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its second part this material is subjected to "reduction" or "condensation" with the intention of bringing the statement to a properly "liquidated" state and cadential conclusion. The sentence was one of a number of basic form-types
Schoenberg described through analysis; another was the period. In Schoenberg's view, "the sentence is a higher form of construction than the period. It not only makes a statement of an idea, but at once starts a kind of development".
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applied the term "sentence" to a very specific structural type distinct from the antecedent-consequent period. In a sentence's first part, a statement of a "basic motive" is followed by a "complementary repetition" (e.g. the first, "tonic version", of the shape reappears in a "dominant version"); in
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defines a musical sentence as "the smallest period in a musical composition that can give in any sense the impression of a complete statement." It "may be defined as a period containing two or more phrases, and most frequently ending with some form of perfect
73:." Among the simplest examples he gives are what he calls "duple sentences" -- themes (from Mozart's D major Piano Sonata and Beethoven's Third Piano Concerto) in which we find pairs of "balanced" phrases (four-bar "announcing phrase" ending in
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Schoenberg's conception of the sentence has been widely adopted in music theory, and appears in many introductory music theory textbooks. While
Schoenberg's conception of the sentence is traditionally used in analysis of music from the
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Since the word "sentence" is borrowed from the study of (verbal) grammar—where its accepted meaning is one that does not admit of straightforward application to musical structures—its use in
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has frequently been metaphorical. Especially before the latter half of the twentieth century, different musicians and theorists employ and define the term in different ways. For example,
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states that the term "sentence" "has much the same meaning as 'period', though it lacks the flexibility of the latter term."
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The first few measures of
Beethoven's Piano Sonata in F minor are a classic example of a musical sentence.
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have used the term to refer to a specific theme-type involving repetition and development.
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Form in Music: With
Special Reference to the Designs of Instrumental Music
48:. In the last fifty years, an increasing number of theorists such as
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Schoenberg, Arnold (1967). "Fundamentals of Music
Composition".
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Aldwell, Edward, Carl
Schachter, and Allen Cadwallader (2011).
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Analyzing
Classical Form: An Approach for the Classroom
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Sentence as a specific form-type: Schoenberg tradition
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Musical
Phrases Unleashed: Basic Ideas and Sentences
44:. The term is usually encountered in discussions of
297:, 1987). Translated by Carolyn Abbate (1990).
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318:Classical Form: A theory of Formal Functions
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359:Formal sections in music analysis
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