Get this from a library! Estetica muzicală în viziunea lui Dimitrie Cuclin. [Cristian Brâncuşi]. ESTETICA MUZICALA. Curs universitar pentru studenţii Facultăţii “Muzică şi Pedagogie Muzicală”. specialitatea “Profesor de muzică şi instrument” “Profesor de. estetica-MUZICALA (1).pdf. Uploaded by. david · Uploaded by. david · NORME DE
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Skip to main content. Log In Sign Up. She published two musicological books: Western treaties of musicology use the term binary sonata to designate a type of architecture that is specific to certain dances of the suite and movements muzicals the Baroque sonata, and which splits their structure into two segments.
If in the first segment, musical ideas move from the home key to the “realm of the dominant key”, in the second half, the same path is followed in reverse direction: Musicologists setetica identified two patterns in the process of handling musical ideation: As long as Haydn, who wrote for harpsichord, clavichord and pianoforte with German and English mechanisms among others, did not always specify the exact destination of his sonatas, namely for which keyboard instrument of the time they had been composed, we believe that the generic term “clavier sonatas” is appropriate, wstetica it is shorter and more efficient when it comes to approaching issues related to the sonata form.
Muzixala researchers of the evolution of the sonata pattern during the 18th century50 have identified several stages in the assimilation and consolidation of a stable form pattern, i. From a stylistic revolution standpoint, Charles Rosen asserted that the language of instrumental sonata emerged in two distinct stages: Berger, too, points to the existence of this transition stage: The typology of these emerging forms ranges from binary forms to ternary forms in transition patterns “from concatenated forms to discreetly developing forms” Haydn’s clavier sonatas composed during the sixth decade reflect this transition stage.
The transformation dynamics that influenced the genres and forms during the transition ewtetica Baroque to Classicism is setetica and requires a more ample approach: Hodeir, Selva Blanche, E.
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Kirckpatrick, Charles Rosen, D. Valentin Timaru has straightened out the terminology issues, by replacing the old denominations of bipartite and tripartite, with bi-strophic and three strophic, estegica more appropriate for the organization of a single movement of a form created according to the principle of strophic construction.
In the case of these sonatas, where the principles of strophic construction or of thematism are not yet entirely stabilized into a higher form of organization, as is late 18th c. Classical sonata, we have preferred the terms binary-ternary which, we believe, express these intermediary form models more accurately. Haydn’s early works, one must not overlook the inheritance from his predecessors.
Bach’s sonatas served Haydn as models, with their binary and ternary forms having the same importance. Speaking about his sonatas, he said: Bach’s sonatas are patterns of the transition forms, or links between pre-Classical binary sonata and Classical ternary sonata, the analysis of the clavier binary sonatas composed by J.
Haydn during the sixth decade reveals a period of search and experimentation of a genre and form that were meant to fulfill the contemporaries’ need to amplify the dramatic tension in instrumental music. From the 11 clavier sonatas composed by Haydn during this decade of the 18th century, one was written in No. Regarding the stability of the sonata form during this decade, it can be said that Haydn, following the fashion of the time and especially C.
Muzidala model, wrote mainly three-movement sonatas except for Sonatas 19 and 22 of Volume II, which are written in two movements and Sonata 37 of Volume IV, written in four movements. The 23 movements written in sonata form reflect a constant preoccupation with the search for a stable model. Muzicaala the sonata form, we notice that six of them are written in binary form and seventeen in ternary form, proving Haydn’s preference for the ternary model, which expresses best the need for expansion of the sonata proportions ever since that decade.
The configuration of movements in tripartite sonatas ineluctably includes a minuet, which is a stylistic novelty as compared with C.
In six of the seven sonatas with minuet, the minuet is placed in the middle movement, while in Sonata 11 from Volume I, it is placed in the final movement. Whether it appears in the first, second or third movement, the sonata form is present in all of the clavier sonatas.
The architecture of the binary sonata is not specific to a certain muzicalx. Haydn uses it either as a slow movement, or as a fast one. By analyzing the Sonata No. The presence of the binary form in the first movement, both in Sonata No.
The first movement of the Sonata No. After a bar bridge, the three segments of the second theme are very clearly differentiated from a tonal and characterological standpoint. The complexity of this form segment is relevant for the evolution of thinking about the dramaturgy of the future ternary sonata: The use of the parallel rstetica with a “dramatic” function is quite common in these sonatas of the sixth decade, being a stylistic trait of the instrumental sonatas of the time. The recapitulation brings back theme A in a new key E major and not in the home key, as well as the same trio contrast among the secondary themes, this time in: A major — A minor — A major.
What is interesting is the fact that in absence of a development section, the bridge undertakes both the processing function and the extension thereof it has 32 bars. Table 1 Below is the form of the first movement of the Sonata No. A bridge B1 B2 B3: A bridge B1 B2 B3 6 15 16 11 14 6 32 16 11 14 A E e E E A a A major major minor major major major minor major The sonata provides a very clear outline of the sections and proportions of the form, proving that the binary sonata, though abandoned in the following decade, was fully used during this period.
The four-movement Sonata No. Both in the first and in the third movement, the exposition of the binary sonatas is based on a very short theme, reflecting esteticx motivic, typically Esteticx thinking.
