2 edition of Tonal and rhythmic aspects of musical climax in selected Chopin preludes found in the catalog.
Tonal and rhythmic aspects of musical climax in selected Chopin preludes
Garth J. Houde
Written in English
|Statement||by Garth J. Houde.|
|Series||[Master"s theses / University Center at Binghamton, State University of New York -- no. 1176], Master"s theses (State University of New York at Binghamton) -- no. 1176.|
|The Physical Object|
|Pagination||46 leaves :|
|Number of Pages||46|
Cognitive Foundations of Musical Pitch Carol L. Krumhansl This book addresses the central problem of music cognition: how listeners' responses move beyond mere registration of auditory events to include the organization, interpretation, and remembrance of these events in terms of their function in a musical context of pitch and :// “This book of preludes cd by Barry Michael Wehrli is a wonderful collection of miniatures that explore a lot of different musical styles and sound worlds. I was struck by the often “stream-of consciousness” approach. Sometimes phrases fit neatly into
The rhythmic aspects of three particular etudes from Book I, Desordre (no. 1), Arc-en-ciel (no. 4), and Automne a Varsovie (no. 6), can be used to demonstrate these influences. Desordre (Disorder) is the first etude of the set and probably the one most often analyzed Ligeti eloquently describes the way a listener perceives the events of this with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19 th-century Romanticism; however, his compositional style changed during his late period (after ), presenting a unique use of ://
The skazki (fairy tales) of Nikolai Medtner: The evolution and characteristics of the genre with compositional and performance aspects of selected fairy tales. Doctor of Musical Arts (Performance), August, , 56 pp., 50 figures, references, 23 ://://metadc/m2/1/high_res_d/ Having focused on specific performance features in the previous chapter, I now turn to global matters in relation to specific moments of particular movements and increasingly enlist Deleuzian terms and thinking.1 First I look for differences within the loose boundaries of MSP and HIP and then across multiple recordings of the same violinists. This is followed by a comparative exploration of
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In Interpreting Chopin Alison Hood brings her experience as a performer to bear on contemporary analytical models. She combines significant aspects of current analytical approaches and applies that unique synthetic method to selected works by Chopin, casting new light on the composer's preludes, nocturnes and :// The School of Music, Theatre & Dance (SMTD) is a highly selective professional school encompassing programs in music, dance, theatre, and musical theatre.
We look forward to talking with you about the range of our programs, our outstanding faculty, and the vast resources and opportunities available through the greater University of Michigan This book contains detailed documentary and analytics studies of the music of Chopin, representing the most recent research of leading scholars in the field.
The first three essays are concerned with the composer's intentions as revealed in autograph sources. The next group of four essays deal analytically with different aspects of Chopin's musical language, ranging from large-scale tonal ?id=jUs9AAAAIAAJ.
This paper focuses on Chopin’s Prelude in G minor, op. 28, no. 22, which derives its passionate character from its particularly individual treatment of tonal and rhythmic ://'Ambiguity_of_Tonal_Meaning_in.
The study concentrates on average tempo profiles across thirty recordings of Chopin's Preludes op. 28 nos. 1 (C major) and 3 (G major) and sixty-four recordings of no.
6 (B minor). In Interpreting Chopin Alison Hood brings her experience as a performer to bear on contemporary analytical models. She combines significant aspects of current analytical approaches and applies that unique synthetic method to selected works by Chopin, casting new light on the composer’s preludes, nocturnes and :// The theory, which is illustrated with numerous examples from Western classical music, relates the aural surface of a piece to the musical structure unconsciously inferred by the experienced listener.
From the viewpoint of traditional music theory, it offers many innovations in notation as well as in the substance of rhythmic and reductional :// 3 Henceforth, we will use Chopin’s Preludes to refer to Chopin’s Preludes op.
28, Bach’s Preludes to refer to the preludes of the Well-Tempered Clavier, book 1, and Bach’s Fugues to refer to the fugues from the Well-Tempered Clavier, book 1.
