A Study on Compositional Techniques of Mozart’s Thematic Melodies: Centering on Slow Movements of Keyboard Sonatas

2014 ◽  
Vol 21 ◽  
pp. 1-32
Author(s):  
young Kim
Keyword(s):  
Compositional Techniques ◽  
Keyboard Sonatas

CSim 2

2021 ◽  
Vol 43 (1) ◽  
pp. 1-46
Author(s):  
David Sanan ◽  
Yongwang Zhao ◽  
Shang-Wei Lin ◽  
Liu Yang
Keyword(s):  
Programming Languages ◽  
Concurrent Systems ◽  
Theorem Prover ◽  
Compositional Techniques ◽  
Machine Code ◽  
Top Down ◽  
Hol Theorem Prover ◽  
High Level ◽  
High Degree

To make feasible and scalable the verification of large and complex concurrent systems, it is necessary the use of compositional techniques even at the highest abstraction layers. When focusing on the lowest software abstraction layers, such as the implementation or the machine code, the high level of detail of those layers makes the direct verification of properties very difficult and expensive. It is therefore essential to use techniques allowing to simplify the verification on these layers. One technique to tackle this challenge is top-down verification where by means of simulation properties verified on top layers (representing abstract specifications of a system) are propagated down to the lowest layers (that are an implementation of the top layers). There is no need to say that simulation of concurrent systems implies a greater level of complexity, and having compositional techniques to check simulation between layers is also desirable when seeking for both feasibility and scalability of the refinement verification. In this article, we present CSim 2 a (compositional) rely-guarantee-based framework for the top-down verification of complex concurrent systems in the Isabelle/HOL theorem prover. CSim 2 uses CSimpl, a language with a high degree of expressiveness designed for the specification of concurrent programs. Thanks to its expressibility, CSimpl is able to model many of the features found in real world programming languages like exceptions, assertions, and procedures. CSim 2 provides a framework for the verification of rely-guarantee properties to compositionally reason on CSimpl specifications. Focusing on top-down verification, CSim 2 provides a simulation-based framework for the preservation of CSimpl rely-guarantee properties from specifications to implementations. By using the simulation framework, properties proven on the top layers (abstract specifications) are compositionally propagated down to the lowest layers (source or machine code) in each concurrent component of the system. Finally, we show the usability of CSim 2 by running a case study over two CSimpl specifications of an Arinc-653 communication service. In this case study, we prove a complex property on a specification, and we use CSim 2 to preserve the property on lower abstraction layers.

scholarly journals MUSIC THEORY AT WORK: THE ETON CHOIRBOOK, RHYTHMIC PROPORTIONS AND MUSICAL NETWORKS IN SIXTEENTH-CENTURY ENGLAND

2018 ◽  
Vol 37 ◽  
pp. 141-182
Author(s):  
Anne Heminger
Keyword(s):  
Fifteenth Century ◽  
Educational Institutions ◽  
Current Debate ◽  
Compositional Techniques ◽  
Musical Style ◽  
Theoretical Concepts ◽  
Late Medieval England ◽  
Eton College ◽  
Musical Networks ◽  
College Library

Whilst scholars often rely on a close reading of the score to understand English musical style at the turn of the fifteenth century, a study of the compositional techniques composers were taught provides complementary evidence of how and why specific stylistic traits came to dominate this repertory. This essay examines the relationship between practical and theoretical sources in late medieval England, demonstrating a link between the writings of two Oxford-educated musicians, John Tucke and John Dygon, and the polyphonic repertory of the Eton Choirbook (Eton College Library, MS 178), compiled c. 1500–4. Select case studies from this manuscript suggest that compositional and notational solutions adopted at the turn of the fifteenth century, having to do particularly with metrical proportions, echo music-theoretical concepts elucidated by Tucke and Dygon. These findings impinge upon the current debate concerning the presence of a network between educational institutions in the south-east of England during this period.

Contested Terrain: Differing Interpretations of Co. Wicklow's Landscape

1993 ◽  
Vol 3 (1) ◽  
pp. 23-55 ◽  
Author(s):  
Eamonn Slater
Keyword(s):  
Native People ◽  
Compositional Techniques ◽  
Socially Constructed ◽  
Contested Terrain ◽  
Ideological Structure ◽  
The Way

This paper looks at how Irish landscape was interpreted in the mid 1800s, when modern tourism in Ireland began. It attempts to discover the ideological structures present in this appreciation of Irish landscape, and it does so in relation with the Hall's description of Co. Wicklow landscape. It argues that there are two ‘socially constructed’ ways to read Irish landscape, the picturesque and the oral interpretations, which create senses of detachment and attachment respectively to the local terrain. It explores in this context how the picturesque corresponds to the way an outsider wishes to gaze upon a landscape, either as a colonialising landlord or as a tourist. Although the picturesque excludes human work from its vision, it was manufactured in the demesnes of the landlord class according to compositional techniques. But the ideological structure of the beautiful aspect of the picturesque excludes the native people who actually live in the landscape, because they are seen as a source of disharmony. The native gaze, on the contrary, creates a sense of attachment to the local place.

