Determining the boundaries of a motivic structure using the example of analyzing the initial motive of Tchaikovsky's Chanson Triste

Öz

Music theory characterizes a motive as the piece’s smallest structure, which has a certain volume, composition, and functions. As follows from the theoretical formulations, a motive should consist of a characteristic intonation figure, which has one strong beat. It follows from this that the volume of a motive is approximately one measure, with its strong beat coinciding with the strong beat of the motive. Therefore, a motive is often called a one-measure structure. Such a motive is considered to be the norm. However, in musical literature there are many examples that do not fit this standard. Among them are both motives that make up structures smaller than a measure (for example, frequently encountered iambic motives of two sounds), and motives that exceed one measure. The initial motive of Tchaikovsky's Chanson Triste, which is studied in this work, belongs to them. In terms of its composition and volume, it is a non-normative motive. The article provides an analysis’ example of the piece’s initial motive in order to determine its volume. For this purpose, its metric, rhythmic, melodic, and harmonic structures are analyzed. Also, this motive is considered as a thematic “grain” that gives semantic material for the dramatic development of the entire work. The article provides musical examples of motive formations not only from the specified piece, but also from other works.

Anahtar Kelimeler

• motif
• Chanson Triste
• Tchaikovsky
• müzik analizi
• motifin boyutu

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