What works are combined into musical cycles? Abstract: Topic: Cyclic forms. Brief description and main representatives of cultural periods

30.10.2019

Section 2 Genres of choral music

Topics 11 -12 CYCLES IN VOCAL AND CHORAL MUSIC

Composers often combine vocal, choral and instrumental works into cycles. Let us recall Camille Saint-Saëns’ instrumental cycle “Carnival of the Animals.” The music of this work is full of humor, it contains the voices of animals.

The most favorite play of many fans of the work of K, Saint-Saëns is “The Swan”. IN main topic This work, performed by a cello, depicts the graceful movement of a swan on the water.

A vocal cycle is a cycle of romances or songs united by one idea.

Remember which plays from C. Saint-Saëns’ cycle “Carnival of the Animals” you listened to in previous classes. What unites the works of this cycle?

Russian composer Modest Petrovich Mussorgsky created an unsurpassed vocal cycle “Children's”, consisting of seven musical miniatures for performance by one or two vocalists accompanied by piano. Poems for each of these small scenes written by the composer himself.

A miniature is a small piece of music, most often an instrumental piece.

In the first play, entitled “With Nanny,” a child persuades his nanny to tell different stories. The peculiarity of this work is that the composer conveys the boy’s emotional appeal through recitative. In this case, the stressed syllables in the words akh coincide with the melodic leap. Thanks to these musical means, the impression of a child’s living speech is created.

The second work of the cycle - “In the Corner” begins with a “high” emotional note of a nanny who is angry with her pet Mikhasik. Continuous eighth notes are a kind of accompaniment to the vigukuvan: “Oh, you prankster! I unwound the ball and lost the rods! Wow! Got all the hinges down! The stocking is splattered all over with ink!” 3 angles to hear the boy's heart-warming response, embodied in minor intonations with a falling ending. The baby explains to the nanny that it was the kitten who caused the harm, not him.

Cover of printed sheet music for the “Children’s” series. Mussorgsky

Mikhas's speech gradually develops - the dynamics change, the tempo accelerates, the uncertain intonations of justifications develop into the cries of an offended child. In the last four bars, the tempo of the music slows down somewhat - the boy “threatens” the nanny that he will not love her in the future, since she insulted him.

The cycle included the plays “Bug”, “With a Doll”, “Bedtime”, “Sailor the Cat”, “On a Stick”. Others, which the composer played for his friends, have not been preserved in musical form.

In each part, children show their character traits in different ways. life situations. To achieve this, the author harmoniously combines words and music. Thanks to this interaction, each of the musical and poetic plays creates the impression of a holistic and complete work, which has the right to life outside the cycle.

Modest Mussorgsky, “With a Nanny”, “In the Corner” from the vocal cycle “Children’s”.

What was your favorite vocal scene? What musical means does the composer reveal the world of a child? Pay attention to the expressiveness of the vocal melody and its connection with the text. What is the role of instrumental accompaniment in the creation of musical and poetic images?

PORTRAIT OF A COMPOSER

Modest Petrovich Mussorgsky:

“If the sound expression of human thought and feeling in simple speech is faithfully reflected in my music, and such reproduction is musically artistic, then everything is in order!”

Modest Petrovich Mussorgsky (1839-1881) - Russian innovative composer, author opera masterpieces“Boris Godunov” and “Khovanshchina”, whose music is profound national roots. He is also the author of orchestral and chamber instrumental works, romances, the creation of which he relied on folk art. The artist’s works are distinguished by depth, drama and truthfulness of images.

Born in the village. Karevo, Pskov province. He studied and worked in St. Petersburg, served in the military. Professional music education the composer did not receive it and began creating music as an amateur (amateur).

However, he subsequently decided to devote his life to art, leaving the service.

He began his active creative activity in the ranks of the famous national-patriotic circle of Russian composers " Mighty bunch". Material need, however, forced him to work again as an official in various institutions, which distracted him from creativity.

In 1879, together with opera singer Daria Leonova made a concert tour in the cities of Ukraine. Ukrainian motives are reflected in his unfinished opera “Sorochinskaya Fair” based on work of the same name Nikolai Gogol.

Monument to N. Mussorgsky near the music school in Krivoy Rog (Ukraine)

1. What works are combined into musical cycles? What is the basis of the vocal cycle?

2. Give examples of musical ones in the work: instrumental, vocal, written in the form of a cycle.

Musical project. Enter the school library section “Music for Children.” Select pictures about children that can serve as epigraph illustrations for each cycle from your music library. Assignment at will. Create a cycle of several famous songs on a specific topic, give it a name. Consider the construction of the vocal cycle, the development of music according to the chosen plot of the work and the content of the surrounding songs.

