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Journal articles on the topic '"A Prelude"'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Tallaksen, Amund R. "Prelude to Preludin." Contemporary Drug Problems 44, no. 3 (2017): 176–88. http://dx.doi.org/10.1177/0091450917718338.

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2

Anastasiia, Maikovskaia. "HARMONIC ANALYSIS OF SCRIABIN'S PRELUDES OP.11: C MAJOR, A MINOR, E MINOR." Deutsche internationale Zeitschrift für zeitgenössische Wissenschaft 64 (September 18, 2023): 4–7. https://doi.org/10.5281/zenodo.8355146.

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The harmonic language of Alexander Scriabin's Preludes Op. 11 offers a vivid look into the composer's early stylistic approach, marked by extended tonal frameworks and inventive choices. This study focuses on three preludes – C Major, A Minor, and E Minor – exploring Scriabin's unique harmonic structures, sequencing techniques, and influences from Chopin. Each prelude embodies different facets of Scriabin's harmonic thought, from the use of pentachords and non-tertian structures in the C Major Prelude to sequential modulation and tonal shifts in the A Minor Prelude.

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3

PEYTON JONES, SIMON. "8 Standard Prelude." Journal of Functional Programming 13, no. 1 (2003): 103–24. http://dx.doi.org/10.1017/s0956796803001011.

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4

Amonov, Shermuhammad. "Tabibi’s prelude." Golden Scripts 5, no. 2 (2023): 16–39. http://dx.doi.org/10.52773/tsuull.gold.2023.2/jqbo6845.

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Usually, introductions that written by the author, sometimes by others, are written in the introduction of divans. Factors that were became main reasons of the creation of divans, information that were based on the structure, humility and request of the author were described. Tabibi also wrote an introduction in the book “Munisu-l-Ushshaq” in this context. The text of this prelude has not yet been fully translated. In general, preludes are important in determining the poet’s literary- aesthetic world.Tabibi’s book “Munisu-l-Ushshaq” is very large, and it includes ghazal, mustazad, murabba’, mu

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5

Pierova, Maryna. "“CINQ PRELUDES FRAGILES” FOR PIANO BY A. LOURIÉ: THE ATTEMPT OF COMPOSITIONAL AND DRAMATURGICAL ANALYSIS." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 53–64. http://dx.doi.org/10.34064/khnum1-58.04.

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Background. The article identifies the stylistic principles of composer’s thinking of A. Louri&#233; on the basis of the “Cinq preludes fragiles” for piano op. 1. The musical science works of recent years, which include the articles by M. Gorodilova, L. Sitsky and D. Gojowy, deal with the problem of repressed Russian avant-garde. Objective. The purpose of the research is to reveal the specifics of individual composer style of A. Louri&#233; on the basis of the “Cinq preludes fragiles” for piano op. 1. Methods. Achieving the goal of the research involves using the following methods: sty

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6

Carvalho, Larissa Paggioli de. "Bach's Well-Tempered Clavier: Pedagogical Approaches and the Different Styles of Preludes." Per Musi, no. 33 (April 2016): 97–115. http://dx.doi.org/10.1590/permusi20163305.

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Abstract: The present article discusses pedagogical aspects aiming to contribute to teaching and learning Bach's Preludes of the Well-Tempered Clavier. Section one presents a review of the prelude as a musical genre and the different styles that influenced the Well-Tempered Clavier Preludes. Then, there is an analysis of selected preludes that will exemplify the variety of styles found in this work of Bach.

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7

Dragomirescu, Daniel. "Stylistic-Interpretative Statistics of The Creation for Guitar Solo (Preludes no. 1-5) by Heitor Villa Lobos." Review of Artistic Education 17, no. 1 (2019): 141–58. http://dx.doi.org/10.2478/rae-2019-0016.

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Abstract In the past, more precisely in the Fifteenth and Sixteenth centuries, both pieces for keyboard instruments (organ or clavecin) and those for the guitar’s ancestor, the lute, were preceded by an introduction bearing the title of prelude. In the seventeenth century, this prelude was used as an introduction to some religious works, being synonymous to the preamble, as both were meant to prepare the atmosphere and tone of a musical piece. Johann Sebastian Bach played a decisive role in the evolution of the prelude, using it as the first part of the preclassic instrumental suite, with the

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8

Alimjanovich, Iseyev Ruslan. "CLAUDE DEBUSSY FIRST 12 PRELUDES FOR PIANO." International Journal of Pedagogics 4, no. 3 (2024): 35–43. http://dx.doi.org/10.37547/ijp/volume04issue03-07.

