Musical form

The musical form of teaching is a branch of music theory and deals with the history and character of mostly Western musical forms. Within the eras of musical forms often experienced many alterations and extensions, so a large number of musical forms (such as the motet ) are only meaningful across time periods illuminated by the musicology.

In addition to the musical genres the morphology examines the basic principles of musical shaping. This includes the representation of the elements of musical forms (which may be, eg, motives ) and the techniques of their processing and combination into larger units of meaning ( such as Phrase, Subject, soggetto ). Examines the emergence of syntax models (eg period, Fort spin -drying type) and in general the possible forms of grouping units of meaning (repetition, variations and contrast formation, development, stringing or irrelevance ). This happens in representations that differentiate historically and in turn reflect the conditions of the different forms and genres.

Thus, the morphology touched with the theory of composition and at the same time provides basic concepts and criteria for the analysis of musical works ready.

The scientific theory of forms of the West is based on documents that are either descriptive, or are themselves notations.

Historical Outline

Middle Ages

In the early Middle Ages, the first such traditions found in Gregorian chant. With the advent of polyphony, such as in the second half of the 12th century, as it has been maintained in the Notre Dame school of Léonin and Pérotin at the church of Notre Dame de Paris, created the Organum and the conductus. Parallel exists to this art musical forms and already a "popular" music in the form of songs of the troubadours, minstrels and Trouvères based mostly on simple song forms. As to be unlisted, but orally transmitted songs they can only be therefore reconstructed today because they were often troping.

During the Ars antiqua the development of the three voices is particularly observed. Here are pastoral and spiritual works as forms; the cantus and tenor, the Discantus joined as the third (top ) vote.

The subsequent Ars nova almost brings forth a wealth of new forms, the most important addition to the traditional Mass, the church music motet. The political Singspiel as a preform of the opera here begins. In addition, the Virelais, the ballad, the Caccia and the Rondo arise; highly mathematical and modern looking building is also the technique of composition developed using modal figurations. The sometimes extreme melismatics of Ars Nova works culminating in the Ars subtilior, a kind Musica riservata that is full of highly segmented, highly complex ornamentation.

Renaissance

The mechanistic worldview in extreme forms of the Ars nova, the Renaissance contrary to human expression, in particular the human voice. This happens especially in the often homophonic forms of madrigal music and drama ( a much later apprehended preform the opera). In addition, a series of musical art dances and refined masques ( Masques ) is emerging, which were also given to secular occasions. As a secret doctrine, only transmitted orally from teacher to student, begins in this period also includes the systematic exploration of expressive phrases in the form of the figure doctrine.

Baroque

The Baroque is a split epoch in which one hand contrapuntal forms such as Trio Sonata and Fugue prevail, on the other hand also lyrical sentiments are expressed, for example, character pieces, fantasies and about 1730 also in works of emotional style. The suite grows from a series of loose dance pieces into a form of zoom. The Toccata is expressed virtuosity. As epoch with great weight on the ornamentation also forms in the Baroque concerto grosso from the concert and the spiritual concert out. Passion Oratorio and contain recitatives and arias. The opera in the true sense arises and is particularly widespread in Italy and Hungary. In particular, the Catholic Church used Baroque music with its splendor as a means of counter-reformation.

Classical

In the classical sonata and symphony developed and with them the sonata form. The emergence of the art song also falls into this era. Indicative of this is the often exclusively used harmonic scheme dominant - tonic (authentic cadence ), as it occurs also in folk songs. Individual full cadences form alternatively the financial statements. Plagal cadences occur hardly. Originally intended as an instrumental practice piece, created the etude, but soon dissolves from this Funktionalistik and grows into a separate musical genre. The opera undergoes a long series of changes and variations. Particularly noteworthy is the classic that it is aware of the first epoch of the history of music of their historicity. This can be seen to decline, particularly in "cite " or " Allusionieren " of music and styles that are not original classic, but in medieval church music as well as music of the Baroque. This concerns in particular of course, the world of forms, such as the experiments of the late Ludwig van Beethoven with the joint or the particularly witty sonatas often underestimated Joseph Haydn. In this respect, a number of works from the classical era is already formally hybrid.

