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 [4], 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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This knowledge will help the performer to emphasize musical and rhythmic motives as well as give direction to the musical patterns. A long, freely conceived transitional bar between the arioso and the final slow section is similar in style to the first three improvisatory bars of the first section.

Culture and Science, vol. These accents help to connect the melody and work against the register changes which naturally tend to dissassociate the melodic fragments from one another. The Physiological Mechanics of Piano Technique.

Hindemith, “Ludus Tonalis” () – Piano Notes

More often the melodies evolve from quarts! It was first performed in in Chicago by Willard MacGregor.

Cox and Wyman, While some of the interludes Nos. Hindemith also uses these and other contrapuntal techniques in less systematic ways for expanding his material. This mildly dissonant sound has become a characteristic of Hindemith’s music. Please select Ok if you would like to proceed with this request anyway. Hindemith indicates a pastorale character for Interlude No. In some of the pieces it is more difficult to determine the chord structure because of the lack of concurrence of voices.

S, Bach and other Baroque composers in this manner. Ludus Tonal is is the master work of his relatively small output for piano, which includes a suite for pianothree sonatasa piano deetand a sonata for two pianos Example 13 the root with the perfect fourth and perfect fifth; the minor seventh with the perfect fifth; the minor seventh with minor third; the major seventh with major third; and the major ninth with major third.


Table 2 shows the result of the 20 author’s chord analysis. The unifying elements do not preclude the performance of 3 Ibidp.

Hindemith, “Ludus Tonalis” (1942)

However, the author feels it should be Alto, Soprano, Bass. Hindemith analyssi a highly developed sense of musical architecture. He feels 21 See for examples. The E-mail Address es field is required. The pedal is relatively unobtrusive if applied for a short duration and over no more than two beats or pulses. From that year untilHindemith taught; studied Latin, philosophy, and literature; wrote his own libretti; played numerous instruments; and studied and performed music from early periods.

In Hindemith’s collection of seven concerti collectively entitled K ammermusikthere is a uniformity of mood within each movement and, within the faster sections, an underlying current of hectic, relentless activity.

The physical technical problems of the work do not pose a great barrier to the performer. In the interludes, Hindemith introduces more vertically conceived structures and at times a heavily textured and extremely dense chordal style Inter- 43 lude No.

Ian Kemp, Hindemith London: Add a review and share your thoughts with other readers.

Analysid is often unresolved by traditional means. In such cases, the only interpretive direction from the composer in the score besides phrase markings is a single dynamic marking. The Visible and Invisible in Pianoforte Technique. Third-above and second-above relationships 31 prevail in modulatory areas Tknalis As a performing musician himself, Hindemith probably expected performers of Ludus Tonali s to exercise the same taste, intelligence, and judgement that he would have in performing the music of other composers, especially of earlier times when scores were less copiously edited than in the present century.

The performer may find that some of the tempo indications for the slower pieces are slightly fast, but this is again a matter for personal preferences. If the performer follows the harmonic fluctuation and increases in dynamic when the harmonic tension increases and decreases in dynamic when the harmonic tension decreases, then he most often has a valid musical solution.

Coda Combined subject and inverted subject.

However, it must retain an underlying regular pulse so that the rhythmic variety which Hindemith wrote in can be clearly heard, Hindemith’s rhythms do not present a great problem in performing the L udus Tonal is.


The invaluable assistance of my advisor Dr. Generally, the right hand should slightly over-balance the left hand and the tone-color should have a lludus, mellow tonals of intensity. Gebrauchsmusik is distinguished by its lyric, vocal, tonally oriented contours which stem from folk 8 Kemp, p. This book was used as a reference for stylistic development of Hindemith’s music and as a guide to biographical information.

The parallel comes, but Hindemith adds an extra measure so that pattern eight consists of two, two-measure, and one, three-measure phrase.

The medium of 14 Quoted in Kemp, p. Finding libraries that hold this item You already recently rated this item. Hindemith thought the composer should be willing to compromise his ideals in order to reach all levels of cultural enlightenment and, regarding wnalysis intellectual capacity of the analysiss, he writes: The bass line in the piano part is released from traditional functional harmonic duties to assert itself with equal status in the melodic flow of the upper voices.

In Hindemith’s view, each 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 analysjs, according to Hindemith, is a demonstration of progressive weakening of tonal 2 orientation.

Group A is subdivided into sections: Allegro un poco maestoso This recital is presented in partial fulfillment of the requirements for the Master of Music degree for Mr.

The table also shows that the soprano voice enters as the second entry nine times, while the bass is used twice and the alto once in that capacity.

This new attitude of the mature Hindemith poses a marked contrast to his iconoclasm of the ‘s. You may have already requested this item. Harmonic Materials of Modern Music. Hindemith writes a six-measure episode which is paralleled later in meas.