Tonal and rhythmic hidden repetition in chopin's prelude, Op.28 no.14.
Chopin in Paris: the 1830s.
Narodowy Instytut Fryderyka Chopina, pp. 203-213.
The analytical approach of this paper synthesises recent extensions
of Schenkerian theory that make explicit the rhythmic
implications of Schenker's theory of pitch structure.
While the method may be regarded as an extension of Heinrich
Schenker's analytical approach, its specific combination of four aspects
distinguishes this synthesis from previous analytical approaches: attention
to the rhythms created by pitch events on all structural levels;
a detailed account of the musical surface; 'strict use' of analytical notation
following guidelines offered by Steve Larson; and a continual concern
with what have been called 'strategies' or 'premises'. This approach
thus builds on the work of such authors as William Rothstein, Carl
Schachter and John Rink, and, like their work, it raises interpretative
questions of central interest to performers. This synthesis illuminates
Chopin's compositional style, clarifies aspects of his compositional
evolution, reveals 'hidden' structures and rhythmic designs, and poses
questions useful to performers preparing an interpretation.
||Compositional style; Prelude; polymetric play; voice-leading analysis; Chopin; hidden repetition;
||Arts, Celtic Studies & Philosophy > Music
Dr Alison Hood
||19 Jan 2011 09:14
||Narodowy Instytut Fryderyka Chopina
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