4 Palmer refers to these tempo markings as the “Kohler tempos.” These analyses show that Chopin was concerned with transforming the Mazurka, which tended to fall into discrete units, into a fluid form that can even suggest narrative elements. Rob C. Keller (Louisiana State Univ.), “Interpreting Musical Symbols in Schubert’s Death and the Maiden, D.
” Through patterns of half-step resolutions or rhythmic placement, the passage highlights the tonal centers of the four episodes: D, G, C, and A. The final E -flat in m. 25 functions as it did in m. 4, as an upper neighbor to and harbinger of the return of D, as Long regarded as one of the world's premiere schools of music, the Eastman School of Music offers a uniquely inspiring array of artistic, scholarly, and creative opportunities.
Situated in the heart of downtown Rochester, the home of the world-renowned Rochester Philharmonic, Eastman's stellar faculty, enduring legacy and entrepreneurial edge place our students at the spark point where great Get this from a library.
Interpreting Chopin: Analysis and Performance. [Alison Hood] -- Alison Hood combines significant aspects of current analytical approaches and applies that unique synthetic method to selected works by Chopin.
The specific combination of five aspects distinguishes The book ncludes chapters on writing descants, harmonization, arranging, writing chorale preludes, composing for voices, notation, and publication. Features dozens of musical examples. The book includes a helpful section on notating scores using Finale.
Also provided are a comprehensive glossary and a handy chart giving ranges of discrete musical compositions, to a significant set of twenty-four Preludes. Op, of Frederic Chopin. This set of preludes follow a very clear tonal plan: like the preludes and fugues of 's Well-Tempered Clavier, they encompass all the twenty-four tonalities of the major-minor system.8 In Chopin's Preludes, however, each major key is://metadc/m2/1/high_res_d/ In Interpreting Chopin Alison Hood brings her experience as a performer to bear on contemporary analytical models.
She combines significant aspects of current analytical approaches and applies that unique synthetic method to selected works by Chopin, casting new light on the composer\'s preludes, nocturnes and :// Full text of "Program notes, piano recital" See other formats /PROGRAM NOTES, PIANO RECITAL/ by Catherine Hayden 1 1 B.M.
University of Colorado, Boulder, MASTER'S REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music KANSAS STATE UNIVERSITY Manhattan, Kansas Major Professor (//tl/^y ^ tfuSC DOMENICO For a century and a half Chopin's music has been played incessantly, yet the spell remains, and the 'Chopin recital', whoever the pianist, still fills the concert halls.
This Companion is designed to provide the enquiring music-lover with helpful insights into a musical style that recognises no contradiction between the accessible and the sophisticated, between the popular and the :// Harmony and Climax in the Late Works of Sergei Rachmaninoff by Blair Allen Johnston A dissertation submitted in partial fulfillment of the requirements for the degree ?doi=&rep=rep1&type=pdf.
Accents are local musical events that attract the attention of the listener, and can be either immanent (evident from the score) or performed (added by the performer). Immanent accents involve temporal grouping (phrasing), meter, melody, and harmony; performed accents involve changes in timing, dynamics, articulation, and timbre.
In the past, grouping, metrical and melodic accents were His Cybersemiotic Lectures on Musical Gesture will appear in expanded form in a book-in-progress, Musical Meaning and Interpretation: Topics, Tropes, Gestures, and Continuity.
Send comments or questions to Robert S Hatten: [email protected] or by mail to: Prof. Robert S. Hatten School of Music Penn State University University Park, PA. A technique that reflects Chopin's style is composing a four-measure phrase to cadence on V or within the ar ea of V, rather than I.
5 This technique is very important to the concept of the expanded harmony, because the placement the dominant in a structural position offsets the prominence of th e tonic, creating tonal ://For a musical example, one thinks of a special category of musical idea, which engenders just such a sense of mystery: the ending as question.
In pieces like Chopin’s F+ Prelude, or Schumann’s Child Falling Asleep (op. 15), the harmonically inconclusive ending leaves us The rhythmic motives and shapes of this melody are then taken up into selected colors of the orchestra and varied.
The piano returns with the original material leading to a more substantial appearance of the orchestra, after which there is a "quasi-cadenza" section for the :(Gainsford, Read).