Štrukturálne zdroje barokovej lineárnosti: príspevok k harmónii 17. storočia
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Slovak |
| Veröffentlicht: |
Bratislava
Ústav Hudobnej Vedy Slovenskej Akad. Vied
2006
|
| Schriftenreihe: | Edícia Hudobná teória
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 159 S. Notenbeisp. |
| ISBN: | 8089135153 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Obsah
Úvod
Skrátené označenia encyklopedickej literatúry
1.
1.1.
1. 2.
1. 3.
1. 3.1.
1. 3. 2.
1. 3.3.
1.3.4.
(historický spor o lineárnu a vertikálnu tvarovosť)
1. 4.
1. 4.1.
1. 4. 2.
2.
2.1.
2.1.1.
2.1.2.
2.1.3.
2.1.4.
2. 2.
2. 2.1.
2. 2. 2.
2. 3.
2. 3.1.
2. 3.2.
2. 3. 3.
2. 3.4.
Linearita
Summary
Použitá literatúra
Menný register
Summary
The title of this work reads, Structural sources of baroque linearity. It ex¬
plores the music between renaissance and baroque, the transition of renais¬
sance style into the baroque style, the structural origins of baroque music.
The core of this study is in the systhematic research of concepts of linearity,
polyphony, homophonyconterpoint, in their relationships to baroque music.
It s the analysis of music with an accent on the systhematic.
The study consists of two parts: LHistorical-systhematic preconditions of
linear morfology of the
structures.
The 1st part explores
-
-
roque,
-
relation to harmony (basso
The 2nd part analysis
-
-
-
We know a lot about renaissance baroque linearity, polyphony and har¬
mony, their relationships. There exists vast amount of books, monographs,
studies and articles, dealing with these aspects. The contemporary level of
knowledge on these issues is offered in the modern
New Grove Dictionary of Music and Musicians. One of the pioneering works
on this field goes
hung der harmonischen tonalität (1968).
view of this issues, is still missing. Harmony and polyphony have been
treated as isolated entities, some prejudices and simplified traditional inter¬
pretation of these concepts still persist in the theory of music. These inter¬
pretations in the text of the study are referred to as extreme verticalism and
extreme linearism. This interpretation had over centuries been stimulated by
primáty
course, by some philosophical concepts.
152
This study is to be comprehended as an attempt to establish a new synthesis
of the current knowledge, in certain measure revaluating the traditional con¬
cepts, or trying to find subtler nuances in them. The research is aimed at the
relationships of polyphony, counterpoint, harmony and homophony, linear
melodic, polymelodic processes as primary in context of vertical harmony.
The transition between the late renaissance and the early baroque, as pre¬
sented is rather continuous and fluent, then abruptiv. The linear polyphony,
the melodic strains of Palestrina were coordinated by triadic harmony in be¬
hind, harmony of its own kind, which often pops up from the backround of
melodic lines. Similar harmony, although more chromatic, reigns in the early
baroque: its polymelodic elaboration is not so intensive. It s more limited.
We find it in the madrigals, monody,
the process of reduction contrapunctual polyphony is two voice or three
voice structure with basso
structures as a typical homofonic structures. The bass may be analysed as a
harmonic agent, fostering vertical dimension of the structure as well as a me¬
lodic counterpart to the solo voice (voices). The analysis of the linear struc¬
tures with basso
structures of the functional harmony is the final aim of this study. It is not the
concept of homophony, vertical-accordic structures, accompanying solo mel¬
ody as we find it currently in the theoretical literature.
Contrapunctual linear polyphony in a canon,
subject of the analysis, but is established as a problem in the 1st part as a his¬
torical and systhematic precondition of the linearity.
153
|
| adam_txt |
Obsah
Úvod
Skrátené označenia encyklopedickej literatúry
1.
1.1.
1. 2.
1. 3.
1. 3.1.
1. 3. 2.
1. 3.3.
1.3.4.
(historický spor o lineárnu a vertikálnu tvarovosť)
1. 4.
1. 4.1.
1. 4. 2.
2.
2.1.
2.1.1.
2.1.2.
2.1.3.
2.1.4.
2. 2.
2. 2.1.
2. 2. 2.
2. 3.
2. 3.1.
2. 3.2.
2. 3. 3.
2. 3.4.
Linearita
Summary
Použitá literatúra
Menný register
Summary
The title of this work reads, Structural sources of baroque linearity. It ex¬
plores the music between renaissance and baroque, the transition of renais¬
sance style into the baroque style, the structural origins of baroque music.
The core of this study is in the systhematic research of concepts of linearity,
polyphony, homophonyconterpoint, in their relationships to baroque music.
It's the analysis of music with an accent on the systhematic.
The study consists of two parts: LHistorical-systhematic preconditions of
linear morfology of the
structures.
