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Готові списки джерел за темами / Preludio e fughe

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Добірка наукової літератури з теми "Preludio e fughe"

Автор: Grafiati

Опубліковано: 11 березня 2023

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Статті в журналах з теми "Preludio e fughe"

1

Daugulis, Ēvalds. "Preludes and Fugues op. 82 by Nikolai Kapustin." Musicological Annual 56, no. 1 (June 30, 2020): 133–47. http://dx.doi.org/10.4312/mz.56.1.133-147.

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The early 20th century witnessed growing interest in the Baroque polyphony genres: prelude and fugue in jazz. Preludes and fugues op. 82 (1997) by the Russian composer Nikolai Kapustin are particularly interesting. The way he integrates the expression of classical music and the specificity of jazz music is very original.

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Rapoport, Paul. "Sorabji Piano Music." Tempo 59, no. 232 (April 2005): 55–56. http://dx.doi.org/10.1017/s0040298205250155.

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SORABJI: Two Piano Pieces; Fantaisie espagnole; Valse-Fantaisie: Hommage à Johann Strauss; Three Pastiches; Le jardin parfumé; Nocturne Jami; Gulistan; Introito and Preludio corale from Opus clavicembalisticum; Prelude, Interlude, and Fugue; Fragment for Harold Rutland; Fantasiettina sul nome illustre dell'egregio poeta Christopher Grieve ossia Hugh M'Diarmid; Quære reliqua hujus materiei inter secretiora; St. Bertrand de Comminges: ‘He was Laughing in the Tower’. HABERMANN: À la manière de Sorabji: ‘Au clair de la lune’. Michael Habermann (pno). BMS 427CD–429CD (3-CD set).SORABJI: Piano Sonata No. 4. Jonathan Powell (pno). Altarus AIR-CD-9069(1)–9069(3) (3-CD set priced as 2).

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Bouilloux, Jean-Pierre. "Prelude and Fugue." Clinical Chemistry 66, no. 2 (February 1, 2020): 401. http://dx.doi.org/10.1093/clinchem/hvz008.

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4

Lesmana Lim. "Prelude and Fugue, in Minors." Red Cedar Review 39, no. 1 (2004): 5–9. http://dx.doi.org/10.1353/rcr.2013.0019.

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5

Postovoitova, Svitlana. "Features of Vsevold Zaderatsky’s Polyphonic Thinking in the Cycle “24 Preludes and Fugues”." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 85–100. http://dx.doi.org/10.31318/2522-4190.2022.134.269617.

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Анотація:

Relevance of research. The work of Vsevolod Zaderatsky appears as a unique phenomenon, unusual in all its aspects, starting from the historical context (conditions of creation, years of oblivion, revival, publication and performance) and ending with the smallest details hidden in the inner logic of the musical work. The specifics of the thematic organization of fugues and the innovative interpretation of other elements of the fugue require special attention. The need to fully incorporate the first great polyphonic cycle in the music of the 20th century into artistic and performing practice actualizes the need to see it as a holistic phenomenon, which prompts detailed study in various analytical projections. The purpose of the article to analyze the features of Vsevolod Zaderatsky's polyphonic thinking in the cycle "24 Preludes and Fugues". Methods. In the article systematic and historical research methods are used. The results and conclusions. Undoubtedly, the main prospect of further scientific research of the cycle is its introduction into performance practice, because understanding the deep processes of polyphonic music is the key to successful performance interpretation. "24 Preludes and Fugues" by Vsevolod Zaderatskyi is a unique work in many aspects. The cycle combined traditional and innovative features, which predicted several new directions for the development of the 20th century fugue. The fugue underwent a significant transformation at various levels, and first of all, at the level of polyphonic thematic due to the specific scale and the principle of monothematic. The changes affected not only the theme of the fugue, but also other components of the fugue: countresubjects and episodes. The structural factors of the overall structure changed, the functionality of the sections, where the main trend was the expansion of the boundaries of the developing section and the desire for end-to-end development. The analysis of dramaturgical principles allows us to state that the composer managed, thanks to a single idea, to build a multidimensional structure with end-to-end dramaturgy, starting with its smallest element, the theme, and ending with the interaction of small cycles among themselves.

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6

Johnson, Bret. "Francis Jackson." Tempo 59, no. 231 (January 2005): 74. http://dx.doi.org/10.1017/s0040298205250076.

