Musical dictionary. Lines of text, rhymes of poetry and lines of music, functions of lines

Abstract on the topic:

Canon (music)

Plan:

1. History
2 Types of canons
- 2.1 Downtime
- 2.2 Interval
- 2.3 Counterpoint derivatives
  - 2.3.1 Appeal
  - 2.3.2 Return movement
- 2.4 Mensural
- 2.5 Infinite
- 2.6 Double and triple
3 Methods of recording a canon

6 Audio fragment

Introduction

This article is about musical significance the word "canon". For other meanings, see the article Canon.

In music canon is a polyphonic work in which the main melody is accompanied by similar ones that enter after a certain period of time after its beginning. The melody that sounds from the very beginning of the canon is called idle time, and the voices entering later - rispostas(sometimes you can find Latin designations dux- "leader" and comes- "satellite"). In this case, the satellites must either exactly match the leader melody (simple canon), or be obtained from it according to some rules given below. The most famous examples canons (for example, "Frère Jacques" - "Brother Jacob") are simple.

1. History

The word "canon", which has many other meanings, came to be used to mean musical form only in the 16th century. The earliest known English canons date from the 13th century. A textbook example of an early canon is a play with the incipit “Sumer is icumen in” (the so-called “Summer Canon”). Canons were actively written during the Ars nova era in Italy and France, especially in the genres of cacci and chas. A famous early example of the cancer canon is the chanson “My end is my beginning” by Guillaume de Machaut. In the polyphonic music of the Franco-Flemish school (1430-1550), the canon received further development, and the now finally known rules for composing canons were formed by the composers of the Roman School. At this time, the form of the canon reached its highest development. Much attention the canon was devoted to Josquin Despres, Johann Ockeghem (who is credited with the 36-voice canon Deo gratias), Pierre de la Rue, Palestrina and others. Later, the canon began to be consulted less and less often (with some notable exceptions, such as J. S. Bach’s “Musical Offering”). Other musicians of the Baroque era (Pachelbel, Telemann, Zelenka) also wrote canons. A certain number of humorous canons were left by W.A. Mozart. In the 20th century, interest in the canon was revived: Anton Webern wrote 5 canons on Latin texts (op.16), using the dodecaphony technique. Examples of canons were also left by Paul Hindemith, Arnold Schoenberg, György Ligeti, Luigi Nono and many others.

Before the fugue was identified as a separate musical form, canons, like other imitative polyphonic works, were often called fugues.

2. Types of canons

Canons are classified according to different parameters: the number of voices, the interval between the first notes of the proposta and risposta, the presence of reversal or return motion of the voices, the time difference between the entry of voices, the accuracy of the repetition of the intervals of the proposta and risposta and the tempos of the risposta.

2.1. Simple

In a simple canon, satellite melodies exactly repeat the main melody in the first voice, perhaps an octave above or below the main voice. An example of such a canon is Frère Jacques.

2.2. Interval

If the risposta does not begin on the same note as the proposta, then the canon is called intervallic. At the same time, the melody of the risposta no longer has to exactly coincide with the proposta: the intervals between two notes of the main melody can be replaced by the same ones (for example, a major second to a minor one). If the melodies in all voices coincide, then the canon is called accurate, if not, then diatonic.

2.3. Counterpoint derivatives

Risposta may not coincide with proposta, but be its contrapuntal derivative.

2.3.1. Appeal

In the inverted canon, companion melodies are inversions of the leader melody. This means that if the main melody jumps, for example, up a fifth, the satellite at the same place jumps down a fifth, and vice versa. If the distances between the notes are exactly preserved, then such a canon is called mirrored.

2.3.2. Return movement

In risposts, a return movement, or rakokhod, can be used, when the main melody is written backwards. Canons that are simultaneously reversed and in a backward movement are sometimes called table canons: it can be played by placing a table between two musicians and laying down the notes of the main melody of the canon (each will read the melody in their own direction).

2.4. Mensural

In the mensural, or proportional, canon, risposta is a proposta extended or compressed in time (that is, played at a different tempo). For example, the risposta melody can be played twice as slow as the proposta (canon per augmentationem) or twice as fast (canon per diminutionem). Technically, the mensural canons are the most difficult to write. Such canons in large quantities wrote during the Renaissance, especially at the end of the 15th and beginning of the 16th centuries; Ockeghem wrote a whole mass ( Missa Prolationum, "Mass of Prolations"), each part of which is a mensural canon.

2.5. Endless

Infinite ( canon perpetuus) is called a canon, the end of which smoothly transitions to the beginning, that is, one that can be played for as long as desired. In this case, the melody at the end can end up in the same key in which it began, or modulate into a different key (spiral canon, per tone) - in this case new round the canon begins in a new key.

2.6. Double and triple

If a canon contains two (or three) independent themes, each of which has satellites, such a canon is called double (respectively, triple).

3. Methods of recording a canon

Composers did not always explicitly list all the voices in the canon. Sometimes one voice was recorded with notes that made it possible to unambiguously restore the entire canon - such a recording is called closed. If only the main melody of the canon is written out without indicating the places and intervals of the entry risposte, then the canon is called mysterious.

