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Journal articles on the topic 'Prelude (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

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 engaging in an exchange between music-theoretical and cognitive approaches (such as the theory of conceptual metaphor and image schema theory) to Wagner’s music. In his article “Circular form in the ‘Tristan’ Prelude”, Robert P. Morgan developed a new music-analytical approach to studying form in Wagner’s music, proposing that the musical form of the Prelude can be understood as a circle. Morgan provides an empirically-tractable hypothesis which was tested in a listening study with 45 participants to investigate the extent to which Morgan’s analytical shape is audibly perceived. Contrary to Morgan’s circular interpretation of form in the “Tristan” Prelude, the findings of our study suggest the primacy of a different visual figure, the spiral. However, recourse to the analytic discourse suggests that the spiral can be understood as a further development of Morgan’s figure of thought, synthesizing representations of the Prelude's repetition and development by capturing its unique coincidence of both linearity and circularity. This approach to understanding the “Tristan” Prelude demonstrates how applying music-theoretical and cognitive science approaches gives rise to a fruitful dialogue for both disciplines.

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2

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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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 seem to be overly segmental, is reconciled with the ongoing quality of the music. It examines first the circular arrangement of the three repeating units, along with their relation to five brief passages that occur but once; it then analyzes the circularly repeating harmonic-linear pattern they project. It also considers how the Prelude's formal units differ from traditional ones in that they are designed to emerge out of those preceding them and flow into those that follow, avoiding strong segmentation. The music is thus revealed to have a unique, yet easily comprehensible, overall tonal and formal design that supports, rather than contradicts, its evolutionary nature.

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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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5

Loewy, J., and D. Aldridge. "Prelude to Music and Medicine." Music and Medicine 1, no. 1 (July 1, 2009): 5–8. http://dx.doi.org/10.1177/1943862109338696.

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6

Hauptman, Fred, Elie Siegmeister, Blanche Abram, Naomi Drucker, Stanley Drucker, Alan Mandel, Clinton Ingram, et al. "Prelude, Blues, Finale." American Music 6, no. 1 (1988): 119. http://dx.doi.org/10.2307/3448362.

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7

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 specifics of Zhang Shuai’s creative thinking and on the stylistic level was revealed, in particular: the reliance on the model is manifested in the appeal to the jazz idiom, which affects the nature of rhythmic formulas, as well as harmony and order (combination of diatonic and chromatic structures, application of block chords, orientalism in the final prelude). If G. Gershwin’s creative thinking is characterized by the use of blues tones and chromatic moves, then Zhang Shuai’s creative thinking is characterized by a certain rationalism, due to the appropriate way of constructing new music according to the ―Gershwin‖ model. Analogies between the melodic and rhythmic formulas of the Second Preludes of J. Gershwin and Zhang Shuai, as well as analogies between the logic of the initial exposure of the elements of the theme — their First Preludes. It is proved that the most significant differences between the ―Gershwin‖ model and the music of Zhang Shuai appear at the level of ways of textural development of the material. G. Gershwin’s preludes usually contain two key layers of texture — melody and accompaniment, their texture is ―more graphic‖, more transparent, while in Zhang Shuai it is immediately condensed by a figurative undertone or an additional chord-rhythmic layer. Another difference is in the field of order, because Zhang Shuai has a desire to combine artificially symmetrical structures and the pentatonic basis of melody, which determines the stylistic originality of his music. Individual features of Zhang Shuai’s prelude interpretation as a sample of the pianist’s competitive repertoire are determined.

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8

Kinderman, William. "The Third-Act Prelude of WagnerÕs Parsifal: Genesis, Form, and Dramatic Meaning." 19th-Century Music 29, no. 2 (2005): 161–84. http://dx.doi.org/10.1525/ncm.2005.29.2.161.

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The Prelude to the third act of Parsifal is one of Wagner's most advanced essays in expanded tonality. One author has described it as "set[ting] foot in atonal territory as it re-explores the melancholy, disjointed polytonal idiom of the introduction to the third act of Tristan," and a noted analyst has suggested that it is motion around the diminished-seventh chord including Bb rather than the tonic triad of Bb minor that defines the background structure of the Prelude. This music also raises issues of form and expressive meaning that have yet to be thoroughly addressed. A valuable means of approaching the Prelude is through Wagner's surviving compositional documents, particularly the individual sketches for the Prelude that preceded the writing-out of his first continuous draft for the third act (the Kompositionsskizze [Composition Draft]). These manuscripts are held in the Wagner-Archiv at Bayreuth. When these sketches are transcribed and compared with the detailed record contained in Cosima Wagner's diary entries, insight can be gained into the way that Wagner composed the Prelude, during late October 1878. This article shows in detail how the Prelude was composed on the basis of sketch sources that are virtually complete. It is supported by several facsimiles of Wagner's sketches, transcriptions, analytical graphs, and music examples. The study indicates that the "melancholy, disjointed polytonal" idiom of the Prelude is coordinated with a framework of associated tonalities reaching across vast stretches of musical time. These include not only the Bb-minor idiom of Titurel's burial, but also the associated tonality of Parsifal's Prophecy motive. The structural background of the Prelude to act III of Parsifal is not simply a diminished-seventh prolongation, but a tensional framework of motivic combinations and rotational cycles that effectively convey the bleak wandering and promise of deliverance that lie at the core of the drama.

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9

Long, Christopher P. "Socrates and the Politics of Music: Preludes of the Republic." Polis: The Journal for Ancient Greek Political Thought 24, no. 1 (2007): 70–90. http://dx.doi.org/10.1163/20512996-90000108.