Romantic

In the Romantic era in addition to the symphony developed the symphonic poem. Sonata, song and chamber music continues to be maintained and in some cases extremely extended. The opera is one hand to through-composed form; On the other hand splits from her the operetta from. Nocturnes and arabesques arise from the character piece, which also independently persists and takes place in piano cycles input. The ballet is created. Richard Wagner occurs (a term that refers the dramma in musica of the Renaissance and the Gesamtkunstwerk anpeilt ) with his music dramas in appearance. The idea of the Gesamtkunstwerk plays ever in the late Romantic period a major role, is thought in the already on the technical extension of music through light organs and smell organs. Ever exists especially from the middle and in the late romantic, interest in non-European music that is gaining influence by world exhibitions and research trips. The musical Impressionism about how he is exposed by Claude Debussy, is unthinkable without these influences. Other composers in turn set their priorities ethno music.

Modern

The 20th century and the modern ( as "classical modernity" in works before 1945 ) into the art music produced many new shapes and styles. After an early expressionist phase Neoclassicism and Dodecaphony dominate; after the Second World War caused serialism and aleatoric. Regarding the morphology of the 20th century, as often is the structure in the foreground; the classical forms of music meet only in individual cases, the full formal classification systems, since the various structural systems have often been even dictate the form. Thus, the forms of the 20th century, as in the classical era, often also hybrid.

In addition, a number of novel instruments stems; these are either curious or individual pieces come from the technical world. The consideration of a musical instrument as a machine and therefore a machine as a musical instrument bring forth Futurism and brutism. The elimination of the electronic musical instruments of pure laboratory equipment begins at this time. Notably maintains that modern composers especially with an increasing industrialization of music by record companies often way beyond the major consumption flows tread and look for new, more open ways of listening. The music academic universities remains the access to this world of thought usually locked, but is remarkable that even the relatively early works of contemporary music are picked up and referenced from the mid-1980s on a large scale by many underground musicians, reflecting alertness and openness. The computer music plays at the beginning of the 21st century already an important role. The history of popular music and jazz form their own historical strands, which, although they have produced their own forms, form numerous points of contact with the music of modernity.

Alphabetical list of musical genres and forms

• Arie - Variants: Early opera aria da capo aria, cavatina, rondo aria
• Character piece (also: lyrical piece, genre pieces)
• Choral - Variants: Accentus, Concentus
• Kanon - Variants: Strict canon, canon circle, spiral canon, riddle canon, canon of proportions
• Cantata - Variants: Italian cantata, German cantata
• Concert - Variants: vocal concert, concerto, solo concert, Double Concerto, Triple Concerto, Sinfonia Concertante, Concerto for Orchestra
• Song - Variants: art song, folk song, tenor song, chanson, Vaudeville, Air, serenade
• Madrigal - Variants: Trecento - Madrigal, Solo Madrigal, Madrigal Konzertantes
• Fair - Variants: Gregorian chant, Requiem
• Motet - Variants: Liedmotette, Anthem, Durchimitierte motet, Chormotette and Others
• Opera - Variants: opera seria, opera buffa and comic opera, grand opera, operetta
• Oratory
• Overture - Variants: Sinfonia, canzoni Overture, French Overture, Neapolitan opera sinfonia, Classical Overture, Overture program, concert overture, drama Overture, Potpourri, Free opera prelude
• Passion - Variants: motet Passion, responsorial Passion, Passion Oratorio
• Prelude
• Program Music - Variants: Tonsymbolische seal, Symphonic Poem
• Recitative - Variants: secco recitative, accompanied recitative
• Serenade - Variants: Serenata, Divertimento, Nocturne, Cassation, Serenade Instrumental
• Sonata - Variants: Early Sonata, Sonata Classical, Baroque sonatas, chamber sonata, Church Sonata, Trio Sonata, Sonatina
• Suite - Sonata da camera, Variation Suite, Piano Suite, Suite Overtures, Ballet Suite, Dance Suite
• Symphony - Preclassic Sinfonia, Classical Symphony, post-classical symphony
• Dance - Variants: Pavane, Galliard, Allemande, Courante, Chaconne, Bourrée, Sarabande, Gavotte, Siciliano, Gigue, Minuet, Polonaise, national dance (eg Czardas ( Czardas ), Bolero, Habanera, Tango, Landler, gallop, Cavalcade, Can Can, and others)
• Variation

Genus and shape are two often overlapping definitions, which are also often used interchangeably.

• Genera determined in the genus teaching according to the criteria occupation, text, function venue and sentence structure.
• Common forms are, for example, song form and rondo form.

Are further criteria for the systematic classification of music

• Periods such as the Renaissance ( Renaissance music) Baroque (Baroque music), classical, impressionism and so on and
• Styles - see styles of music, style customer

Systematic approach Outline

• Music for the Stage

• Orchestra music

• Chamber Music

• Vocal music ( secular music or church music )

• Dance music

• Piano music