Literature

Feininger L.K.J. Die Frühgeschichte des Kanons bis Josquin des Prez (um 1500). Emsdetten, 1937.
Kholopov Yu.N. Canon. Genesis and early stages development // Theoretical observations on the history of music. Moscow: Music, 1978, p. 127-157.

Story

The word "canon", which has many other meanings, began to be used to designate a musical form only in the 16th century. The earliest known English canons date from the 13th century. A textbook example of an early canon is a play with the incipit “Sumer is icumen in” (the so-called “Summer Canon”). Canons were actively written during the Ars nova era in Italy and France, especially in the genres of cacci and chas. A famous early example of the cancer canon is the chanson “My end is my beginning” by Guillaume de Machaut. In the polyphonic music of the Franco-Flemish school (1430-1550), the canon was further developed, and the now definitively known rules for composing canons were formed by the composers of the Roman school. At this time, the form of the canon reached its highest development. Much attention was paid to the canon by Josquin Despres, Johann Ockeghem (who is credited with the 36-voice canon Deo gratias), Pierre de la Rue, Palestrina and others. Later, the canon began to be accessed less and less (with some notable exceptions, such as J. S. Bach’s “Musical Offering”). Other musicians of the Baroque era also wrote canons (Pachelbel, Telemann, Zelenka). W. A. Mozart left a certain number of humorous canons. In the 20th century, interest in the canon was revived: Anton Webern wrote 5 canons on Latin texts (op.16), using the technique of dodecaphony. Arnold Schoenberg, Luigi Dallapiccola (in almost every work), Paul Hindemith, Gyorgy Ligeti, Luigi Nono and many others also left examples of canons.

Interval

Counterpoint derivatives

Risposta may not coincide with proposta, but be its contrapuntal derivative.

Appeal

Return movement

Mensural

In the mensural, or proportional, canon, risposta is a proposta extended or compressed in time (that is, played at a different tempo). For example, the risposta melody can be played twice as slow as the proposta (canon per augmentationem) or twice as fast (canon per diminutionem). Technically, the mensural canons are the most difficult to write. Such canons were written in large numbers during the Renaissance, especially in the late and early 16th centuries; Ockeghem wrote a whole mass ( Missa prolationum, "Mass of Prolations"), each part of which is a mensural canon.

Endless

Double and triple

If a canon contains two (or three) independent themes, each of which has satellites, such a canon is called double (respectively, triple).

Methods of recording a canon

Literature

Feininger L.K.J. Die Frühgeschichte des Kanons bis Josquin des Prez (um 1500). Emsdetten, 1937.
Kholopov Yu. N. Canon. Genesis and early stages of development // Theoretical observations on the history of music. Moscow: Music, 1978, p. 127-157.

Audio fragment

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Story

The word "canon", which has many other meanings, came to be used to designate a musical form only in XVI century. Earliest known English the canons are dated XIII century(For example, "Summer Is Icumen In"- “Summer Canon”); canons were written in large numbers in Italy V XIV century, using the term for them caccia, and also used them in French chansons. During the era of the Franco-Flemish school (1430-1550), the form of the canon developed further, and the finally known rules for composing canons were formed by the composers of the Roman school. At this time, the form of the canon reached its highest development. Much attention was paid to the canon by Josquin Despres, Johann Ockeghem (who is credited with the 36-voice canon Deo gratias), Palestrina and others. Later, the canon began to be accessed less and less (with some significant exceptions, such as “ Musical Offering » J. S. Bach). IN XX century Schoenberg revived interest in the canon using the twelve-tone technique.

Before selection fugues into a separate musical form, canons, like other imitative polyphonic works, were often called fugues.

Types of canons

Canons are classified according to different parameters: number of votes, interval between the first notes of proposta and risposta, the presence of reversal or return movement of voices, the time difference between the entry of voices, the accuracy of the repetition of intervals of proposta by risposta and the tempo of risposta.

Simple

In a simple canon, satellite melodies exactly repeat the main melody in the first voice, perhaps in octave higher or lower than the main voice. An example of such a canon is Frère Jacques.

Interval

Counterpoint derivatives

Risposta may not coincide with proposta, but be its counterpoint derivative.

Appeal

Return movement

Mensural

In the mensural, or proportional, canon, risposta is a proposta extended or compressed in time (that is, played at a different tempo). For example, the risposta melody can be played twice as slow as the proposta (canon per augmentationem) or twice as fast (canon per diminutionem). Technically, the mensural canons are the most difficult to write. Such canons were written in large numbers in Renaissance, especially at the end - beginning XVI centuries; Ockeghem wrote a whole mass (Missa Prolationum), each part of which is a mensural canon.

Endless

Infinite ( canon perpetuus) is called a canon, the end of which smoothly transitions to the beginning, that is, one that can be played for as long as desired. In this case, the melody at the end may be in the same tonality, in which it began, or modulate to a different key (spiral canon, per tone) - in this case, a new round of the canon begins in a new key.

Double and triple

If a canon contains two (or three) independent themes, each of which has satellites, such a canon is called double (respectively, triple).

Methods of recording a canon

Audio fragment

http://www.youtube.com/watch?v=DZHw9uyj81g&NR=1(Classic) http://www.youtube.com/watch?v=TcR9mKKk2UE&feature=related(Rock option)

Links

Anatomy of a canon

Wikimedia Foundation. 2010.

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