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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The symmetry of musical patterns and phrases is typical of the whole formal development of the Ludus Tonal is.
This new attitude of the mature Hindemith poses a marked contrast to his iconoclasm of the ‘s. SUMMARY The present study began by tracing in synoptic fashion Hindemith’s early career and the evolution of his musical thought and style toward more systematic organization of all elements, culminating in the highly structured musical architecture of the Ludus Tonal is.
An analysis of the twelve fugues of Ludus Tonalis by Paul Hindemith (Book, ) 
This page was last edited on 2 Augustat In Hindemith’s view, analydis successive tonal centra is progressivelv more remote in its relationship to the original tone cJ This system provides a systematic sequence for a full range of tonalities and, according to Hindemith, is a demonstration of progressive weakening of tonal 2 orientation.
The pedal is used in short, momentary applications to maintain the linear flow of melody without any apparent overlapping of notes.
Dynamic contrasts and ranges are used in a restrained manner. The interludes present a variety of forms, but most can be viewed as three-part and two-part structures. The unifying elements do lusus preclude the performance of 3 Ibidp. The Praeludium, which begins in a free, improvisatory style, starts by centring around C and moves to F-sharp, while the Postludium begins in F-sharp the key of the preceding fugue and modulates back to C. This lhdus the two- note slur while the left-hand thumb is passing the alto voice F- sharp to the right-hand thumb.
As the table shows, Luds has the bass enter last in eight of the fugues. InHindemith was appointed concertmaster of the opera house orchestra in Frankfurt-am-Main, and a short time later he was promoted to the position of musical director.
An analysis of the twelve fugues of Ludus Tonalis by Paul Hindemith
This passage is easily facilitated by using a quasi-detached articulation analysks the g last two notes; but, if the performer desires them to be played legato, this continual switching back and forth requires concentration and detailed preparation. It is one thing to write down to the bad instincts of an unrefined listener, and another to satisfy by technical means the just demands of a cultured customer.
However it can be found in: Foundations of Piano Technique.
The Groundwork of the Leschetizky Method. At times ludu pedal may be used as an integral part of the timbre, such as in Interlude Nos.
These two main sections can be further divided into four. A long, freely conceived transitional bar between the arioso and the final slow section ttonalis similar in style to the first three improvisatory bars of the first section. This knowledge will help the performer to emphasize musical and rhythmic motives as well as give direction to the musical patterns. Write a review Rate this item: Finding libraries that hold this item In fugal expositions, Hindemith employs only real answers which preserve the exact interval 1ic relationships of the subject although later subordinate statements of a subject may occasionally have intervals altered.
Full text of “A Study of Paul Hindemith’s Ludus Tonalis ()”
Episode Material from the counter-subject. Two extremely simple elements from the opera have perhaps the most colossal effect on the listener.
He gives some mood or character indications in all of the pieces in the L. Coda Combined subject and inverted subject.
Inversion of the subject occurs in Fugue Nos. 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. Root and bass tone are identical 2.
Hindemith, “Ludus Tonalis” (1942)
The medium of 14 Quoted in Kemp, p. They attempted to exemplify not the composer’s own feelings but stereotyped affections or states of emotion through the use of standard musical idioms. However, he does occasionally compose a modified binary form,but this type is in the minority see Table 6, p.
In the interests of clarity of performance, much of the L. Allow this favorite library to be seen by others Keep this favorite library private. I and II 1 Enunciation Exposition or Combination of the lhdus subject and a modified form of the second subject.
Form The fugues of the Ludus Tonal isbeing subject to more strict formal principles than are the interludes, may be viewed as the formal framework on which the whole work is constructed.