Musical cycles include collections of songs or plays, created according to a specific theme or concluded with the authors of fragments of their own operas, ballets, symphonies.

One of the most beloved themes that has always inspired composers to create “magical” music is the holiday of Christmas. Thus, the piano cycle of miniatures to the melody of carols, common in the everyday life of Ukrainians, belongs to the work of Vasily Barvinsky.

Foreign artists did not stand aside either, many of whom presented listeners with joyful moments of Christmas music. For example, British composer Benjamin Britten created a choral cycle of carols that can be heard during the Christmas holidays in concert halls different countries.

I am in the world of music: I perceive, I understand

Benjamin Britten, “Wreath of Carols” or “Wreath of Christmas Carols” for choir, treble soloists and harp (No. 2, 5, 10).

Describe the general mood of the work and individual choral miniatures. What timbre colors does the sound of a harp bring?

PORTRAIT OF A COMPOSER

Benjamin Britten:

“Don’t give up the first time you listen to a new piece and don’t understand it... Remember that music is not entertainment, although that is what light music serves.”

Benjamin Britten (1913-1976) - British pianist, conductor, one of greatest composers XX century, in whose work almost all musical genres are represented.

Born in Suffolk, in the family of a doctor. I discovered as a child musical abilities and began studying music under the guidance of his mother, an amateur pianist and active participant in the local choir. The first small plays inspired by impressions family life, appeared early - at the age of 8. At age 12, Benjamin wrote "Simple Symphony" for string orchestra, and at 16 he entered the Royal College of Music (Conservatory). During his studies, he wrote many choral, symphonic and chamber works, including several children's songs. Since then, the author has constantly turned to music for children.

The young composer got his first job at a film company documentaries, where there was a small instrumental ensemble. Thanks to his work in cinema, Britten learned to write music quickly, even when there was no inspiration, and for various, often not at all poetic, subjects (for example, about the unloading of a ship).

In 1939 p., when the Second World War, Britten went to America. As a response to the tragic events that took place in Europe, the cantata “Ballad of Heroes” arose - dedicated to the fight against fascism in Spain. Three years later, the composer returned to his homeland and settled in the seaside town of Aldbour. There, several operas saw the world, in particular “Peter Grimes”.

The artist also wrote a lot musical works for children and youth. Young spectators themselves take part in the “let’s create an opera” performance.

OH U POLI PLOW ORE

Oh, there's a plow in the field.

Generous evening, good evening,

Good health to good people!

(Repeat after each line.)

There Vasilko walks with a plow.

His mother brings him food.

Ori, son, thuyu nivka.

Yes, and we’ll sow some wheat.

1. Name the vocal-choral cycles known to you and their authors.

2. Remember and explain when during the Christmas and New Year holidays carols are sung, and when šedrivki are performed.

Musical project. Find out what carols and schedrivkas are common in your area. Write down the titles and lyrics of your favorite songs. If possible, record melodies. Together with your parents or adults, create a “Wreath of Carols and Gifts for My Family” or “Christmas Wreath of Songs from My Land.”

Cyclic forms are those that consist of several, usually independent in thematic and formative parts, separated by unregulated pauses that interrupt the flow of musical time (double bar line with a “bold” right line). All cyclic forms embody more diverse and multifaceted content, united by an artistic concept.

Some cyclic forms in the most generalized form embody a worldview concept, the mass, for example, is theocentric, and later the sonata-symphonic cycle is anthropocentric.

The basic principle of the organization of cyclic forms is CONTRAST, THE EXPRESSION OF WHICH IS HISTORICALLY VARIABLE AND AFFECTS DIFFERENT MEANS OF MUSICAL EXPRESSION.

Cyclic forms became widespread in the Baroque era (late 16th - first half of the 18th centuries). They are very diverse: two-part cycles with fugue, concerti grossi, concertos for solo instrument and orchestra, suites, partitas, solo and ensemble sonatas.

The roots of many cyclic forms lie in two types of operatic overtures of the 17th century, the so-called French (Lully) and Italian (A. Stradella, A. Scarlatti), using standardized tempo contrasts. In the French overture, the most significant was the ratio of the first slow section (of a solemn-pathetic nature) and the fast polyphonic second (usually fugue), sometimes ending with a short Adagio (sometimes based on the material of the first section). This type of tempo relationship, when repeated, becomes quite typical for ensemble sonatas and Concerti grossi, usually consisting of 4 movements. In the concerti grossi of Corelli, Vivaldi, and Handel, the function of the introduction is quite clearly expressed in the first movements. It develops not only due to the slow tempo and relatively short length, but also due to the sometimes occurring harmonic openness.

