-minor tonal system for thematism, thematic. development and the process of shaping. Bach gave polyphonic F. m. new classic. appearance, on which, as on the main. type, the subsequent polyphony is consciously or unconsciously oriented (up to P. Hindemith, D. D. Shostakovich, R. K. Shchedrin). Reflecting the general trends of the time and the new techniques found by his predecessors, he far surpassed his contemporaries (including the brilliant G. F. Handel) in the scope, strength and persuasiveness of the assertion of new principles of polyphonic music. F. m.

After J. S. Bach, the dominant position was occupied by homophonic F. m. (see. Homophony). Actually polyphonic. F. m. are sometimes used in a new, sometimes unusual role (fughetta guardsmen in the choir " Sweeter than honey"from the 1st act of Rimsky-Korsakov's opera "The Tsar's Bride"), acquire a dramatic and motivated character; composers turn to them as a special, special means of expression. To a large extent, this is characteristic of polyphonic. F. m. in Russian music (examples: M. I. Glinka, "Ruslan and Lyudmila", canon in the scene of stupor from the 1st act; contrasting polyphony in the play "In Central Asia" by Borodin and in the play "Two Jews" from "Pictures at an Exhibition Mussorgsky; the canon "Enemies" from the 5th scene of the opera "Eugene Onegin" by Tchaikovsky, etc.).

V. Homophonic musical forms of modern times. The onset of the era of the so-called. new time (17-19 centuries) marked a sharp turning point in the development of muses. thinking and F. m. (the emergence of new genres, the dominant secular music, the dominance of the major-minor tonal system). In ideological and aesthetic sphere advanced new methods of art. thinking - an appeal to secular music. content, the assertion of the principle of individualism as a leader, the disclosure of internal. peace individual person("the soloist has become the main figure", "individualization of human thought and feeling" - Asafiev B.V., 1963, p. 321). The rise of the opera to the significance of the central music. genre, and in instr. music - the statement of the principle of concert (baroque - the era of "concert style", in the words of Zh. Gandshin) is associated with the most directly. the transfer of the image of an individual person in them and represents the focus of the aesthetic. aspirations of a new era (an aria in an opera, a solo in a concerto, a melody in a homophonic fabric, a heavy measure in a meter, a tonic in a tonality, a theme in a composition, and the centralization of musical instruments - multifaceted and growing manifestations of "soloness", "singularity", the dominance of one over others in various layers of musical thinking). The tendency that had already manifested itself earlier (for example, in the iso-rhythmic motet of the 14th-15th centuries) towards the autonomy of purely musical principles of shaping in the 16-17 centuries. led to qualities. jump - their independence, most directly revealed in the formation of an autonomous instr. music. The principles of pure music. shaping, which became (for the first time in the world history of music) independent of the word and movement, made instr. music, at first, equal in rights with vocal music (already in the 17th century - in instrumental canzones, sonatas, concertos), and then, moreover, shaping was put into wok. genres depending on autonomous music. laws of F. m. (from J. S. Bach, Viennese classics, composers of the 19th century). Identification of pure music. The laws of F. m. are one of the pinnacle achievements of world music. cultures that discovered new aesthetic and spiritual values ​​previously unknown in music.

Regarding f. m. The era of modern times is clearly divided into two periods: 1600-1750 (conditionally - baroque, the dominance of the bass general) and 1750-1900 (Viennese classics and romanticism).

Principles of shaping in Baroque F. m.: throughout a one-part form b. hours, the expression of one affect is preserved, therefore F. m. are characterized by the predominance of homogeneous thematicism and the absence of derivative contrast, i.e., the derivation of another topic from this one. Properties in the music of Bach and Handel, majesty is associated with the solidity that comes from here, the massiveness of the parts of the form. This also determines the "terraced" dynamics of V.F. m., using dynamic. contrasts, lack of flexible and dynamic crescendo; idea of ​​production not so much developing as unfolding, as if passing through predetermined stages. In dealing with thematic material affects the strong influence of polyphonic. letters and polyphonic forms. The major-minor tonal system more and more reveals its formative properties (especially in Bach's time). Chord and tonal changes serve new powers. means of internal movement in F. m. The possibility of repeating material in other keys and a holistic concept of movement by definition. the circle of tonalities creates a new principle of tonal forms (in this sense, tonality is the basis of the F. m. of the new time). In Arensky's Guide to... (1914, pp. 4 and 53), the term "homophonic forms" is replaced as a synonym by the term "harmonic forms", and harmony means tonal harmony. The baroque f.m. (without derivative figurative and thematic contrast) gives the simplest type of construction of the f.m. hence the impression of a "circle"), passing through cadenzas on other steps of the tonality, for example:

in major: I - V; VI-III-IV-I
in minor: I - V; III - VII - VI - IV - I
with a tendency to non-repetition of keys between the tonic at the beginning and at the end, according to the T-D-S-T principle.

For example, in concert form (which played in sonatas and baroque concerts, especially with A. Vivaldi, J. S. Bach, Handel, a role similar to the role of sonata form in instr. cycles of classical-romantic music):

Theme - And - Theme - And - Theme - And - Theme
T-D-S-T
(I - interlude, - modulation; examples - Bach, 1st movement of the Brandenburg Concertos).

The most widespread musical instruments of the Baroque are homophonic (more precisely, non-fugued) and polyphonic (see Section IV). Main homophonic F. m. baroque:

\1) forms of through development (in instr. music, the main type is prelude, in wok. - recitative); samples - J. Frescobaldi, preambles for organ; Handel, clavier suite in d-moll, prelude; Bach, organ toccata in d minor, BWV 565, prelude movement, before fugue;

\2) small (simple) forms - bar (reprise and non-reprise; for example, F. Nicolai's song "Wie schön leuchtet der Morgenstern" ("How wonderfully the morning star shines", its processing by Bach in the 1st cantata and in others op.)), two-, three- and many-part forms (an example of the latter is Bach, mass in h-moll, No14); wok. music often meets the form da capo;

\3) compound (complex) forms (combination of small ones) - complex two-, three- and many-part; contrast-composite (for example, the first parts of orchestral overtures by J. S. Bach), the da capo form is especially important (in particular, in Bach);

\4) variations and choral arrangements;

\5) rondo (in comparison with the rondo of the 13th-15th centuries - a new instr. F. m. under the same name);

\6) old sonata form, one-dark and (in embryo, development) two-dark; each of them is incomplete (two-part) or complete (three-part); for example, in the sonatas of D. Scarlatti; complete one-dark sonata form - Bach, Matthew Passion, No 47;

\7) concert form (one of the main sources of the future classical sonata form);

\8) various types of woks. and instr. cyclic forms (they are also certain musical genres) - Passion, mass (including organ), oratorio, cantata, concerto, sonata, suite, prelude and fugue, overture, special types of forms (Bach, "Musical Offering", "The Art of the Fugue"), "cycles of cycles" (Bach, "The Well-Tempered Clavier", French suites);

\9) opera. (See "Analysis of Musical Works", 1977.)

