| Revision as of 08:12, 17 March 2006 editHerschelkrustofsky (talk | contribs)2,877 edits copy edit for clarity← Previous edit | Revision as of 09:15, 17 March 2006 edit undoHyacinth (talk | contribs)176,976 edits copy editNext edit → | ||
| Line 1: | Line 1: | ||
| In ] '''musical development''' is a process by which a musical ] is communicated in the course of a ]. It refers to the ] and re] of initial material, and is often contrasted with musical ], which is a slightly different means to the same end. ''Development'' is carried out upon portions of material treated in many ''different'' presentations and combinations at a time, while ''variation'' depends upon ''one'' type of presentation at a time (DeLone et. al. (Eds.), 1975, chap. 1). | |||
| In this process, certain ] ideas which are repeated in different contexts or in altered form so that the mind of the listener consciously or unconsciously compares the various incarnations of these ideas. Listeners may apprehend a "tension between expected and real results" (see ],) which is one "element of surprise" in music. This practice has its roots in ], where a theme or subject might create an initial impression of a pleasing or affective sort, but would go on to further delight the mind as its contrapuntal capabilities are gradually unveiled. | In this process, certain ] ideas which are repeated in different contexts or in altered form so that the mind of the listener consciously or unconsciously compares the various incarnations of these ideas. Listeners may apprehend a "tension between expected and real results" (see ],) which is one "element of surprise" in music. This practice has its roots in ], where a theme or subject might create an initial impression of a pleasing or affective sort, but would go on to further delight the mind as its contrapuntal capabilities are gradually unveiled. | ||
Revision as of 09:15, 17 March 2006
In European classical music musical development is a process by which a musical idea is communicated in the course of a composition. It refers to the transformation and restatement of initial material, and is often contrasted with musical variation, which is a slightly different means to the same end. Development is carried out upon portions of material treated in many different presentations and combinations at a time, while variation depends upon one type of presentation at a time (DeLone et. al. (Eds.), 1975, chap. 1).
In this process, certain germ ideas which are repeated in different contexts or in altered form so that the mind of the listener consciously or unconsciously compares the various incarnations of these ideas. Listeners may apprehend a "tension between expected and real results" (see irony,) which is one "element of surprise" in music. This practice has its roots in counterpoint, where a theme or subject might create an initial impression of a pleasing or affective sort, but would go on to further delight the mind as its contrapuntal capabilities are gradually unveiled.
The musical form which traditionally exploits development to the fullest is the sonata form. In this form there is a section after the exposition and before the recapitulation which is called the development section, where material from the exposition section is developed. In some older texts the development section of a sonata may be referred to as "free fantasia."
References
- DeLone et. al. (Eds.) (1975). Aspects of Twentieth-Century Music. Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0130493465