With regard to an instruction on a topic «Complex Binary Form» within the «Musical Works Analysis» course

  • Iryna Yaroslavivna Zinkiv Doctor of Art Criticism, Professor, Lviv National Music Academy named after Mykola Lysenko, Lviv (Ukraine)
Keywords: complex binary form, genesis, morphology, varieties, intramusical semantics, multi-styleediting, types and functions of codas.


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.


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How to Cite
Zinkiv, I. Y. (2019). With regard to an instruction on a topic «Complex Binary Form» within the «Musical Works Analysis» course. Scientific Collections of the Lviv National Music Academy Named After MV Lysenko, (44), 30-45. Retrieved from https://muzuniversum.com/index.php/journal/article/view/27
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