Examining Keyboard Bitonality in the Middle-Period Music of Karol Szymanowski

2020 ◽  
Vol 42 (2) ◽  
pp. 305-325
Author(s):  
Alan Reese

Abstract A characteristic technique of Karol Szymanowski’s middle-period style (1914–18) is “keyboard bitonality”: the juxtaposition of the black-key pentatonic and white-key diatonic scales. To explore Szymanowski’s treatment of keyboard bitonality, I introduce the scalar alignment network, a biscalar landscape of all possible pairings of black- and white-key pitch classes that highlights the effects of a particular alignment, such as the resultant pitch-class pairings and intervallic patterns. To accomplish this, I employ a variety of transformational tools, including diatonic transpositions, Julian Hook’s (2007) interscalar transformations, and what I call SHIFT transformations. Analyzed works include: Masks (1916), Métopes (1915), Myths (1915), Twelve Etudes (Op. 33, 1916), and Violin Concerto No. 1 (1916).

QOF ◽  
2017 ◽  
Vol 1 (2) ◽  
pp. 117-127
Author(s):  
Cholid Ma'arif

This paper focuses on a mapping study of the development of Qur'anic and interpretation study generally in Indonesia. It aims to see how far the map of development of the Qur'an Study in the region of Indonesia. Previously, it is important to trace the beginning of the historical entry of Islam, the pattern and system of teaching the Koran, along with its development by looking at the work of commentary scholars and commentary on the interpretation of scholars. The method used is bibliography with supported documentation of related works. The results are the study of the Qur'an in Indonesia from classical to contemporary times evolved from the conventional pattern of the class (learning al-Qur'an in pesantren, madrasah, and home), a ceremonial event and even in competition (model reading al-Qur ' in various events such as One Day One Juz, STQ, MTQ, and others). On the other hand, the growth of interpretation and translation of the Koran in Indonesia is somewhat slower than the writing of interpretations in the Middle East. In this case the author traced the period of history of writing al-Qur'an interpretation according to Nasharuddin Baidan: Classic Period (7-8 H./15 CE); The Middle Period (16-18 AD); Pre-Modern Period (19th Century); The Modern Period (The 20th Century (1900-1950, 1951-1980, 1981-2000, 2001-present) At first glance, it appears that at first the interpretation became an integral part with other religious teachings propagated by the wali songo (such as the teachings of Molimo and also Lir Ilir) .Then began writing the interpretation with Arabic script in the local language (ex melayu, madura) .The work that appears like Tafsir Tarjuman Al-Mustafid.In this period style of writing interpretation is still influenced from the interpretation of Arab lands, such as Jalalain, al-Baidlawi, etc. The modern period is a period of Indonesian interpretation, not only of tahlili but also maudlu'I (thematic themes) .The themes are carried on are social, political, economic, gender, ecological, multicultural , and others.


Author(s):  
Mark Ferraguto

Between early 1806 and early 1807, Ludwig van Beethoven completed a remarkable series of instrumental works including his Fourth Piano Concerto (Op. 58), “Razumovsky” String Quartets (Op. 59), Fourth Symphony (Op. 60), Violin Concerto (Op. 61), Thirty-Two Variations on an Original Theme for Piano (WoO 80), and Overture to Collin’s Coriolan (Op. 62). Critics have struggled to reconcile the music of this year with Beethoven’s so-called heroic style, the paradigm through which his middle-period works have typically been understood. Drawing on theories of mediation and a wealth of primary sources, Beethoven 1806 explores the specific contexts in which the music of this year was conceived, composed, and heard. Not only did Beethoven depend on patrons, performers, publishers, critics, and audiences to earn a living, but he also tailored his compositions to suit particular sensibilities, proclivities, and technologies.


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