F. m. classical-romantic. period, the concept of to-rykh reflected at the initial stage of the humanistic. European ideas. Enlightenment and rationalism, and in the 19th century. individualistic the ideas of romanticism ("Romanticism is nothing but the apotheosis of personality" - I. S. Turgenev), autonomization and aestheticization of music, are characterized by the highest manifestation of autonomous muses. the laws of shaping, the primacy of the principles of centralized unity and dynamism, the limiting semantic differentiation of F. m., and the relief of the development of its parts. For classic romantic The concept of F. m. is also typical of the selection of the minimum number of optimal types of F. m. (with sharply pronounced differences between them) with an unusually rich and diverse concrete implementation of the same structural types (the principle of diversity in unity), which is similar to the optimality of other parameters F. m. (for example, a strict selection of types of harmonic sequences, types of tonal plan, characteristic textured figures, optimal orchestral compositions, metric structures gravitating towards squareness, methods of motivational development), an optimally intense feeling of experiencing music. time, subtle and correct calculation of temporal proportions. (Of course, within the framework of the 150-year historical period, the differences between the Viennese-classical and romantic concepts of F. m. are also significant.) In some respects, it is possible to establish the dialectical nature of the general concept of development in F. m. (Beethoven's sonata form) . Musical music combines the expression of high artistic, aesthetic, and philosophical ideas with the juicy "earthly" character of the music. figurativeness (also thematic material that bears the imprint of folk-everyday music, with its typical features of musical material; this applies to the main arr. F. m. of the 19th century).

General logical classical romantic principles. F. m. are a strict and rich embodiment of the norms of any thinking in the field of music, reflected in the definitions. semantic functions of parts of F. m. Like any thinking, musical has an object of thought, its material (in a metaphorical sense - a theme). Thinking is expressed in musical-logical. "discussion of the topic" ("Musical form is the result of a "logical discussion" of musical material" - Stravinsky I.F., 1971, p. 227), which, due to the temporal and non-conceptual nature of music as art, divides F. m. into two logical department - presentation of music. thought and its development ("discussion"). In turn, logical music development. thought consists of its "consideration" and the following "conclusion"; therefore development as a logical stage. Deployment F. m. is divided into two subdivisions - the actual development and completion. As a result of the development of the classic F. m. discovers three main. functions of the parts (corresponding to the Asafiev triad initium - motus - terminus, see Asafiev B.V., 1963, p. 83-84; Bobrovsky V.P., 1978, p. 21-25) - exposition (exposition of thought), developing (actual development) and final (statement of thought), complexly correlated with each other:

(For example, in a simple three-part form, in sonata form.) In finely differentiated F. m., in addition to the three fundamentals. auxiliary functions of the parts arise - introduction (the function of which branches off from the initial presentation of the topic), transition and conclusion (branching from the function of completion and thereby dividing it into two - affirmation and conclusion of thought). Thus, parts of F. m. have only six functions (cf. Sposobin I. V., 1947, p. 26).

Being a manifestation of the general laws of human thinking, the complex of functions of the parts of F. m. reveals something in common with the functions of the parts of the presentation of thought in the rational-logical sphere of thinking, the corresponding laws of which are expounded in the ancient doctrine of rhetoric (oratory). The functions of the six sections of the classic. rhetoric (Exordium - introduction, Narratio - narration, Propositio - main position, Confutatio - challenging, Confirmatio - statement, Conclusio - conclusion) almost exactly coincide in composition and sequence with the functions of the parts of F. m. (the main functions of F. m.):

Exordium - intro
Propositio - exposition (main topic)
Narratio - development as a transition
Confutatio - contrasting part (development, contrasting theme)
Confirmatio - reprise
Conclusio - code (addition)

Rhetoric functions can manifest themselves in different ways. levels (for example, they cover both the sonata exposition and the entire sonata form as a whole). The far-reaching coincidence of the functions of sections in rhetoric and parts of F. m. testifies to the deep unity of decomp. and seemingly distant from each other types of thinking.

Diff. music elements (sounds, timbres, rhythms, chords, melodic intonations, melodic line, dynamic nuances, tempo, agogics, tonal functions, cadences, texture warehouse, etc.) are musical material. (in a broad sense) belongs to the musical organization of the material, considered from the side of expressing the musical content.In the system of musical organization, not all elements of the musical material have equal value . Profiling aspects of classical-romantic. F. m. - tonality as the basis of the structure of F. m. (see Tonality, Mode, Melody), meter, motivic structure (see Motive, Homophony), counterpoint of the main. lines (in homoph. F. m., usually the so-called contour, or main, two-voice: melody + bass), thematicism and harmony. The formative value of tonality consists (in addition to the above) in the rallying of a tonal-stable theme by a common attraction to a single tonic (see diagram A in the example below). The formative meaning of the meter lies in the creation of a mutual correspondence (metric symmetry) of small particles of F. m. The 4th bar responds to the 1st and creates an 8-bar, hence the fundamental meaning of squareness for classical-romantic FM), thus forming small constructions of FM - phrases, sentences, periods, similar sections of middles and reprises within themes ; classical the meter also determines the location of cadences of one kind or another and the strength of their final action (semi-conclusion at the end of a sentence, full conclusion at the end of a period). The formative significance of motive (in a larger sense, also thematic) development lies in the fact that large-scale music. thought is derived from its core. semantic core (usually it is the initial motivic group or, more rarely, the initial motive) by various modified repetitions of its particles (motivational repetitions from another chord sound, from another degree, in another harmony, with an interval change in the line, varying the rhythm, in increase or decrease, in circulation, with fragmentation - a particularly active means of motivic development, the possibilities of which extend up to the transformation of the initial motive into other motives). See Arensky A.S., 1900, p. 57-67; Sposobin I.V., 1947, p. 47-51. Motivational development plays approximately the same role in homophonic F. m. as the repetition of the theme and its particles in polyphonic. F. m. (for example, in a fugue). The formative value of counterpoint in homophonic F. m. is manifested in the creation of their vertical aspect. Practically homophonic F. m. throughout the entire length is (at least) a two-voice combination in the form of extreme voices, subject to the norms of polyphony of this style (the role of polyphony may be more significant). A sample of contour two-voice - W. A. ​​Mozart, symphony g-moll No 40, minuet, ch. subject. The formative significance of thematism and harmony is manifested in the interconnected contrasts of close-knit arrays of presentation of themes and thematically unstable developmental, connecting, running constructions of one kind or another (also thematically "folding" final and thematically "crystallizing" introductory parts), tonally stable and modulating parts; also in contrasting structurally monolithic constructions of the main themes and more "loose" side ones (for example, , in sonata forms), respectively, in contrasting different types of tonal stability (for example, the strength of tonal connections in combination with the mobility of harmony in the main part, the certainty and unity of tonality in combination with its softer structure in the secondary, reduction to tonic in the coda) . If the meter creates F. m. on a small scale, then the interaction of thematism and harmony - on a large scale.