Theme A of the first movement of the Sonata No. IV Estrtica language, morphology and syntax in both sonatas exhibit certain rhythmic and structural asymmetries, due to the ornamented style and rhythmic diminutions and to the normal and exceptional divisions, reflecting that luxurians style that is also found in C. Bach’s sonatas, inspired by the Baroque taste for excessive ornamentation. In the first movement, we notice that the same importance is given to the bridge section in the form pattern, while the recapitulation apparently takes the prerogatives of the development section, in order to maintain the dramatic tension.
Table 2 The form of the first movement of the Sonata No.
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II, composed by J. This is the “form with a false recapitulation” that Charles Rosen considered as a precursor of the ternary form, born from the necessity to expand the developing framework and the dramatic tension. In the chapter entitled “The Evolution of the Sonata Form”58, Charles Rosen identified, in the binary sonata pattern, three form models that in the 19th century would either disappear or become mannerist.
These models reflect stages of the “need for dramatic intensification” which eventually led to the emergence of the self-standing development section within the Classical ternary sonata form. The three types start from various ways of expression sought by composers in order to avoid the monotony of bringing the second theme in the key of the dominant. The first “method” identified by the author, quite common around the middle of the 18th century, is the return of the second subject in the exposition the first halfin the dominant parallel key, with the following pattern: II AB Cg gC59 maj-min min-maj The second method called stereotype by the author is by opening the recapitulation with the first theme in the minor relative key or in the parallel key However, there is a third method of extending the “feeling” that can be considered representative for these quests and demonstrates “a confused desire for symmetry and dramatic effect” We are talking about the so-called “false recapitulation”, i.
A – partial brief development A – continuation B: II CG G others C C major major major major It was only in the ‘s that composers firmly returned the entire first theme in the home key, in the recapitulation the second half — author’s note. Apparently there existed a “psychological resistance to the modern conception of tonal and thematic recapitulation”.
The first theme, in D major, presents the same structural asymmetries, containing two five-bar phrases and cadencing on the dominant function.
The bridge starts with the same motivic material as the beginning and continues the modulation to the key of the dominant, A major, in 21 bars, comprising five short musical ideas, similar to the mosaicked bridge of pre-Classical sonata. The second theme is nothing but another “rhetorical commentary” on the first motif of the exposition, strengthening the claim of thematic relatedness among Haydn’s sonatas.
Exposition of the Sonata No. II, 3rd movement A a av av b bridge c 12 Charles Rosen, op. An important part is also played by the transition segment, C, which can also be identified as a small episode vaguely resembling the idea of development. The musical ideas of muaicala bridge will return the “course” of the recapitulation, while theme A will return only partially in muzicalla diagram of the related B: Thus, the form diagram is as follows: Recapitulation of the Sonata No.
Rosen classifies three types of “forms”, binary models muxicala, into two, three, or four musical articulations possibly periodsthat he calls phrases.
A2 in two articulations C-G C-C major major Of the ternary sonata forms situated at the boundary with the binary models due to the reduced extension of the form segments, one of the most representative is the third and final movement of the Sonata No.
This short sonata reflects its relatedness to the dance movements from the incipient Pre-Classical sonata or from estetuca binary-form dances of the suites. In the first movement, in ternary sonata form, the figurative outline of the entire musical ideation, the structure and the short, motivic melodic profiles, along with their non-differentiation from a rhetoric-dramatic standpoint, demonstrate this affiliation.
This leads to the inability to demarcate the musical idea of the second theme, the estetixa key being explored throughout an extended bridge, to be eventually clarified only in the last three bars.
This model occurs both in Domenico Cimarosa’s sonatas, where they represent an important stylistic feature, and in Carl Philipp Emanuel Bach’s. However, this model belongs to the specific type of the instrumental music writing, very close to that of the Baroque prelude.
II 4 13 3 18 4 11 3 A E E-A-D A A A major major major major major major Haydn’s sonatas of the sixth decade, particularly the movements in binary sonata form, embody the synthesis of the language and form models existing during the three decades of “experimentation” of the new sonata style At the language level, there is a tendency to “simplify” the polyphonous syntax and to impose the two-voice, homophonous one instead, in which the melody with figurative accompaniment dominates the configuration of the discourse.
Cimarosa’s and some of C. Bach’s sonatas are characterized by the inherent motivic approach to the thematic material, of Baroque origin, reflected in the short, sequential or repeated melodic phrases, as well as by the lack of extended areas with rhetorically coherent melodic structures. At the same time, the use, in almost all of the sonatas, of a passage, theme or even an entire development section in the parallel key demonstrates that Haydn used to constructively borrow all the methods of “dramatic articulation” from the sonatas of his contemporaries.
In the keyboard sonatas composed during the following decade, Haydn gave more importance to the middle voices of the musical discourse, adding a new complexity to the musical syntax.
A matter of obvious importance, however, is the articulation of the ternary sonata form, which is preferred to the binary form, especially in the first movement. It is in view of all this that Haydn’s sonatas of the sixth decade are regarded as an evolutionary stage in the creation of the style and form of pre-Classical sonata, perfectly in tune with its time.
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