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The article is devoted to the piano preludes of the greatest French Impressionist composer Claude Debussy. The first 12 preludes, their figurative content, structure and stylistic features are analysed in detail. Their figurative content, structure, stylistic peculiarities, the composer's innovative approach to the traditional genre of the prelude and the peculiarities of this famous genre caused by it are analysed in detail.

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9

Singh, Amar. "Prelude of Astrostatistics." International Journal of Science and Research (IJSR) 10, no. 3 (2021): 601–2. https://doi.org/10.21275/sr21308195011.

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10

Lahiri, Koushik. "Prelude." Indian Journal of Dermatology 57, no. 1 (2012): 1. http://dx.doi.org/10.4103/0019-5154.92664.

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11

Lara Montero, Alfonso. "Prelude." WELFARE E ERGONOMIA, no. 1 (March 2017): 5–6. http://dx.doi.org/10.3280/we2016-001001.

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12

Tilesch, George A. "Prelude." Információs Társadalom 21, no. 2 (2021): 9. http://dx.doi.org/10.22503/inftars.xxi.2021.2.1.

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13

TOMOEDA, Toshio. "Prelude." TRENDS IN THE SCIENCES 14, no. 1 (2009): 28–29. http://dx.doi.org/10.5363/tits.14.1_28.

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14

Seibles, Tim. "Prelude." Callaloo 15, no. 4 (1992): 914. http://dx.doi.org/10.2307/2931894.

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15

RILEY, PETER. "Prelude." Critical Quarterly 33, no. 2 (1991): 25. http://dx.doi.org/10.1111/j.1467-8705.1991.tb00940.x.

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16

Mathieu, Irène. "Prelude." Callaloo 38, no. 2 (2015): 384–85. http://dx.doi.org/10.1353/cal.2015.0043.

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17

Prattis, J. Iain. "Prelude." Anthropology and Humanism Quarterly 13, no. 3 (1988): 67–71. http://dx.doi.org/10.1525/ahu.1988.13.3.67.

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18

Tariot, Pierre N. "Prelude." Alzheimer Disease & Associated Disorders 17, SUPPLEMENT 4 (2003): S97. http://dx.doi.org/10.1097/00002093-200307004-00002.

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19

Relkin, Norman. "Prelude." Alzheimer Disease & Associated Disorders 20, Supplement 1 (2006): S1. http://dx.doi.org/10.1097/01.wad.0000213801.74434.0d.

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20

Peabody, Elizabeth Palmer. "Prelude." ESQ: A Journal of the American Renaissance 57, no. 1-2 (2011): vi—viii. http://dx.doi.org/10.1353/esq.2011.0026.

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21

Weihl, William E. "Prelude." ACM SIGOPS Operating Systems Review 26, no. 2 (1992): 24. http://dx.doi.org/10.1145/142111.964625.

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22

Abdelmottlep, Mamdooh A. "Prelude." الفكر الشرطي 22, no. 85 (2013): 5. http://dx.doi.org/10.12816/0000392.

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23

March, James G. "Prelude." Scandinavian Journal of Management 21, no. 4 (2005): 365. http://dx.doi.org/10.1016/j.scaman.2005.09.006.

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24

Harpy-Witch, Melanie, and Alias D. Saint-Leger. "Prelude." Experimental Dermatology 14, no. 2 (2005): 143–44. http://dx.doi.org/10.1111/j.0906-6705.2005.0285b.x.

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25

Meinwald, Jerrold. "Prelude." Daedalus 141, no. 3 (2012): 5–7. http://dx.doi.org/10.1162/daed_a_00156.

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26

Hall, Jane. "Prelude." Clinical Social Work Journal 37, no. 1 (2008): 77–78. http://dx.doi.org/10.1007/s10615-008-0187-8.

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27

Okorodudu, Anthony O. "Prelude." Point of Care: The Journal of Near-Patient Testing & Technology 3, no. 4 (2004): 147–48. http://dx.doi.org/10.1097/00134384-200412000-00001.

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28

Okorodudu, Anthony O. "Prelude." Point of Care: The Journal of Near-Patient Testing & Technology 4, no. 1 (2005): 1–2. http://dx.doi.org/10.1097/00134384-200503000-00001.