Schemes of some basic classical-romantic musical instruments (from the point of view of the higher factors of their structure; T, D, p - functional designations of keys, - modulation; straight lines - stable construction, curved - unstable) see column 894.

The cumulative effect of the listed main. factors of classical romanticism. F. m. is shown on the example of Andante cantabile of Tchaikovsky's 5th symphony.

Scheme A: the whole ch. the theme of the 1st part of Andante is based on the tonic D-dur, the first performance of the secondary theme-addition is on the tonic Fis-dur, then both are regulated by the tonic D-dur. Scheme B (chapter theme, cf. with scheme C): another one-bar responds to a one-bar, a more continuous two-bar construction answers the resulting two-bar, a four-bar sentence closed by a cadence is answered by another similar one with a more stable cadence. Scheme B: based on metric. structures (Scheme B) motivic development (a fragment is shown) comes from a one-bar motive and is carried out by repeating it in other harmonies, with a change in melodic. line (a1) and metro rhythm (a2, a3).

Scheme G: contrapuntal. the basis of the F. m., the correct 2-voice connection based on permissions in consoner. interval and contrasts in the movement of voices. Scheme D: interaction thematically. and harmonic. factors forms the F. m. of the work as a whole (the type is a complex three-part form with an episode, with “deviations” from the traditional classical form towards the internal expansion of the large 1st part).

In order for the parts of F. m. to perform their structural functions, they must be built accordingly. For example, the second theme of the Gavotte of Prokofiev's "Classical Symphony" is perceived even out of context as a typical trio of a complex three-part form; both main themes of the exposition of the 8th fp. Beethoven's sonatas cannot be represented in reverse order - the main one as a side, and the side one as the main one. Patterns of the structure of parts of F. m., revealing their structural functions, called. types of presentation of music. material (the theory of Sposobina, 1947, pp. 27-39). Ch. There are three types of presentation - exposition, middle and final. The leading feature of the exposition is stability in combination with the activity of movement, which is expressed in thematic. unity (development of one or a few motives), tonal unity (one key with deviations; small modulation at the end, not undermining the stability of the whole), structural unity (sentences, periods, normative cadences, structure 4 + 4, 2 + 2 + 1 + 1 + 2 and similar under the condition of harmonic stability); see Diagram B, bars 9-16. A sign of the median type (also developmental) is instability, fluidity, achieved harmonics. instability (reliance not on T, but on other functions, for example D; the beginning is not with T, avoiding and pushing the tonic, modulation), thematic. fragmentation (selection of parts of the main construction, smaller units than in the main part), structural instability (lack of sentences and periods, sequencing, lack of stable cadences). Conclude. the type of presentation affirms the tonic already achieved by repeated cadences, cadence additions, an organ point on T, deviations towards S, and the cessation of the thematic. development, gradual fragmentation of constructions, reduction of development to maintaining or repeating tonic. chord (example: Mussorgsky, chorus coda "Glory to you, the creator of the Almighty" from the opera "Boris Godunov"). Reliance on F. m. folk music as an aesthetic. the installation of the music of the new time, combined with a high degree of development of the structural functions of the F. m. and the types of presentation of music corresponding to them. The material is organized into a coherent system of musical instruments, the extreme points of which are the song (based on the dominance of metric relations) and the sonata form (based on thematic and tonal development). General systematics of the main. types of classical-romantic. F. m.:

\1) The starting point of the system of musical instruments (in contrast, for example, from the high musical instruments of the Renaissance) is the song form directly transferred from everyday music (the main types of structure are the simple two-part and simple three-part forms ab, aba; further in diagrams A), common not only in the wok. genres, but also reflected in instr. miniatures (preludes, etudes by Chopin, Scriabin, small piano pieces by Rachmaninov, Prokofiev). Further growth and the complication of F. m., emanating from the form of the couplet nar. songs are carried out in three ways: the repetition (changed) of the same theme, the introduction of another theme and the internal complication of parts (the growth of the period to a higher "form", the splitting of the middle into a structure: move - theme-embryo - return move, autonomization of additions to the role theme-embryos). In these ways, the song form rises to more advanced ones.

\2) Couplet (AAA...) and variational (А А1 А2...) forms, osn. on a repeat of the theme.

\3) Diff. types of two- and multi-theme composite ("complex") forms and rondo. The most important of the composite F. m. is the complex three-part ABA (other types are the complex two-part AB, arched or concentric ABBCVA, ABCDCBA; other types are ABC, ABCD, ABCDA). For rondo (AVASA, AVASAVA, ABACADA) the presence of transitional parts between themes is typical; rondo may include sonata elements (see Rondo sonata).

\4) Sonata form. One of the sources is its "germination" from a simple two- or three-part form (see, for example, the f-moll prelude from the 2nd volume of Saha's Well-Tempered Clavier, the minuet from the Mozart Quartet Es-dur, K.-V 428; the sonata form without development in the 1st part of Andante cantabile of Tchaikovsky's 5th symphony has a genetic connection with the thematic contrasting simple 3-movement form).

\5) On the basis of the contrast of tempo, character, and (often) meter, provided that the concept is united, the above-mentioned large single-part F. m. fold into multi-part cyclic and merge into single-part contrast-composite forms (samples of the latter - Ivan Susanin by Glinka, No 12, quartet, a form of the Great Viennese Waltz, for example, the choreographic poem Waltz by Ravel). In addition to the listed typified musical forms, there are mixed and individualized free forms, most often associated with a special idea, possibly programmatic (F. Chopin, 2nd ballad; R. Wagner, "Lohengrin", introduction; P. I. Tchaikovsky, symphony fantasy "Storm"), or with the genre free fantasy, rhapsodies (W. A. ​​Mozart, Fantasy c-moll, K.-V. 475). In free forms, however, elements of typed forms are almost always used, or they are specially interpreted ordinary F. m.

Opera music is subject to two groups of formative principles: theatrical-dramatic and purely musical. Depending on the preponderance of one principle or another, operatic musical compositions are grouped around three fundamentals. types: numbered opera (for example, Mozart in the operas "The Marriage of Figaro", "Don Giovanni"), music. drama (R. Wagner, "Tristan and Isolde"; C. Debussy, "Pelléas and Melisande"), mixed, or synthetic., type (M. P. Mussorgsky, "Boris Godunov"; D. D. Shostakovich, "Katerina Izmailov"; S. S. Prokofiev, "War and Peace"). See Opera, Dramaturgy, Musical drama. The mixed type of opera form gives the optimal combination of stage continuity. actions with rounded F. M. An example of F. M. of this type is a scene in a tavern from Mussorgsky's opera "Boris Godunov" (an artistically perfect distribution of ariose and dramatic elements in connection with the form of stage action).

