Fortspinnung (English: spinning-forth) is a German term conceived in 1915 [1] to refer to a specific process of development of a musical motif. In this process, the motif is developed into an entire musical structure by using sequences, intervallic changes or simple repetitions. As a principle it exposes a thematic capus (German: Themenkopf) and from there on opens itself to a (mostly) contrapuntal structure, while the reentry of same Themenkopf (often transposed) diverts from the fact that there is no actual closing formula in the Fortspinnungsthema. Thus the Forspinnungsprinzip counters the principle of the German Periode, common to the Wiener Klassik sonata, which is metrically finite (albeit not closing, as such). Everything in the Periode points to a metrically defined point, where its 'end' its 'right border' is expected. This pointing structure is missing, i. e. carefully averted in the Fortspinnung. Thus the Gestalt of the Fortspinnungsthema has a 'rag margin', while the Periode ends more predictably.
It is also possible to use the fortspinnung form term that stands for a structure with three parts:
In Baroque music, melodies and their lyrics were prose. Rather than paired lines they consist of rhetorical sentences or paragraphs consisting of an opening gesture, an amplification (often featuring sequence), and a close (featuring a cadence); in German Vordersatz-Fortspinnung-Epilog. [2] For example:
When I was a child, | [opening gesture] |
| —1 Corinthians 13 |
This developmental process and its resulting musical structure are used mainly in the Baroque period. Here is an example of the fortspinnung process in the first section of the Johann Sebastian Bach Invention No. 4 in D minor (BWV 775): [3]
Play (help·info)Even though it is a Baroque technique, it is also possible to find this process in scores from other composers in different periods, such as Johannes Brahms in the Romantic period:
Play (help·info)Free verse is an open form of poetry, which in its modern form arose through the French vers libre form. It does not use consistent meter patterns, rhyme, or any musical pattern. It thus tends to follow the rhythm of natural speech.
Lyrics are words that make up a song, usually consisting of verses and choruses. The writer of lyrics is a lyricist. The words to an extended musical composition such as an opera are, however, usually known as a "libretto" and their writer, as a "librettist". The meaning of lyrics can either be explicit or implicit. Some lyrics are abstract, almost unintelligible, and, in such cases, their explication emphasizes form, articulation, meter, and symmetry of expression. Rappers can also create lyrics that are meant to be spoken rhythmically rather than sung.
In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a musical composition in classical, Western art, and Western pop music.
Tonality or key: Music which uses the notes of a particular scale is said to be "in the key of" that scale or in the tonality of that scale.
Sonata form is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century.
In music, metre or meter refers to regularly recurring patterns and accents such as bars and beats. Unlike rhythm, metric onsets are not necessarily sounded, but are nevertheless implied by the performer and expected by the listener.
Binary form is a musical form in 2 related sections, both of which are usually repeated. Binary is also a structure used to choreograph dance. In music this is usually performed as A-A-B-B.
In music, an ostinato is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's Boléro and the Carol of the Bells, and popular songs such as Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's theme from Peter Gunn (1959), The Who's "Baba O'Riley" (1971), and The Verve's "Bitter Sweet Symphony" (1997).
In music, modulation is the change from one tonality to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization.
Modulation is the essential part of the art. Without it there is little music, for a piece derives its true beauty not from the large number of fixed modes which it embraces but rather from the subtle fabric of its modulation.
In music, form refers to the structure of a musical composition or performance. In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments, or the way a symphonic piece is orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."
Form refers to the largest shape of the composition. Form in music is the result of the interaction of the four structural elements described above [sound, harmony, melody, rhythm]."
In Western musical theory, a cadence is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs.
Sonata form is one of the most influential ideas in the history of Western classical music. Since the establishment of the practice by composers like C.P.E. Bach, Haydn, Mozart, Beethoven, and Schubert and the codification of this practice into teaching and theory, the practice of writing works in sonata form has changed considerably.
