In accordance with the theme number, the structure characteristic, and the methods used by Polyphony development, the Fugue can be divided into three groups, each for one section. We conducted an analysis respectively to the melody, texture analysis of the works, harmony and tonality of the Arioso in section II and the Chant in section III, which the detailed exposition to the works' texture, harmony and tonality provided by Hindemith's new theory occupies a lot of space.The second chapter is the analysis for the 12 Fugue. Sections II and III take Hindemith's theory of compose technology, namely, chord, two-voice framework, harmonic fluctuation, and tonality as well as the termination theory as foundations. Section I focuses on the medieval origins and characteristics of melody style, the process of the compound mode texture moto perpetuo of the first part of the Prelude corpus-toccata period, as well as its coherence with the basic music expression approach. Because the prelude has three characteristic theme melodies at three distinct intervals of periods, thus this chapter is divided into three sections each of them carries on stresses in basic music expression approach analysis to the Cadenza, toccata, arioso and chant period. After introduction is the paper's first chapter of Prelude analysis. This paper is composed by three major components. It has conducted a systematic and comprehensive analysis to the Prelude and Fugue. Focus on these two aspects to carry on the analysis to the "Ludus Tonalis" will be helpful to a more comprehensive understanding of the music composition in Hindemith's maturity period as well as the neoclassicism he has represented.This paper takes the Prelude and Fugue of the "Ludus Tonalis" for the study, proceeding with the two-pronged approach: the neoclassicism inheritance and the composer technical theory's practice. In terms of either the macro-or micro-structure of the basic performance of music-oriented approach, the "Ludus Tonalis" has manifested the composer's inheritance to the neoclassicism and incontrovertibly demonstrated his unique composition's technical rationality and effectiveness.
The divertimento is composed of a Prelude, 12 Fugue, 11 Intermezzo and a Postlude. Completed in 1942, the "Ludus Tonalis" is a piano divertimento which Hindemith was very proud of and which occupied an important position in his broad range of topics and vast quantity of music creations. From 1921, the successful performance of his "String Quartet No.2" in the first Donaueschingen Festival has well established himself as Germany's most important young composers to the early 1960s, he has always maintained an exuberant creation momentum and brimmed with innovative art exploration. Paul Hindemith (1895-1963), as the neoclassicism composer's outstanding representative, is a German-American composer, music theoretician and social activist which the first half of the 20th century has witnessed an important international influence.His music career lasted a long time. Modern Identifier lp_ludus-tonalis_paul-hindemith-jane-carlson_0 Identifier-ark ark:/13960/s2g225kqn8z Lineage Technics SL1200MK5 Turntable + Audio-Technica AT95e cartridge > Radio Design Labs EZ-PH1 phono preamp > Focusrite Scarlett 2i2 Ocr tesseract 5.2.0-1-gc42a Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.8525 Ocr_module_version 0.0.18 Ocr_parameters -l eng+lat Original-ppi 1200 Pages 4 Pdf_module_version 0.0.20 Ppi 600 Ripping_date 20221103070211 Ripping_operator Ripping_scanner archivelp-rip-cebu21 Ripping_software_version ArchiveCD Version 2.2.73lp Ripping_stylus archivelp-rip-cebu21-20221026-d7f87432 Ripping_time 3884 Scandate 20221025061342 Scanner archivelp-cat-cebu03 Scanningcenter cebu Size 12 Software_version ArchiveCD Version 2.2.The Analysis Of Prelude And Fugue On Hindemith's Ludus Tonalis
Adaptive_ocr true Addeddate 09:29:41 Betterpdf true Bookreader-defaults mode/1up Boxid IA1683109 Catalog_time 381 Condition Good Condition-visual Very Good Country NL Derive_submittime 08:31:09 Disccount 1 External-identifier
0 kommentar(er)
