Common music works are: one-paragraph, two-paragraph (with and without reproduction), three-paragraph, complex trilogy, variation, Rondo, sonata and so on. The content of the work analysis includes: melody, rhythm, texture, harmony, counterpoint, mode tonality.
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A musical form composed of a piece of music is called a piece of music. Music bar is the smallest musical unit, which is based on a single theme, expresses a single image and personality, and can express a relatively complete musical idea. The music part also includes: phrases, festivals and music exchanges. Phrases are equivalent to sentences in articles, festivals are equivalent to phrases, and festivals are equivalent to vocabulary. Their secondary relationship is: paragraph-phrase-festival-meeting.
(1) Square structure and symmetrical structure
The complete structure of the box: 2 to the n power, bars and phrases, such as 4-bar phrases, 8-bar phrases, 2-sentence patterns, 4-sentence patterns and so on. On the contrary, it is a non-square structure; Symmetrical structure: the number of bars between phrases in a paragraph is equal, and the number of phrases is even, such as two sentences, four sentences and six sentences.
Note: the segments of a square structure must be symmetrical; Symmetrical structures are not always square. If a piece of music consists of two phrases, and each phrase contains six bars, what is the structure of this piece of music? (a symmetrical non-square structure)
(2) Classification of paragraphs
1, a sentence pattern: this kind of paragraph often adopts the method of extension, and its internal structure is inseparable and continuous.
2. Two sentences: In this passage, if the second phrase repeats the first half of the first phrase or most of its theme materials, it is parallel prose; If the first sentence falls on the half termination of harmony and the next sentence falls on the full termination, it is a paragraph that echoes the relationship between the upper and lower.
3. Three-sentence style: The number of phrases in this structure is odd, which determines the irregularity of its structural form. If the phrase is repeated or changed, it is a repeated paragraph, forming a-A 1-A2 structure; If the tied second sentence leads to the comparative third sentence, an a-a-b structure is formed. It can also be formed by the principle of reproduction, forming a-b-a structure; It can also be formed by contrast principle to form a-b-c structure.
4. Four-sentence style: This is a common article type. This type can often be divided into two blocks, each block contains two phrases, which has typical echo relationship characteristics. Wherein, if the lower sheet starts from the repeated upper sheet, it is a parallel structure; What is not repeated is the comparative structure; Those in the "connection and connection" relationship are the connection and connection structure.
Two-stage body
A musical form composed of two musical works with different contents, which is both comparative and unified, is called two-part body. The two sections of the two-section body respectively represent different levels of music development and different stages of the formation and development of music ideas: the first part is presentation, and the second part is comparison or development. Their functions are different, but their structural status is equally important. They are organically combined into a musical structural style.
Two-segment bodies can be roughly divided into two categories: non-regenerative single two and regenerative single two. Among them, juxtaposition is the most basic structural form.
(a) Reproduction of a single two-part musical form
The first paragraph is generally characterized by peace and stability, and rarely uses expansion means, which is obvious; The general mode and tonality have not changed or changed little; It ends with a convergent terminal, and sometimes ends with a semi-terminal as the first channel, forming an open structure of the channel. The second segment can be divided into two parts: the middle segment and the reproduction segment.
The "middle section" plays a comparative role, introducing new musical materials or changing the instability of a certain factor in the first section, promoting the development of musical emotion and forming contradictions and dramatic conflicts. The "reappearance segment" plays an echo role with the first segment, that is, it introduces the theme material or a phrase of the first segment, and completely ends the cohesion in the main melody.
(b) No more one-part music forms.
There are two kinds of unrepresentative forms: extended form; Parallel type.
The characteristic of non-recurring extension single two lies in the development of a single theme, and there is no new theme. This form is mostly used in the secondary structure of large-scale forms, and this structure is also commonly used in some single-word art songs.
The second paragraph of the acyclic juxtaposition is based on the new theme material, and does not return to the material of the first paragraph, so there is no obvious cyclic sentence. Except for the different materials, the two segments of parallel single two are roughly equal in scale and mostly unified in tonality (or parallel or homology).
Extended data:
Among many factors that make up musical works, musical structure undoubtedly plays a vital role.
It not only unifies all the components of music works into a unified whole in a certain way, but also affects other musical expression elements from different levels, such as the selection and application of music materials, the presentation of music language and so on. Therefore, when analyzing musical works, musical form structure is the key content that needs to be paid attention to.
In the traditional music analysis theory and practice, it is regarded as the starting point of music analysis, that is, the music structure of the whole work is divided first, and then further concrete analysis is carried out on this basis. This is the main reason why the traditional theory of works analysis has long been called "formalism" on a large scale.
Since18th century, composers and music theorists have begun to explore the theory of "formalism", and a large number of theorists such as Koch, Riemann, prout, Tycoos and Steyr have made outstanding contributions in this field, thus making this discipline gradually mature and become an important part of the theory of composition technology.
Baidu Encyclopedia-Music Structure