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At least since the appearance of Aristotle’s Politics, Plato’s Republic has been read as arguing for a politics of unity in which difference is understood as a threat to the polis. By focusing on the musical imagery of the Republic, and specifically on its compositional organization around three ‘preludes’, this essay seeks an understanding of Socratic politics that moves beyond the hypothesis of unity. In the first ‘prelude’, Thrasymachus and his insistence that justice is the self-interest of the stronger threatens to subject the harmony of the community to the tyrannical whims of the individual. In the second, the perfected justice of Adeimantus’s city threatens to destroy the erotic rhythm of difference that is the very condition for the possibility of the polis. It is only in the song of dialectic, which itself is called a ‘prelude’, that the tension between the rhythm of plurality and the rational homophony of unity is dynamically tuned in such a way that both the anarchic politics of self-interest and the totalitarian politics of rationalized oppression are equally muted. This conception of politics is embodied in the relationship that emerges between Glaucon and Socrates. Ultimately, the true political community is established here, between rational, erotic individuals seeking justice in concrete, living dialogue.

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10

Morgan, Robert P. "Circular Form in the "Tristan" Prelude." Journal of the American Musicological Society 53, no. 1 (April 2000): 69–103. http://dx.doi.org/10.1525/jams.2000.53.1.03a00030.

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11

Kinzer, Ann. "Steven Matthews's Ceaseless Music: Sounding Wordsworth's ‘The Prelude’." Romanticism 27, no. 2 (July 2021): 232–33. http://dx.doi.org/10.3366/rom.2021.0514.

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12

Хатипова, Инна. "ПРЕЛЮДИИ ДЛЯ ФОРТЕПИАНО КОМПОЗИТОРОВ РЕСПУБЛИКИ МОЛДОВА В РЕПЕРТУАРЕ СТУДЕНТОВ-ПИАНИСТОВ АКАДЕМИИ МУЗЫКИ, ТЕАТРА И ИЗОБРАЗИТЕЛЬНЫХ ИСКУССТВ." Педагогічні науки: теорія, історія, інноваційні технології, no. 5-6(99-100) (August 31, 2020): 281–92. http://dx.doi.org/10.24139/2312-5993/2020.05-06/281-292.

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In the present article the author presents a review of piano preludes written by Moldovan composers in the second half of 20th century which are frequently studied at the Academy of Music, Theatre and Fine Arts of the Republic of Moldova. The author seeks to characterize their imagery, musical language means and technical difficulties that can be encountered by young performers. The works analyzed are approved in the author's teaching practice. The preludes were written by Gheorghe Neaga, Vladimir Rotaru, Semion Lungul, Constantin Rusnac, Alexei and Marian Stârcea, Vitaly Sechkin. Some information about these miniatures can be found in research by musicologists E. Kletinich, A. Miroshnikova, E. Gupalova. A detailed analysis from a performer's standpoint presented in the article is made for the first time. The piano pieces indicated above are diverse. The two preludes by A. Stârcea contrast with one another: one has a lyrical character, whereas the other one differs in its drama and flustered character. The piece by Gh. Neaga bears the traces of impressionist music. C. Rusnac’s and V. Rotaru’s creations are composed using Moldovan doina stylistics, and S. Lungul’s lyrical miniature is nationally neutral. In the two preludes by M. Stârcea, modern musical language means are used, and sharp rhythms and dissonant harmonies abound. The article also presents five preludes-pictures by Vitaly Sechkin, a Ukrainian composer who spent his last period of life in Moldova. Inspired by Moldovan vivid landscapes, they differ in their imagery and tempo. Nonetheless, each of the miniatures has its own individual appearance and peculiarities of style. All the works reviewed are distinguished by bright themes and original music language. They represent a substantial enrichment of national piano repertoire and are a striking contribution of autochthonous authors to the development of the prelude genre in the world’s piano music.

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13

Kramer, Lawrence. "Romantic Meaning in Chopin's Prelude in A Minor." 19th-Century Music 9, no. 2 (1985): 145–55. http://dx.doi.org/10.2307/746580.

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14

Swinden, Kevin J. "Bruckner's Perger Prelude: A Dramatic revue of Wagner?" Music Analysis 18, no. 1 (March 1999): 101–24. http://dx.doi.org/10.1111/1468-2249.00084.

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15

Kramer, Lawrence. "Romantic Meaning in Chopin's Prelude in A Minor." 19th-Century Music 9, no. 2 (October 1985): 145–55. http://dx.doi.org/10.1525/ncm.1985.9.2.02a00060.

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16

Hoeppner, Vernon. "Comparing the Clinical Course of Tuberculosis with the Musical Flow of Chopin’s Prelude No. 4." Music and Medicine 8, no. 4 (October 26, 2016): 207. http://dx.doi.org/10.47513/mmd.v8i4.464.