VI. Musical forms of the 20th century F. m. 20 p. are conditionally divided into two types: one with the preservation of old compositions. types - a complex three-part f. m., rondo, sonata, fugue, fantasy, etc. (by A. N. Scriabin, I. F. Stravinsky, N. Ya. Myaskovsky, S. S. Prokofiev, D. D. Shostakovich, P. Hindemith, B. Bartok, O. Messiaen, composers of the new Viennese school, etc.), another without their preservation (by C. Ives, J. Cage, composers of the new Polish school, K. Stockhausen, P. Boulez , D. Ligeti, with some Soviet composers - L. A. Grabovsky, S. A. Gubaidullina, E. V. Denisov, S. M. Slonimsky, B. I. Tishchenko, A. G. Schnittke, R K. Shchedrin and others). In the 1st floor. 20th century the first kind of F. m dominates, in the 2nd floor. significantly increases the role of the second. The development of a new harmony in the 20th century, especially in combination with a different role of timbre, rhythm, and structure of fabric, is able to greatly renew the old structural type of rhythmic music (Stravinsky, "The Rite of Spring", the final rondo "The Great Sacred Dance" with the scheme AVASA, rethought in connection with the renewal of the entire musical language system). With a radical internal the renewal of the F. m. can be equated with the new one, since connections with the former structural types may not be perceived as such (for example, the orchestral play by K. Penderetsky "Tren in memory of the victims of Hiroshima" is formally written in , however, is not perceived as such because of the sonoristic technique, which makes it more similar to the F. m. of other sonoristic op. than the usual tonal op. in sonata form). Hence the key concept of "technique" (writing) for the study of F. m. in the music of the 20th century. (The concept of "technique" combines the idea of ​​the used sound material and its properties, of harmony, writing and form elements).

In tonal (more precisely, new-tonal, see Tonality) music of the 20th century. The renewal of traditional F. m. occurs primarily due to new types of harmonica. centers and corresponding to the new harmonic properties. material of functional relations. So, in the 1st part of the 6th fp. sonatas by Prokofiev trad. opposition to the "solid" structure of Ch. part and the "loose" (albeit fairly stable) side part is convexly expressed by the contrast of the strong A-dur tonic in ch. theme and a softened veiled foundation (h-d-f-a chord) in the side note. The relief of F. m. is achieved by new harmonics. and structural means, due to the new content of the muses. lawsuit. The situation is similar with modal technique (example: 3-part form in Messiaen's play "Calm Complaint") and with the so-called. free atonality (for example, a piece by R. S. Ledenev for harp and strings, quartet, op. 16 No 6, performed in the technique of central consonance).

In the music of the 20th century a polyphonic renaissance is taking place. thinking and polyphonic. F. m. Contrapuntal. letter and old polyphonic F. m. became the basis of the so-called. neoclassical (b. h. neo-baroque) direction ("For modern music, the harmony of which is gradually losing its tonal connection, the connecting force of contrapuntal forms should be especially valuable" - Taneyev S.I., 1909). Along with filling the old F. m. (fugues, canons, passacaglia, variations, etc.) with a new intonation. content (in Hindemith, Shostakovich, B. Bartok, partly Stravinsky, Shchedrin, A. Schoenberg, and many others) a new interpretation of the polyphonic. F. m. (for example, in the "Passacaglia" from Stravinsky's septet, the neoclassical principle of linear, rhythmic and large-scale invariance of the ostinato theme is not observed, at the end of this part a "disproportionate" canon appears, the nature of the monothematism of the cycle is similar to serial-polyphonic variations ).

Serial-dodecaphonic technique (see Dodecaphony, Serial technique) was originally intended (in the Novovensk school) to restore the opportunity to write large classics, lost in "atonality". F. m. In fact, the expediency of using this technique in neoclassical. purpose is somewhat questionable. Although quasi-tonal and tonal effects are easily achieved using serial technique (for example, in the minuet trio of Schoenberg's suite op. 25, the tonality of es-moll is clearly audible; in the entire suite, oriented to a similar Bach time cycle, serial rows are drawn only from sounds e and b, each of which is the initial and final sound in two serial rows, and thus the monotony of the baroque suite is imitated here), although it will not be difficult for the master to oppose "tonally" stable and unstable parts, modulation-transposition, corresponding reprises of themes and other components of tonal F. m., internal contradictions (between the new intonation and the old technique of tonal F. m.), characteristic of neoclassical. shaping, affect here with particular force. (As a rule, those connections with the tonic and the oppositions based on them are unattainable or artificial here, which were shown in Scheme A of the last example in relation to the classical-romantic. F. m.) samples of F. m. Mutual correspondence of the new intonation, harmonic. forms, writing techniques and form techniques are achieved by A. Webern. For example, in the 1st part of the symphony op. 21 he does not rely only on the formative properties of serial conductions, on neoclassical. by origin, canons and quasi-sonata pitch ratios, and, using all this as material, forms it with the help of new means of F. m. - connections between pitch and timbre, timbre and structure, multifaceted symmetries in pitch-timbre-rhythm. fabrics, interval groups, in the distribution of sound density, etc., simultaneously abandoning the methods of shaping that have become optional; new F. m. conveys aesthetic. the effect of purity, sublimity, silence, sacraments. radiance and at the same time trembling of each sound, deep cordiality.

A special kind of polyphonic constructions are formed in the serial-dodecaphone method of composing music; respectively, F. m., made in the serial technique, are polyphonic in essence, or at least according to the fundamental principle, regardless of whether they have a textured appearance of polyphonic. F. m. (for example, the canons in the 2nd part of Webern's symphony, op. 21, see Art. Rakohodnoe movement, an example in columns 530-31; in the 1st part of "Concerto-buff" by S. M. Slonimsky, minuet trio from the suite for piano, op. 25 by Schoenberg) or quasi-homophonic (for example, the sonata form in the cantata "Light of the Eyes" op. 26 by Webern; in the 1st part of the 3rd symphony by K. Karaev; rondo - sonata in the finale of Schoenberg's 3rd quartet). In the work of Webern to the main. features of the old polyphonic. F. m. added its new aspects (emancipation of musical parameters, involvement in a polyphonic structure, in addition to high-pitched, thematic repetitions, autonomous interaction of timbres, rhythms, register relations, articulation, dynamics; see, for example, 2nd part variations for piano op.27, orc.variations op.30), which paved the way for another modification of polyphonic. F. m. - in serialism, see Serialism.

In sonoristic music (see Sonorism) predominates are used. individualized, free, new forms (A. G. Schnittke, Pianissimo; E. V. Denisov, piano trio, 1st part, where the main structural unit is "sigh", - asymmetrically varied, serves as material for building a new , non-classical three-part form; A. Vieru, "Eratosthenes' sieve", "Clepsydra").

Polyphonic in origin F. m. 20th century, osn. on contrasting interactions of simultaneously sounding muses. structures (pieces No. 145a and 145b from Bartók's "Microcosmos", which can be performed both separately and simultaneously; D. Millau's quartets No. 14 and 15, which have the same feature; K. Stockhausen's "Group" for three spatially separated orchestras). Limit sharpening polyphonic. the principle of independence of voices (layers) of the fabric is an aleatoric of the fabric, allowing for a temporary temporary separation of parts of the general sound and, accordingly, a plurality of their combinations at the same time. combinations (V. Lutoslavsky, 2nd symphony, "Book for Orchestra").

