152:
53:
303:
1016:
1322:
259:. Schoenberg once said that, "intoxicated by the enthusiasm of having freed music from the shackles of tonality, I had thought to find further liberty of expression. In fact, I … believed that now music could renounce motivic features and remain coherent and comprehensible nevertheless". Examples by Schoenberg include
160:
344:, when the first voice has completed the subject, and the second voice is playing the answer, the first voice usually continues by playing a new theme that is called the 'countersubject'. The countersubject usually contrasts with the subject/answer phrase shape.
161:
220:, may occur. When one of the sections in the exposition of a sonata-form movement consists of several themes or other material, defined by function and (usually) their tonality, rather than by melodic characteristics alone, the term
73:
74:
321:
931:
875:
656:
322:
159:
1341:
113:
A subject may be perceivable as a complete musical expression in itself, separate from the work in which it is found. In contrast to an idea or
1047:
723:
646:
917:
129:
defines a theme (subject) as "ny element, motif, or small musical piece that has given rise to some variation becomes thereby a theme".
151:
282:
72:
865:
824:
803:
786:
766:
758:
685:
798:. London: Faber and Faber; New York: Macmillan Co. Reprinted, London: Faber and Faber, 1961, Westport, CT: Greenwoid Press, 1978.
924:
320:
884:
841:
665:
1040:
1101:
335:
312:
1351:
52:
231:
Music without subjects/themes, or without recognizable, repeating, and developing subjects/themes, is called
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61:
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Since a countersubject may be used both above and below the answer, countersubjects are usually
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819:. London: Faber and Faber; New York: Macmillan Co. Reprinted, New York: Da Capo Press, 1992.
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describes thematic relations as "associational" and thus outside his cognitive-based
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1201:
1196:
1086:
985:
753:, translated by Caroline Abbate . Princeton: Princeton University Press.
208:
In some compositions, a principal subject is announced and then a second
359:. It is not usually regarded as an essential feature of fugue, however.
1236:
403:
1181:
291:
240:
209:
90:
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590:
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975:
445:
443:
341:
316:, Book I, BWV 847, showing the subject, answer, and countersubject
301:
182:
150:
98:
82:
51:
1241:
1029:
913:
695:
Une nouvelle grammaire musicale: prémices et premiers essais
680:, edited by Alison Latham. Oxford: Oxford University Press.
140:
have created analysis from a purely thematic perspective.
37:"Main theme" redirects here. For the Pink Floyd song, see
902:(1992)."Cognitive Constraints on Compositional Systems".
860:, translated by Leo Black, 88. London: Faber and Faber.
699:
A New
Musical Grammar: Principles and Early Experiments
854:
Style and Idea: Selected
Writings of Arnold Schoenberg
779:
The
Harvard Concise Dictionary of Music and Musicians
347:
In a fugue, a countersubject is "the continuation of
155:
First theme of Mozart's Sonata in C major, K. 309, I.
355:
that began with the subject", occurring against the
193:
of a fugue, the principal theme (usually called the
362:The typical fugue opening resembles the following:
265:. Examples in the works of later composers include
637:Benward, Bruce, and Marilyn Nadine Saker (2009).
620:
596:
581:
449:
751:Music and Discourse: Toward a Semiology of Music
718:. Oxford and New York: Oxford University Press.
177:, while music based on several themes is called
876:The New Grove Dictionary of Music and Musicians
834:The New Grove Dictionary of Music and Musicians
657:The New Grove Dictionary of Music and Musicians
641:, eighth edition, vol. 2. Boston: McGraw-Hill.
27:Musical melody on which a composition is based
1041:
925:
8:
781:. Cambridge, Massachusetts: Belknap Press.
485:
1048:
1034:
1026:
932:
918:
910:
557:
317:
156:
69:
813:Thematic Patterns in Sonatas of Beethoven
569:
132:Thematic changes and processes are often
873:Walker, Paul M. 2001. "Countersubject".
832:Rushton, Julia (2001). "Subject Group".
173:Music based on a single theme is called
89:is the material, usually a recognizable
738:
545:
521:
461:
439:
737:, 3 vols. Paris: Fasquelle. (Cited in
608:
533:
473:
7:
733:Michel, François (ed). (1958–1961).
