|
A musical work is a temporally unfolding process, a
strategic ordering of events that, as a whole, creates
something resembling a drama, a "scenario" of keys and
themes. In analyzing and understanding musical form, we
must be alert to, and comprehend the significance of, a
variety of musical parameters at both the local and global
organizational levels, and must recognize the interdependence
of those levels, i.e. their reciprocal influences.
Musical events are composed of
several basic elements that, in combination, are designed
to fulfill certain musical "functions" in the drama. Before
considering those functions, we will first briefly address
individually a number of basic elements.[1]
Formal Parameters
Cadence
Cadences are local points of articulation where the music
comes to rest, sometimes more conclusively, sometimes less,
depending on the overarching musical flow. They are the
markers that divide a piece into small and large-scale units.
A fuller explanation of cadences is given
elsewhere.
Tonality
Tonality is the network of relationships among pitches
that results in one particular pitch emerging as a central
reference (the key note). Compositions generally include
several related keys which, taken together, sum to a single
key, the tonality of the piece. The form of a composition
is to a large extent defined by its key plan. A fuller
explanation of keys and their significance for musical form
is given elsewhere.
Tempo
Tempo is the speed of the basic pulse ("beat"), the basic
unit of time in a work. Tempo may change during a piece,
and may signal formal divisions.
Meter
Meter is the regular pattern of stressed and unstressed
pulses. The meter may change during a piece and, as with
tempo, may signal formal divisions.
Rhythm
Rhythm is the ever-changing subdivisions of the beat, or
the grouping of several beats into a single, larger unit.
Striking changes in rhythmic groupings may signal
formal divisions.
Texture
We refer to texture when speaking of the rhythmic and
melodic relationships among voices, for example monophonic,
homophonic, heterophonic, polyphonic. Changes in texture
may signal formal divisions.
Density
Density refers to the number of voices active in the texture.
Changes in density may occur with or without changes in
texture, and may signal formal divisions, either together
with or apart from changes in texture.
Timbre
Timbre describes tone color. Different combinations
of instruments produce different timbres, and a single
instrument has varying timbres depending on register
and playing technique. Timbral changes may help in
defining formal divisions.
Register
Register refers to the pitch location (high, medium, low)
in the range of an instrument (including voice). In
connection with other of the basic parameters discussed
here, register may help to define formal divisions.
Dynamics
Dynamics are the varying gradations of volume (loud,
medium, soft) assigned to individual instruments
or groups of instruments in a work. Changes in
dynamics, especially abrupt changes, are often used
to heighten the musical drama, and are often found,
along with changes in other parameters, at formal
divisions.
Motive
A motive is a small musical cell of distinctive melodic
and rhythmic properties, a "motivating idea" out of which
a piece grows. Motivic changes are signal form divisions.
Motive is discussed elsewhere,
in connection with phrase and period.
Formal Functions
The preceding basic elements are
used in combination to create formal functions, phases
of musical activity that fulfill specific roles in an
unfolding musical "discourse." The following paragraphs
address five functions:[2]
- introductory
- expository
- transitional
- developmental
- terminative
Each can be thought of separately, as possessing certain
distinct features, but with the understanding that
functions can overlap and combine, e.g. the developmental
function routinely includes transitions; terminative
functions are generally expository (re-expository, recalling
material presented earlier); an expository function usually
finishes with a terminative section, even though it may not
be definitively terminative, and so forth.
Introductory
Introductory sections initiate the action of
a piece. They are preparatory in that they
generally introduce, if only preliminarily
and incompletely, the thematic material for the
work. In that regard, they are anticipatory,
foreshadowing what is to come. They tend to
make frequent harmonic shifts, working their
way toward a cadence on the dominant.
Expository
Expository sections are declarative. Thematically, expository sections tend to present the melodic material in full, and
phrasing tends to be regular and predictable. Harmonically, expository sections tend to be stable compared
to introductory, transitional, and developmental
sections.
Transitional
Trasitions are modulatory and tend, therefore,
to be harmonically unstable. Transitions lead
into and out of other formal functions and are generally
relatively short in duration, so that the harmonic
instability is limited in scope. Phrasing less regular or irregular, and thematic material
is presented fragmentarilyas the music works its way, orten, toward new
thematic material and, usually, toward a new key.
Developmental
Like transitions, developmental sections are tonally
unstable, but longer in duration. more varied and complex.
Further, they are tonally digressive in that they generally
modulate to and explore several keys. Thematically, they
are exploratory as well, possibly reviewing previously
stated themes, and typically reducing them to motivic
components, somtimes combining, varying, and transforming
the components to produce new thematic entities. Development
occurs primarily in the development section of a work (as in
a sonata or other, related formal type), but can occur
anywhere.
Terminative
Terminative sections are summational, confirmational,
and closural. Melodic and harmonic activity tends
to be simplified compared to what preceded, and
events are repeated for reinforcement and dramatic
effect as a way of bringing a section or work to a
stirring or poignant close.
|