ترجیع موسیقائی لایتموتیف

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رده های صفحه: ریچارد واگنرفرم های موسیقایی
قس انگلیسی
A leitmotif ( /ˌlaɪtmoʊˈtiːf/ ) , sometimes written leit - motif, is a musical term ( though occasionally used in theatre or literature ) , referring to a recurring theme, associated with a particular person, place, or idea. It is closely related to the musical idea of idée fixe. The term itself comes from the German Leitmotiv, literally meaning "leading motif", or perhaps more accurately, "guiding motif. "
In particular such a theme should be 'clearly identified so as to retain its identity if modified on subsequent appearances' whether such modification be in terms of rhythm, harmony, orchestration or accompaniment. It may also be 'combined with other leitmotifs to suggest a new dramatic condition' or development. [1] The technique is notably associated with the operas of Richard Wagner, although he was not its originator, and did not employ the word in connection with his work.
Although usually a short melody, it can also be a chord progression or even a simple rhythm. Leitmotifs can help to bind a work together into a coherent whole, and also enable the composer to relate a story without the use of words, or to add an extra level to an already present story.
By extension, the word has also been used to mean any sort of recurring theme, ( whether or not subject to developmental transformation ) in music, literature, or ( metaphorically ) the life of a fictional character or a real person. It is sometimes also used in discussion of other musical genres, such as instrumental pieces, cinema, and video game music, sometimes interchangeably with the more general category of 'theme'. Such usages typically obscure the crucial aspect of a leitmotif, as opposed to the plain musical motif or theme - that it is transformable and recurs in different guises throughout the piece in which it occurs.
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[edit]Classical music
[edit]Early instances in classical music
The use of characteristic, short, recurring motives in orchestral music can be traced back to the late eighteenth century. In French opera of this period ( such as the works of Grétry and Méhul ) , "reminiscence motives" can be identified, which may recur at a significant juncture in the plot to establish an association with earlier events. Their use, however, is not extensive or systematic. The power of the technique was exploited early in the nineteenth century by composers of Romantic opera, such as Carl Maria von Weber, where recurring themes or ideas were sometimes used in association with specific characters ( e. g. Sammael in Der Freischütz is coupled with the chord of a diminished seventh ) . [2] Indeed, the first use of the word "Leitmotif" in print was by the critic Friedrich Wilhelm Jähns in describing Weber's work, although this was not until 1871. [3]
Motives also figured occasionally in purely instrumental music of the romantic period. The related idea of the musical idée fixe was coined by Hector Berlioz in reference to his Symphonie fantastique ( 1830 ) . This purely instrumental, programmatic work ( subtitled 'Episode in the Life of an Artist' ) features a recurring melody representing the object of the artist's obsessive affection and depicting her presence in various real and imagined situations.
[edit]Wagner
The 'Siegfried' leitmotif from Act III of Wagner's opera, the third of his 'Ring' cycle; the theme is broader and more richly orchestrated than its earlier appearances ( see above ) , suggesting the emergence of Siegfried's heroic character
Richard Wagner is the earliest composer most specifically associated with the concept of leitmotif. His cycle of four operas, Der Ring des Nibelungen ( the music for which was written between 1853 and 1869 ) , uses dozens of leitmotifs, often related to specific characters, things, or situations. While some of these leitmotifs occur in only one of the operas, many recur throughout the entire cycle. [4][5]
Wagner had raised the issue of how music could best unite disparate elements of the plot of a music drama in his essay Opera and Drama ( 1851 ) ; the leitmotif technique corresponds to this ideal. [6]
Some controversy surrounded the use of the word in Wagner's own circle: Wagner never authorised the use of the word "leitmotiv", using words such as "Grundthema" ( basic idea ) , or simply "Motiv". His prefer . . .