The 1st part explores
-
-
roque,
-
relation to harmony (basso
The 2nd part analysis
-
-
-
We know a lot about renaissance baroque linearity, polyphony and har¬
mony, their relationships. There exists vast amount of books, monographs,
studies and articles, dealing with these aspects. The contemporary level of
knowledge on these issues is offered in the modern
New Grove Dictionary of Music and Musicians. One of the pioneering works
on this field goes
hung der harmonischen tonalität (1968).
view of this issues, is still missing. Harmony and polyphony have been
treated as isolated entities, some prejudices and simplified traditional inter¬
pretation of these concepts still persist in the theory of music. These inter¬
pretations in the text of the study are referred to as extreme verticalism and
extreme linearism. This interpretation had over centuries been stimulated by
primáty
course, by some philosophical concepts.
152
This study is to be comprehended as an attempt to establish a new synthesis
of the current knowledge, in certain measure revaluating the traditional con¬
cepts, or trying to find subtler nuances in them. The research is aimed at the
relationships of polyphony, counterpoint, harmony and homophony, linear
melodic, polymelodic processes as primary in context of vertical harmony.
The transition between the late renaissance and the early baroque, as pre¬
sented is rather continuous and fluent, then abruptiv. The linear polyphony,
the melodic strains of Palestrina were coordinated by triadic harmony in be¬
hind, harmony of its own kind, which often pops up from the backround of
melodic lines. Similar harmony, although more chromatic, reigns in the early
baroque: its polymelodic elaboration is not so intensive. It's more limited.
We find it in the madrigals, monody,
the process of reduction contrapunctual polyphony is two voice or three
voice structure with basso
structures as a typical homofonic structures. The bass may be analysed as a
harmonic agent, fostering vertical dimension of the structure as well as a me¬
lodic counterpart to the solo voice (voices). The analysis of the linear struc¬
tures with basso
structures of the functional harmony is the final aim of this study. It is not the
concept of homophony, vertical-accordic structures, accompanying solo mel¬
ody as we find it currently in the theoretical literature.
Contrapunctual linear polyphony in a canon,
subject of the analysis, but is established as a problem in the 1st part as a his¬
torical and systhematic precondition of the linearity.
153 |
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| illustrated | Illustrated |
| index_date | 2024-07-02T18:10:30Z |
| indexdate | 2024-07-09T20:59:51Z |
| institution | BVB |
| isbn | 8089135153 |
| language | Slovak |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-015748139 |
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| physical | 159 S. Notenbeisp. |
| publishDate | 2006 |
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| publisher | Ústav Hudobnej Vedy Slovenskej Akad. Vied |
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| spelling | Fulka, Vladimír Verfasser aut Štrukturálne zdroje barokovej lineárnosti príspevok k harmónii 17. storočia Vladimír Fulka Bratislava Ústav Hudobnej Vedy Slovenskej Akad. Vied 2006 159 S. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Edícia Hudobná teória Zsfassung in engl. Sprache Geschichte 1600-1700 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Harmonie (DE-588)4127802-1 gnd rswk-swf Musik (DE-588)4040802-4 s Harmonie (DE-588)4127802-1 s Geschichte 1600-1700 z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015748139&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015748139&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Fulka, Vladimír Štrukturálne zdroje barokovej lineárnosti príspevok k harmónii 17. storočia Musik (DE-588)4040802-4 gnd Harmonie (DE-588)4127802-1 gnd |
| subject_GND | (DE-588)4040802-4 (DE-588)4127802-1 |
| title | Štrukturálne zdroje barokovej lineárnosti príspevok k harmónii 17. storočia |
| title_auth | Štrukturálne zdroje barokovej lineárnosti príspevok k harmónii 17. storočia |
| title_exact_search | Štrukturálne zdroje barokovej lineárnosti príspevok k harmónii 17. storočia |
| title_exact_search_txtP | Štrukturálne zdroje barokovej lineárnosti príspevok k harmónii 17. storočia |
| title_full | Štrukturálne zdroje barokovej lineárnosti príspevok k harmónii 17. storočia Vladimír Fulka |
| title_fullStr | Štrukturálne zdroje barokovej lineárnosti príspevok k harmónii 17. storočia Vladimír Fulka |
| title_full_unstemmed | Štrukturálne zdroje barokovej lineárnosti príspevok k harmónii 17. storočia Vladimír Fulka |
| title_short | Štrukturálne zdroje barokovej lineárnosti |
| title_sort | strukturalne zdroje barokovej linearnosti prispevok k harmonii 17 storocia |
| title_sub | príspevok k harmónii 17. storočia |
| topic | Musik (DE-588)4040802-4 gnd Harmonie (DE-588)4127802-1 gnd |
| topic_facet | Musik Harmonie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015748139&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015748139&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT fulkavladimir strukturalnezdrojebarokovejlinearnostiprispevokkharmonii17storocia |