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Frederic Chopin is a widely known composer and pianist who probably died of tuberculosis at age 39. The symptoms of the disease dominated much of his life, starting from early adulthood. He was extraordinarily creative, preferring to express his emotions through music, telling his piano things that weighed heavily on his mind. Early in his life, as he perused art, he would hear music; when he said his goodbyes he did so with music. The dominant weight that he carried privately, but grew heavier on his mind, with time was his illness, tuberculosis. His sister probably and friends whose deaths he’d witnessed also had tuberculosis. He was aware that he had a disease without hope and he foresaw his own death. He composed the Prelude No. 4 in E minor in Majorca during the winter of 1838-39 when his symptoms brought him near to death.The Prelude has been described by experts as an expression of illness. Chopin requested that it be played at his funeral. While we do not know his thoughts about the Prelude, this paper considers how he expressed himself with music, the gathering burden of tuberculosis, and compares the clinical course of tuberculosis with the musical course of the Prelude. Keywords: Chopin, music, prelude, tuberculosisSpanishComparación el curso clínico de la Tuberculosis con el flujo musical del Preludio nro. 4 de Chopin Frederic Chopin es un compositor y pianista ampliamente conocido que murió de una supuesta tuberculosis a la edad de 39 años. Los síntomas de su enfermedad dominaron la mayor parte de su vida, comenzando en la temprana adultez. Él fue extraordinariamente creativo, prefiriendo expresar sus emociones a través de la música, utilizando el piano para expresar cuestiones que pesaban mucho en su mente. Tempranamente en su vida, mientras se encaminaba hacia el arte , él escuchaba música, cuando fue el momento de las despedidas también lo hizo con la música. El peso dominante que llevaba de manera privada, pero que crecía en el tiempo en su mente fue su enfermedad, la tuberculosis. Fue testigo de la muerte de su hermana y de amigos que también tuvieron tuberculosis. Estaba consciente que la enfermedad que tenía era una lenta condena, y sin esperanza el previó su propia muerte. Compuso el preludio Nro 4 en Mi menor en Mayorca, durante el invierno del 1838/39 cuando sus síntomas lo llevaron cerca de la muerte. Este preludio ha sido descripto por expertos como una expresión de la enfermedad. Chopin pidió que la obra sea ejecutada en su funeral. Si bien no conocemos sus pensamientos acerca del Preludio, este trabajo considera el modo en el que se expresó con la música, la carga de la tuberculosis y compara el curso clínico de la enfermedad con el curso musical del PreludioPalabras claves: Chopin , musica , preludio , tuberculosis GermanVergleich des klinischen Verlaufs von Tuberkulose mit dem musikalischen Fluss von Chopin’s Prelude No. 4Vernon H. HoeppnerFrederic Chopin ist ein weithin bekannter Komponist und Pianist, der im Alter von 39 Jahren an vermuteter Tuberkulose starb. Die Symptome der Krankheit dominierten die meiste Zeit seines Lebens von Beginn seines frühen Erwachsenenlebens an. Er war außergewöhnlich kreativ, er drückte seine Gefühle vorzugsweise durch Musik aus, und nutzte das Klavier, um Dinge auszudrücken, die schwer auf seiner Seele lagen. Schon früh in seinem Leben, von der Kunst überzeugt, hörte er Musik; wenn immer er sich verabschiedete, tat er das mit Musik. Der dominierende Schmerz, den er privat zu tragen hatte und der mit der Zeit immer schwerer seine Seele belastete, war seine Krankheit, die Tuberkulose. Eine Schwester und Freunde, deren Tod er miterlebte, hatten ebenfalls Tuberkulose. Er wusste, dass er eine Krankheit hatte, die sich schicksalhaft hinzog, ohne seinen eigenen Tod vorhersagen zu können. Während des Winters 1938/39 auf Mallorca komponierte er das Prélude No 4, in der Zeit, als ihn seine Symptome beinahe töteten. Experten beschrieben dieses Prèlude als Ausdruck seiner Krankheit. Chopin bestimmte, dass es bei seiner Beerdigung bespielt werden solle. Wir kennen seine Gedanken über das Prèlude nicht – dieser Artikel denkt darüber nach, wie er sich selbst durch Musik ausdrückte, die gesammelte Last der Tuberkulose, und vergleicht den klinischen Verlauf von Tuberkulose mit dem musikalischen Verlauf des Prèludes.Keywords: Chopin, Musik, Prelude, Tuberkulose ItalianConfrontando il Decorso Cliico della Tubercolosi con il Flusso della Musica di Chopin’s Prelude No. 4Vernon H. Hoeppner Frederic Chopin è un compositore e un pianista molto conosciuto che è morto di sospetta tubercolosi all’età di 39 anni. I sintomi della malattia hanno dominato gran parte della sua vita, a partire dalla prima età adulta. Era estremamente creativo, preferendo di esprimere le sue emozioni attraverso la musica, usando il pianoforte per esprimere I problemi che pesavano pesantemente sulla sua mente. All’inizio della sua vita, mentre guardava l’arte, sentiva la musica; quando ha detto I suoi addii lo ha fatto con la musica. Il peso dominante che portava in privato, ma che cresceva più pesante nella sua mente, con il tempo era la sua malattia, la tubercolosi. Sua sorella e I suoi amici la cui morte era testimone, avevano anche loro la tubercolosi. Era consapevole del fatto di avere una malattia in cui la sorte indugiava, e senza speranza previde la propria morte. Ha compost oil preludio n 4 in Mi minore a Majorca durante l’inverno del 1838-39 quando I suoi sintomi lo hanno portato vicino alla morte. Il preludio è stato descritto dagli esperti come espressione di malattia. Chopin ha chiesto che al suo funerale lo avrebbero suonato. Anche se non conosciamo il suo pensiero circa il Preludio, questo documento considera come egli si espresse con la musica, l’onere di raccolta della tubercolosi’ e confront ail decorso clinico della tubercolosi con il corso musicale del Preludio.Parole Chiave: Chopin, musica, preludio, tubercolosi Chinese肺結核臨床病程與蕭邦第四號前奏曲音樂流動之比較蕭邦是為人所熟知的作曲家與鋼琴家，他在39歲時疑似死於肺結核。這些疾病的症狀從他的成年早期即支配著他大部分的生活。蕭邦非常富於創意，喜歡透過音樂表達他的情緒，用鋼琴來表現壓在他心頭的沉重問題。在蕭邦生命早期，他追求藝術，聆聽音樂，而到了生命盡頭，他也以音樂向生命告別。他獨自扛下隨著時間在心中越來越沉重地負擔─他的疾病─肺結核。他曾目睹姊姊與一些朋友同樣因為肺結核而離世。他知道自己在厄運中徘徊，毫無希望的預見了自己的死亡。1838-39年的冬天，他的症狀已逐步帶領他走向死亡，他在馬略卡島創作了第四號E小調前奏曲。這首前奏曲被形容為透徹的表現出疾病的狀態。蕭邦自己要求在他的葬禮上演奏這首曲子。我們或許無從得知蕭邦對這首前奏曲的想法，但僅以本文探討他如何透過音樂表達自我─肺結核帶來的沉痾，並以此前奏曲的音樂進程與肺結核的臨床病程兩相比較。 Japaneseショパンのプレリュード4番における音楽的流れと、肺結核の進行段階の比較 Vernon H. Hoeppnerフレデリック・ショパンは、世界に知られた作曲家およびピアニストであり、肺結核により39歳で死没した。この病気の症状は成人になってからすぐ始まっており、彼の人生のほとんどを占めた。彼は、並外れた創造性を持っていて、自身の感情を音楽でくまなく表現することを好み、ピアノ演奏を通じて自分の精神状態に重くのしかかっていた問題を表していた。彼は若い頃から音楽を聴き芸術を探求していたが、人生に別れを感じたとき音楽にも別れを告げた。私生活で時間と共に彼を苦しめた大きな重荷は、彼の持病である肺結核であった。彼の妹や友人たちも同じ病に苦しみ、ショパンは彼らを看取っていた。彼は自身の病気に運命を感じ、絶望的に死を覚悟していた。ショパンは、プレリュード4番、イ短調を 1838年末から1839年にかけた冬の時期に作曲し、この間彼の症状はほぼ死期に近づいていた。このプレリュードは、専門家たちによっても、病の表現であると言われている。ショパンが、自身の葬儀で弾いてほしいと依頼した曲でもある。我々は、彼がプレリュードに対して感じていた本当の気持ちはわからないが、本論文では彼が音楽で自身や肺結核の辛さをどのように表現したかについて考察し、肺結核の進行状態とプレリュードの音楽的展開を比較する。キーワード:ショパン、音楽、プレリュード、肺結核Korean쇼팽의 서곡 No.4의 음악적 흐름과 결핵의 임상학적 과정 비교하기 Vernon H. Hoeppner쇼팽은 널리 알려진 작곡가이자 피아니스트이며, 39세 나이에 결핵으로 죽었다. 그 질병의 증상들은 성인기 초반에 시작되어 그의 삶의 대부분을 지배했다. 그는 아주 창의적이었으며, 자신의 감정을 음악으로 표현하는 것을 좋아하였고, 피아노로 내면의 중요한 문제들을 표현했다. 생애 초반, 그는 예술에 대한 진지함을 가지고 음악을 들었다. 그는 작별을 고할 때도 음악으로 했다. 그는 이러한 음악에 대한 진중함을 은밀하게 유지하고자 하였으나 그의 질병은 시간이 갈수록 마음속에서 그를 더무겁게 했다. 그가 죽음을 목격했던 그의 누이와 친구들도 결핵을 앓았다. 그는 죽게 될 질병을 갖고 있다는 것을 인식했으며, 희망 없이 자신의 죽음을 예견했다. 그는 그의 증상이 그를 죽음으로 내몰던 1838-39년 겨울 동안 Majorca에서 Prelude No.4 in E minor를 작곡했다.전문가들은 그 곡이 질병을 표현한 것이라고 말한다. 쇼팽은 그 곡을 자신의 장례식에서 연주해 달라고 요구했다. 우리가 그 곡에 대한 그의 생각을 알지 못하지만, 본 논문은 그가 음악으로 자기 자신을 표현한 방법과 결핵을 고려하며 작곡되었을 서곡의 음악적 과정과 결핵의 임상학적 과정을 비교했다. 키워드: 쇼팽, 음악, 서곡, 결핵

