Mozart’s Modulierende Präludia: Bizarre versus Perpetuated Tradition
Autor(a) principal: | |
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Data de Publicação: | 2017 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Per Musi |
Texto Completo: | https://periodicos.ufmg.br/index.php/permusi/article/view/5199 |
Resumo: | The practice of sonority experimentation on keyboards was the predominant trademark of the 17th and 18th centuries and various Preludes were written in order to reach this goal. They were later incorporated, as part of the duality Prelude and Fugue, and aimed at the improvisatory performance, but ended up perpetuating themselves in the following centuries as independent pieces. Beginning as a simple controlling activity for the tuning of a given instrument and/or its expressive capability, it established itself as a definite musical form in the many compositional styles and on different historical moments. It is curious to note in many Präludia the insertion of bar lines that, contrary to their freer nature, hinders their fluency and liberty. This study aims at the investigation of their genesis, at the end of the 16th century, their perpetuation in the following centuries up to this unusual Mozartian proposal. |
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Mozart’s Modulierende Präludia: Bizarre versus Perpetuated TraditionModulierende Präludia de Mozart: bizarria versus tradição perpetuadaW. A. Mozart’s modulierende präludiastylus phantasticusmusical bizarriemodulierende präludia de W. A. Mozartstylus phantasticusbizarria musicalThe practice of sonority experimentation on keyboards was the predominant trademark of the 17th and 18th centuries and various Preludes were written in order to reach this goal. They were later incorporated, as part of the duality Prelude and Fugue, and aimed at the improvisatory performance, but ended up perpetuating themselves in the following centuries as independent pieces. Beginning as a simple controlling activity for the tuning of a given instrument and/or its expressive capability, it established itself as a definite musical form in the many compositional styles and on different historical moments. It is curious to note in many Präludia the insertion of bar lines that, contrary to their freer nature, hinders their fluency and liberty. This study aims at the investigation of their genesis, at the end of the 16th century, their perpetuation in the following centuries up to this unusual Mozartian proposal.A prática da experimentação sonora aos teclados foi marca preponderante nos séculos XVII e XVIII e vários Prelúdios foram escritos visando àquela prática. Mais tarde, incorporados como parte da dualidade Prelúdio e Fuga, visavam à execução improvisatória, mas se perpetuaram de forma independente em séculos posteriores. De simples atividade de controle para a afinação de determinado instrumento e/ou de sua capacidade expressiva, firmou-se como forma determinada em muitos estilos composicionais e em diferentes momentos. É curioso notar a inserção de barras de compasso que, contrariamente à sua natureza, impediu sua fluência e liberdade. Este estudo aponta para a retomada de sua gênese, no final do século XVI e, perpetuação nos séculos posteriores a inusitada proposta Mozartiana.Universidade Federal de Minas Gerais (UFMG)2017-08-09info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersiontextoinfo:eu-repo/semantics/otherapplication/pdfhttps://periodicos.ufmg.br/index.php/permusi/article/view/5199Per Musi; No. 36 (2017): Early MusicPer Musi; Núm. 36 (2017): Early MusicPer Musi; n. 36 (2017): Early Music2317-63771517-7599reponame:Per Musiinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGporhttps://periodicos.ufmg.br/index.php/permusi/article/view/5199/3225Hora, Edmundo Pachecoinfo:eu-repo/semantics/openAccess2019-08-12T00:02:37Zoai:periodicos.ufmg.br:article/5199Revistahttp://www.scielo.br/revistas/pm/iaboutj.htmPUBhttps://old.scielo.br/oai/scielo-oai.phpantoniom@fgvnf.br||permusi@ufmg.br2317-63771517-7599opendoar:2019-08-12T00:02:37Per Musi - Universidade Federal de Minas Gerais (UFMG)false |
dc.title.none.fl_str_mv |
Mozart’s Modulierende Präludia: Bizarre versus Perpetuated Tradition Modulierende Präludia de Mozart: bizarria versus tradição perpetuada |
title |
Mozart’s Modulierende Präludia: Bizarre versus Perpetuated Tradition |
spellingShingle |
Mozart’s Modulierende Präludia: Bizarre versus Perpetuated Tradition Hora, Edmundo Pacheco W. A. Mozart’s modulierende präludia stylus phantasticus musical bizarrie modulierende präludia de W. A. Mozart stylus phantasticus bizarria musical |
title_short |
Mozart’s Modulierende Präludia: Bizarre versus Perpetuated Tradition |
title_full |
Mozart’s Modulierende Präludia: Bizarre versus Perpetuated Tradition |
title_fullStr |
Mozart’s Modulierende Präludia: Bizarre versus Perpetuated Tradition |
title_full_unstemmed |
Mozart’s Modulierende Präludia: Bizarre versus Perpetuated Tradition |
title_sort |
Mozart’s Modulierende Präludia: Bizarre versus Perpetuated Tradition |
author |
Hora, Edmundo Pacheco |
author_facet |
Hora, Edmundo Pacheco |
author_role |
author |
dc.contributor.author.fl_str_mv |
Hora, Edmundo Pacheco |
dc.subject.por.fl_str_mv |
W. A. Mozart’s modulierende präludia stylus phantasticus musical bizarrie modulierende präludia de W. A. Mozart stylus phantasticus bizarria musical |
topic |
W. A. Mozart’s modulierende präludia stylus phantasticus musical bizarrie modulierende präludia de W. A. Mozart stylus phantasticus bizarria musical |
description |
The practice of sonority experimentation on keyboards was the predominant trademark of the 17th and 18th centuries and various Preludes were written in order to reach this goal. They were later incorporated, as part of the duality Prelude and Fugue, and aimed at the improvisatory performance, but ended up perpetuating themselves in the following centuries as independent pieces. Beginning as a simple controlling activity for the tuning of a given instrument and/or its expressive capability, it established itself as a definite musical form in the many compositional styles and on different historical moments. It is curious to note in many Präludia the insertion of bar lines that, contrary to their freer nature, hinders their fluency and liberty. This study aims at the investigation of their genesis, at the end of the 16th century, their perpetuation in the following centuries up to this unusual Mozartian proposal. |
publishDate |
2017 |
dc.date.none.fl_str_mv |
2017-08-09 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion texto info:eu-repo/semantics/other |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.ufmg.br/index.php/permusi/article/view/5199 |
url |
https://periodicos.ufmg.br/index.php/permusi/article/view/5199 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.ufmg.br/index.php/permusi/article/view/5199/3225 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais (UFMG) |
publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais (UFMG) |
dc.source.none.fl_str_mv |
Per Musi; No. 36 (2017): Early Music Per Musi; Núm. 36 (2017): Early Music Per Musi; n. 36 (2017): Early Music 2317-6377 1517-7599 reponame:Per Musi instname:Universidade Federal de Minas Gerais (UFMG) instacron:UFMG |
instname_str |
Universidade Federal de Minas Gerais (UFMG) |
instacron_str |
UFMG |
institution |
UFMG |
reponame_str |
Per Musi |
collection |
Per Musi |
repository.name.fl_str_mv |
Per Musi - Universidade Federal de Minas Gerais (UFMG) |
repository.mail.fl_str_mv |
antoniom@fgvnf.br||permusi@ufmg.br |
_version_ |
1799711235605790720 |