New, individualized F. m. (where the "scheme" of the work is the subject of the composition, as opposed to the neoclassical type of modern F. m.) dominate electronic music (the sample is Denisov's Birdsong). Mobile F. m. (updated from one performance to another) are found in some types of alea-toric. music (for example, in Stockhausen's "Fp. Piece XI", Boulez's 3rd Fp. Sonata). F. m. 60-70s. mixed techniques are widely used (R. K. Shchedrin, 2nd and 3rd piano concertos). The so-called. repetitive (or repetitive) F. m., the structure of which is based on multiple repetitions b. hours of elementary music. material (for example, in some works by V. I. Martynov). In the field of stage genres - happening.

VII. Teachings about musical forms. The doctrine of F. m. as a department. branch of applied theoretical musicology and under this name arose in the 18th century. However, its history, which runs parallel to the development of the philosophical problem of the relationship between form and matter, form and content, and coincides with the history of the doctrine of the muses. compositions, dates back to the era of the Ancient World - from the Greek. atomists (Democritus, 5th century BC) and Plato (he developed the concepts of "scheme", "morphe", "type", "idea", "eidos", "view", "image"; see Losev A F., 1963, pp. 430-46, etc.; his own, 1969, pp. 530-52, etc.). The most complete ancient philosophical theory of form ("eidos", "morphe", "logos") and matter (related to the problem of form and content) was put forward by Aristotle (the ideas of the unity of matter and form; the hierarchy of the relationship between matter and form, where the highest form is deities. mind ; see Aristotle, 1976). The doctrine, similar to the science of F. m., developed within the framework of melopei, which developed as a special. music-theoretical. discipline, probably under Aristoxenus (2nd half of the 4th century); see Cleonides, Janus S., 1895, p. 206-207; Aristides Quintilian, "De musica libri III"). Anonymous Bellerman III in the section "About Melopee" sets out (with musical illustrations) information about "rhythms" and melodic. figures (Najock D., 1972, pp. 138-143), i.e., rather about the elements of F. m., than about F. m. in own. sense, to-heaven in the context of the ancient idea of ​​music as a trinity was thought primarily in connection with the poetic. forms, structure of a stanza, verse. The connection with the word (and in this respect, the absence of an autonomous doctrine of F. m. in the modern sense) is also characteristic of the doctrine of F. m. of the Middle Ages and the Renaissance. In the psalm, the Magnificat, the hymns of the Mass (see section III), and other genres of this time, the phonics were in essence predetermined by the text and the liturgical. action and did not require special. autonomous doctrine of F. m. In art. secular genres, where the text was part of the F. m. and determined the structure of purely muses. construction, the situation was similar. In addition, the formulas of modes, set forth in the musical-theoretical. treatises, in measure served as a kind of "melody-model" and repeated in decomp. products belonging to the same tone. Polygon rules. letters (beginning with "Musica enchiriadis", late 9th century) supplemented the F. m. embodied in a given melody: they can also hardly be considered as a teaching about F. m. So, in the Milan treatise "Ad Organum faciendum" (c. 1100), belonging to the genre of "musical-technical." works on music. compositions (how to "make" the organum), after the main. definitions (organum, copula, diaphony, organizatores, "kinship" of voices - affinitas vocum), the technique of consonances, five "methods of organization" (modi organizandi), i.e. e. different types of use of consonances in the "composition" of the organum-counterpoint, with music. examples; sections of the given two-voice constructions are named (according to the ancient principle: beginning - middle - end): prima vox - mediae voces - ultimae voces. Wed also from ch. 15 "Micrologist" (c. 1025-26) by Guido d "Arezzo (1966, p. 196-98). Descriptions of various genres are also close to the doctrine of F. m.. In the treatise J. de Groheo ("De musica", c. 1300), marked by the influence of already Renaissance methodology, contains an extensive description of many genres and F. m. estampi), induction, motet, organum, goquet, mass and its parts (Introitus, Kyrie, Gloria, etc.), invitatorium, Venite, antiphon, anthem. "(sections of F. m.), types of conclusions of parts of F. m. (arertum, clausuni), the number of parts in F. m. It is important that Groheo widely uses the very term "F. m.", moreover, in a sense similar to the modern one: formae musicales (Grocheio J. de, p. 130; see also in the introductory article by E. Rolof a comparison with the interpretation of the term forma y by Aristotle, Grocheio J. de, p. 14 -16) Following Aristotle (whose name is mentioned more than once), Groheo correlates "form" with "matter" (p. 120), and "matter" is considered to be "harmonic sounds", and "form" (here - the structure of consonance) is associated with "number" (p. 122; Russian translation - Groheo J. de, 1966, pp. 235, 253). A similar rather detailed description of F. m. gives, for example, V. Odington in his treatise "De speculatione musice": treble, organum, rondel, conduct, copula, motet, goquet, in musical examples he gives two- and three-part scores. Letters (for example, J. Tinctoris, 1477; N. Vicentino, 1555; G. Zarlino, 1558) also describe elements of the theory of certain polyphonic forms, for example, the canon (originally in the technique of voice exchange - Odington's rondelle; "rotunda, or rotundel" by Groheo; from the 14th century under the name "fugue" mentioned by Jacob of Liege; also explained by Ramos de Pareja; see Pareja, 1966, pp. 346-47; by Zarlino, 1558, ibid., pp. 476-80).The development of the fugue form in theory falls mainly on the 17th-18th centuries (in particular, in J. M. Bononcini, 1673; I. G. Walter, 1708; I. I. Fuchs , 1725; I. A. Shaibe (c. 1730), 1961; I. Mattheson, 1739; F. W. Marpurga, 1753-54; I. F. Kirnberger, 1771-79; I. G. Albrechtsberger, 1790, etc.), then at the muses. theorists of the 19th and 20th centuries.

On the theory of F. m. 16-18 centuries. a notable influence was exerted by the understanding of the functions of the parts on the basis of the doctrine of rhetoric. Originating in Dr. Greece (c. 5th century BC), on the verge of late antiquity and the Middle Ages, rhetoric became part of the "seven liberal arts" (septem artes liberales), where it came into contact with the "science of music" ("... rhetoric is not could not be extremely influential in relation to music as an expressive language factor "- Asafiev B.V., 1963, p. 31). One of the departments of rhetoric - Dispositio ("arrangement"; i.e. compositional plan op.) - as a category corresponds to the doctrine of F. m., indicates a definition. structural functions of its parts (see section V). To the idea and structure of the muses. cit., and other departments of music also belong to F. m. rhetoric - Inventio ("invention" of musical thought), Decoratio (its "decoration" with the help of musical-rhetorical figures). (On musical rhetoric, see: Calvisius S., 1592; Burmeister J., 1599; Lippius J., 1612; Kircher A., ​​1650; Bernhard Chr., 1926; Janowka Th. B., 1701; Walther J. G., 1955 ; Mattheson J., 1739; Zakharova O., 1975.) From the standpoint of music. rhetoric (functions of parts, Dispositio) Mattheson analyzes exactly F. m. in the aria of B. Marcello (Mattheson J., 1739); in terms of music. rhetoric, the sonata form was first described (see Ritzel F., 1968). Hegel, differentiating the concepts of matter, form and content, introduced the latter concept into broad philosophical and scientific use, gave it (however, on the basis of an objective idealistic methodology) a deep dialectic. explanation, made it an important category of teaching about art, about music ("Aesthetics").