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LIM SUNGHEE and 권호종. "Prelude of Modern Arab Music : International Congress of Arab Music in Cairo, 1932." Korean Journal of Arts Studies ll, no. 19 (March 2018): 209–30. http://dx.doi.org/10.20976/kjas.2018..19.010.

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Bartlett, Brain. ""Inscrutable Workmanship": Music and Metaphors of Music in "The Prelude" and "The Excursion"." Wordsworth Circle 17, no. 3 (June 1986): 175–80. http://dx.doi.org/10.1086/twc24040733.

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Grimley, Daniel M. "“In the Mood:” Peer Gynt and the Affective Landscapes of Grieg's Stemninger, op. 73." 19th-Century Music 40, no. 2 (2016): 106–30. http://dx.doi.org/10.1525/ncm.2016.40.2.106.

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Edvard Grieg's prelude to the fourth act of Henrik Ibsen's “dramatic poem” Peer Gynt (1867/76), “Morning Mood,” is among the best-loved passages in the repertoire. Commonly assumed to invoke Norway's iconic western fjords, the prelude in fact sets the stage for Ibsen's eponymous wanderer, washed up on the Moroccan coast. Commentators have recently argued for a more nuanced and multilayered response to the sense of place in Grieg's score, but the idea of “mood,” and its relationship with landscape, is central to Grieg's work in other ways and extends well beyond his famous collaboration with Ibsen. This article examines the significance of mood in one of Grieg's last works, the piano collection Stemninger (“Moods”), op. 73, and assesses the term's significance and its association with notions of landscape, absence, agency, and displacement.

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Koslovsky, John. "Tristan und Isolde at the Margins of Music-Analytical Discourse: A Dialogic Perspective." Music Theory and Analysis (MTA) 8, no. 1 (April 30, 2021): 88–113. http://dx.doi.org/10.11116/mta.8.1.4.

