Victor_lod Posted June 30, 2020 Share Posted June 30, 2020 Bethoven was a king of the technique of developing a motif, of a small theme of 4 bars, he created long compositions. Schubert, Schumann, franz liszt and many others also created their compositions using the technique of variations of an idea. But my question here, are you know any old and new composers, who work with a melodic line without using motive development? Quote Link to comment Share on other sites More sharing options...
caters Posted June 30, 2020 Share Posted June 30, 2020 No, in fact I would be surprised if any composer does not use motive development at all. There are some composers like Chopin, for whom the motive development is not so obvious and others like Beethoven and Bach for whom the motive/motives is very obvious. Even Debussy uses motives and develops them. 1 Quote Link to comment Share on other sites More sharing options...
Victor_lod Posted June 30, 2020 Author Share Posted June 30, 2020 (edited) 1 hour ago, caters said: No, in fact I would be surprised if any composer does not use motive development at all. There are some composers like Chopin, for whom the motive development is not so obvious and others like Beethoven and Bach for whom the motive/motives is very obvious. Even Debussy uses motives and develops them. In fact, there's a composer who does that, Matt Uelmen, listen to this composition, Diablo 2 - Wilderness there are several sections within the same composition, something like A, B, C, D, E, F, G, etc. Note that none of these sections has a melody / harmony similar to the previous section, each section presents a new harmonic and melodic material. I don’t know the name of this style of structure or composition, but i would like to know! Edited June 30, 2020 by Victor_lod Quote Link to comment Share on other sites More sharing options...
bkho Posted July 1, 2020 Share Posted July 1, 2020 What you are describing is termed through-composed music, particularly common in songs. "Bohemian Rhapsody" by Queen is often cited as a good example of this. 1 Quote Link to comment Share on other sites More sharing options...
Victor_lod Posted July 1, 2020 Author Share Posted July 1, 2020 52 minutes ago, bkho said: What you are describing is termed through-composed music, particularly common in songs. "Bohemian Rhapsody" by Queen is often cited as a good example of this. Thanks for the term name! Is there a composer from the classical or romantic period who composes in this structure? Quote Link to comment Share on other sites More sharing options...
Tónskáld Posted July 1, 2020 Share Posted July 1, 2020 (edited) 6 hours ago, caters said: Even Debussy uses motives and develops them. I'm not sure what that's supposed to mean... does he have a reputation as a non-motivic composer? 1 hour ago, Victor_lod said: Is there a composer from the classical or romantic period who composes in this structure? Lizst was a big fan of through-composing. Many of his piano sonatas are written this way. I don't know of any through-composing composers from the classical period. Edited July 1, 2020 by Tónskáld 1 Quote Link to comment Share on other sites More sharing options...
Quinn Posted July 1, 2020 Share Posted July 1, 2020 (edited) 2 hours ago, Tónskáld said: I'm not sure what that's supposed to mean... does he have a reputation as a non-motivic composer? Lizst was a big fan of through-composing. Many of his piano sonatas are written this way. I don't know of any through-composing composers from the classical period. Possibly Schubert's Erlenkönig. Perhaps there were other songs. Most of my stuff is through-composed. It started, modelled on Villa-Lobos' Quinteto em Forma de Chôros. Now isn't the place for autobiographical stuff but it was the key to escape the attempt of musical education to serialise me so it's been hugely influential. A musical Eureka moment. Motifs may be developed locally within an episode - extending, widening the tessitura; making small variations - and sometimes borrowed by other episodes. But I've written a few pieces that have no melodic development. I don't post them here as they'd receive no comment - which means they're above criticism LOL, but more likely because they don't make classical sense and people think 'what the heck is this!?' Edit: In fact H Villa-Lobos' Nonetto, Impressão rápida de todo o Brasil is another example of his composition in this form. Another composer closer to our times was Elizabeth Lutyens. Edited July 1, 2020 by Quinn because I can. Art. 1 Quote Link to comment Share on other sites More sharing options...
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