New science of F. m., in own. sense of the doctrine of F. m., was developed in the 18-19 centuries. In a number of works of the 18th century. the problems of meter ("the doctrine of beats"), motive development, expansion and fragmentation of muses are investigated. construction, sentence structure and period, the structure of some of the most important homophonic instr. F. m., established resp. concepts and terms (Mattheson J., 1739; Scheibe J. A., 1739; Riepel J., 1752; Kirnberger J. Ph., 1771-79; Koch H. Ch., 1782-93; Albrechtsberger J. G., 1790). In con. 18 - beg. 19th centuries a general systematics of homophonic F. m. was outlined, and consolidated works on F. m. appeared, covering in detail both their general theory and their structural features, tonal harmonic. structure (from the teachings of the 19th century - Weber G., 1817-21; Reicha A., 1818, 1824-26; Logier J. B., 1827). Classic A. B. Marx gave a consolidated doctrine of F. m.; his "Doctrine of Musical Composition" (Marx A.V., 1837-47) covers everything a composer needs to master the art of composing music. F. m. Marx interprets as "an expression ... of content", by which he means "sensations, ideas, ideas of the composer." The system of homophonic F. m. in Marx comes from " primary forms"musical thought (move, sentence and period), relies on the form of the" song "(the concept he introduced) as fundamental in the general systematics of F. m.

The main types of homophonic F. m .: song, rondo, sonata form. Marx classified five forms of rondo (they were adopted in the 19th - early 20th centuries in Russian musicology and educational practice):

(Examples of rondo forms: 1. Beethoven, 22nd piano sonata, 1st part; 2. Beethoven, 1st piano sonata, Adagio; 3. Mozart, rondo a-moll; 4. Beethoven, 2- 1st piano sonata, finale 5. Beethoven, 1st piano sonata, finale.) In the construction of the classical. F. m. Marx saw the operation of the "natural" law of tripartiteness as the main one in any music. designs: 1) thematic. exposure (ust, tonic); 2) modulating moving part (motion, gamma); 3) reprise (rest, tonic). Riemann, recognizing the importance for the true claim of the "significance of the content", "ideas", which is expressed by means of F. m. (Riemann H., (1900), S. 6), interpreted the latter also as a artwork into one whole". Of the resulting "general aesthetic. principles" he deduced "the laws of specially-music. construction" (G. Riemann, "Musical Dictionary", M. - Leipzig, 1901, pp. 1342-1343). Riemann showed the interaction of musical elements in the formation of F. m. (for example, "Catechism of piano playing", M. , 1907, pp. 84-85) Riemann (see Riemann H., 1897, 1902-1903, 1918-19; Riemann G., 1892, 1898), based on the so-called iambic principle (cf. Momigny J. J. , 1806, and Hauptmann M., 1853), created a new doctrine of the classical metric, a square eight-measure, in which each measure has a certain metric value, different from the others:

(the values ​​of the light odd measures depend on the heavy ones they lead to). However, evenly spreading the structural patterns of metrically stable parts to unstable ones (moves, developments), Riemann, therefore, did not take into account structural contrasts in the classical. F. m. G. Schenker deeply substantiated the importance of tonality, tonics for the formation of classical. F. m., created the theory of structural levels of F. m., ascending from the elementary tonal core to the "layers" of integral music. compositions (Schenker H., 1935). He also owns the experience of a monumental holistic analysis otd. works (Schenker H., 1912). Deep development of the problem of the formative value of harmony for the classical. f. m. gave A. Schoenberg (Schönberg A., 1954). In connection with the development of new techniques in music of the 20th century. there were doctrines about P. m. and muses. composition structure based on dodecaphony (Krenek E., 1940; Jelinek H., 1952-58, etc.), modality and new rhythmic. technology (Messiaen O., 1944; it also speaks of the resumption of some Middle Ages. F. m. - hallelujah, Kyrie, sequences, etc.), electronic composition (see "Die Reihe", I, 1955) , new P. m. (for example, the so-called open, statistical, moment P. m. in the theory of Stockhausen - Stockhausen K., 1963-1978; also Boehmer K., 1967). (See Kohoutek Ts., 1976.)