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Whether or not the Prelude to Richard Wagner's 1859 music drama Tristan und Isolde is the most analyzed piece in the history of Western music, owing to its ongoing canonical status, it behooves us to consider how it has affected the field of music analysis over the past 150 years. More than any other piece, Wagner's Prelude is able to expose the many conflicts that arise between analytical approaches: while it can demonstrate the limits of one particular approach vis-à-vis another, it may also reveal new potentialities that divergent analyses offer when seen from an intertextual point of view.<br/> As a test case, this article will position three contemporaneous analyses of the opening measures of the Prelude against one another: Horst Scharschuch's post-Riemannian harmonic analysis and Jacques Chailley's style-historical analysis, both from 1963, and William Mitchell's Schenkerian analysis of 1967. Drawing on Mikhail Bakhtin's concepts of "dialogism" and "heteroglossia," I will trace a broader historiographical and intertextual network surrounding the history of analyzing Tristan, with the goal of refocusing our analytical priorities around this work and penetrating the continuities and discontinuities between competing analyses. In this way, the article aims at opening up a further dialogic space in music analysis, both in our historical considerations and in the way we approach analysis as an intertext—that is, by traversing the fissures in the reified verities of a "unified" analysis and the multiple interpretative transpositions underlying our deciphering of analytical texts. It will conclude by offering yet another interpretation of Wagner's famous chord.

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Mattfeld, Victor H., Herbert Gotsch, and Richard Hillert. "The Concordia Hymn Prelude Series." Notes 45, no. 3 (March 1989): 628. http://dx.doi.org/10.2307/940833.

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Appel, Andrew, Wanderlih, Francois Couperin, Marin Marais, Louis-Nicolas Clerambault, and Jean-Francois Dandrieu. "Collection de prelude [pour flute]." Notes 49, no. 2 (December 1992): 807. http://dx.doi.org/10.2307/897973.

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Doll. "Beginnings for Beginners: A Pedagogy for Starting a Prelude." Bach 49, no. 2 (2018): 248. http://dx.doi.org/10.22513/bach.49.2.0248.

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Lindsey, Roberta L., and Aaron Copland. "Grohg-Ballet in One Act. Prelude for Chamber Orchestra." American Music 16, no. 1 (1998): 114. http://dx.doi.org/10.2307/3052686.

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Rink, J. "The line of argument in Chopin's E minor prelude." Early Music 29, no. 3 (August 1, 2001): 435–45. http://dx.doi.org/10.1093/em/29.3.435.

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Giles, Howard, Amanda Denes, David L. Hamilton, and John M. Hajda. "Striking a Chord: A Prelude to Music and Intergroup Relations Research." Group Processes & Intergroup Relations 12, no. 3 (April 17, 2009): 291–301. http://dx.doi.org/10.1177/1368430209102840.

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This article explores the relationships between music and intergroup relations, invoking social identity as an integrative framework. In addition to briefly relating the articles constituting this Special Issue on `music and intergroup relations' to the foregoing, an array of exciting theoretical possibilities for further research and collaborations pursuing this under-investigated domain of intergroup relations is presented.

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Thompson, Sam, Aaron Williamon, and Elizabeth Valentine. "Time-Dependent Characteristics of Performance Evaluation." Music Perception 25, no. 1 (September 1, 2007): 13–29. http://dx.doi.org/10.1525/mp.2007.25.1.13.

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CONCERTGOERS, CRITICS, TEACHERS, AND PERFORMERS are often called upon to cast judgment on the performances they hear. Research to date has typically focused on the judgments themselves, with very few empirical studies of the processes and decisions that lead to these judgments. This paper details an investigation of time-dependent characteristics of performance evaluation. Thirty-three participants were played five recordings of a Bach Prelude and five of a Chopin Prelude. They rated the quality of each performance continuously, by moving a mouse cursor on a 7-point scale displayed on a computer screen, and using written scales. The results suggest that: the time taken to reach an evaluative decision was typically short (around 15––20 s); there was a significant difference between the initial and final ratings, with a tendency for ratings to improve as the performances progressed; and the largest revisions of opinion took place within the first minute of the performance.

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Fisk, Charles. "Nineteenth-Century Music?? The Case of Rachmaninov." 19th-Century Music 31, no. 3 (2008): 245–65. http://dx.doi.org/10.1525/ncm.2008.31.3.245.

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Abstract In two of Rachmaninov's last works, the Rhapsody on a Theme of Paganini of 1934 and the first of the Symphonic Dances of 1940, a stylistic contrast between an opulently scored lyrical theme and the more angular, dissonant music that surrounds that theme throws into relief the extent that Rachmaninov's musical language had changed and developed since his first great successes thirty years earlier with the Second Piano Concerto and the Second Symphony. The words that motivate a similar stylistic contrast in the song Son (Sleep), composed in 1917, near the end of his most compositionally productive years, suggest an interpretive reading of such a stylistic contrast: the earlier, lusher style is associated here with dreams, and hence with memories; while the later, sparer, more tonally ambiguous style accompanies an evocation of something more impersonal, in the case of the song the stillness of a dreamless sleep. Some of the developing aspects of Rachmaninov's style revealed in these later examples are already evident even in the more traditional-sounding pieces of the last decade (1907––17) of his Russian period, which is shown in an analysis of the piano Prelude in G## Minor of 1910. Even this seemingly traditional Prelude, but more and more in his later music, Rachmaninov emerges as an indisputably twentieth-century composer.

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Goodchild, Meghan, Bruno Gingras, and Stephen McAdams. "Analysis, Performance, and Tension Perception of an Unmeasured Prelude for Harpsichord." Music Perception 34, no. 1 (September 1, 2016): 1–20. http://dx.doi.org/10.1525/mp.2016.34.1.1.

