CHAPTER I STRUCTURAL ANALYSIS The Work as a Whole Ludus Tonal is is a composite work consisting of twelve three-voice fugues linked by eleven. b – Paul Hindemith – Ludus Tonalis , Interlude IV a – J. S. Bach – W. Kl. This study proposes to analyze the main. elements of correlation. Thesis (D. Mus. Arts)–University of Washington, Ludus Tonalis, composed , is one of the best piano works by Hindemith. Although it is not treated as.
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Views Read Edit View history. Pedaling can be used to affect the timbre or quality of tone, but more generally it is used only as a joining device and applied in short, momentary applications. If, on the other hand, the phrasing marks are fairly precise or else obvious from musical patternsthe performer can usually discern a fairly unequivocal dynamic anaysis to a given passage, most often by following the natural tendency to increase in dynamic level See for examples, Interlude No.
An analysis of the twelve fugues of Ludus Tonalis by Paul Hindemith (Book, ) 
The tonalities of the fugues follow the order of his Serie 1 and use the keynote C see The Craft of Musical Composition. Gebrauchsmusik is distinguished by its lyric, vocal, tonally oriented contours which stem from folk 8 Kemp, p.
However, he sympathized with and indulged in some of the expressionistic tendencies of the day. The Visible and Invisible in Pianoforte Technique. Ludus Tonalis can be thought of as the most direct application of Hindemith’s theory that the twelve tones of the equally tempered scale all relate to a ljdus one of them called a tonic or keynote. Coda Combined subject and inverted subject.
Hindemith, “Ludus Tonalis” () – Piano Notes
Exposition Contains “link” passage in measures The importance of pattern recognition and an understanding of the musical relationships among the various patterns can analysiw displayed in an analysis of Fugue No. The intervals of the fifth, fourth, and third act as strong points of repose while seconds and sevenths move the music onward.
This is perhaps an outgrowth of the custom of performing the keyboard works of J. There is, however,always a reprieve from this heavier chordal texture; and often the music alternates frequently from light to heavy textures within a piece. Thirds are not stressed frequently as a melodic element in subjects, but they occur characteristically, as a harmonic element of repose and finality, in the final chord.
By utilizing these intervals of a fifth, fourth, and seventh as the basic ingredients of a fugal subject, Hindemith is presenting his strongest, most secure harmonic force alongside the propelling motive power of the melodic intervals of a seventh and second.
The degree of tension amount or intensity of dissonance of a chord is determined by its interval! These compositional techniques help 4 to unify the varied pieces into a single coherent work.
The obvious symmetry tonalia the ten musical patterns is offset somewhat by the asymmetrical phrase units within each pattern i. Cancel Forgot your password?
The harmonic forces will most often be subject to a gradual increase or decrease of tension in a succession of chords. These works defy harmonic analysis from a traditional viewpoint. When applying the pedal as a linking device, the performer should beware of making too sudden changes in the tone quality for more than one beat or pulsation.
Culture and Science, vol. Hindemith prefaced his revised version of Das Marienleben with an explanation of why he undertook the task. Your rating has been recorded. Hindemith has utilized this major chord ending very effectively in the L. These and more specific aspects of texture will be discussed in Chapter II in relation to performance problems in the work, since texture and performance considerations are so integrally linked.
If he were to use tonal answers,it would destroy the exact interval! This mildly dissonant sound has become a characteristic of Hindemith’s music. However, he does occasionally compose a modified binary form,but this type is in the minority see Table 6, p. Linked Data More info about Linked Data. Since the pedal is used sparingly, the total effect is one of utmost clarity.
An analysis of the twelve fugues of Ludus Tonalis by Paul Hindemith
You may have already requested this item. Two key considerations in a successful performance are the dynamic emphasis or subordination and differentiated articulation of individual voices. Hindemith has included a reference to piano playing in his subtitle, “Studies in Counterpoint, Tonal Organization and Piano Playing.
Retrieved from ” https: Dissonance is often unresolved by traditional means. Edited by Howard Hartog.