In Russia, the doctrine of F. M. originates from the "Music Grammar" by N. P. Diletsky (1679-81), which describes the most important F. M. of that era, the polygonal technique. writing, the functions of the parts of a musical instrument (“every concerto” should have a “beginning, middle and end” - Diletsky, 1910, p. 167), elements and factors of shaping (“padizhi”, i.e. " and "descent"; "dudal rule" (i.e., organizational point), "countercurrent" (counterpoint; however, dotted rhythm is meant), etc.). In Diletsky's interpretation of F. m., the influence of the categories of muses is felt. rhetoric (its terms are used: "disposition", "invention", "exordium", "amplification"). The doctrine of F. m. in the newest sense falls on the 2nd floor. 19 - beg. 20th century The third section of I. Gunke's "Complete Guide to Composing Music" (1863) - "On the Forms of Musical Works" - contains a description of many applied musical instruments (fugue, rondo, sonata, concerto, symphonic poem, etude, serenade, sec. dances, etc.), analyzes of exemplary compositions, a detailed explanation of some "complex forms" (for example, sonata form). In the 2nd section, polyphonic is set out. technique, described osn. polyphonic F. m. (fugues, canons). With practical compositions. positions, a short "Guide to the study of the forms of instrumental and vocal music" by A. S. Arensky (1893-94) was written. Deep thoughts about the structure of F. m., its relationship to the harmonic. system and historical fate was expressed by S. I. Taneev (1909, 1927, 1952). The original concept of the temporal structure of musical instruments was created by G. E. Konius (the main work is “Embryology and Morphology of the Musical Organism”, manuscript, Glinka Museum of Musical Culture; see also G. E. Konyus, 1932 , 1933, 1935). A number of concepts and terms of the doctrine of F. m. was developed by B. L. Yavorsky (predicate, change in the 3rd quarter, comparison with the result). In the work of V. M. Belyaev, “A Brief Exposition of the Doctrine of Counterpoint and the Doctrine of Musical Forms” (1915), which had an impact on the subsequent concept of F. m. musicology, a new (simplified) understanding of the rondo form is given (based on the opposition of the main theme and a number of episodes), the concept of "song form" is eliminated. B. V. Asafiev in the book. "Musical Form as a Process" (1930-47) substantiated F. m. by the development of intoning processes in connection with the historical. the evolution of the existence of music as a social determinant. phenomena (the idea of ​​F. m. as indifferent to the intonational properties of the material schemes "brought the dualism of form and content to the point of absurdity" - Asafiev B.V., 1963, p. 60). Immanent properties of music (incl. and F. m.) - only possibilities, the implementation of which is determined by the structure of society (p. 95). Resuming the ancient (still Pythagorean; cf. Bobrovsky V.P., 1978, pp. 21-22) idea of ​​the triad as the unity of the beginning, middle and end, Asafiev proposed a generalized theory of the formation-process of any F. m., expressing the stages of development with a concise formula initium - motus - terminus (see section V). Main the focus of the study is to determine the prerequisites for the dialectics of music. formation, the development of the doctrine of internal. the dynamics of F. m. ("Musical form as a process"), opposed to "mute" forms-schemes. Therefore, Asafiev singles out "two sides" in F. m. - the form-process and the form-construction (p. 23); he also emphasizes the importance of the two most common factors in the formation of F. m. - identity and contrast, classifying all F. m. according to the predominance of one or the other (book 1, section 3). The structure of F. m., according to Asafiev, is associated with its orientation towards the psychology of listener's perception (Asafiev B.V., 1945). In the article by V. A. Zuckerman about N. A. Rimsky-Korsakov's opera "Sadko" (1933), music. prod. for the first time considered by the method of "holistic analysis". In line with the main classic settings. the theory of metrics is treated by G. L. Catoire (1934-36); he introduced the concept of "trochea of ​​the second kind" (the metric form of the main part of the 1st part of the 8th fp. of Beethoven's sonata), which contradicts the Riemannian theory of iambism. Following the scientific Taneyev's methods, S. S. Bogatyrev developed the theory of the double canon (1947) and reversible counterpoint (1960). I. V. Sposobin (1947) developed the theory of the functions of parts in F. m., investigated the role of harmony in shaping. A. K. Butskoy (1948) made an attempt to build the doctrine of F. m. in a new way, from the standpoint of the ratio of content and express. means of music, bringing together the traditions. theoretical musicology and aesthetics (pp. 3-18), focusing the researcher's attention on the problem of music analysis. works (p. 5). In particular, Butskoy raises the question of the meaning of this or that express. means of music in connection with the variability of their meanings (eg, increased triads, pp. 91-99); in his analyzes, the method of binding expresses is used. effect (content) with a complex of means expressing it (pp. 132-33, etc.). (Cf .: Ryzhkin I. Ya., 1955.) Butsky's book is an experience in creating a theoretical. fundamentals of "analysis of musical works" - a scientific and educational discipline that replaces the traditional. the science of F. m. (V. P. Bobrovsky, 1978, p. 6), but very close to it (see Musical Analysis). In the textbook of Leningrad authors, ed. Yu. N. Tyulina (1965, 1974) introduced the concepts of "inclusion" (in a simple two-part form), "multi-part refrain forms", "introductory part" (in a side part of the sonata form), and the higher forms of rondo were classified in more detail. In the work of L. A. Mazel and V. A. Tsukkerman (1967), the idea of ​​considering the means of F. m. (to a large extent - the material of music) in unity with the content (p. 7) was consistently carried out; means (including those that are rarely considered in the teachings of F. M. - dynamics, timbre) and their impact on the listener (see also: Zukkerman V. A., 1970), the method of a holistic analysis (pp. 38-40, 641-56; further - samples of analysis), developed by Zuckerman, Mazel and Ryzhkin back in the 30s. Mazel (1978) summarized the experience of the convergence of musicology and muses. aesthetics in the practice of music analysis. works. In the works of V. V. Protopopov, the concept of a contrast-composite form is introduced (see his work "Contrast-composite forms", 1962; Stoyanov P., 1974), the possibilities of variations are revealed. forms (1957, 1959, 1960, etc.), in particular, the term "form of the second plan" was introduced, the history of polyphonic. letters and polyphonic forms of the 17th-20th centuries. (1962, 1965), proposed the term "large polyphonic form". Bobrovsky (1970, 1978) studied F. m. as a multi-level hierarchical. a system whose elements have two inextricably linked sides - functional (where the function is the "general principle of connection") and structural (the structure is "a specific way of implementing the general principle", 1978, p. 13). The (Asafiev's) idea of ​​three functions of universal development has been elaborated in detail: "impulse" (i), "movement" (m) and "completion" (t) (p. 21). Functions are divided into general logical, general compositional and specifically compositional (p. 25-31). The original idea of ​​the author is the combination of functions (constant and mobile), respectively - "composite deviation", "composite modulation" and "composite ellipsis" (an example of "ascending composition modulation" is a side theme of Tchaikovsky's Romeo and Juliet: the beginning as a simple 3-part form, the ending - as a complex one).