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JACKSON: Organ Works (includes Sonatas 1–4, Toccata, Chorale and Fugue, 3 Pieces, Eclogue, Suite Montrealaise, Ballade, 5 Preludes on English Hymn Tunes, Exultet, Diversion for Mixtures, Intrada, Recit and Allegro, Scherzetto, Scherzo Amabile, Fantasia Argenti, Improvisation, Impromptu and other pieces). Francis Jackson (organs of York Minster, Blackburn and Lincoln Cathedrals). Priory PRCD 930 (4-CD set)

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Zhang, Mengzhe. "Rao Yuyan’s polyphonic works for piano in terms of performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 61, no. 61 (December 31, 2021): 201–23. http://dx.doi.org/10.34064/khnum1-61.11.

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Statement of the problem. Rao Yuyan (1933–2010) is one of the most famous Chinese composers, who created many polyphonic works. His creative and research practices have profoundly influenced on the development of polyphony in China. Some aspects Rao Yuyan’s polyphonic thinking have been examined in the studies by Chen Yiwen (2015) and PanJia (2018). Innone of the researches the piano polyphonic works of the composer are studied from the standpoint of performance issues, definition of piano tasks in the process of their interpretation. In this study for the first time the piano polyphonic works of the composer are considered in the aspect of performance realization. The purpose of the study is to determine the most important performance principles and set of performance tasks in Rao Yuyan’s polyphonic works for piano. The article bases on Rao Yuyan’s piano works “Introduction and Fugue” (1956), the suite “Sketch of Life in Yan’an” (1963), “Prelude, Fugue and Chorale” (1964) and “Three Polyphonic Pieces on the Ancient Music of Chang An” (1992). The article uses historicaltypological, structural-functional, comparative, intonation and interpretative methods as necessary for performance analysis. The fundamental theoretical positions of Chinese polyphonic musicians (Su Xia, Ding Shande, Chen Mingzhi, Duan Pintai and others) uses, and Rao Yuyan’s theoretical works devoted to polyphony has particular importance. The issues of pianistic realization takes in account the polyphonic principles considered by Ying Jiang, Bai E. Results and conclusions of the research. RaoYuyan’s beautiful piano works have a great art value, they became a significant contribution to Chinese art of the 20 century. We can even define Rao Yuyan’s role as a creator of national polyphony who modernized the ancient national musical legacy. Rao Yuyan’s piano works discussed in this article use almost all known types of polyphonic techniques of Western music. The vividly example of it is the double fugue from the cycle “Prelude, Fugue and Chorale” or the last number “Weeping Willow” from the series “Three Polyphonic Pieces on the Themes of Chang An Ancient Music”, where the sort of “cantus firmus” technique – “basso ostinato” is used. In the piece “Sunrise” from the piano suite “Sketch of the Life of Yan’an” the polyphonic texture becomes almost like to consonant sonority. At the same time, the laconic themes used in the Suite call upon the thought that J. S. Bach was a spiritual teacher of the composer. However, the composer borrows his main ideas from the Chinese folk musical tradition. Rao Yuyan was well versed in traditional fugue techniques, however, in the cycles “Introduction and Fugue” and “Prelude, Fugue and Chorale” he included the local national musical elements to emphasize their cultural identity. Among the main pianistic tasks facing the performer of polyphonic works of Rao Yuyan – the development of clear auditory attention, the idea of the general form of the work. The auditory sense of the work controls the sound, covers both the whole and individual details of the polyphonic form. It not only controls the performance, but also takes an active part in the birth of the artistic way of playing polyphony. Breathing emphasizes the essence of polyphonic development, which consists in the continuity and fluidity of melodic lines through the relief introduction and plastic completion of individual polyphonic voices.

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Postovoitova, Svetlana. "“Modal Preludes and Fugues in C” by Borislava Stronko: Specific Use of Modal Technology." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 89–104. http://dx.doi.org/10.31318/2522-4190.2021.130.231204.

