6/29/2023 0 Comments Paul hindemith ludus tonalisModern 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. There is a striking symmetry around the center of the cycle (the march).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 Postludium: Retrograde inversion of the Praeludium.Fuga undecima in B ( canon): Accompanied canon.Fuga nona in B ♭: Subject transformation fugue.Interludium: Romantic miniature ( Brahms style).Interludium: Romantic miniature ( Chopin style).Fuga tertia in F: Mirror fugue, where the second half is an exact retrograde of the first, except with voice paddings at their end exits.In this system, the major-minor duality is meaningless and the practice of modulation is dropped, although subject modulation occurs in the second fugue, to create growing tension. The affinity of each note with the keynote is directly related to its position on the harmonic scale. One of the charms of these pieces is the wit and quirky sense of humor that Hindemith displays. Ludus Tonalis can be thought of as the most direct application of Hindemith's theory that the twelve tones of the equally tempered scale all relate to a single one of them (called a tonic or keynote). A significant element in the most compelling pieces here is his rhythmic inventiveness, which is considerable, and is most evident in the more energetic and propulsive fugues and interludes. Unlike Bach's work, though, the non-fugal pieces in Ludus Tonalis frequently repeat the work's main theme. Ludus Tonalis was intended to be the twentieth-century equivalent to J.S. The tonalities of the fugues follow the order of his Serie 1 and use the keynote C (see The Craft of Musical Composition). Paul Hindemith Ludus tonalis (1942) Jacob Kaznelson (piano) Moscow Conservatory 4.2K views 2 years ago Olivier Messiaen - Rveil des oiseaux (1953, rv. In between, there are twelve three-part fugues separated by eleven interludes, beginning in the tonality of the previous fugue and ending in the tonality of the next fugue (or in a different tonality very close to that). Ludus Tonalis ('Play of Tones', 'Tonal Game', or 'Tonal Primary School' after the Latin Ludus Litterarius ), subtitled Kontrapunktische, tonale, und Klaviertechnische bungen ( Counterpoint, tonal and technical studies for the piano ), is a piano work by Paul Hindemith that was composed in 1942 during his stay in the United States. The piece, which comprises all 12 major and/or minor keys, starts with a three-part Praeludium in C resembling Johann Sebastian Bach's toccatas, and ends with a Postludium which is an exact retrograde inversion of the Praeludium. It is in effect, a veritable catalogue of the composer's mature style." The piece explores "matters of technique, theory, inspiration, and communication. It was first performed in 1943 in Chicago by Willard MacGregor. Ludus Tonalis subtitled Kontrapunktische, tonale, und Klaviertechnische bungen is a piano work by Paul Hindemith that was composed in 1942 during his stay. Ludus Tonalis ("Play of Tones", "Tonal Game", or "Tonal Primary School" after the Latin Ludus Litterarius), subtitled Kontrapunktische, tonale, und Klaviertechnische Übungen ( Counterpoint, tonal and technical studies for the piano), is a piano work by Paul Hindemith that was composed in 1942 during his stay in the United States. From the first and final movements, respectively.
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