The Syntactic Organization of the Basso Ostinato Genres in Works for Instrumental Ensembles by Western European Baroque Composers
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Abstract
In this article the semantic organization of the musical text is
studied on the example of analysis of interaction of the upper and
lower thematic processes in Baroque works for ensemble. The
specificity of their vertical and horizontal collateral subordination
is demonstrated in the context of the genres of the passacaglia,
chaconne and ground, which are crucial for the era of the Western
European Baroque, which form a single category of basso ostinato
genres. Definition is given to the participation of the universal
dialogic models of continuo-solo and solo-tutti, which were
formed in Baroque ensemble music. Organization of thematic
strata is examined on the material of the basso ostinato genres
of music for ensembles by composers G.I.-F. Biber, Dietrich
Buxtehude, Antonio Vivaldi and Henry Purcell. These processes
are studied in the context of trio-sonatas, short instrumental
pieces, as well as instrumental intermezzi-ballets, scenes,
introductions or conclusions in operas and incidental music for
theatrical performances. The discrepancy of syntactic caesuras,
asynchronicity of the processes of intonational unfolding of
thematic strata, rhythmic complementarity, imitational roll
calls and list of voices, leveling of cadences, juxtapositions
of segments of texts of different levels of density and timbral
satiety, and many other aspects are revealed. Through careful
study of the interaction of thematic strata, the artistic tendencies
of development and evolution of contrapuntal thematicism that
are most common in instrumental music and specific in ensemble
music are identified.
Keywords: contrapuntal thematicism, ensemble music,
basso ostinato, Western European Baroque
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