The 6 Brandenburg Concertos of J.S. stand apart. Bach (1721), in which all the first parts are not only written at a fast pace, but are the most developed, extended, determining the further development of the cycles. This function of the first movements (with differences in the internal formation) anticipates the function of the 1st movement in the later sonata-symphonic cycle.

The influence of this type of tempo relationships is somewhat less noticeable in the suites and partitas close to them. In the ratio of the “obligatory” dances there is a repeating and intensifying tempo-rhythmic contrast: a moderately slow two-beat allemande is replaced by a moderately fast three-beat chime, a very slow three-beat sarabande is replaced by a very fast gigue (usually in six, twelve-beat measures, combining two and three beats). These cycles, however, are quite free in the number of parts. Often there are introductory movements (prelude, prelude and fugue, fantasy, sinphony), and between the sarabande and the gigue there were so-called “inserted”, more modern dance(gavotte, minuet, bourre, rigaudon, lure, musette) and arias. Often there were two inserted dances (especially typical for minuets and gavottes), at the end of the second there was an instruction to repeat the first. Bach kept all the “obligatory” dances in his suites, other composers treated them more freely, including only one or two of them.

In partitas, where all the “obligatory” dances are often retained, the genre range of inserted numbers is much wider, for example, rondo, capriccio, burlesque.

In principle, in a suite (row) the dances are equal, there is no functional diversity. However, certain features are beginning to emerge. Thus, the saraband becomes the lyrical center of the suite. It is very different from the restrained, harsh, ponderous and solemn everyday prototype with its sublime tenderness, sophistication, textured grace, and sound in the mid-high register. Often, it is the sarabands that have ornamental doubles, which enhances its function as a lyrical center. In the jig (the most “common” in origin - the dance of English sailors), the fastest in tempo, thanks to its energy, mass character, and active polyphony, the function of the finale is formed.

The tempo relationships of the ITALIAN OVERTURE, which included three sections (extreme - fast, polyphonic, middle - slow, melodious), transform into three-part concerto cycles for a solo instrument (less often, for two or three soloists) with an orchestra. Despite the changes in form, the three-part concert cycle general outline maintained stability from the 17th century to romantic era. The active, competitive nature of the first movements is undoubtedly very close to the classical sonata allegro.

A special place is occupied by two-part cycles with fugue, where the fundamental contrast is in different types musical thinking: more free, improvisational, sometimes more homophonic in the first movements (prelude, toccata, fantasies) and more strictly logically organized in the fugues. Tempo relationships are very diverse and defy typification.

The formation of the sonata-symphonic cycle was significantly influenced by the first parts of concerts for solo instrument and orchestra (future sonata Allegri symphonies), lyrical sarabands of suites (prototypes of symphonic Andanti), active, energetic gigs (prototype of finales). To a certain extent, the symphonies also reveal the influence of the Concerti grossi with their slow initial movements. Many symphonies of the Viennese classics begin with slow introductions of varying lengths (especially Haydn). The influence of the suites is also evident in the presence of a minuet before the finale. But the substantive concept and functional definition of the parts in the sonata-symphonic cycle are different. The content of the suite, which was defined as DIVERSITY OF UNITY, in the sonata-symphonic cycle can be formulated as UNITY OF DIVERSITY. The parts of the sonata-symphonic cycle are much more rigidly functionally coordinated. The genre and semantic roles of the parts reflect the main facets of human existence: action (Homo agens), contemplation, reflection ( Homo sapiens), rest, play (Homo ludens), man in society (Homo communis).

The symphonic cycle has a closed tempo profile based on the principle of JUMP WITH FILLING. The semantic opposition between the Allegri of the first movements and the Andanti is emphasized not only by the sharp tempo relationship, but also, as a rule, by the tonal contrast.

Symphonic and chamber cycles before Beethoven were markedly different from each other. Due to the means of performance (orchestra), the symphony always assumed a kind of “publicity”, akin to theatrical performance. Chamber works are distinguished by great variety and freedom, which brings them closer to narrative works. literary genres(conditionally, of course), to greater personal “intimacy” and lyricism. Quartets are closest to a symphony; other ensembles (trios, quintets of different compositions) are not so numerous and, often, closer to a freer suite, as well as divertissements, serenades and other genres of orchestral music.

