Johann Joseph Fux (1660-1741) und die Kontrapunktlehre

2021 ◽  
Vol 46 (2) ◽  
pp. 157-170
Author(s):  
Hellmut Federhofer
Keyword(s):  
Ludwig Van Beethoven ◽  
Wolfgang Amadeus Mozart ◽  
Joseph Haydn ◽  
Gradus Ad Parnassum ◽  
Theorie Und Praxis

Der strenge Satz wurde als Voraussetzung für einen geregelten Kompositionsunterricht betrachtet und diente als Grundlage für den freien Satz - zum Beispiel bei Wolfgang Amadeus Mozart, Ludwig van Beethoven, Joseph Haydn. Die Verleugnung der Einheit von strengem und freiem Satz führte seit dem Ende des 18. Jahrhunderts zu einer zunehmenden Entfremdung von Theorie und Praxis. Heinrich Schenkers Bemühung, dem Zusammenschluß von Kontrapunkt und Harmonielehre eine theoretische Begründung zu geben, führte wieder zu Fux "Gradus ad Parnassum" zurück. (Autor)

Analyses

2020 ◽  
pp. 233-251
Author(s):  
L. Poundie Burstein
Keyword(s):  
Eighteenth Century ◽  
Wolfgang Amadeus Mozart ◽  
Joseph Haydn ◽  
Tonal Structure ◽  
Starting Point ◽  
Formal Concepts

This chapter wraps up the book with close analyses of first movements from four Galant pieces: Johann Adolph Hasse, Overture to Alcide al Bivio (1760); Marianna Martines, Sonata for Keyboard in A (c. 1765); Joseph Haydn, Symphony No. 14 in A (c. 1762); and Wolfgang Amadeus Mozart, Quartet for Strings in B-flat, K. 159 (1773). In each case, the entire movement—not just the exposition—is analyzed, considering matters such form, tonal structure, and hermeneutic impact. As in the previous chapters, eighteenth-century formal concepts are taken as the starting point for the analyses, and more modern formal notions are applied where appropriate.

scholarly journals The Volta: A Galant Gesture of Culmination

2020 ◽  
Vol 42 (2) ◽  
pp. 280-304
Author(s):  
Nathaniel Mitchell
Keyword(s):  
Eighteenth Century ◽  
Wolfgang Amadeus Mozart ◽  
Joseph Haydn ◽  
Music Making ◽  
Opera Seria

Abstract This article presents an overview of a new pre-cadential schema in the galant style: the Volta. The Volta is a two-part schema featuring a prominent chromatic reversal: stage one charges up the dominant with a ♯4^–5^ melodic string, while stage two releases to the tonic using a ♮4^–3^ string. The schema sheds light on many aspects of galant music-making: its variants illustrate how central features of a schematic prototype motivate or constrain plausible manipulations, its pre-cadential function reveals the intimate communion between surface schemas and the harmonic patterns inscribed within the style’s formal scripts, and, finally, its use as a climactic gesture in opera seria calls attention to the semantic possibilities of schemas beyond their role in defining musical topics. These and other aspects of the Volta are illustrated using representative excerpts from eighteenth-century masters like Leonardo Vinci, Giovanni Battista Pergolesi, Johann Adolf Hasse, Baldassare Galuppi, Joseph Haydn, and Wolfgang Amadeus Mozart.

scholarly journals TREATMENT OF RECAPITULATION OF THE FIRST MOVEMENTS IN THE SONATA FORM OF BEETHOVEN’S STRING QUARTETS OP. 18

2021 ◽  
pp. 105
Author(s):  
Danijela Zdravić-Mihailović
Keyword(s):  
String Quartet ◽  
Wolfgang Amadeus Mozart ◽  
String Quartets ◽  
Joseph Haydn ◽  
Sonata Form ◽  
New Treatment ◽  
Analysis Point

The paper focuses on the function of recapitulation in the sonata form relying on the example of the first movements of Beethoven's string quartets Op. 18 No. 1–6. With regard to the fact that recapitulation is commonly described as a restatement of the exposition with tonal alterations of the second theme and the closing section, analytical deliberations most often do not go beyond recording such alterations. However, some analysis point to the new role of the recapitulation exactly on account of the essence of the undertaken alterations, i.e. on account of the idea that the composer wants to accomplish at the level of sonata form through recapitulation. The research is conceived as a continuation of the previous studies (Zdravić Mihailović 2006, 2007a, 2007b, 2015a, 2015b). These studies focused on the genre of string quartet of Franz Joseph Haydn and Wolfgang Amadeus Mozart, where recapitulation was proven to be a remarkable phenomenon as its role was not merely to restate the exposition’s content with the usual tonal alterations. On the contrary, it can be a place of a new treatment of the sections of the exposition, and gives it some completely specific features.

Joseph Haydn

2009 ◽  
Author(s):  
Pauline D. Townsend
Keyword(s):  
Joseph Haydn

Zukunftswerkstatt „Pflege bildet sich“

PADUA ◽  
2014 ◽  
Vol 9 (2) ◽  
pp. 92-97
Author(s):  
Claudia Staudinger ◽  
Kerstin Ibler
Keyword(s):  
Theorie Und Praxis

Schülerinnen einer Gesundheits- und Krankenpflegeschule machen sich zum Thema „Pflegeausbildung in Theorie und Praxis“ Gedanken. Wo liegen aktuell die Probleme? Was wäre aus Schülersicht zu ändern? Wie würde eine „traumhafte“ Pflegebildung aussehen? Und unter welchen Umständen wäre dies realisierbar?

Zwischen Anspruch und Realität

PADUA ◽  
2017 ◽  
Vol 12 (3) ◽  
pp. 203-209 ◽  
Author(s):  
Nadine Wiesli ◽  
Alessia Schrepfer ◽  
Heidi Zeller
Keyword(s):  
Theorie Und Praxis

Zusammenfassung. Differenzen zwischen Theorie und Praxis, unterschiedliche Kompetenzen der Begleitpersonen sowie eine fehlende Feedbackkultur – diese und weitere Faktoren thematisieren Studierende, Lernende und Berufsbildner / innen im Rahmen einer Studie, die Einblicke in die Realität der Pflegeausbildung bietet. Die Ergebnisse sind relevant in Hinblick auf den Fachpersonenmangel: Eine attraktive, qualitativ hochwertige Ausbildung könnte dazu beitragen, den Personalmangel zu lindern.

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