An Analytical Study Based on the Essential Harmonic and Melodic Elements as Found in Cesar Franck's E Major Chorale for OrganUniversity of Wisconsin--Madison, 1939 |
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Página 5
... proportions as may be found helpful in establishing a certain unity to the whole . For the sake of clarity the analyses are considered separately , but because of the interrelationship of ideas they cannot always be wholly segregated ...
... proportions as may be found helpful in establishing a certain unity to the whole . For the sake of clarity the analyses are considered separately , but because of the interrelationship of ideas they cannot always be wholly segregated ...
Página 9
... proportions for the phrase endings of the coda - chorale : ( a ) ( b ) IV : ( a ) ( c ) I : III :: II : ( e ) ( 1 ) VI : I These harmonic proportions in the coda - chorale will later be shown to have equal importance with the melodic ...
... proportions for the phrase endings of the coda - chorale : ( a ) ( b ) IV : ( a ) ( c ) I : III :: II : ( e ) ( 1 ) VI : I These harmonic proportions in the coda - chorale will later be shown to have equal importance with the melodic ...
Página 25
... proportion . He Conclusion In the beginning of this investigation it was part of a proposed plan to attempt an integration of the ele- ments that usually inhere in great works , from an objec- tive viewpoint only . This plan had to be ...
... proportion . He Conclusion In the beginning of this investigation it was part of a proposed plan to attempt an integration of the ele- ments that usually inhere in great works , from an objec- tive viewpoint only . This plan had to be ...
Términos y frases comunes
analysis appearance bass beat beginning Bourdon cadence characteristic chorale chord chromatic close coda coda-chorale coda-chorale period combination completes composer composition conclusion considered continual contrapuntal contributing tonalities derived descends diminution dominant double effect element enharmonically essential establishes fact fifths figure final Flûte four large four measures fourth Franck give harmonic idea includes indicated integrated interest interlude interval introduction lower major manuals material meas melodic melodic analysis minor modulation motive mystic nature notes observed octave organ Organ with Fonds original passacaglia pedal pedal point perhaps period period No.I phrases played progression proportions quarter religious rhythm rhythmic second half second variation seen sequences seventh sixth sonata song soprano starts stop style suspense Swell symmetry theme thesis third higher third variation three measures tonality tone tonic traits transposed treatment Vox Humana whole written