Chopin the preludes and beyond
The first study of this volume looks for reminiscences of Dies Irae in Chopin''s works. A great number of allusions and affinities are found in the preludes as well as in Chopin''s output. The study also yields insights into Chopin''s composition method. These intertext...
| Otros Autores: | |
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Frankfurt am Main, [Germany] :
PL Academic Research
2013.
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| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009810652206719 |
Tabla de Contenidos:
- Cover; Table of Contents; Preface; Chapter 1. Allusions and affinities Tracing an ominous motif; Dies Irae as a source of allusions; Alluding to Dies Irae; some methodological considerations; The notion of similarity; further methodological considerations; The investigation and its aims; The A-minor Prelude; External evidence; The B-minor Prelude; The E-minor Prelude; Preludes in dark moods; Preludes in bright moods; Summary and discussion; Other approaches to integration and symbolism in the Preludes; The chronology of the Preludes; The question of integral performances
- In defence of the study of motivic integrationThe B???-minor Sonata: the first and fourth movements; The B???-minor Prelude; The Funeral March; its progenitor and congeners; The B???-minor Sonata: Scherzo and Trios; Other approaches to thematic integration in the sonata; The C#-minor Scherzo; The C-minor Polonaise and the B-minor Prelude; The Second Ballade; The F-minor Prelude and the Etude in F minor from Méthode; The F#-major Impromptu; Extending the investigation; Pre- and post-"Mallorcan" works; The E?-minor Etude; The Finale of the B-minor Sonata and the B-minor Prelude
- The other movements of the B-minor SonataSummary and conclusions; Chapter 2. Evidence and counter-evidence Making sense of the A-minor Prelude; Problems of proportion; Uncertainty and expectation; Rhetoric and the reality of the contingent; The prelude as an impossible object; Ominous allusions; Tonal analysis; An explanatory comparison; A bottom/up reduction; A non-orthodox tonal reduction; Some remarks on interpretation; Chapter 3. Music at the analyst's couch and at the musician's stand The tonal structure of the E-minor Prelude; Retrieving the missing third degree
- Adjusting the harmonic progressionsThe stretto passage; A melodic recurrence; The melodic descents; The consequent as a compressed antecedent; Some additional remarks; Summary of critical observations; A clarifying comparison; The melodic/harmonic process; Escape and resumption; Outbreak and dissipation; An alternative structural account; Chapter 4. Left-hand melody and tonal structure Towards a non-Schenkerian account of the B-minor Prelude; Top voice vs. structural upper line; A temporary relocation of the structural upper line; Clarification of the actual voice-leading
- Motivic relationshipsThe relocation of the entire structural upper line; The tonal structure of the prelude; Some connections across registers; Formal considerations; structural and focal events; The antecedent part; The consequent part; Intertextual allusions; The "foreground" as a structural duet; Three "background" structures; conclusions; Chapter 5. How could analysis be deconstructed by the A-major Prelude?; Some introductory remarks on deconstruction; Bass fundaments and harmonic roots; Metre and rhythm; The phrase structure; A digression on manual matters
- Understanding in terms of melodic reconstruction