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29

Abdelmottlep, Mamdooh A. "Prelude." الفكر الشرطي 22, no. 86 (2013): 362. http://dx.doi.org/10.12816/0001315.

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30

Abdelmottlep, Mamdooh A. "Prelude." الفكر الشرطي 22, no. 87 (2013): 350. http://dx.doi.org/10.12816/0001673.

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31

Abdelmottlep, Mamdooh A. "Prelude." الفكر الشرطي 23, no. 88 (2014): 15. http://dx.doi.org/10.12816/0001941.

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32

Lechuga, Michael A., and John M. Ackerman. "Prelude." Review of Communication 22, no. 4 (2022): 257–58. http://dx.doi.org/10.1080/15358593.2022.2147018.

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33

Wong, Yih-jiun Peter. "Prelude." Sophia 49, no. 2 (2010): 181. http://dx.doi.org/10.1007/s11841-010-0185-5.

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34

Wang, YuPeng. "Prelude." Science China Physics, Mechanics and Astronomy 56, no. 12 (2013): 2240–42. http://dx.doi.org/10.1007/s11433-013-5338-4.

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35

Xue, Yongkang, and Paolo M. Ruti. "Prelude." Climate Dynamics 35, no. 1 (2010): 1–2. http://dx.doi.org/10.1007/s00382-010-0831-1.

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36

Rudolph, Pascal, and Mats B. Küssner. "Visual figures of musical form between musicological examination and auditory perception based on Morgan’s analysis of the “Tristan” Prelude." Music & Science 1 (January 1, 2018): 205920431879436. http://dx.doi.org/10.1177/2059204318794364.

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While Wagner and his music have been studied extensively from musicological and music-theoretical perspectives, recent scientific approaches shed light on perceptual processes implicated in the experience of Wagner’s music, yielding important insights into the (re)cognition of musical form. Since findings from such studies are mainly discussed within the realm of music psychology and rarely find their way (back) into musicological discourses, the starting point of the present study is a specific interpretation of form in the “Tristan” Prelude (Prelude to Tristan und Isolde) with a view to enga

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37

Daugulis, Ēvalds. "Preludes and Fugues op. 82 by Nikolai Kapustin." Musicological Annual 56, no. 1 (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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38

Veretennikov, Sergey, and Maksim Alekseevich Savost'yanov. "Prelude Op.3No.2 by S.V. Rachmaninoff and prelude Op.11No.10 by A.N. Scriabin : two facets of drama." PHILHARMONICA. International Music Journal, no. 3 (March 2024): 26–34. http://dx.doi.org/10.7256/2453-613x.2024.3.71069.

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The two considered dramatic preludes were written by the young S.V. Rachmaninov and A.N. Scriabin almost at the same time, with a difference of two years. The article examines the interrelationships and features of these two plays. The basis for the joint study of these miniatures is the same tonality (C-sharp minor), one genre definition, as well as a number of similar features in imagery (drama) and in the dramatic idea (the juxtaposition of the "fatal" beginning and the pleading voice). The interrelations are manifested in form, texture, harmony, and specific compositional techniques. On th

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39

Moya, Liao. "Influence Of Preludes by G.Gershwin on Zhang Shuai's Composer’s Thinking." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 36–48. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233103.

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The specifics of Zhang Shuai’s creative thinking are considered on the basis of drawing parallels between J. Gershwin’s Three Preludes and a similar cycle of Chinese composer’s Ppreludes according to the model and the ratio of ―Gershwin’s‖ and individual. It was found that Zhang Shuai’s creative thinking is manifested at the general compositional level, ie at the level of the cycle with the sequence ―fast — slow — fast‖ and the dominance of rhythmic energy in extreme preludes, and at the level of expressive melody and lyrical mood — in the central prelude. The ―Gershwin‖ influence on the speci

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40

Nikolenko, R. "The specifics of composer’s interpretation of the genre of prelude in Samuil Feinberg’s creativity." Culture of Ukraine, no. 74 (December 20, 2021): 55–60. http://dx.doi.org/10.31516/2410-5325.074.09.

