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

1982 ◽  
Vol 4 ◽  
pp. 66-75 ◽  
Author(s):  
Hellmut Federhofer ◽  
Alfred Mann
1982 ◽  
Vol 4 (1) ◽  
pp. 66-75
Author(s):  
Hellmut Federhofer ◽  
Alfred Mann

2015 ◽  
Vol 47 ◽  
pp. 39-67
Author(s):  
Lucyna Agnieszka Jankowiak ◽  
Elżbieta Kędelska

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.


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

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.


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

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.”


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

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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