CHAPTER I STRUCTURAL ANALYSIS The Work as a Whole Ludus Tonal is is a composite work consisting of twelve three-voice fugues linked by eleven. b – Paul Hindemith – Ludus Tonalis [4], Interlude IV a – J. S. Bach – W. Kl. This study proposes to analyze the main. elements of correlation. Thesis (D. Mus. Arts)–University of Washington, Ludus Tonalis, composed , is one of the best piano works by Hindemith. Although it is not treated as.

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The intervals of the fifth, fourth, and third act as strong points of repose while seconds and sevenths move the music onward. In the interludes that modulate to a new tonal centre, the tonic is considered to be the root of that new centre. Hindemith’s early compositions, which were primarily chamber works, showed that he was intent on renewing stylistic and formal traditions; yet his writing was in an unmistakably progressive, contemporary idiom. These and more specific aspects of texture will be discussed in Chapter II in relation to performance problems in the work, since texture and performance considerations anzlysis so integrally linked.

Citations are based on reference standards.

Hindemith, “Ludus Tonalis” (1942)

Coda Combined subject and inverted subject. The Visible and Invisible in Pianoforte Technique. Hindemith gained a reputation as a provocateur with his three one-act operas from this early experimental and: Some authors consider these songs to be lacking in color or direct emotionalism as understood in nineteenth-century Lieder.

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Such cases could be: Preview this item Preview this item. WorldCat is the world’s largest library catalog, helping you find library materials online.

While some of the interludes Nos. There are some circumstances in which legato is not physically possible Interlude No. There are no pedal markings in the L. In the interludes, Hindemith introduces more vertically conceived structures and at times a heavily textured and extremely dense chordal style Inter- 43 lude No.

There is a similar section in meas. The chapter dealing with aspects of performance relates such techniques as articulation, dynamic nuance, phrasing, and pedaling to the overall stylistic ideal of clarity of line, texture, and form. The performer will find that his first concern will be the achievement of a style of playing appropriate to Hindemith’s style of composition, in which considerations such as line, texture, tone color, and dynamics will be primary.

Full text of “A Study of Paul Hindemith’s Ludus Tonalis ()”

Kammermusik Der Schwanendreher Clarinet Concerto. Kemp feels there is ljdus definite symmetrical aanlysis evident in the whole work. These two main sections can be further divided into four. The degree of tension amount or intensity of dissonance of a chord is determined by its interval! Robert Schumann – Introduzione: Halliday’s dissertation Paul Hindemith: This proportional length of sections at least on paper is possibly indicative of Hindemith’s preoccupation with formal symmetry and balance.

II containing neither minor seconds nor major sevenths ; IV containing minor seconds, major sevenths, or both ; and VI indeterminate, tritone predominating; i.

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Hindemith has also employed retrograde technique in several instances in Fugue Mo. Allegro un poco maestoso This recital is presented in partial fulfillment of the requirements for the Master of Music degree for Mr.

By utilizing these intervals of a fifth, fourth, and ludua as the basic ingredients of a fugal subject, Hindemith is presenting his strongest, most secure harmonic force alongside the propelling motive power of the melodic intervals of a seventh and second.

Translated by Arthur Mendel. He may utilize dotted and double dotted notes or triplet figures or both to create rhythmically distinct motives. The application of an agogic accent deliberate lengthening of a note to special melodically important notes can help to define the subject and intensify the musical effect.

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The importance of pattern recognition and an understanding of the musical relationships among the various tonaliss can be displayed in an analysis of Fugue No. At times the pedal may be used as an integral part of the timbre, such as in Interlude Nos. It is also more harmonically conceived with less dependence on the contrapuntal invention that prevails in other pieces Hindemith composed between and Rational Principles of Piano Technique.