scholarly journals Performer rights and responsibilities in historical performance

Muzikologija ◽  
2014 ◽  
pp. 31-46
Author(s):  
John Irving
Keyword(s):  
Performance Practice ◽  
Joseph Haydn ◽  
John Irving ◽  
Keyboard Sonatas ◽  
Historical Performance

In April 2014, fortepianist and Mozart specialist John Irving recorded a CD of solo keyboard sonatas by Joseph Haydn, using a modern copy of a Viennese fortepiano of Haydn?s era. This is an account of the project written from the performer?s perspective, examining some relevant issues of historical performance practice, organology, and detailed reflections upon the performer?s preparations (of various musical and technical kinds) for the recording.

scholarly journals Deciphering Flavio Pereira’s Reading of Dostoevsky after the The House of the Dead

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Nadia Nedialkova ◽  
Bojin Nedialkov ◽  
Flávio Santos Pereira
Keyword(s):  
Formal Analysis ◽  
Economic Structure ◽  
Moral Values ◽  
Compositional Techniques ◽  
Program Music ◽  
Fyodor Dostoevsky ◽  
The Dead ◽  
Brazilian Composer

This article provides a “dechiffrage” of the form, style, compositional techniques, and referential musical meanings employed by the Brazilian composer and pedagogue Flavio Santos Pereira in the composition of a seven-part suite entitled Reading of Dostoevsky, written in 2016 and based on the book The House of the Dead by Fyodor Dostoevsky. This chamber work is a premonitory work about the present pandemic time, which tests not only the human existential instincts and fears but also the spiritual, philosophical, and moral values upon which a mature and complete personality is built. The author manages to turn the economic structure of a dodecaphonic material into a source of polyphonic, polyrhythmic, stylistic, and timbre diversity. Oscillating and incremental textures, often reaching four-voice overlays, find their counterbalance in the asymmetric movements that synthesize complex subharmonic timbre combinations. The work can be classified as program music, as it employs characteristics of expressionist and impressionist styles mixed with free improvisatory polyphonic techniques. This paper also aims at inducing young performers to consider the paradigmatic model of “dechiffrage” for interpretation supported by stylistic and formal analysis based on classical and modern models. The article includes the full score of Reading of Dostoevsky by Flavio Santos Pereira.

scholarly journals I. B. KRAMER’S PIANO WORK IN THE ASPECT OF INTERRELATION OF PERFORMANCE AND COMPOSITION

2021 ◽  
Vol 58 (58) ◽  
pp. 96-112
Author(s):  
Marianna Cherniavska
Keyword(s):  
Piano Pedagogy ◽  
Scientific Discipline ◽  
Compositional Techniques ◽  
Chamber Works ◽  
Piano Technique ◽  
Piano Works ◽  
Musical Works ◽  
Musical Thinking ◽  
Short Time ◽  
The Relationship

Background. The article is devoted to the piano work of the famous English pianist, teacher and composer Johann Baptist Kramer (1771–1858), whose 250th anniversary is celebrated in 2021. I. B. Kramer, like other pianists of the late XVIII – early XIX centuries, tried to solve a significant problem – mastering the basics of composition, its laws, principles, techniques, their combination with the game nature and capabilities of the piano. Objectives. The purpose of the article is to reveal the relationship between performing and compositional means in I. B. Kramer’s piano works. Methods. The basis of the methodology is a systematic approach, through which musicological research methods are combined with historical ones. The main document of the era in the field of musicological research is the musical text, so the analysis of musical works is carried out from the standpoint of performance at the levels of performing technical means, musical thinking of the composer and performer. Other components of the texture, the development of its individual layers in the whole system, as well as the coverage of one or another feature of the playing nature of the piano are also taken into account. Conclusions. I. B. Kramer’s pedagogical system is considered, which is a system of technical means of performance, which contributed to the embodiment of the game nature of the instrument. In works of art, the composer used these techniques as needed to create a certain figurative sphere. Analyzed “Pathetic Fantasy” op. 87 (1837), four notebooks Suite – arrangements for piano chamber works of classical composers, where the composer embodied ensemble thinking on the piano, introduced the principles of dialogicity and comparison of registers as a method of artistic development of musical material. Results. Continuing the work of his teacher M. Clementi, I. B. Kramer contributed to the development of concert activities in Europe, the differentiation of pedagogy, performance and composition into independent musical activities. His methodical works and opuses of etudes were the basis of pedagogy for the next generations of pianists, defined the foundations of piano pedagogy as a scientific discipline. The piano instructional material created by I. B. Kramer allowed to master the techniques of piano playing in a short time. Along with L. V. Beethoven, I. B. Kramer made an important contribution to deepening the content of musical works by means of composer’s writing. The perfection of the presentation of piano technique had a positive effect on the development of compositional techniques in the works of the musician – the development of contrasting themes, the principles of development of musical material, the improvement of musical forms. The sphere of dramatic pathos and heroism defined the image of pathos in music, which corresponded to the possibilities of the instrument and at the same time contributed to the formation of a romantic style in piano art.