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The relevance of the article. The most pressing need today is to turn to modern samples of polyphonic music, which is due, on the one hand, to artistic practice, and on the other, to rethinking traditional polyphonic forms and techniques in the context of a total experiment and a radical renewal of musical techniques. B. Stronko’s “Modal Preludes and Fugues in C” demonstrate a completely new, author’s version of the interpretation of the polyphonic cycle, which is due to the non-traditional combination of modality with polyphonic principles and methods of development. The change in the functionally centralized fret-tonal system to a radically different, modal, type of modal organization caused significant changes at all tiers of the multilevel organization of the fugue, starting from its core — the theme, ending with the principles of composition and shaping. To trace exactly what specific changes that were caused by the use of modal technique in the framework of the fugue and is the central problem of the study and determines its relevance Scientific novelty: for the first time, all the preludes and fugues of the cycle “Modal preludes and fugues in C” were thoroughly analyzed with an emphasis on the study of the “semantic source” of the polyphonic cycle (fugue), its quintessence (theme) in terms of the influence of the principles of modality on the construction of the fugue.The purpose of the article: to identify the features of the use of modal technique and the specificity of its influence on various structural levels of the fugue in the cycle “Modal preludes and fugues in C” by Boryslav Stronkо, as well as to determine the special features of the composer’s polyphonic thinking. The research methodology includes the use of systemic and functional methods. Main results and conclusions. All fugues from the cycle «Modal Preludes and Fugues in C» by B. Stronko represent an open cycle based on the modal principle of organization. The cycle itself is potentially open and represents the composer’s desire to achieve freedom and emphasize the potential for infinity of the process of creating modes. Each pair of preludes and fugues is limited by a scale of a certain design, which made it possible to create compositions with a pronounced individual flavor. At the level of thematicism: compactness of themes and fugues themselves, intonation specificity, depending on the structure of the fret. With further themes, linearity of development prevails, the composer uses the principle of multivariate repetition (isomelia, isorhythmy, interpolation, combinatorics), which has a certain relationship with rehearsal technique and becomes a specific feature of Boryslav Stronko’s polyphonic thinking. Multivariate repetition of the material, despite the actual changes, enhances the fading effect, being in one place and organically combines with the idea of being in the conditions of one specific sound of the chosen fret. Attention is drawn to the technique of replicating rhythmic-intonational structures — it is a quasi-sequential repetition of a motive in one or several voices at the same time, most often it variably changes in all voices, repeating with a horizontal shift or with the simultaneous use of various techniques (isorhythmy, isomelia, combinatorics). The role of ostinato increases significantly, which, together with the above techniques, contributes to the creation of the effect of hidden internal movement while actually staying in one place. It should be noted that all the above principles, which create the effect of a specific sound and work on the idea of constant rotation in a single sound space, turn out to be stable not only for “Modal preludes and fugues in C”, but also for other works of the composer: “Labyrinth Chord”, 4-part symphony for virtual ensemble (2016), “Time Crystals” (or “Metavariations for metapiano”) is an electronic music cycle (2018).

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Mukhtarova, Flora Shaakhmedovna. "POLYPHONIC CYCLES “PRELUDE AND FUGE” IN UZBEK COMPOSER’S WORKS." European Journal of Arts, no. 2 (2022): 16–18. http://dx.doi.org/10.29013/eja-22-2-16-18.

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GODZIEBA, ANTHONY J. "METHOD AND INTERPRETATION: THE NEW TESTAMENT'S HERETICAL HERMENEUTIC (PRELUDE AND FUGUE)." Heythrop Journal 36, no. 3 (July 1995): 286–306. http://dx.doi.org/10.1111/j.1468-2265.1995.tb00990.x.

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Дисертації з теми "Preludio e fughe"

1

Nicholls, Yasmine. "The lost city : a prelude and fugue /." Title page and prelude only, 2005. http://web4.library.adelaide.edu.au/theses/09AR/09arn6137.pdf.

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Resnianski, Igor. "RODION SHCHEDRIN'S TWENTY-FOUR PRELUDES AND FUGUES: HISTORIC, ANALYTIC, PERFORMANCE, AND PEDAGOGIC PERSPECTIVES." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/68013.

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Анотація:

Music Performance
D.M.A.
The Twenty-Four Preludes and Fugues of Rodion Shchedrin is the magnum opus of perhaps the most respected living Russian composer, whose music is virtually unknown in the United States. Inspired by J. S. Bach and following in the footsteps of Dmitri Shostakovich, Shchedrin produced this impressive and original cycle for solo piano. It was written during the span of about six years, from 1964 to 1970. Since then, most of the preludes and fugues have become popular among students and pedagogues in Russian colleges and conservatories. The purpose of this monograph is to introduce this commendable work in the United States and to provide comprehensive structural analysis with performance suggestions and pedagogic overview. For each Prelude and Fugue, this monograph provides clear structural tables, which summarize form, compositional techniques, and rhythmic, textural, and polyphonic organization. In addition it provides performance and pedagogic evaluation of the entire cycle, with short discussions of each prelude and fugue. This monograph begins with a biographic overview of the composer, including a discussion of general aspects of his style, with information about Shchedrin's formal music education in Soviet Russia and influences that helped form his musical language. It also provides an historical context for Shchedrin's cycle, citing precedents for his work. With the growing popularity of Rodion Shchedrin's music outside of Russia, this monograph will be a valuable resource for musicians who are interested in teaching, performing, or studying selected Preludes and Fugues from his cycle.
Temple University--Theses

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3

Lloyd, S. Andrew. "Études: Five Compositional and Technical Studies for Solo Organ." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc499990/.

