Период и изречение в музикологичната категориална системност – проблеми, възгледи и динамика в историческото време
Period and Sentence in the Musicological Categorial Systematicity: Problems, Views and Dynamics in Historical Time

Summary/Abstract: This article raises the problem of the status and functionality of the “period” in musical form-making. Some terminological approaches to this term have been traced since it was first coined (musically and theoretically) in the mid-eighteenth century up to the present day. Its logical connection with speech and, more specifically, rhetoric has also been considered. The terminological multiplicity resulting from language differences in individual national theoretical schools has been highlighted by identifying the syntactic elements constituting the period. Further, the terms functioning in Bulgarian music theory have been semantically compared with their respective equivalents in German, English and Russian. The hierarchical and functional Satz–sentence relationship has been dealt with. In this context, there is an accentuation on the polysemy of “Satz” denoting through the respective prefixes (Vorder-; Nach-) both 1) the relatively completed syntactic units within the period and 2) a structure commensurable in scale with the period and just like it performing an expositional function, but which is not periodic from a large-scale thematic viewpoint. On the basis of the traced methodological and classificatory approaches by authoritative authors in this problem area, two main establishing and co-existing types of thematic and functional differentiation between the expositional structures have been outlined: that of periods with (non-)repeated structures and the partially equivalent Satz–sentence based on the development of Arnold Schönberg and William Caplin’s theory of formal functions and Wilhelm Fischer’s idea of the opposition between the two common melodic constructions of the Baroque idiom: song-dancing symmetric Liedtypus and prosaic asymmetric Fortspinnungstypus.

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