WITH REGARD TO AN INSTRUCTION ON A TOPIC «COMPLEX BINARY FORM» WITHIN THE «MUSICAL WORKS ANALYSIS» COURSE

Abstract

The article deals with arelevant issues of instructing the topic «Complex Binary Form», which is read within «Musical Works Analysis» lecture coursein the higher educational institutions of Ukraine of III – IV levels of accreditation. Given that this is one of the most complex form in the structure of the course, it is attributed to the understudied ones, although quite branched by the number of varieties. The investigations poses a question of the form definition, genesis, morphology, scope of application in the genres of vocal and instrumental music. Its structural specificity and semantic-shaped content are covered in the works by V. A. Mozart, L. van Beethoven, F. Chopin, K. Debussy, S. Rachmaninov, and others. The links identified with Neo-Baroque and Neoclassical Stylistics, as well as multi-style editing, which was formed within the aesthetics of modernism. Based on a study of genetic origins of a complex binary form and structurally-semantic analysis of the professional music works in different genres by the composers of the XVIII–XX centuries, written in this form, it became possible to substantiate its unique specificity and special role in the music of the New and Newest times. The article deals with two basic varieties of the complex binary form – repetition and non-repetition. The first variety usually includes works of vocal music, when the final function is performed either by the last verse («Adelaide» by L. van Beethoven), or by a synthetic repetition. The second one consists of the complex binary forms with a coda, existing either with contrasting, based on a completely new thematic material (Nocturne Op 32 No. 1, F. Chopin), or with a synthetic coda (Minstrelie by K. Debussy, Etude-picture No. 4, Op. 39 S. Rachmaninov, in the last play – with the signs of an old binary form). Modern composers use such forms extremely rare.