Bartłomiej Pękiel's Style of polyphony a cappella
Identifieur interne : 000043 ( Main/Exploration ); précédent : 000042; suivant : 000044Bartłomiej Pękiel's Style of polyphony a cappella
Auteurs : Tomasz Jasi SkiSource :
- Annales UMCS, Artes [ 1732-1352 ] ; 2010-01-01.
English descriptors
- Teeft :
- Adoranda trinitas, Baroku, Bart, Bart omiej, Bart omieja, Cappella, Cappella bart omieja, Dzie, Feicht, Formy, Instar praenestini, Jako, Jasi, Jest, Kassel basel, Kiel, Kiela, Kompozytora, Kontrapunktu, Kontrasty fakturalne, Missa, Missa paschalis, Missa pulcherrima, Missa secunda, Missa senza, Monumenta musicae, Musica divina, Muzycznego, Nale, Omieja, Polifonii, Przy, Przyk, Pulcherrima, Quatuor voces aequales, Stile, Stile antico, Struktury, Styl, Styl polifonii, Stylu, Tactus inaequalis, Tomasz jasi, Tuum praesidium, Warto, Wyra.
Abstract
Styl polifonii a cappella Bartłomieja Pękiela
One of the most important tendencies in the 17th century polyphony a cappella was the creative processing of the Renaissance idiom. Such tendency can be found in the vocal compositions by one of the most eminent representatives of Polish musical Baroque, Bartłomiej Pękiel (died about 1670). Pękiel's style is old and at the same time new. The novel aspect forms as the transformation of tradition and its "rendition". Into the Renaissance type of melodic line Pękiel incorporates the leap of diminished fourth, moderately expanded progressions, and quasi-instrumental formulae. The basically continuous form is equipped with rhythmical contrasts and various kinds of antithetons. Harmonics is filled with discords while the tonal course with alterations. The texture evolves into a motif counterpoint although it has never reached it fully because the short condensed motifs present in each of his compositions are deeply rooted in the linear conception. The level of their autonomy is still too small to form a completely new type of polyphonic tissue where the broadly sophisticated melody line is no longer the centre of reference to the counterpoint tectonics but is replaced by microstructure: motif, formula and a turn. In this respect Pękiel prefers an indirect state - the tendencies in both directions are balanced.
Url:
DOI: 10.2478/v10075-011-0013-z
Affiliations:
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Such tendency can be found in the vocal compositions by one of the most eminent representatives of Polish musical Baroque, Bartłomiej Pękiel (died about 1670). Pękiel's style is old and at the same time new. The novel aspect forms as the transformation of tradition and its "rendition". Into the Renaissance type of melodic line Pękiel incorporates the leap of diminished fourth, moderately expanded progressions, and quasi-instrumental formulae. The basically continuous form is equipped with rhythmical contrasts and various kinds of antithetons. Harmonics is filled with discords while the tonal course with alterations. The texture evolves into a motif counterpoint although it has never reached it fully because the short condensed motifs present in each of his compositions are deeply rooted in the linear conception. The level of their autonomy is still too small to form a completely new type of polyphonic tissue where the broadly sophisticated melody line is no longer the centre of reference to the counterpoint tectonics but is replaced by microstructure: motif, formula and a turn. In this respect Pękiel prefers an indirect state - the tendencies in both directions are balanced.</div></front></TEI><affiliations><list></list><tree><noCountry><name sortKey="Jasi Ski, Tomasz" sort="Jasi Ski, Tomasz" uniqKey="Jasi Ski T" first="Tomasz" last="Jasi Ski">Tomasz Jasi Ski</name></noCountry></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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