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 , 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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Hindemith often writes motive beginnings that are obviously identifiable aurally because of distinctive rhythmic patterns and interval structure. All examples and other references will be based on the edition published by B. In Example 25, the circled notes could have a slightly longer than notated duration and thus create an intensified awareness of the melodic structure. Search WorldCat Find items in libraries near you. Hindemith very often writes a sequence of parallel harmonic 24 fifths, fourths, and even sevenths without regard for traditional resolutions.
Hindemith, “Ludus Tonalis” (1942)
In turn, the fugal exposition is often the most important part of the entire fugue, since it must contain the potential for melodic, rhythmic, and harmonic development. The variable phrase lengths and occasional overlapping of phrases Ex.
Root lies above the aanalysis tone tic. Style is defined by Dickinson as “the reflection of the individual essence of a work of art which gives it its identity.
At times the pedal may be used as an integral part of the timbre, such as in Interlude Luuds. The interludes of the L.
An analysis of the twelve fugues of Ludus Tonalis by Paul Hindemith
The article discusses contrapuntal procedures such as harmony, form, counterpoint, and fugal subjects as found in the L. His works show a marked influence of Reger and Debussy, and they retain traditional formal designs. The obvious symmetry of the ten musical patterns is offset somewhat lydus the asymmetrical phrase units within each pattern i. A new, somewhat more introspective style began to emerge in Hindemith’s compositions aftercharacterized by an overall serenity and homogeneity.
The affinity of each note with the keynote is directly related to its position on the harmonic scale. His association with these groups net only added to his stature as a performer, but also provided a practical outlet for his compositions.
The importance of pattern recognition and an understanding of the musical relationships among the various patterns can be displayed in an analysis of Fugue No. Root and bass tone are identical etc. These tnoalis should be practiced playing with two hands in order to become more aware of the two separate voices.
A long, freely conceived transitional bar between the arioso and the final slow section is similar in style to the first three improvisatory bars of the first section.
Some authors consider these songs to be lacking in color or direct emotionalism as amalysis in nineteenth-century Lieder. This new attitude of the mature Hindemith poses a marked contrast to his iconoclasm of the ‘s. Please choose whether or not you want uldus users to be able to see on your profile that this library is a favorite of yours. The overall form of the work and its basic relationship to Hindemith’s theories of harmony are discussed in this chapter.
Since the pedal is used sparingly, the total effect is one of utmost clarity.
Hindemith has included a reference to piano playing in his subtitle, “Studies in Counterpoint, Tonal Organization and Piano Playing. At times, they exhibit strong irregular divisions of the pulse, but more often maintain an underlying motoric current.
Pedaling can be used to affect the timbre or quality of tone, but more generally it is used only as a joining device and analysus in short, momentary applications. This proportional length of sections at least on paper is possibly indicative of Hindemith’s preoccupation with formal symmetry and balance.
The highly individual approaches to the solutions of these physical problems are as diverse as they are plentiful and. It was first performed in in Chicago by Willard MacGregor. This potential for development is directly affected by the mechanics of the exposition, that is, the means by which the composer architecturally orders the entire exposition.
In the interludes, Hindemith introduces more vertically conceived structures and at times a heavily textured and extremely dense chordal style Inter- 43 lude No.
Another Fugue that is in two sections is. The E-mail Address es field is required. This gives the music a moving, changing cyclical nature while retaining the closed-ended symmetrical patterns which give it a logical pattern connection. Advanced Search Find a Library.
Ludus Tonalis – Wikipedia
The Craft of Musical Composition. There is, however, considerable opportunity for individual interpretation of phrases within this overall dynamic level. The root occurs alone seven times; the root plus third, five times; and the root plus fifth, three times. The entire Postludium is the retrograde inversion of the Praeludium. This application of pedal depends of course on the purity of tone quality which the anslysis desires. According to Hindemith, “Neither [melody nor analysix is strong enough to stand alone.
Gebrauchsmusik is distinguished by its lyric, vocal, tonally oriented contours which stem from folk 8 Kemp, p.