Literature: Diletsky N.P., Musician Grammar (1681), ed. S. V. Smolensky, St. Petersburg, 1910, the same, in Ukrainian. lang. (according to the manuscript 1723) - Musical Grammar, KIPB, 1970 (publication by O. S. Tsalai-Yakimenko), the same (according to the manuscript 1679) under the title. - The Idea of ​​Musician Grammar, M., 1979 (published by Vl. V. Protopopov); Lvov H. A., Collection of Russian folk songs with their voices ..., M., 1790, reprinted, M., 1955; Gunke I.K., A complete guide to composing music, ed. 1-3, St. Petersburg, 1859-63; Arensky A. S., Guide to the study of the forms of instrumental and vocal music, M., 1893-94, 1921; Stasov V.V., On some forms of contemporary music, Sobr. soch., vol. 3, St. Petersburg, 1894 (1 ed. in German, "NZfM", 1858, Bd 49, No 1-4); Bely A. (B. Bugaev), Forms of Art (about the musical drama of R. Wagner), "The World of Art", 1902, No 12; his, The Principle of Form in Aesthetics (§ 3. Music), "Golden Fleece", 1906, No 11-12; Yavorsky B. L., The structure of musical speech, parts 1-3, M., 1908; Taneev S.I., Mobile counterpoint of strict writing, Leipzig, 1909, the same, M., 1959; S. I. Taneev. Materials and documents, vol. 1, M., 1952; Belyaev V. M., A summary of the doctrine of counterpoint and the doctrine of musical forms, M., 1915, M. - P., 1923; his own, "Analysis of modulations in Beethoven's sonatas" by S. I. Taneev, in collection; Russian book about Beethoven, M., 1927; Asafiev B. V. (Igor Glebov), The process of designing a sounding substance, in Sat.: De musica, P., 1923; his, Musical Form as a Process, Vol. 1, M., 1930, book. 2, M. - L., 1947, L., 1963, L., 1971; his, On the direction of form in Tchaikovsky, in the book: Soviet music, Sat. 3, M. - L., 1945; Zotov B., (Finagin A. B.), The problem of form in music, in collection: De musica, P., 1923; Finagin A.V., Form as a value concept, in: "De musica", vol. 1, L., 1925; Konyus G. E., Metrotectonic resolution of the problem of musical form..., " musical culture", 1924, No 1; his own, Critique of traditional theory in the field of musical form, M., 1932; his own, Metrotectonic study of musical form, M., 1933; his own, Scientific substantiation of musical syntax, M., 1935; Ivanov - Boretsky M. V., Primitive musical art, M., 1925, 1929; Losev A. F., Music as a subject of logic, M., 1927; his own, Dialectics art form, M., 1927; his own, History of ancient aesthetics, vol. 1-6, M., 1963-80; Tsukkerman V. A., On the plot and musical language of the epic opera "Sadko", "SM", 1933, No 3; his own, "Kamarinskaya" by Glinka and its traditions in Russian music, M., 1957; his own Music genres and foundations of musical forms, M., 1964; his same, Analysis of musical works. Textbook, M., 1967 (jointly with L. A. Mazel); his, Musical-Theoretical Essays and Etudes, vol. 1-2, M., 1970-75; his same, Analysis of musical works. Variation form, M., 1974; Catuar G. L., Musical form, part 1-2, M., 1934-36; Mazel L. A., Fantasia f-moll Chopin. The experience of analysis, M., 1937, the same, in his book: Research on Chopin, M., 1971; his own, Structure of musical works, M., 1960, 1979; his, Some features of the composition in free forms of Chopin, in Sat: Fryderyk Chopin, M., 1960; his, Questions of Music Analysis..., M., 1978; Skrebkov S. S., Polyphonic analysis, M. - L., 1940; his own, Analysis of musical works, M., 1958; his own, artistic principles musical styles, M., 1973; Protopopov V. V., Complex (composite) forms of musical works, M., 1941; his own, Variations in Russian classical opera, M., 1957; his own, Invasion of Variations in Sonata Form, "SM", 1959, No 11; his, Variation method of development of thematism in Chopin's music, in Sat: Fryderyk Chopin, M., 1960; his own, Contrasting Composite Musical Forms, "SM", 1962, No 9; his, History of polyphony in its most important phenomena, (parts 1-2), M., 1962-65; his own, Beethoven's Principles of Musical Form, M., 1970; his, Sketches from the history of instrumental forms of the 16th - early 19th centuries, M., 1979; Bogatyrev S. S., Double canon, M. - L., 1947; his, Reversible counterpoint, M., 1960; Sposobin I. V., Musical form, M. - L., 1947; Butskoy A.K., The structure of a musical work, L. - M., 1948; Livanova T. N., Musical dramaturgy of J. S. Bach and its historical connections, part 1, M. - L., 1948; her own, Big composition at the time of J.S. Bach, in Sat: Questions of Musicology, vol. 2, M., 1955; P. I. Tchaikovsky. About composer's skill, M., 1952; Ryzhkin I. Ya., The relationship of images in a piece of music and the classification of so-called "musical forms", in: Questions of Musicology, vol. 2, M., 1955; Stolovich L. N., Ob aesthetic properties reality, "Questions of Philosophy", 1956, No 4; his, the Value nature of the category of beauty and the etymology of words denoting this category, in Sat: The problem of value in philosophy, M. - L., 1966; Arzamanov F. G., S. I. Taneev - teacher of the course of musical forms, M., 1963; Yu. N. Tyulin (and others), Musical Form, Moscow, 1965, 1974; Losev A. F., Shestakov V. P., History of aesthetic categories, M., 1965; Tarakanov M. E., New images, new means, "SM", 1966, No 1-2; his, New life of the old form, "SM", 1968, No 6; Stolovich L., Goldentricht S., Beautiful, in ed.: Philosophical Encyclopedia, vol. 4, M., 1967; Mazel L. A., Zukkerman V. 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2. Development and form

In some topics, we found signs of development. But the real, great development begins after the presentation of the topic. In development, a theme or its individual fragments may be repeated, but always with changes. Sometimes these changes are so significant that they give rise to a completely different musical image, but even in it you can recognize the intonations of the theme. You just got acquainted with the gentle, melodious and very light theme of Tchaikovsky. And then, in the middle of this part of the Sixth Symphony, a tragedy unfolds, and here is one of the climaxes of this tragedy. Trumpets play the main melody at the limit of their volume:

Allegro vivo = 144

But listen to the melody: this is a development of the sequence from the second half of the theme.

As you probably already understood, there are special techniques for development. They can also be called methods or methods. Basic tricks variational development And sequence.

You already know the sequence. You can also add that there are sequences accurate And imprecise, and ascending And descending. And each carrying out of a repeating motif is called sequence link. And the sequence has step.

In the first sentence of Polka from Tchaikovsky's "Children's Album" there are two sequences at once. In the first of them, the second link is a second higher than the first, which means that it is ascending, with a second step. And all the intervals of the first link are exactly transposed in the second one a tone higher, which means that it is accurate. In the next sequence, the second link is lower it is descending. And the jump by a minor sixth in the first link turned into a jump by a perfect fifth in the second, and the sequence turned out to be inaccurate.

Moderate (polka tempo)

Sometimes in imprecise sequences, like here, you can't define a step. Look: the first sound is shifted by a minor third, and the rest by a major second. Music is not just about math and often throws things out.

Now let's train ourselves. These are blanks for homework. Copy them into your music books, and fill in the empty bars with sequences own composition. The direction is indicated. In the first example, rhythm is suggested (empty stems without heads). Invent accuracy-inaccuracy and step as you like, but then determine what you got.

Examples 9a, b

Rising sequence (D major)

Descending sequence (D minor)

The changes in the second phrase of the theme of Tchaikovsky's Sixth Symphony can be called variational. But, I repeat, development within the theme itself is still “fake” development. And what appeared in the middle of the part is already a real variational development. Form variations is entirely based on variational development. But not every variational development variations. We'll talk about this in more detail a little later.

There are other ways to develop. In the third grade, we talked about the polyphonic warehouse and tried to sing with the canon "There was a birch in the field." The canon uses a technique called imitation.

IN polyphonic music imitation is one of the main methods of development.

In the middle polyphonic works sequences are often imitated. Such an approach is called canonical sequence.

How long can a topic be developed? If a composer has enough imagination, he can develop it endlessly. But no one can listen to this kind of music, and no one wants to. To make music easy and interesting to listen to, it needs a form.

When you were sorting out your program by specialty, you might have noticed that most plays consist of a few relatively complete pieces. Such pieces are called sections, which make up musical form.

The form is formed as a result development of musical material. What is development and how it happens, you have learned. Now it remains to find out how musical forms are arranged, and try to compose small musical examples of these forms ourselves.

The smallest musical form already familiar to you period. You can find many miniatures that are written in the form of a period. But more often the form of a musical work consists of several periods. Simple two-part of two, and simple three-part out of three. There are also complex shapes, each section of which consists of several periods.

All these forms both simple and complex are used in miniatures. And in major works different forms are used. variations, rondo, sonata And rondo-sonata forms. You will also get to know the variations and rondo very soon. A with sonata form and its variety rondo sonata you will meet in a year, getting acquainted with the sonatas and symphonies of J. Haydn.

In order not to get confused, study the following plate. It contains all the forms you need to know about.

In our traditional questionnaire, you will see a new icon. All creative writing assignments will now be marked with this icon.