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The Kitzler Study Book
The ''Kitzler Study Book'' () is an autograph workbook of Anton Bruckner which he wrote taking tuition with the conductor and cellist Otto Kitzler in Linz. Bruckner tried to complete his knowledge in musical form and instrumentation with Kitzler after the end of his studies with Simon Sechter. Description The workbook is composed of 163 pages of different sizes in landscape format (326 numbered pages) in chronological order, some of them dated, from ( Holy Night, 1861) on p. 30, to 10 July 1863 on p. 325.U. Harten, pp. 233-234C. van Zwol, p. 90 The workbook contains autograph sketches, comments, complete and partial compositions, which are displaying a rigorous tuition in musical formatting and instrumentation. The first entries (pp. 1-18) are exercises in musical form: cadences and periods. They are followed (pp. 18-57) by lieder in two and three parts, and (pp. 58-218) by pieces for piano and string quartet: waltz, polka, mazurka, études, theme and variations, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anton Bruckner
Josef Anton Bruckner (; 4 September 182411 October 1896) was an Austrian composer, organist, and music theorist best known for his symphonies, masses, Te Deum and motets. The first are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies. Unlike other musical radicals such as Richard Wagner and Hugo Wolf, Bruckner showed extreme humility before other musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his life in a way that gives a straightforward context for his music. Hans von Bülow described him as "half genius, half simpleton". Bruckner was critical of his own work and often reworked his compositions. There are several version ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Waltz
The waltz ( ), meaning "to roll or revolve") is a ballroom and folk dance, normally in triple ( time), performed primarily in closed position. History There are many references to a sliding or gliding dance that would evolve into the waltz that date from 16th-century Europe, including the representations of the printmaker Hans Sebald Beham. The French philosopher Michel de Montaigne wrote of a dance he saw in 1580 in Augsburg, where the dancers held each other so closely that their faces touched. Kunz Haas (of approximately the same period) wrote, "Now they are dancing the godless ''Weller'' or ''Spinner''."Nettl, Paul. "Birth of the Waltz." In ''Dance Index'' vol 5, no. 9. 1946 New York: Dance Index-Ballet Caravan, Inc. pages 208, 211 "The vigorous peasant dancer, following an instinctive knowledge of the weight of fall, uses his surplus energy to press all his strength into the proper beat of the bar, thus intensifying his personal enjoyment in dancing." Around 1750, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Coda (music)
In music, a coda () (Italian for "tail", plural ''code'') is a passage that brings a piece (or a movement) to an end. It may be as simple as a few measures, or as complex as an entire section. In classical music The presence of a coda as a structural element in a movement is especially clear in works written in particular musical forms. Codas were commonly used in both sonata form and variation movements during the Classical era. In a sonata form movement, the recapitulation section will, in general, follow the exposition in its thematic content, while adhering to the home key. The recapitulation often ends with a passage that sounds like a termination, paralleling the music that ended the exposition; thus, any music coming after this termination will be perceived as extra material, i.e., as a coda. In works in variation form, the coda occurs following the last variation and will be very noticeable as the first music not based on the theme. One of the ways that Beethoven ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Repetition (music)
Repetition is important in music, where sounds or sequences are often repeated. It may be called restatement, such as the restatement of a theme. While it plays a role in all music, with noise and musical tones lying along a spectrum from irregular to periodic sounds,(Moravcsik, 114)(Rajagopal, ) it is especially prominent in specific styles. Repetition A literal repetition of a musical passage is often indicated by the use of a repeat sign, or the instructions da capo or dal segno. Theodor W. Adorno criticized repetition and popular music as being psychotic and infantile. In contrast, Richard Middleton (1990) argues that "while repetition is a feature of ''all'' music, of any sort, a high level of repetition may be a specific mark of 'the popular'" and that this allows an, "enabling" of "an inclusive rather than exclusive audience"(Middleton 1990, p. 139). "There is no universal norm or convention" for the amount or type of repetition, "all music contains repetit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Exposition (music)
In musical form and analysis, exposition is the initial presentation of the thematic material of a musical composition, movement, or section. The use of the term generally implies that the material will be developed or varied. *In sonata form, the exposition is "the first major section, incorporating at least one important modulation to the dominant or other secondary key and presenting the principal thematic material." *In a fugue, the exposition is "the statement of the subject in imitation by the several voices; especially the first such statement, with which the fugue begins." In sonata form The term is most widely used as an analytical convenience to denote a portion of a movement identified as an example of classical tonal sonata form. The exposition typically establishes the music's tonic key, and then modulates to, and ends in, the dominant. If the exposition starts in a minor key, it typically modulates to the relative major key. There are many exceptions, e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Introduction (music)
