LassusV2, Istex, Corpus, bibRecord, 000100

La Fugue dans la Musique Religieuse de W. A. Mozart

Identifieur interne : 000100 ( Istex/Corpus ); précédent : 000099; suivant : 000101

La Fugue dans la Musique Religieuse de W. A. Mozart

Auteurs :

Source :

Journal of research in music education [ 0022-4294 ] ; 1972-04.

RBID : ISTEX:4E8F5A617A96837BEDE7FC3F9966F885990BF1A9

English descriptors

Teeft :
- Alumnus, Brieflynoted, Chapel hill, Clear indication, Clear meaning, Clearer exhibits, Coherence, Conceptual form, Convincing evidence, Deeper view, Despres, Different tack, Dynamism, Endpaper, Exegesis, Felix salzer, Fine addition, First movement, Fourth string quartet, Fugue, General consensus, Heinrich, Heinrich isaac, Imitative, Imitative recurrence, Important works, Intervallic, Jargonese, Late william, Laval, Lucid exegesis, Many years, Meisterwerk, Mere repetition, Middleground, Middleground graph, Modality, Monique, Monique vachon, More example, Mursell, Musik, Musique religieuse, Nocturn, Novack, Other editor, Prologue, Prolongation, Prophetiae, Prophetiae sibyllarum, Psychological basis, Recurrence, Religieuse, Republication, Salzer, Sarabande, Saul article, Schenkerian, Schenkerian analysis, Schenkerian lines, Shortest articles, Sibyllarum, Single harmony, Specific works, Standard idea, Strong sense, Textbook classifications, Thematic, Thematic material, Thematic relationships, Tonal coherence, Tonal order, Tonality, Travis, Unaccompanied violoncello, Useful reference tool, Vachon, Violoncello, Wordiness.

Url:

https://api.istex.fr/document/4E8F5A617A96837BEDE7FC3F9966F885990BF1A9/fulltext/pdf

DOI: 10.2307/3344350

Links to Exploration step

ISTEX:4E8F5A617A96837BEDE7FC3F9966F885990BF1A9

Le document en format XML

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<meta-value> The purpose of Saul Novack' s article, “ Fusion of Design and Tonal Order in Mass and Motet-Josquin Despres and Heinrich Isaac” seems to be a search for relationships between form and content, or for a conceptual organic dynamism in form rather than the procedural static unity achieved by the mere repetition and imitative recurrence of thematic material. The word seems must be used because the author' s writing suffers a bit from wordiness and jargonese. The question of modality versus tonality is deliberately skirted without any clear meaning for Novack' s overall use of tonality or any clear indication of how this tonality can provide or support organic dynamism. In the seven examples that Novack examines as progressively clearer exhibits of conceptual form, the emphasis is still primarily on intervallic and thematic relationships, with no convincing evidence that one example is more organic or dynamic in its form than another. The remaining four articles all present illuminating analyses of specific works along Schenkerian lines, complete with graphs at all levels, and each takes a different tack. One of the two shortest articles and a model of straightforward, lucid exegesis is “ The Prologue to Orlando di Lasso' s Prophetiae Sibyllarum,” by one of the book' s editors, the late William J. Mitchell. The article shows convincingly how a much broader and deeper view of this work can be arrived at by perceiving it as the varied prolongations of a single harmony than as but another prisoner of the more limited standard I-IV-V-I idea of tonality. The other short article, “ The Sarabande of J. S. Bach' s Suite No. 3 for Unaccompanied Violoncello,” is a translation direct from Schenker' s Das Meisterwerk in der Musik, providing one more example for the reader of English of the master' s own rich thinking. “ Chopin' s Nocturn in C# Minor, Opus 27, No. 1,” by the other editor, Felix Salzer, illustrates brilliantly how new light can be thrown on textbook classifications of design through Schenkerian analysis, causing an apparent, problematic, and asymmetric ABA design to become a virtually symmetric AB design. (Salzer never quite says that much, but see Examples 2 and 3 and p. 284.) Finally, Roy Travis explores minutely the underlying relationships that account for the strong sense of “ Tonal Coherence in the First Movement of Bartok' s Fourth String Quartet,” the work that, by general consensus, may be Bartok' s masterpiece. Travis' detailed “ Middleground Graph,” inserted as a fourfold endpaper at the back, is something of a masterpiece in itself. Considered as a whole, this volume is a fine addition for teaching, studies, and library.-William S. Newman, Alumni Distinguished Professor of Music, The University of North Carolina, Chapel Hill. BRIEFLYNOTED The Psychology of Music. By James L. Mursell. New York: Johnson Reprint Corp., 1970; 389 pp.; hard cover. Originally published in 1937 by W. W. Norton, this book has been out of print for many years. It is still one of the most important works in its field, and its republication will be welcomed by all who are interested in the psychological basis of music. Mursell' s bibliography of 605 titles remains a useful reference tool for studies published prior to 1937.-P.R.L. BOOKS RECEIVED La Fugue dans la Musique Religieuse de W. A. Mozart. By Monique Vachon. Quebec, Canada: Les Presses de l' Universite Laval, 1970; xv + 385 pp. Illustrated. 16 appendixes. Hard cover. $30.00. 207 </meta-value>
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La Fugue dans la Musique Religieuse de W. A. Mozart

La Fugue dans la Musique Religieuse de W. A. Mozart

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