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Études was composed as a set of five interrelated movements in the followingorder: Prelude, Introduction and Fugue, Triptych, Chorale, and Response. The pieces are compositional as well as technical studies. The movements specifically explore certain styles and forms unique to organ music, and reintroduce these elements in creative ways. As in the traditional étude, each movement contains virtuosic technical studies, which are designed to enhance manual and pedal facility and prepare the performer for advanced repertoire.

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Kim, Inyoung. "Lera Auerbach’s Postmodernist Artistic Expression: The Styles of Chorale, Fugue and Postlude, op. 31 and 24 Preludes for Piano, op. 41." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595846398945752.

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5

Vazquez, Medrano Oscar. "A study of L. Van Beethoven’s Sonata Op. 31, No.1; Chopin’s Nocturne Op. 55, No. 2 and Ballade Op. 23; Ponce’s Prelude and Fugue on a theme by Handel; and Larregla’s ¡Viva Navarra! Jota de Concierto: Historical, theoretical and stylistic implications." Kansas State University, 2018. http://hdl.handle.net/2097/38758.

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Master of Music
School of Music, Theatre, and Dance
Slawomir Dobrzanski
The purpose of this Master’s report is to analyze the five-piano works at the author’s piano recital on April 8, 2018. The discussed pieces are Ludwig van Beethoven’s Sonata in G major Op. 31, No.1; Fryderyk Franciszek Chopin’s Nocturne Op. 55, No. 2 and Ballade in G minor, Op. 23; Manuel M. Ponce’s Prelude and Fugue on a theme by Handel; and Joaquín Larregla Urbieta’s ¡Viva Navarra! Jota de Concierto. The author approaches the analysis and study of the pieces from the historical, theoretical, and stylistic perspectives.

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Bergs, Roger. "Prelude and Fugue : for orchestra." 2005. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=232659&T=F.

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Chien, Hui-ju, and 簡慧如. "An Analysis of César Franck''s Piano work "Prelude,Choral and Fugue"." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/34812659208552387762.

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"J. S. Bach's WTC Book I Prelude and Fugue in B-flat Minor BWV 867: An Analysis and Study of Related Works." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57285.

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abstract: The core element of this research paper is an analysis of the B-flat minor prelude and fugue BWV 867. The author’s analysis is then compared with the main contributors to Bach’s analytical studies. An understanding of the work’s structure, together with its motivic and harmonic details, help the performer develop an interpretive approach to the work. Significant Bach scholars, including David Ledbetter and Peter Williams, are used as the source for the additional works to be studied. These scholars also mention close associates of Bach who offer additional insight into his music: Kirnberger and Weiss. The paper includes a brief discussion of the opening chorus fugue BWV 64, instrumental prelude to the cantata BWV 106, chorale prelude BWV 721, and Tombeau sur la Mort de Mr Comte de Logy by Weiss, as they relate to the B-flat minor prelude and fugue. In addition, the analysis provides materials on how the elements of the work relate to the Doctrine of Affections. From the B-flat minor prelude and fugue, the harmonic progressions and figuration are examined from the point of view of the Doctrine. The research also examines the fugue subject, with its unusual leap of a minor 9th, to its structural connection to the opening chorus fugue of BWV 64, and its ties to the Doctrine. Through the analysis of the B-flat minor prelude and fugue and a comparison to works by Bach that are stylistically connected to this work, the author offers insights into the music and its relationship to works that have a sacred text association.
Dissertation/Thesis
Doctoral Dissertation Music 2020

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洪怡珍. "The Interpretive analysis of BACH-LISZT Prelude and Fugue in a minor and BACH-BUSONI Chaconne." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/00739540331901340151.

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"Prelude and Fugue in A Minor by Miloslav Gajdoš A Transcription for Guitar and Performance Guide." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.43946.

