Question

翻译关于音乐赏析的急急急

In the 18th century sectional binary form continued to appear in folk music and in chorales (for example in Bach’s chorale no.38, Straf mich nicht in deinem Zorn). It is most commonly found in arias, and may be understood retrospectively as a da capo form that unexpectedly fails to complete itself. This almost always occurs for dramatic reasons, as in Jonathan’s ‘No, no, cruel father, no!’ from Handel’s Saul, where a lamenting first section in B minor is succeeded by a G major Allegro. Both sections are harmonically closed, leaving the larger structure open; AB is clearly a more appropriate designation here. A more complex example is Iole’s aria ‘My father! ah! methinks I see’ from Handel’s Hercules. In the first section, beginning and ending in C minor, Iole relives the killing of her father by Hercules. The relative major is held in reserve for the second section, in which Iole bids her father rest in peace. Rather than finishing in E major, though, the music clouds over into E minor, implying that Iole’s remembrance of the violent death has invaded her thoughts. The close thus reverts to the mode of the first section and creates some sense of rounded shaping to the whole, if in the first instance for dramatic reasons; there are also some subtle thematic recollections from A. Handel therefore manages to give both an informal hint of a da capo in terms of mode and material and a sense of coherence to an unusual sectional binary structure.
Simple binary form was the most common type of continuous binary form used in the Baroque period. It is characterized by a broad continuity of manner, with much freedom of detail, and the second section is often at first only loosely thematically related to the first. In the second half of the Courante from Handel’s Suite no.6 in G minor, for example, references to the material of the A section are sporadic and unsystematic, and although much of the material is new, it is not distinctively so and is similar to the manner of the first part. The two halves are roughly equal in length, creating a large-scale temporal balance that helps secure the coherence of the whole. (This simple continuous binary form is rarely found after the mid-18th century, and it is perhaps for that reason that Schoenberg omitted it from his Fundamentals of Musical Composition, implying that it was no longer of use to the student of tonal music.)
Both these aspects of design were subject to alteration. It became increasingly common during the Baroque era for the second half to relate more precisely to the first. In particular, the listener’s comprehension of the form was aided by a ‘rhyming’ of the outer parts of each half. Thus the second half would often begin with a dominant version of the first half’s opening unit or phrase, either briefly acknowledged or quoted extensively. An inversion of the material was also common, particularly in gigue movements (see, for instance, the Gigue from Bach’s English Suite no.4 in F). In the Allemande from the same work, not only does the material appear in retrograde, but also the hands swap roles, the left hand now taking the melodic lead. This dominant version of material was often used as a springboard to regaining the tonic, albeit often only briefly before the harmony moved further afield.

Answer 1

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