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This study focuses on the relationships between music analysis, performance, and tension perception. Part 1 examines harpsichordists’ analyses and performances of an unmeasured prelude—a semi-improvisatory genre open to interpretive freedom. Twelve harpsichordists performed the Prélude non mesuré No. 7 by Louis Couperin on a harpsichord equipped with a MIDI console and submitted a formal analysis. Using a curve-fitting approach, we investigated the correspondence between analyzed segmentations and group-final lengthening. We found that harpsichordists also employed “group-final anticipation,” involving deceleration before, and acceleration through, analyzed boundaries. In Part 2, three listener groups (harpsichordists, musicians, and nonmusicians) continuously rated tension for 12 performances. In contrast to measured music, local tension peaks, rather than troughs, occurred at boundaries featuring group-final lengthening. Associations were found between global tempo and tension ratings, with significant differences among the three listener groups. Performers expressed the large-scale structure through the amount of tempo variability, which was also reflected in tension rating variability.

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Kopeliuk, Oleh. "THE “24 PRELUDES” FOR THE PIANO BY IVAN KARABYTS AS AN ENCYCLOPAEDIA OF THE UKRAINIAN RENAISSANCE OF THE 1970S." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 65–95. http://dx.doi.org/10.34064/khnum1-58.05.

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Background. The research is devoted to revealing the semantic analysis of the dramaturgy of one of the large-scale compositions in the creative work of IvanKarabyts – the cycle “24 Preludes” for the piano. The composition was written by Ivan Karabyts in 1976 and today it is of great interest to concert performers and fans of modern piano music. The attention of pianists to the cycle “24 Preludes” by I. Karabyts is attracted, firstly, by the distinctive, original musical language, secondly – by a wide range of performing capabilities and means of expression, and thirdly – by vivid images that inspire pianists to reproduce artistic ideas, hidden philosophical implications. The object of research is the cycle “24 preludes” for the piano as a musical encyclopaedia, reflecting the artistic era in the context of the Ukrainian renaissance of tthe 1970s, and the aim is to identify stylistic patterns by means of the semantic analysis of the dramaturgy of the cycle, finding the intersection in a kind of dialogue with a diverse, significant fund of the music of the 20th century. The methodology of research is focused on the relationship of special methods of analysis: functional-structural, intonation, genre, style, semantic and interpretative one. Results. Ivan Karabyts chooses for his cycle a model of tonal dramaturgy of the cycle “24 Preludes”, introduced by F. Chopin and later by D. Shostakovich, namely – the movement along the circle of fifths in the ratio of major-minor. From the point of view of musical semantics of the preludes of the cycle they can be divided into 5 thematic groups (contemplative and introspective lyrics; grotesque and dance; sound imitation and spatial-visual; stylistic allusions; and tragedy ones), varied in genre-stylistic sense (according to the criteria of modelling the awareness of the lyrical hero (I – the world around me.) The dramaturgy of the cycle is built through their correlation, while forming a certain plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society which is ambiguous and problematic for a human. The composer chooses the prelude as a genre with a historical memory of culture, which allows performers and listeners to experience the range of psychological moments of the human spirit in the turbulent world of events of the last third of the 20th century. The composer is fascinated by this genre not by chance, because the prelude allows reflecting in miniature numerous states of “fixed” moments of existence, the inner balance of the artist and the world. Each prelude in the cycle is a kind of creative laboratory, a field of creative experiments. It reflected both already developed and new methods and principles of the composer’s thinking. While performing one prelude after another as a whole composition, one realizes that this genre expresses the freedom of creativity, the element of existence: it is a fantasy, and a story of the heart, and the revelation of the spirit, and at the same time – bright genre sketches. Conclusions. The analysis of the musical semantics of I. Karabyts’s piano cycle “24 Preludes” testified to the presence of 5 genre-stylistic groups in the cycle (according to the criterion of the dual world notion “psychology I – the world around”). Thus, the genre-semantic analysis of the piano cycle “24 Preludes” has shown that I. Karabyts does not lose touch with history and time, by paying tribute to the masters of the 18th–20th centuries, continuing to develop the type of tonal dramaturgy, laid down by J. S. Bach. In the cycle there is a special “counterpoint” of the “blues” stylistic. The dramaturgy of the cycle has a detailed plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society ambiguous and problematic for a human (“I – World”). The dramaturgy of the romantic dual world turns into a harmony of the modern world with multiple images, echoes of time and inner drama. The genre semantics and its analysis allow the performer to comprehend the large-scale cycle as an artistic picture of the world, and its stylistic unity – as a spiritual universe which belongs to the Ukrainian art of the 21st century.

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Loewy, J. V., and R. Spintge. "Prelude to the Special Issue in Music and Medicine: Music Therapy and Supportive Cancer Care." Music and Medicine 3, no. 1 (January 1, 2011): 5–6. http://dx.doi.org/10.1177/1943862110394868.

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Tavakkol, Ehsan. "Specifics of the structure of the cycle and the musical form in the Concerto for Persian Ney and Orchestra «Toward That Endless Plain» by Reza Vali." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 185–201. http://dx.doi.org/10.34064/khnum1-59.13.

