نوع مقاله : مقاله پژوهشی
نویسندگان
1 استادیار گروه موسیقی، دانشکدگان هنرهای زیبا،دانشگاه تهران، تهران، ایران.
2 استادیار گروه نوازندگی سازجهانی، دانشکده موسیقی، دانشگاه هنر ایران،تهران، ایران.
3 کارشناس ارشد آهنگسازی، گروه آهنگسازی، دانشکده موسیقی،دانشگاه هنر ایران، تهران، ایران.
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Form is one of the most important and challenging concepts in music. Music scholars have long offered diverse interpretations and definitions of musical form, but the multiplicity of interpretations can sometimes lead to confusion and impede the attainment of a clear understanding of the structure of musical works. This is partly due to ‘reverse-engineering.’ When a compositional form is created, the composer may or may not be thinking primarily about structure. The aesthetic message is at the forefront of the composer’s creative conscience followed by thematic phrases, the connective bridges, timbres of sound (orchestration) and most importantly artistic satisfaction. Theoreticians get involved with a piece of music after it has been written, hence their point of view is an approximation of the composer’s intent. Over the years, formal structure has become conclusive evidence for formal musical analysis, even though it is in the aftermath of the creative process. This is the main reason why theories and examples are often hindered by exceptions and compromised by unique forms and structures.
Over the years certain various analytical models have been widely accepted in order to highlight or emphasize certain structural elements in musical forms. The most common model is the sonata form which for the most part reflects the structural form of most repertoire from the mid-18th century up to the present. But this model like others, only illuminates specific aspects of a musical structure, while overlooking compositional details that can stand to be further investigated. Therefore, conducting multifarious analyses on one musical structure can reveal more facets and result in a deeper understanding of the work. However, one must be aware that diversity in analytical perspectives can also lead to multiplicity and ambiguity in understanding musical structure, especially in the Romantic period. For this reason, Agawu, based on the archetypal tripartite structure of beginning, middle, and end, has proposed a theory for analyzing the structure of Romantic music. By simplifying the overall viewpoint of a musical form, Agawu allows for multiple persperctives or analysis to co-exist within one oeuvre.
This qualitative research endeavors to apply Agawu's theory to provide a unified formulation of two different analytical approaches to the structure of Mendelssohn's Violin Concerto; a work whose structural innovations have been little studied. In this regard, using a descriptive-analytical method, the structure of the case study was analyzed using both the sonata form and arch form approaches, and it was determined which aspects of the structure were clarified by these approaches. Then, using Agawu's theory based on the two criteria of position and function, the structure of the case study was analyzed, and finally, two other analytical approaches were also formulated under Agawu's tripartite model to achieve a unified understanding of the different analytical models. By using a more general and simplified model, as suggested by Agawu, musicians and theoreticians are not limited to looking at a musical work with just one analysis. By allowing mulitiple perspectives for interpretation and examination, a deeper understanding of the creative process can be achieved.
کلیدواژه‌ها [English]
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