In music, the introduction is a passage or section which opens a movement or a separate piece, preceding the theme or lyrics. In popular music, this is often known as the song intro or just the intro. The introduction establishes melodic, harmonic or rhythmic material related to the main body of a piece.Pease, Ted (2003), p.172. ''Jazz Composition : Theory and Practice''. . Introductions may consist of an ostinato that is used in the following music, an important chord or progression that establishes the tonality and groove for the following music, or they may be important but disguised or out-of-context motivic or thematic material. As such, the introduction may be the first statement of primary or other important material, may be related to but different from the primary or other important material, or may bear little relation to any other material. A common introduction to a rubato ballad is a dominant seventh chord with fermata, an introduction that works for many songs ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piano Sonata No
The piano is a stringed keyboard instrument in which the strings are struck by wooden hammers that are coated with a softer material (modern hammers are covered with dense wool felt; some early pianos used leather). It is played using a keyboard, which is a row of keys (small levers) that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. It was invented in Italy by Bartolomeo Cristofori around the year 1700. Description The word "piano" is a shortened form of ''pianoforte'', the Italian term for the early 1700s versions of the instrument, which in turn derives from ''clavicembalo col piano e forte'' (key cimbalom with quiet and loud)Pollens (1995, 238) and ''fortepiano''. The Italian musical terms ''piano'' and ''forte'' indicate "soft" and "loud" respectively, in this context referring to the variations in volume (i.e., loudness) produced in response to a pianist's touch or pressure on the keys: the grea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rondo In C Minor (Bruckner)
The Rondo in C minor (Werkverzeichnis Anton Bruckner, WAB 208) is a composition for string quartet by the Austrian composer Anton Bruckner. It was written in 1862 but was not performed publicly until 1984, after the composer's death. A critical edition was first published in 1985 and the piece was first recorded in 1992 by the Raphael Quartet. History During his stay in Linz, Bruckner composed his String Quartet (Bruckner), String Quartet in 1862 as a student exercise assigned by his form and orchestration teacher, Otto Kitzler. On reviewing Bruckner's work, Kitzler was perhaps dissatisfied with Bruckner's unconventionality of the first rondo. He therefore suggested that a new rondo in a more traditional rondo-sonata form would have benefited the piece. Bruckner responded by creating this new large rondo form, creating a new work significantly different in musical content from the original as well as noticeably longer, with a performance time of approximately five minutes. This seco ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
String Quartet (Bruckner)
The String Quartet in C minor WAB 111, was composed by Anton Bruckner's in 1862 during his tuition by Otto Kitzler. History In the spring of 1862, during his tuition by Otto Kitzler, Bruckner composed two scherzi for string quartet in F major and G minor. Thereafter, between 28 July and 7 August 1862, he composed the String Quartet in C minor, as a preliminary to exercises in orchestration. The manuscript of the Quartet was found on pp. 165–196 of the '' Kitzler-Studienbuch''.C. van Zwol, pp. 682-683 On reviewing Bruckner's work one week later (15 August 1862), Kitzler was perhaps dissatisfied with Bruckner's unconventionality of the first rondo. He therefore suggested that a Rondo ' and in a more traditional rondo-sonata form would have benefited the piece. The 40- bars longer piece, which has the same key, metre and formal structure as the first Rondo, can, therefore, be regarded as an alternative to the first Rondo. The Quartet was not issued during Bruckner's li ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata Form
Sonata form (also ''sonata-allegro form'' or ''first movement form'') is a musical form, musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical music era, Classical period). While it is typically used in the first Movement (music), movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this general structure, sonata form is difficult to pin down to a single model. The st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rondo
The rondo is an instrumental musical form introduced in the Classical period. Etymology The English word ''rondo'' comes from the Italian form of the French ''rondeau'', which means "a little round". Despite the common etymological root, rondo and rondeau as musical forms are essentially different. Rondeau is a ''vocal'' musical form that was originally developed as monophonic music (in the 13th century) and then as polyphonic music (in the 14th century). Notably, both vocal forms of rondeau nearly disappeared from the repertoire by the beginning of the 16th century. In French, ''rondeau'' is used for both forms, while in English ''rondeau'' is generally used for the ''vocal'' musical form, while ''rondo'' is used for the ''instrumental'' musical form.Don Neville, "Rondò", ''The New Grove Dictionary of Opera'', 4 vols., edited by Stanley Sadie Stanley John Sadie (; 30 October 1930 – 21 March 2005) was an influential and prolific British musicologist, music critic, and edit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theme And Variations
In music, variation is a formal technique where material is repeated in an altered form. The changes may involve melody, rhythm, harmony, counterpoint, timbre, orchestration or any combination of these. Variation techniques Mozart's Twelve Variations on "Ah vous dirai-je, Maman" (1785), known in the English-speaking world as "Twinkle, Twinkle, Little Star" exemplifies a number of common variation techniques. Here are the first eight bars of the theme: Melodic variation Mozart's first variation decorates and elaborates the plain melodic line: Rhythmic variation The fifth variation breaks up the steady pulse and creates syncopated off-beats: Harmonic variation The seventh variation introduces powerful new chords, which replace the simple harmonies originally implied by the theme with a prolongational series of descending fifths: Minor mode In the elaborate eighth variation, Mozart changes from the major to the parallel minor mode, while combining three techniques: counte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