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The article considers the peculiarities of the structure of the cycle and the form of the Concerto for the Persian Ney with Orchestra «Toward That Endless Plain» by the modern Iranian-American composer of the XX–XXI centuries Reza Vali (b. 1952). It was found that the unusual structure and musical form of this Concert are manifested in the combination between traditional Western European principles of cycle composition with the principles of musical form each part that is characteristic of classical Iranian music. The cycle of the Concerto is three-part with additional sections. This model of a solo concerto has developed in the European musical tradition. However, due to the author’s program the structure of the cycle, in general, is extremely specific (Tavakkol, 2019: 271). It was found that the specifics of the structure of the cycle is the introduction of two additional sections, marked as “Prelude” (set out before Part I) and “Interlude” (placed between Parts II and III). It is established that each of the three parts and additional sections are set out in a peculiar form inherent in Iranian classical music: Parts I and III are composed in mosaic form, Part II is written in the form of nobats; “Prelude” and “Interlude” are created in Ternary form. It is revealed that the arched principle (the principle of symmetry) in the construction of the cycle is found between “Prelude” and “Interlude”, as well as between I and III parts. The alternation of tempo characteristics of the parts is revealed in the general composition of the cycle. The I and III parts have a slow tempo and the II part has a fast. (this kind of contrast between parts is not typical for the genre of a solo concert of Western European music). Two principles in the organization of the composition cycle and the form of individual parts are highlighted. It is proved that R. Vali’s choice of a specific composition of the cycle, the form of parts and additional sections, as well as the use of tempo of each part, is due to the concert program, which is a kind of interpretation of the meaning contained in the poem by S. Sepehri. The music of the work is closely connected with the program. All parts of the Concerto have titles in Persian and English, which are based on the postulates of mystical philosophy and Sufism. Prelude and Interlude, which are associated with images of the material world – aggression and war. In comparison with the saturated, solid sound of the Prelude and Interlude, the delicate sparsity of the three main parts of the cycle are meant to reveal the spiritual life of humanity (Tavakkol, 2020: 113–117).

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Rice, Marc. "Prelude to Swing: The 1920s Recordings of the Bennie Moten Orchestra." American Music 25, no. 3 (October 1, 2007): 259. http://dx.doi.org/10.2307/40071662.

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Brown, Matthew. "Tonality and Form in Debussy's "Prelude a 'L'Apres-midi d'un faune"." Music Theory Spectrum 15, no. 2 (October 1993): 127–43. http://dx.doi.org/10.1525/mts.1993.15.2.02a00010.

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Maple, Amanda, and Tona Henderson. "Prelude to a Digital Music Library at the Pennsylvania State University." Library Resources & Technical Services 44, no. 4 (October 1, 2000): 190–95. http://dx.doi.org/10.5860/lrts.44n4.190.

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Pohly, Linda L. "The Kansas Musical Jubilee, 1893–1903 Prelude to School Music Contests." Bulletin of Historical Research in Music Education 16, no. 1 (September 1994): 17–28. http://dx.doi.org/10.1177/153660069401600102.

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Darcy, Warren. "Creatio ex nihilo: The Genesis, Structure, and Meaning of the "Rheingold" Prelude." 19th-Century Music 13, no. 2 (1989): 79–100. http://dx.doi.org/10.2307/746649.

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EIGELDINGER, J. J. "CHOPIN AND 'LA NOTE BLEUE': AN INTERPRETATION OF THE PRELUDE OP. 45." Music and Letters 78, no. 2 (May 1, 1997): 233–53. http://dx.doi.org/10.1093/ml/78.2.233.

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Darcy, Warren. "Creatio ex nihilo: The Genesis, Structure, and Meaning of the "Rheingold" Prelude." 19th-Century Music 13, no. 2 (October 1989): 79–100. http://dx.doi.org/10.1525/ncm.1989.13.2.02a00010.

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Sole, Meryl. "Bach Re-Invention: Bridging classical and popular music in the college classroom." Journal of Popular Music Education 3, no. 2 (July 1, 2019): 309–27. http://dx.doi.org/10.1386/jpme.3.2.309_1.

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This article highlights a composition project from an undergraduate musicianship course at a private liberal arts college. For the project, students studied a Prelude by J. S. Bach and utilized their analysis as a framework to compose new melodies. Instead of writing in the style of Bach, many students chose to transform their compositions into popular music styles. The study discusses the students’ processes and addresses how the new compositions were largely representative of popular music in a range of styles including heavy metal, punk, surf and rap. The unexpected transformations became an opportunity to implement a responsive pedagogy that became a bridge between classical and popular music. Implications for teaching are presented and include discussion of the use of popular music in the undergraduate theory classroom.

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Repp, Bruno H. "The Art of Inaccuracy: Why Pianists' Errors Are Difficult to Hear." Music Perception 14, no. 2 (1996): 161–83. http://dx.doi.org/10.2307/40285716.

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Pianists' pitch errors were identified in a MIDI data base comprising more than 90,000 notes. Ten graduate student pianists had played four pieces (Schumann's Träumerei, Debussy's La fille aux cheveux de lin, Chopin's Prelude in D-flat Major, and Grieg's Erotik) three times from the score, after only a brief rehearsal. Pitch errors were classified exhaustively as substitutions, omissions, or intrusions. (A frequent form of intrusion was the "untying" of tied notes.) Nearly all errors occurred in nonmelody voices, often inside chords. The majority of the intrusions and nearly all substitutions seemed contextually appropriate. The repeated performances made it possible to distinguish consistent from unique errors. Consistent errors were more often omissions than intrusions, and consistent intrusions were more contextually appropriate than unique intrusions. Most errors seemed likely to be perceptually inconspicuous. This was confirmed in an error-detection experiment, in which eight pianists, some of whom had recently studied the test piece (the Chopin prelude), collectively detected only 38% of all objectively registered errors. Pitch errors, rather than being a categorical phenomenon (as a scorebased analysis might suggest), vary in the degree to which they violate the music, and their perceptibility is context-, listener-, and situation dependent. Members of a typical concert audience are likely to notice only a small fraction of a pianist's inaccuracies, which is in part due to the contextual appropriateness of most errors.

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Cook, Nicholas. "Structure and Performance Timing in Bach's C Major Prelude (WTCI): An Empirical Study." Music Analysis 6, no. 3 (October 1987): 257. http://dx.doi.org/10.2307/854205.