Piano and ensemble sonatas usually have 2-3 movements. In the first movements, the sonata form is most common (always in symphonies), but other forms are also found (complex three-part, variations, rondo in Haydn and Mozart, variations in Beethoven, for example).

The main sections of the first movements of the symphonies are always in Allegro tempo. In chamber sonatas, the Allegro tempo designation is also quite common, but more leisurely tempo designations are also found. In solo and chamber sonatas, it is not uncommon to combine functional-genre roles within one movement (lyrical and dance, dance and finale, for example). In terms of content, these cycles are more diverse; they become, as it were, a “laboratory” for further development cycles. For example, the scherzo genre appears for the first time in Haydn’s piano sonatas. Later, the scherzo will become a full-fledged part of the sonata-symphonic cycle, almost replacing the minuet. The scherzo embodies the broader semantic element of play (from everyday playfulness to the play of cosmic forces, as in Beethoven’s Ninth Symphony, for example). If Haydn and Mozart did not have four-movement sonatas, then Beethoven’s early piano sonatas use tempo and genre relationships typical for symphonies.

Further historical development The sonata-symphonic cycle (starting with Beethoven) “branchs” (with common “roots”) into a “traditional” branch, updating the content from the inside and more radical, “innovative”. In the “traditional” one, lyrical, epic images are strengthened, genre detail is often introduced (romance, waltz, elegy, etc.), but the traditional number of parts and semantic roles are preserved. Due to the new content (lyrical, epic), the first parts lose their rapid pace, maintaining the intensity of the procedural unfolding and the significance of the part that determines the entire cycle. Therefore, the scherzo becomes the second part, shifting the general contrast deeper into the cycle, between the slow part (the most personal) and the fast mass finale, which gives the unfolding of the cycle greater aspiration (the relationship between the minuet and the finale, often also dance-like, is more one-dimensional, reducing the attention of the listeners).

In classical symphonies, the first movements are the most typical in terms of form (sonata form and its varieties; the greater variety of forms of the first movements of chamber sonatas was mentioned above). In the minuets and scherzos the complex three-part form decisively predominates (of course, not without exceptions). The slowest movements (simple and complex forms, variations, rondo, sonata in all varieties) and finales (sonata with variations, variations, rondo, rondo sonata, sometimes complex three-movement) are distinguished by the greatest variety of formation.

In French music In the 19th century, a type of three-movement symphony emerged, where the second movements combine the functions of slow (outer sections) and dance-scherzo (middle). Such are the symphonies of David, Lalo, Franck, Bizet.

In the “innovative” branch (once again it is necessary to recall the commonality of the “roots”) the changes are outwardly more noticeable. They often occur under the influence of programming (Beethoven’s Sixth Symphony, “Fantastic”, “Harold in Italy”, Berlioz’s “Mourning and Triumphal” Symphony), unusual performing compositions and ideas (Beethoven’s Ninth Symphony, Mahler’s Second, Third, Fourth Symphonies). There may be “doubling” of parts, in a row or symmetrically (some Mahler symphonies, Tchaikovsky’s Third Symphony, Scriabin’s Second Symphony, some Shostakovich symphonies), a synthesis of different genres (cantata symphony, concert symphony).

By the middle of the 19th century, the sonata-symphonic cycle acquired the significance of the most conceptual genre, causing reverence for itself, which leads to a certain quantitative decrease in sonata-symphonic cycles. But there is another reason associated with romantic aesthetics, which sought to capture the uniqueness of every moment. However, the versatility of being can only be embodied by a cyclic form. This function is successfully fulfilled by the new suite, characterized by extraordinary flexibility and freedom (but not anarchy), capturing contrasts in all the diversity of their manifestations. Quite often, suites are created based on music of other genres (for dramatic performances, opera and ballet, and later based on music for films). The new suites are diverse in terms of performing compositions (orchestral, solo, ensemble), and can be programmatic or non-programmatic. The new suite became widespread in the music of the 19th and 20th centuries. The word “suite” may not be used in the title (“Butterflies”, “Carnival”, Kreisleriana, Fantastic Pieces, Vienna Carnival, Album for Youth and other works by Schumann, Tchaikovsky’s Seasons, Pictures from an Exhibition by Mussorgsky). Many works of miniatures (preludes, mazurkas, nocturnes, etudes) are essentially similar to the new suite.