509:
497:
197:) is announced successively in each
185:are monothematic and most pieces in
654:Drabkin, William (2001). "Theme".
390:to perfect fourths which required
117:, a subject is usually a complete
97:is based. In forms other than the
25:
1342:Formal sections in music analysis
136:important, and theorists such as
1320:
1014:
887:. London: Macmillan Publishers.
844:. London: Macmillan Publishers.
668:. London: Macmillan Publishers.
310:'s Fugue No. 2 in C minor from
93:, upon which part or all of a
1:
796:The Thematic Process in Music
678:The Oxford Companion to Music
879:, second edition, edited by
836:, second edition, edited by
660:, second edition, edited by
639:Music in Theory and Practice
852:(1975). "My Evolution". In
693:Grondines, Pierre (2000). "
235:. Examples include the pre-
169:In different types of music
101:, this may be known as the
1368:
735:Encyclopédie de la musique
333:
36:
29:
1318:
1067:
1012:
951:
904:Contemporary Music Review
336:Call and response (music)
313:The Well-Tempered Clavier
189:are polythematic. In the
41:. For the main theme of
30:Not to be confused with
429:Thematic transformation
811:Reti, Rudolph (1967).
794:Reti, Rudolph (1951).
712:Lerdahl, Fred (2001).
621:Benward and Saker 2009
597:Benward and Saker 2009
582:Benward and Saker 2009
450:Benward and Saker 2009
326:
165:
148:'s scope of analysis.
127:Encyclopédie Fasquelle
78:
747:Nattiez, Jean-Jacques
386:, all perfect fifths
305:
297:Karlheinz Stockhausen
283:Sonata for Two Pianos
228:) is sometimes used.
212:, sometimes called a
154:
55:
1132:Developing variation
707:6, no. 3 (November).
1292:Thirty-two-bar form
1157:Formula composition
775:Randel, Don Michael
419:Formula composition
60:Sonata in G Major,
850:Schoenberg, Arnold
327:
166:
79:
1329:
1328:
1312:Verse–chorus form
1267:Sonata rondo form
1102:Call and response
1082:Ausmultiplikation
1023:
1022:
725:978-0-19-517829-6
715:Tonal Pitch Space
704:La Scena Musicale
676:(2002). "Theme".
647:978-0-07-310188-0
323:
245:Arnold Schoenberg
201:– sometimes in a
162:
146:generative theory
75:
16:(Redirected from
1359:
1324:
1297:Through-composed
1050:
1043:
1036:
1027:
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934:
927:
920:
911:
906:6, no. 2:97–121.
888:
869:
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790:
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729:
708:
689:
674:Dunsby, Jonathan
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489:
486:Michel 1958–1961
483:
477:
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325:
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287:Karel Goeyvaerts
164:
163:
77:
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21:
1367:
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1361:
1360:
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1357:
1356:
1352:Polyphonic form
1332:
1331:
1330:
1325:
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1054:
1024:
1019:
1010:
966:English cadence
947:
938:
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894:Further reading
891:
872:
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558:Schoenberg 1975
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338:
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218:secondary theme
171:
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111:
109:Characteristics
70:
56:First theme of
50:
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28:
23:
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12:
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5:
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1272:Song structure
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1227:Recapitulation
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971:False relation
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777:(ed.) (1999).