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Kallberg, J. "Chopin and the aesthetic of the sketch: a new prelude in E minor?" Early Music 29, no. 3 (August 1, 2001): 408–22. http://dx.doi.org/10.1093/em/29.3.408.

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Drummond, John. "Prelude: The ISME Commission on community music activity and its Oslo seminar." International Journal of Community Music 3, no. 3 (November 1, 2010): 327–29. http://dx.doi.org/10.1386/ijcm.3.3.327_1.

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Barysheva, Tamara A. "“Emociograma” of Perception of Performing Interpretations of Musical Works by Primary School-age Children." Musical Art and Education 7, no. 3 (2019): 46–61. http://dx.doi.org/10.31862/2309-1428-2019-7-3-46-61.

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In the article the results of an empirical express-research of features of impact of performing interpretation on the emotional sphere of primary school-age children are analyzed. The main coordinates of emotional experience of music – a modality, sign (valency), semantic space, intensity, dynamics, complexity level (monomodality – polymodality) and contents (intentionality), are considered. For the purpose of comparative analysis of perception results, performing versions of musical works С. Debussy’s Prelude “The wind on the plain” (electronic transcription in the arrangement of E. Artemyev and piano option of B. Lotar-Shevchenko) and Chopin’s Prelude in C major (treatments: R. Kerer and M. Pollini) are used. As a result of the analysis of empirical data, the principal effect of emotional influence of performing interpretation of the work is determined. It consists in the specific organization of emotional relationships, regrouping of emotional signs and estimates, emphasis of creative resources of the child and manifestation of the highest feelings – esthetic, hedonistic, romantic, and intellectual, etc. The model of empirical research, the differentiated structure of emotional relationships, the revealed features of the impact of the musical-performing image on the emotional sphere of junior schoolchildren not only determine the prospects for further research in the psychology of art, but also the possibility of integrating the experience of implementing this model in the process of forming the student competence in the field of music and performing culture and the development of the emotional sphere of children in the system music education.

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Rogers, Lynne. "A Serial Passage of Diatonic Ancestry in Stravinsky's The Flood." Journal of the Royal Musical Association 129, no. 2 (2004): 220–39. http://dx.doi.org/10.1093/jrma/129.2.220.

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When Stravinsky composed The Flood in 1961–2, he was already an experienced practitioner of serialism. It is undeniably noteworthy, then, that compositional documents for the work include two diatonic sketches, presumably the earliest versions of a passage from the Prelude. Later serial versions of the passage, which differ significantly from the diatonic sketches, nonetheless retain numerous important features introduced at that initial stage. The existence of the diatonic sketches suggests that even late in his career, Stravinsky harboured diatonic and tonal impulses. Taking into account the audible results of these impulses will contribute substantially to an understanding of his last works.

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Buck, Bryony, Jennifer MacRitchie, and Nicholas J. Bailey. "The Interpretive Shaping of Embodied Musical Structure in Piano Performance." Empirical Musicology Review 8, no. 2 (October 24, 2013): 92. http://dx.doi.org/10.18061/emr.v8i2.3929.

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Research has indicated that the magnitude of physical expressive movements during a performance helps to communicate a musician's affective intent. However, the underlying function of these performance gestures remains unclear. Nine highly skilled solo pianists are examined here to investigate the effect of structural interpretation on performance motion patterns. Following previous findings that these performers generate repeated patterns of motion through overall upper-body movements corresponding to phrasing structure, this study now investigates the particular shapes traced by these movements. Through this we identify universal and idiosyncratic features within the shapes of motion patterns generated by these performers. Gestural shapes are examined for performances of Chopin’s explicitly structured A major Prelude (Op. 28, No. 7) and are related to individual interpretations of the more complex phrasing structure of Chopin’s B minor Prelude (Op. 28, No. 6). Findings reveal a universal general embodiment of phrasing structure and other higher-level structural features of the music. The physical makeup of this embodiment, however, is particular to both the performer and the piece being performed. Examining the link between performers' movements and interpreted structure strengthens understanding of the connection between body and instrument, furthering awareness of the relations between cognitive interpretation and physical expression of structure within music performance.

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Daverio, John. "The "Wechsel der Töne" in Brahms's "Schicksalslied"." Journal of the American Musicological Society 46, no. 1 (1993): 84–113. http://dx.doi.org/10.2307/831806.

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The nature of musical meaning in Brahms's Schicksalslied, op. 54, a setting of an interpolated lyric from Friedrich Hölderlin's epistolary novel Hyperion, has long puzzled students of the composer's works. Brahms's apparent contradiction of the message of the poem in an ethereal orchestral postlude is here considered in the light of Hölderlin's own poetic theory of "alternating tones" toward the end of demonstrating the composer's adherence to the spirit, if not the letter, of the poet's work. The Schicksalslied is further interpreted as the last instance of the Erlebnislyrik (lyric of personal experience) within Brahms's output, and hence as a telling prelude to the symphonic essays of the 1870s and 1880s.

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Swift, Richard, and Arthur Berger. "Prelude, Aria and Waltz: Three Pieces for String Orchestra." Notes 44, no. 1 (September 1987): 153. http://dx.doi.org/10.2307/941001.

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Lewenhaupt, Inga. "A Dream Play on the Opera Stage." Theatre Research International 18, S1 (March 1993): 42–49. http://dx.doi.org/10.1017/s030788330002109x.

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On 15 September 1992 one of the most important new operas written in Scandinavia had its opening night at The Royal Opera House, Stockholm. The opera, based on Strindberg's A Dream Play, libretto and music by Ingvar Lidholm, was long awaited and surpassed the highest expectations. The score has a prelude and two acts, (duration two hours and twenty minutes, pause excluded) and requires a large orchestra, an extended percussion section, mixed chorus, children's chorus and fifteen roles.

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