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abstract: This research project introduces the Czech composer Miloslav Gajdoš (b. 1948) to classical guitarists through his composition Prelude and Fugue in A Minor, composed in 1998. Gajdoš is a double bass virtuoso who has enjoyed a successful career performing, composing, and teaching. After the fall of the communist regime in Czechoslovakia in 1989, Gajdoš was allowed more opportunities to perform outside the Czech Republic and to become better known throughout the world. His Prelude and Fugue in A Minor, originally for solo double bass, works well on the guitar and is a rewarding piece to learn and perform. A transcription is presented here that is of publishable quality, together with a biography of Gajdoš and a performance guide. The biography was written from available research materials as well as from direct email correspondence with the composer, and includes authorized quotations from those emails. This project also includes a description of the piece together with musical and technical suggestions that will aid the performer in creating a satisfying musical interpretation. Chapter Three includes a description of the left-hand challenges that were encountered while the piece was being transcribed and the solutions that were devised to mitigate them. Finding new pieces to transcribe for the guitar has long been an important activity of serious players, and this transcription adds a substantial and expressive piece to the growing repertoire of the classical guitar.
Dissertation/Thesis
Complete score of the transcription.
Doctoral Dissertation Music 2017

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Книги з теми "Preludio e fughe"

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Pichl, Wenzel. Se st fug s fugovany m preludiem: Housle so lo = Sei fughe con un preludio fugato. Praha: Editio Supraphon, 1989.

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2

Ferrando, Pietro. Il preludio e fuga per organo di Bach. Torino: Trauben, 2006.

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3

Gregotti, Federico. Preludi e fughe per tredici tele di Vermeer. Roma: Robin, 2012.

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4

Bach, Johann Sebastian. Prelude and fugue in E flat ; and, The Catechism chorale preludes: For organ. New York: G. Schirmer, 1988.

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5

FRANCK, Cesar. Prelude choral et fugue: Prelude aria et final ; Variations symphoniques. London: Decca, 1989.

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6

Weiner, Lawrence. Prelude, air, and fugue: For brass quintet. San Antonio: Southern Music Co., 1987.

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7

Beach, Amy Marcy Cheney. Prelude and fugue for solo piano, op. 81. Boca Raton, Fla: Masters Music Publications, 1995.

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8

Mazullo, Mark. Shostakovich's Preludes and fugues: Contexts, style, performance. New Haven: Yale University Press, 2010.

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9

Shostakovich's preludes and fugues: Contexts, style, performance. New Haven [Conn.]: Yale University Press, 2010.

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10

Bach, P. D. Q. Lip my reeds: (S. 32') : prelude and fugue for four bassoons. Bryn Mawr, Pa: T. Presser, 1993.

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Частини книг з теми "Preludio e fughe"

1

Cable, James. "Prelude and Fugue." In The Geneva Conference of 1954 on Indochina, 72–79. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18288-6_7.

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Cable, James. "Prelude and Fugue." In The Geneva Conference of 1954 on Indochina, 72–79. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230599253_7.

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3

von Xylander, Cheryce. "Pictorialism (Prelude and Fugue)." In Aesthetics of Universal Knowledge, 77–113. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-42595-5_5.

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4

Lass, Roger. "On Schwa: Synchronic Prelude and Historical Fugue." In Phonological Weakness in English, 47–77. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1007/978-0-230-29686-2_4.

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5

Rumph, Stephen. "Contrapunctus I: Prelude and Fugue." In Beethoven after NapoleonPolitical Romanticism in the Late Works, 109–32. University of California Press, 2004. http://dx.doi.org/10.1525/california/9780520238558.003.0006.

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"5. Contrapunctus I: Prelude and Fugue." In Beethoven after Napoleon, 109–32. University of California Press, 2019. http://dx.doi.org/10.1525/9780520930124-007.

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"prelude and fugue in yellow and grey." In Restoried Selves, 129–38. Routledge, 2013. http://dx.doi.org/10.4324/9780203057278-21.

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"8. Prelude and Fugue in E-flat Major: The Well-Tempered Clavier, book 1." In The Art of Fugue, 65–74. University of California Press, 2020. http://dx.doi.org/10.1525/9780520941397-011.

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Cohodas, Nadine. ". Prelude to a Fugue ~ June 1950–May 1954 ~." In Princess Noire, 48–59. University of North Carolina Press, 2012. http://dx.doi.org/10.5149/9780807882740_cohodas.8.

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Baber, Katherine. "Trading Fours." In Leonard Bernstein and the Language of Jazz, 45–74. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042379.003.0003.

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Анотація:

Chapter 2 examines the influence of Bernstein’s two most important models for synthesizing jazz styles as part of a personalized American style: Aaron Copland and George Gershwin. Taking Prelude, Fugue and Riffs as a case study, this chapter shows how patterns of usage in Copland’s and Gershwin’s music, particularly the expressive dichotomy between jazz and the closely related blues style, clearly influenced Bernstein’s version of jazz. Given Bernstein’s deep personal identification with both composers, it also becomes clear how some jazz styles, particularly the blues, could express intimate or private sentiments and mediate the formation of a musical subjectivity.

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