Time and the Keyboard Fugue

Chapin, Keith

doi:10.1525/ncm.2010.34.2.186

Cited by 6 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The study of musical material in this article is based on: l genre-style analysis, as well as on the theoretical positions of musicologists (Chapin, К., 2010;Mann, A., 1971;1987;McGahie, D. Р., 2006;Pesic, P., 2017;Williams, Р., 2003); l issues of studying polyphony (i.e. many voices) in Chinese musical folklore (Fan Zuyin, 2004;Li Hong, 2015) l specifics of integration processes in Chinese piano art (Bai Ye, 2018), l features of the fret organization of Chinese piano music (Peng Cheng, 2006); l research of professional composer creativity of Chinese creators (Sun Weibo, 2006;Wu Na, 2009); l questions of performance implementations based on the development of the performing principles of polyphony Ying Jiang (2019).…”

Section: Data Collection Tools-documentsmentioning

confidence: 99%

“…However, in modern musicology, the genre of the small cycle "Prelude and Fugue" in the piano works of Chinese composers has not become the subject of special consideration. If the fugues written in Europe in various stylistic epochs are quite well studied (Chapin, К., 2010;Mann, A., 1971;1987;McGahie, D. Р., 2006;Pesic, P., 2017;Williams, Р., 2003 etc. ), then the fugues based on pentatonic have been studied very little, which prevents their introduction into the world performing practice.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Preludes and fugues for piano in the polyphonic works of Chinese composers

Chernyavska

ZHANG

2021

Rast Müzikoloji Dergisi

View full text Add to dashboard Cite

The objective of the study is to identify the role of the small cycle "Prelude and Fugue" in the piano work of Chinese composers in the field of polyphonic genres, to consider the most striking examples of Preludes and fugues from the standpoint of the interpretation of the genre, the use of musical and expressive means, performing implementation. The research methodology is based on an integrated approach that combines theoretical methods with historical ones, reflecting the evolution of musical thinking. All the issues raised in the process of analyzing fugues are considered in combination with certain artistic tasks generated by the internal content of the work. The analysis of piano Preludes and fugues by composers Ding Shande, Chen Zhi Ming, Wang Lisan, Rao Yu Yang, Lin Hua made it possible to deduce a number of features of their construction and musical language in connection with the issues of form formation, thematic content, tonal lighting, rhythmic features, polyphonic ways of development and qualitative transformation of the material. In the Preludes and fugues of Chinese composers, essential and fundamental factors come into close interaction: deep connections coming from the polyphony of the "strict style" and the fugues of J. S. Bach, the organic implementation of the principles of national folk melos and the polyphonic warehouse of instrumental folklore, innovation rooted in the incessant search for new means of expression and enrichment of the musical language. The latter is determined by the content of the composers' music, its fullness with a variety of moods, experiences, reflections on the meaning of human life, about our complex century, saturated with the most serious events and phenomena. In the fusion of these qualities, a subjective moment plays a primary role: the uniqueness of the composer's creative individuality, which leaves a certain imprint on all the compositions -in close-up and in detail.

show abstract

Section: Data Collection Tools-documentsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Preludes and fugues for piano in the polyphonic works of Chinese composers

Chernyavska

ZHANG

2021

Rast Müzikoloji Dergisi

View full text Add to dashboard Cite

show abstract

Polyrhythmicity in Music

Andrews

2021

Polyrhythmicity in Language, Music and Society

View full text Add to dashboard Cite

Rhythmic Accent and the Absolute: Sulzer, Schelling and theAkzenttheorie

McAuley¹

2013

Eighteenth Century Music

View full text Add to dashboard Cite

ABSTRACT1770s Berlin saw the birth of a new theory of rhythm, first stated in Johann Georg Sulzer's Allgemeine Theorie der schönen Künste (1771–1774), and later labelled the Akzenttheorie (theory of accents). Whereas previous eighteenth-century theories had seen rhythm as built up from the combination of distinct units, the Akzenttheorie saw it as formed from the breaking down of a continual flow, achieved through the placing of accents on particular notes. In his Philosophie der Kunst (1802–1803) the philosopher Friedrich Schelling used Sulzer's definition of rhythm to suggest, astonishingly, that music can facilitate knowledge of the absolute, a philosophical concept denoting the ultimate ground of all reality. In this article I show how Schelling could come to interpret the Akzenttheorie in such extravagant terms by examining three theories of time and their relationships to rhythm: that of Sulzer and his predecessor Isaac Newton, that of Immanuel Kant and that of Schelling. I conclude by arguing that in Schelling's case – an important one, since his is the earliest systematic presentation of a view of music that came to predominate in the decades after 1800 – his view of music was driven neither by developments in contemporary music nor by changes in the philosophy of art as a discrete intellectual enterprise, but by revolutions in philosophy by and large unconcerned even with art in general.

show abstract

Time and the Keyboard Fugue

Cited by 6 publications

References 0 publications

Preludes and fugues for piano in the polyphonic works of Chinese composers

Preludes and fugues for piano in the polyphonic works of Chinese composers

Polyrhythmicity in Music

Rhythmic Accent and the Absolute: Sulzer, Schelling and theAkzenttheorie

Contact Info

Product

Resources

About