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The aim of the article is to determine the specifics of the composer’s embodiment of the prelude genre in the works of S. Feinberg on the example of two cycles “Four preludes” op. 8 and “Three Preludes” op. 15. The methodology is based on an integrated approach and includes analytical, comparative, as well as structural-functional and genre-style methods. The results are based on the identification of features of the composer’s interpretation of the piano prelude genre in the works of S. Feinberg. Due to the current trend towards the discovery of rarely-performed music, there is a

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41

Chen, Zhisheng. "Emotional Expression and Performance Technique Training of Rachmaninoff's Prelude in C-sharp Minor." International Journal of Education and Humanities 16, no. 2 (2024): 343–48. http://dx.doi.org/10.54097/j75es920.

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The purpose of this paper is to analyse the emotional expression and performance skills required for Rachmaninoff's Prelude in C-sharp minor. Rachmaninoff is a famous Russian romantic composer, conductor, and piano player. Among the 24 preludes he wrote, Prelude in C-sharp minor holds particular significance, having been created when Rachmaninoff graduated from the Moscow Conservatory of Music. An in-depth analysis and study of this work will help us better understand the feelings he intended to express and improve our playing skills. This paper briefly introduces Rachmaninoff's life experienc

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42

Winstead, Anita. "Dramatic Prelude." Gifted Child Today 20, no. 1 (1997): 16–29. http://dx.doi.org/10.1177/107621759702000105.

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43

Jarvis, M. "A Prelude." English 55, no. 213 (2006): 311–13. http://dx.doi.org/10.1093/english/55.213.311.

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44

Sobin, G. "Prelude X." Literary Imagination 7, no. 1 (2005): 135. http://dx.doi.org/10.1093/litimag/7.1.135.

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45

Paus, Ralf, Maciej Owecki, and Jerzy Sowiński. "Prelude 2." Experimental Dermatology 16, no. 1 (2007): 47–49. http://dx.doi.org/10.1111/j.1600-0625.2006.00519_2.x.

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46

&NA;. "NASS Prelude." Back Letter 13, no. 11 (1998): 121. http://dx.doi.org/10.1097/00130561-199811000-00002.

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47

Rakova-Carron, Liuba. "Blue prelude." Perspectives Psy 62, no. 2 (2023): 178–84. http://dx.doi.org/10.1051/ppsy/2023622178.

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À partir de rencontres cliniques avec des patients ayant fait de très graves tentatives de suicide dans le contexte de séparation ou de mort de la personne aimée, le présent texte propose de réfléchir à différents types de travail psychique qui s’engagent face à la perte de l’objet et qui représentent des productions psychiques originales, prenant une place à part dans le continuum dessiné par Freud entre le deuil et la mélancolie. Trois ans d’observations cliniques et de travail nous amènent vers l’hypothèse selon laquelle la gravité du geste suicidaire des patients n’est pas forcément en lie

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48

Morgan, Robert P. "Circular Form in the "Tristan" Prelude." Journal of the American Musicological Society 53, no. 1 (2000): 69–103. http://dx.doi.org/10.2307/831870.

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The music of the Prelude to Tristan und Isolde is in constant transformation, projecting a seemingly unbroken arc of intensification followed by release. It thus seems to defy traditional formal analysis, which aims to articulate music into discrete units with clearly differentiated functions. Yet the Prelude, despite its continuously developmental nature, is characterized by constant repetition of only three formal units, which are subjected to significant surface variation but retain their underlying melodic, harmonic, and linear identities. The article analyzes how this process, which would

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49

Laskier, Michael M. "Prelude to Colonialism." European Judaism 52, no. 2 (2019): 111–28. http://dx.doi.org/10.3167/ej.2019.520209.

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This study is a portrayal of Moroccan Muslims and Jews by European travellers, journalists, experts and diplomats from the latter half of the nineteenth century until the transformation of Morocco in 1912 into a colonial entity under French and Spanish protectorates. In this pre-colonial setting, we catch a glimpse of a traditional society and its gradual, albeit partial, evolution towards modernity among the Jews as well as an understanding of Europe’s economic, political and cultural penetration into the Sharifian Empire, which for hundreds of years preserved its independence when many Islam

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50

Kabigting, Edwin-Nikko R. "The Scholar’s Prelude." Nursing Science Quarterly 35, no. 3 (2022): 383–84. http://dx.doi.org/10.1177/08943184221092440.

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The author in this article reflects on the importance of conceptual analysis, explores predominant conceptual analysis methods in the discipline of nursing, and connects it to ideas within musical composition.

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