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570:Grondines 2000
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436:
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399:
396:
377:Countersubject
369:Answer
366:Soprano voice:
364:
331:
330:Countersubject
328:
214:countersubject
170:
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110:
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26:
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18:Countersubject
14:
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1277:Strophic form
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1006:Voice leading
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916:
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905:
901:
900:Lerdahl, Fred
898:
897:
893:
886:
882:
881:Stanley Sadie
878:
877:
871:
867:
866:0-571-09722-7
863:
859:
858:Leonard Stein
855:
851:
847:
843:
839:
838:Stanley Sadie
835:
830:
826:
825:0-306-79714-3
822:
818:
814:
809:
805:
804:0-8371-9875-5
801:
797:
792:
788:
787:0-674-00978-9
784:
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776:
772:
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767:0-691-02714-5
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759:0-691-09136-6
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706:
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686:0-19-866212-2
683:
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663:
662:Stanley Sadie
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288:
284:
280:
279:Pierre Boulez
276:
275:
270:
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246:
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234:
229:
227:
226:subject group
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153:
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88:
84:
67:
63:
59:
54:
48:
44:
40:
33:
19:
1286:
1282:Ternary form
1167:Introduction
1057:Musical form
995:
941:Counterpoint
903:
885:John Tyrrell
874:
856:, edited by
853:
842:John Tyrrell
833:
817:Deryck Cooke
815:, edited by
812:
795:
778:
750:
739:Nattiez 1990
734:
714:
702:
677:
666:John Tyrrell
655:
638:
629:
628:
616:
604:
577:
565:
553:
546:Rushton 2001
541:
529:
522:Lerdahl 2001
517:
505:
493:
481:
469:
462:Drabkin 2001
457:
381:
376:
374:
371:
368:
365:
361:
349:counterpoint
346:
339:
311:
290:
274:Structures I
272:
268:Polyphonie X
266:
260:
249:Anton Webern
232:
230:
225:
221:
217:
213:
207:
194:
179:polythematic
178:
175:monothematic
174:
172:
142:Fred Lerdahl
138:Rudolph Reti
134:structurally
131:
126:
112:
102:
86:
80:
64:XVI: G1, I,
42:
1262:Sonata form
1222:Post-chorus
1137:Development
1127:Cyclic form
1092:Binary form
1061:development
609:Walker 2001
534:Randel 2002
474:Dunsby 2002
375:Subject
372:Alto voice:
306:Opening of
237:twelve-tone
222:theme group
187:sonata form
95:composition
32:Theme music
1336:Categories
1302:Transition
1232:Repetition
1217:Pre-chorus
1147:Exposition
1117:Conclusion
435:References
392:resolution
384:invertible
334:See also:
257:Alois Hába
253:Alban Berg
203:transposed
191:exposition
39:Main Theme
1307:Variation
1172:Leitmotif
1072:Arch form
981:Imitation
945:polyphony
761:(cloth);
510:Reti 1967
498:Reti 1951
424:Leitmotif
388:inverting
262:Erwartung
243:works of
239:or early
233:athematic
1202:Overture
1197:Ostinato
1192:Movement
1087:Bar form
1077:Argument
986:Ricercar
749:(1990).
398:See also
47:The Lure
43:The Idol
1257:Section
1237:Reprise
996:Subject
630:Sources
623:, 2:51.
599:, 2:50.
404:Attacco
351:in the
195:subject
181:. Most
87:subject
58:Haydn's
1347:Melody
1212:Phrase
1207:Period
1182:Melody
1152:Finale
1097:Bridge
864:
823:
802:
785:
765:
757:
722:
684:
645:
536:, 429.
452:, 136.
414:Figure
357:answer
292:Punkte
289:, and
255:, and
241:atonal
210:melody
205:form.
183:fugues
125:. The
123:period
119:phrase
91:melody
1287:Theme
1252:Rondò
1247:Rondo
1187:Motif
1122:Cycle
1001:Voice
991:Round
976:Fugue
961:Catch
956:Canon
697:" / "
584:, 57.
560:, 88.
353:voice
342:fugue
340:In a
199:voice
115:motif
103:theme
99:fugue
83:music
1242:Riff
1177:Lick
1162:Hook
1142:Drop
1112:Coda
1107:Cell
1059:and
943:and
883:and
862:ISBN
840:and
821:ISBN
800:ISBN
783:ISBN
763:ISBN
755:ISBN
720:ISBN
682:ISBN
664:and
643:ISBN
524:, 5.
409:Cell
308:Bach
271:and
224:(or
85:, a
68:1–12
62:Hob.
45:see
701:".
295:by
285:by
277:by
216:or
121:or
81:In
66:mm.
1338::
741:.)
589:^
442:^
394:.
299:.
281:,
251:,
247:,
105:.
1049:e
1042:t
1035:v
933:e
926:t
919:v
868:.
827:.
806:.
789:.
769:.
728:.
688:.
649:.
611:.
572:.
548:.
512:.
500:.
488:.
476:.
464:.
49:.
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