A musicalfigure or figuration is the shortest phrase in music; a short succession of notes, often recurring. It may have melodic pitch, harmonic progression, and rhythmic meter. The 1964 Grove's Dictionary defines the figure as "the exact counterpart of the German 'motiv' and the French 'motif'": it produces a "single complete and distinct impression". To the self-taught Roger Scruton, however, a figure is distinguished from a motif in that a figure is background while a motif is foreground:
A figure resembles a moulding in architecture: it is 'open at both ends', so as to be endlessly repeatable. In hearing a phrase as a figure, rather than a motif, we are at the same time placing it in the background, even if it is ... strong and melodious
The Andalusian cadence is a term adopted from flamenco music for a chord progression comprising four chords descending stepwise – a iv–III–II–I progression with respect to the Phrygian mode or i–VII–VI–V progression with respect to the Aeolian mode(minor). It is otherwise known as the minor descending tetrachord. Traceable back to the Renaissance, its effective sonorities made it one of the most popular progressions in classical music.
Gallus Dressler was a German composer and music theorist who served as Kantor in the church school at Magdeburg. Though a few of his works have remained in the choral repertoire, he is best known for his theoretical writings, especially his Praecepta musicae poeticae, which contains some of the earliest detailed description of the compositional process of the Renaissance motet.
Johann Sebastian Bach composed the church cantata Brich dem Hungrigen dein Brot, BWV 39, in Leipzig and first performed on 23 June 1726, the first Sunday after Trinity that year. Three years earlier, on the first Sunday after Trinity in 1723, Bach had taken office as Thomaskantor and started his first cycle of cantatas for Sundays and Feast Days in the liturgical year. On the first Sunday after Trinity in 1724, he began his second cycle, consisting of chorale cantatas. The cantata Brich dem Hungrigen dein Brot is regarded as part of Bach's third cantata cycle which was written sporadically between 1725 and 1727.
When analysing the regularities and structure of music as well as the processing of music in the brain, certain findings lead to the question of whether music is based on a syntax that could be compared with linguistic syntax. To get closer to this question it is necessary to have a look at the basic aspects of syntax in language, as language unquestionably presents a complex syntactical system. If music has a matchable syntax, noteworthy equivalents to basic aspects of linguistic syntax have to be found in musical structure. By implication the processing of music in comparison to language could also give information about the structure of music.
Musical phrasing is the method by which a musician shapes a sequence of notes in a passage of music to allow expression, much like when speaking English a phrase may be written identically but may be spoken differently, and is named for the interpretation of small units of time known as phrases. A musician accomplishes this by interpreting the music—from memory or sheet music—by altering tone, tempo, dynamics, articulation, inflection, and other characteristics. Phrasing can emphasise a concept in the music or a message in the lyrics, or it can digress from the composer's intention, aspects of which are commonly indicated in musical notation called phrase marks or phrase markings. For example, accelerating the tempo or prolonging a note may add tension.
A phrase is a substantial musical thought, which ends with a musical punctuation called a cadence. Phrases are created in music through an interaction of melody, harmony, and rhythm.
A generative theory of tonal music (GTTM) is a theory of music conceived by American composer and music theorist Fred Lerdahl and American linguist Ray Jackendoff and presented in the 1983 book of the same title. It constitutes a "formal description of the musical intuitions of a listener who is experienced in a musical idiom" with the aim of illuminating the unique human capacity for musical understanding.
The Harpsichord Concerto in A major, BWV 1055, is a concerto for harpsichord and string orchestra by Johann Sebastian Bach. It is the fourth keyboard concerto in Bach's autograph score of c. 1738.
The Sonata for Solo Flute in A minor, Wq.132, H 562, is a sonata for flute, without Basso Continuo or accompanying instruments, composed by Carl Philipp Emanuel Bach. The sonata is considered, along with Telemann's Fantasias for Solo Flute and J. S. Bach's A minor partita, one of the most significant works for unaccompanied flute before the 20th century. It is the sole flute work by Bach that was printed and published during his lifetime. No manuscript of it has been discovered.