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In music, ''period'' refers to certain types of recurrence in small-scale formal structure. In twentieth-century music scholarship, the term is usually used as defined by the ''Oxford Companion to Music'': "a period consists of two phrases, antecedent and consequent, each of which begins with the same basic motif." 〔Whittall, Arnold. "(period." ''The Oxford Companion to Music''. ''Oxford Music Online )''. Oxford University Press. Accessed August 4, 2015.〕 Earlier usage varied somewhat, but usually referred to a similar notions of symmetry, recurrence, and closure. The concept of a musical period originates in comparisons between music structure and rhetoric at least as early as the 16th century.〔Ratner, Leonard G. "(Period." ''Grove Music Online''. ''Oxford Music Online )''. Oxford University Press. Accessed April 22, 2015.〕 ==Western art music== In Western art music or Classical music, a period is a group of phrases consisting usually of at least one antecedent phrase and one consequent phrase totaling about 8 measures in length (though this varies depending on meter and tempo). Generally, the antecedent ends in a weaker and the consequent in a stronger cadence; often, the antecedent ends in a half cadence while the consequent ends in an authentic cadence. Frequently, the consequent strongly parallels the antecedent, even sharing most of the material save the final measures. In other cases, the consequent may differ greatly (for example, the period in the beginning of the second movement of the ''Pathetique Sonata''). The 1958 ''Encyclopédie Fasquelle'' defines a ''period'' as follows: *"A complex phrase, in which the various parts are enchained."〔Nattiez, Jean-Jacques (1990). ''Music and Discourse: Toward a Semiology of Music'' (''Musicologie générale et sémiologue'', 1987). Translated by Carolyn Abbate (1990). ISBN 0-691-02714-5.〕 Another definition is as follows: *"In traditional music...a group of bars comprising a natural division of the melody; usually regarded as comprising two or more contrasting or complementary phrases and ending with a cadence." (''Harvard Dictionary of Music'', 1969)〔(1969). ''Harvard Dictionary of Music''. Cited in Nattiez, Jean-Jacques (1990), .〕 And *"A period is a structure of two consecutive phrases, often built of similar or parallel melodic material, in which the first phrase gives the impression of asking a question which is answered by the second phrase."〔 A double period is, "a group of at least four phrases...in which the first two phrases form the antecedent and the third and fourth phrases together form the consequent."〔White (1976), p.46.〕 When analyzing Classical music, contemporary music theorists usually employ a more specific formal definition, such as the following by William Caplin: *"the period is normatively an eight-measure structure divided into two four-measure phrases. () the antecedent phrase of a period begins with a two-measure basic idea. () measures 3-4 of the antecedent phrase bring a 'contrasting idea' that leads to a weak cadence of some kind. () The consequent phrase of the period repeats the antecedent but concludes with a stronger cadence. More specifically, the basic idea 'returns' in measures 5-6 and then leads to a contrasting idea, which may or may not be based on that of the antecedent." 〔Caplin, William (1998). ''Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven'' (1998), p.12. Oxford. ISBN 9780195143997/ISBN 9780195355758.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Period (music)」の詳細全文を読む スポンサード リンク
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