scholarly journals Methodical Expediency of Enrichment of Repertoire of the Beginning Pianist in Educational Institutions of the People’s Republic of China

2019 ◽  
Vol 7 (3) ◽  
pp. 126-137
Author(s):  
Kang Yunyu
Keyword(s):  
Educational Institutions ◽  
Compositional Techniques ◽  
Musical Work ◽  
Republic Of China ◽  
Piano Repertoire ◽  
Musical Works ◽  
Effective Performance ◽  
Personal Qualities ◽  
Russian Composers ◽  
Selection Of

The article deals with the activity of the teacher-musician on the choice of educational piano repertoire. Currently, in China, this practice is based almost exclusively on the empirical experience of teachers and is largely random, does not have sufficient methodical support. They use rather standard, so-called basic musical repertoire, especially at the initial level of piano training in the genre of a program play. At the same time, the individuality of the student, his personal qualities, promising musical development, genre and style diversity of works, certain methodological indications for study, motivational readiness are not adequately taken into account. There is an urgent need to expand the children’s piano repertoire in China, primarily through the musical works of composers from other countries, for example, the easy plays of Russian composers of the Soviet and post-Soviet periods. The article shows a specific example of the educational repertoire in children’s educational programs with effective performance of young musicians at concerts. Actions of the teacher-musician at the choice of this or that musical work inevitably actualize personal-creative and reflexive qualities, skills of the methodological analysis. The introduction of young musicians to the performance of music from other eras and national schools, familiarity with different compositional techniques and directions, painstaking individual selection of each play has a pronounced methodological, educational and motivational effect.

Doctrine of Affections

Music ◽  
2021 ◽  
Keyword(s):  
18Th Century ◽  
Medical Model ◽  
Compositional Techniques ◽  
15Th Century ◽  
Baroque Music ◽  
History Of ◽  
Baroque Era ◽  
Temperament Theory ◽  
Rhetorical Discourse ◽  
Theoretical Issues

The “doctrine of affections” is a legendary creature created by early-20th-century German musicologists: its head is made of prescriptive treatises and its body of descriptive compositions. The term has however entered scholarly parlance and is commonly used to refer to a cluster of theorizations and compositional strategies that shared a common aim: emphasizing the affective dimension of music in order to move the listener. The “doctrine of affections” derives its name from the German term Affektenlehre and it lived its golden age in the Baroque era (see the Oxford Bibliographies article on Baroque Music and its section “Music-Theoretical Issues”). It merges a renewed humanistic interest in the ars rhetorica, ensued to the rediscovery of texts such as Quintilian’s Institutio Oratoria during the 15th century, with an interest in the mechanics of the passions, fostered by Descartes’ Passions de l’âme (1649). The power of music to raise or soothe the passions had already been discussed by philosophers such as Plato and Aristotle (the latter’s theory of catharsis proving especially successful during the Renaissance), and in some sense “doctrines of affections” have often accompanied the history of thinking about music and its effects. However the “doctrine of affections” stricto sensu is tied to the revival of doctrines of musical ethos by the humanists, in combination with medical elements derived from galenic temperament theory and with the idea of musica humana derived from Boethius (Ficino’s theories being a notable example of this combination). Baroque doctrines of affections, while deriving some themes—such as the link between modes and affects—from these former traditions, modified their gravity center. From a Renaissance medical model interested in the bodily transformations induced by music, the focus shifts to a rhetorical model interested in producing determinate effects on the listeners in the orator’s mode. During the 16th and 17th centuries, from the philosophical upsurge of interest in passions themselves and in their communicability and from the coeval transformations in musical compositional techniques, a renovated rhetorical discourse on affective music and its relation to the poetical texts was drafted. Drawing on the speculations of authors like Descartes, Mersenne, and Kircher, 18th-century theorists tried to single out the affective power of modes and figures, albeit without creating universal theories. These musico-rhetorical theories dawned when a new way of addressing the world of the passions and affections was devised later in the 18th century.

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