Fux's "Gradus ad Parnassum" as Viewed by Heinrich Schenker

1982 ◽  
Vol 4 ◽  
pp. 66-75 ◽  
Author(s):  
Hellmut Federhofer ◽  
Alfred Mann
Keyword(s):  
Heinrich Schenker ◽  
Gradus Ad Parnassum

Fux's "Gradus ad Parnassum" as Viewed by Heinrich Schenker

1982 ◽  
Vol 4 (1) ◽  
pp. 66-75
Author(s):  
Hellmut Federhofer ◽  
Alfred Mann
Keyword(s):  
Heinrich Schenker ◽  
Gradus Ad Parnassum

scholarly journals Adama Stanisława Krasińskiego zapomniany Słownik synonimów polskich i jego poprzednicy

2015 ◽  
Vol 47 ◽  
pp. 39-67
Author(s):  
Lucyna Agnieszka Jankowiak ◽  
Elżbieta Kędelska
Keyword(s):  
Subject Matter ◽  
Phrasal Verbs ◽  
Xvith Century ◽  
Xixth Century ◽  
Polish Language ◽  
The Subject ◽  
Gradus Ad Parnassum ◽  
National Languages

On Adam Stanisław Krasiński’s forgotten Słownik synonimów polskich and its predecessorsThe paper consists of two parts. The first one covers characteristics of dictionaries (dated from XVIth to XIXth century), groups of synonyms regarding mainly the Latin (e.g. Gradus ad Parnassum), which also include equivalents of national languages (especially the Calagius three-language dictionary was examined and Czech-Latin dictionaries of synonyms dated XVIth century). The second part of the paper is a discussion over methodology of the first Slavic dictionary of synonyms (Słownik synonimów polskich [Dictionary of Polish Synonyms]) by A. S. Krasiński. Not-elaborated in details so far (in the subject-matter literature) the dictionary combines a few types of dictionaries (apart from the dictionary of synonyms): general dictionary of Polish language, dictionary of phrasal verbs, language correctness dictionary, book of quotations and proverbs and translational dictionary.

scholarly journals O modo de dizer da teoria musical: uma reflexão sobre a terminologia de Schenker

Orfeu ◽  
2021 ◽  
Vol 6 (3) ◽  
Author(s):  
Ivan Gonçalves Nabuco ◽  
Sérgio Paulo Ribeiro de Freitas
Keyword(s):  
Heinrich Schenker

Coloca-se em discussão a tradução para a língua portuguesa de alguns termos da teoria musical de Heinrich Schenker. Detendo-se, principalmente, sobre os termos Urlinie e Ursatz, procura-se realizar um debate a respeito do significado de tais conceitos, significado que aparece como a manifestação estritamente musical do princípio da unidade da obra de arte. Tal princípio assume um papel emblemático na teoria se Schenker por meio do concito de coerência orgânica e, portanto, do conceito de organismo. A argumentação se concentra sobre os múltiplos significados da palavra Satz, destacando seus usos no vocabulário musical e, principalmente, nos escritos de Schenker, mais especificamente, como elemento formador do termo Ursatz. A discussão oportuniza uma reflexão a respeito de termos propostos por Schenker e de suas implicações e alcances quando vertidos para outras línguas, épocas e lugares.

scholarly journals The Art of Modulating, Preludizing, and Fantasizing: Schenker’s Thoughts about Keys and Key Change Reconsidered

Orfeu ◽  
2021 ◽  
Vol 6 (3) ◽  
Author(s):  
John Koslovsky ◽  
Matthew Brown
Keyword(s):  
Heinrich Schenker

Although Heinrich Schenker certainly changed his mind about many topics, he never waivered in his belief that 1) current ways to explain modulation were fundamentally flawed; and 2) that modulation is best learned by improvising preludes and fantasies. To explain these points, Part I reconsiders Schenker’s critique of Max Reger’s Beiträge zur Modulationslehre (1903) and Salomon Jadassohn’s Die Kunst zu Modulieren und zu Präludieren (1890) and describes three types of modulation endorsed by Schenker in his Harmonielehre (1906): 1) [diatonic] reinterpretation; 2) chromaticism; and 3) enharmonicism. Part II then shows how Schenker not only dispensed with the traditional concepts of relative, close, and distant keys, but he eventually proposed that modulations arise at the foreground for contrapuntal, even motivic reasons. Finally, Part III uses Schenker’s claims about modulating and preludizing to analyze Beethoven’s “Two Preludes” in C major, Op. 39, both of which modulate “through all twelve major keys.”

scholarly journals Razões e meios para o envolvimento com a proposta de Heinrich Schenker

Orfeu ◽  
2021 ◽  
Vol 6 (3) ◽  
Author(s):  
Adriana Lopes Moreira ◽  
Maria Lúcia Pascoal
Keyword(s):  
Heinrich Schenker

A expansão da percepção de obras musicais que emerge do contato de músicos com a proposta schenkeriana é valorizada neste artigo. Para tanto, as autoras compartilham com o leitor suas experiências docentes junto ao ensino dessa prática analítica, em interlocução com processos harmônicos, contrapontísticos e texturais.

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