The new suite gravitates towards two poles - a cycle of miniatures, and a symphony (both Grieg suites from the music to Ibsen's drama Peer Gynt, Scheherazade and Antar by Rimsky-Korsakov, for example).

Close in organization to the new suite are the vocal cycles, both “plot” (“The Beautiful Miller’s Wife” by Schubert, “The Love and Life of a Woman” by Schumann) and generalized ones (“Winter Reise” by Schubert, “The Love of a Poet” by Schumann), as well as choral cycles and some cantatas.

Often in baroque music, as well as in classical and later music, it is not always possible to determine the number of parts, since the attacca stage direction, which occurs quite often, does not interrupt the flow of perceptual musical time. Also, it often happens that music, independent in thematic and, to a large extent, in form, is divided by two subtle bar lines (Sinphony from Bach’s Partita in C minor, Mozart’s Sonata for violin and piano in A minor /K-402/, Fantasia in C minor /K -457/, Beethoven's Sonatas for cello and piano op. 69, op. 102 No. 1 and many other works by different authors), which leads to the formation of individual (free) forms. They can be called contrast-composite (V.V. Protopopov’s term) or continuous-cyclic.

Execution individual parts from cyclic works is allowed, but the cycles as a whole are united by an ARTISTIC CONCEPT, THE IMPLEMENTATION OF WHICH IS CARRIED OUT BY MUSICAL MEANS.

Unity can manifest itself in a general way: through tempo, figurative roll calls of parts, similar harmonic principles, tonal plan, structure, metro-rhythmic organization, intonation connections in all parts and, especially, in the extreme ones. This type of unity is COMMON MUSICAL. IT DEVELOPED IN THE CYCLIC FORMS OF BAROQUE and is a necessary condition for the artistic usefulness of cyclic forms of any era.

But the unity of the cycle can be achieved more clearly and specifically: with the help of end-to-end musical themes, reminiscences or, much less frequently, harbingers. This type of unity arose in the process of development and complexity of forms instrumental music, first appearing in Beethoven (in the Fifth, Ninth Symphonies, some sonatas and quartets). On the one hand, the THEMATIC principle of unity (discussed in detail by M.K. Mikhailov in the article “On the thematic unification of the sonata-symphonic cycle” // Questions of theory and aesthetics of music: issue 2. - M.: S.K., 1963) arises as “ condensation”, concentration of intonation connections; on the other hand, one can detect the influence of program music and, partly, the leitmotif of operatic dramaturgy.

The thematic principle of unity to some extent violates such a feature of cyclic forms as the independence of thematicity of parts, without affecting the independence of form-building (the transfer of themes, as a rule, occurs in unregulated sections of forms - in introductions and codas, mainly). In further historical development, the thematic principle of unity grew into a DEDUCTIVE one, in which the formation of individual parts more directly depends on the general figurative, content and compositional concept of the cycle. The thematic nature of the preceding parts actively influences the formation of subsequent ones, participating in their main sections (in developments, for example), or causes modulation in the form, transformation of the stereotype.

Main literature:

1. Berkov V.S. Sonata form and structure of the sonata-symphonic cycle. M.: Soviet composer, 1961.

2. Bobrovsky V.P. Functional foundations of musical form. M.: Muzyka, 1978.

3. Mazel L.A. The structure of musical works. M.: Muzyka, 1979.

4. Mazel L.A., Tsukkerman V.A. Analysis of musical works. M.: Muzyka, 1967.

5. Sokolov O.V. Morphological system of music and its artistic genres. Nizhny Novgorod, 1994.

6. Sposobin I.V. Musical form. M.: GMI, 1956.

7. Kholopova V.N. Forms of musical works. St. Petersburg: Lan, 1999.

Additional literature:

1. Asafiev B.V. Musical form as a process. L.: Music, 1971.

2. Aranovsky M.G. Symphonic quests. L.: Soviet composer, 1979.

3. Kats B.A. On the delimitation of the variation cycle // Soviet music. – 1974. №2.

4. Kohoutek Ts. Composition technique in the music of the twentieth century. M., 1976.

5. Medushevsky V.V. On the laws and means of the artistic influence of music. M.: Music, 1976.

6. Medushevsky V.V. About musical universals. Composition and dramaturgy / S.S. Skrebkov: Articles and memoirs. M.: Soviet Composer, 1979.

7. Mikhailov M.K. On the thematic unification of the sonata-symphonic cycle // Questions of theory and aesthetics of music. Vol. 2. M.: Soviet Composer, 1963.

8. Nazaykinsky E.V. The logic of musical composition. M.: Muzyka, 1982.

9. Protopopov V.V. Variational processes in musical form. M.: Muzyka, 1967.

10. Rhythm. Space and time in literature and art: Sat. articles - L.: Nauka, 1974.

11. Sokolov O.V. About two basic principles of formation in music. // About music. Problems of analysis. – M.: Soviet Composer, 1974.

12. Feinberg E.L. Art and knowledge // Questions of philosophy. 1967. No. 7.

13. Kholopova V.N. Issues of rhythm in the works of composers of the twentieth century. M.: Muzyka, 1980.

14. Kholopova V.N. Russian national rhythm. M.: Soviet Composer, 1982.

15. Hristov D. Theoretical basis melodica. M.: Muzyka, 1980.

16. Tsukkerman V.A. Analysis of musical works. General principles shaping. Simple forms. M.: Muzyka, 1980.

17. Tsukkerman V.A. Analysis of musical works. Complex shapes. M.: Muzyka, 1983.

18. Tsukkerman V.A. Analysis of musical works. Variation form. M.: Muzyka, 1974.

19. Tsukkerman V.A. Analysis of musical works. Rondo in its historical development. Parts 1, 2. M.: Muzyka, 1988.

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Cycle "prelude-fugue"

The two-part cycle “prelude-fugue” has been known since Baroque times. It involves the functionalization of the prelude as an improvisational introduction to a fugue.

Prelude-fugue cycles can be combined into larger cycles based on some formal or thematic principle. Most famous example- “The Well-Tempered Clavier” by J. S. Bach, built on the principle of a certain alternation of mode-tone correspondences. An example from the music of the 20th century is “24 Preludes and Fugues” by D. D. Shostakovich.

Suite cycle

In the 20th century, the genre of the suite was significantly rethought, new techniques were applied to it (such as, for example, the dodecaphonic orchestral suites of A. Schoenberg and A. Berg), covered new material(for example, in P. Hindemith’s suite “1922”, fashionable dances of the corresponding time were used: shimmy, boston, ragtime).

Some works of non-academic music (mainly progressive rock) also gravitate towards the suite form. Examples include "Lizard" from the album of the same name by the rock band King Crimson and "Atom Heart Mother" from the album of the same name by Pink Floyd. However, “rock suites” are also often called compositions that gravitate more towards free and mixed forms (in traditional musical theoretical terminology).

Sonata-symphonic cycle

The sonata-symphonic cycle includes the most abstract genres of academic music, such as symphony, sonata, quartet, concerto. It is characterized by:

abstraction from the applied nature of music (even if applied material is used as the material for any part);
the possibility of figurative and semantic contrasts between individual parts (up to their direct opposition);
complex tonal development;
established functions and forms of individual parts (characteristic of certain genres of sonata-symphonic music).

The classical sonata was formed during the 18th century, reached the pinnacle of development in the Viennese classics and remains, with some reservations, a living genre. The symphony as a genre was formed in the middle of the 18th century, it also reached its peak of development in the Viennese classics and remains a living genre of academic music. (The symphonic form should not be confused with symphonism, which may also be characteristic of works not related to this form). The quartet took the form of a sonata cycle in the work of J. Haydn and further developed in the work of the Viennese classics. In the second half of the 20th century, leitmotif and monothematic principles became characteristic of many works of this genre. Concert as a type of sonata-symphonic cyclic work, which is characterized by contrasting sounds full composition ensemble and individual groups or soloists, formed in its now known form by the end of the 18th century.)))))))

Free and mixed forms

A musical work may consist of parts united according to a principle different from those of the listed genres, and yet still have a cyclical character to one degree or another. These are many genres of applied sacred music (mass, spiritual concert, all-night vigil), cantatas, vocal and vocal-choral cycles (plot and lyrical).

Large cycles

Sources

G. V. Zhdanova. “Symphony” // Musical encyclopedic dictionary. M.: " Soviet encyclopedia", 1990, pp. 499.
Yu. I. Neklyudov. “Suite” // Musical encyclopedic Dictionary. M.: “Soviet Encyclopedia”, 1990, pp. 529-530.
V. P. Fraenov. " Cyclic forms» // Musical encyclopedic dictionary. M.: “Soviet Encyclopedia”, 1990, p. 615.
V. P. Chinaev. “Sonata” // Musical encyclopedic dictionary. M.: “Soviet Encyclopedia”, 1990, pp. 513-514.