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Evolution of Keyboard Prelude From Bach to Shostakovich Payman Akhlaghi Graduate Analytical Paper 2004 UCLA

Evolution of Keyboard Prelude From Bach to Shostakovich Payman Akhlaghi Graduate Analytical Paper 2004 UCLA

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Published by PAComposer
Evolution of Keyboard Prelude from Bach to Shostakovich, A Brief Discussion
Author: Payman Akhlaghi
Graduate Analytical Paper Toward Degree of PhD in Composition
Essay in English, 45 pp, 2004, UCLA
Professor: Ian Krouse, UCLA, Spring 2004
© 2004, 2012: Payman Akhlaghi. All rights reserved.
Excerpt: "Abstract
This paper traces the evolution of the genre of Prelude by ‎examining selected compositions from representatie ‎composers of each period, from Bach to Shostakovich. The ‎study tries to establish the validity of an evolutional axis in ‎the history of prelude as a genre, which it sees to be passing ‎through the works of Bach, Chopin and Debussy, with each ‎figure defining the genre on his own term and influencing the ‎succeding generations of prelude composers. Considering the ‎didactic dimension of prelude and its relation to the genre of ‎Etude, a short discussion of the latter is also included when ‎appropriate, as in the case of Chopin. A review of shorter ‎works by Bach’s contemporaries are included in Appendix 1.‎
Evolution of Keyboard Prelude from Bach to Shostakovich, A Brief Discussion
Author: Payman Akhlaghi
Graduate Analytical Paper Toward Degree of PhD in Composition
Essay in English, 45 pp, 2004, UCLA
Professor: Ian Krouse, UCLA, Spring 2004
© 2004, 2012: Payman Akhlaghi. All rights reserved.
Excerpt: "Abstract
This paper traces the evolution of the genre of Prelude by ‎examining selected compositions from representatie ‎composers of each period, from Bach to Shostakovich. The ‎study tries to establish the validity of an evolutional axis in ‎the history of prelude as a genre, which it sees to be passing ‎through the works of Bach, Chopin and Debussy, with each ‎figure defining the genre on his own term and influencing the ‎succeding generations of prelude composers. Considering the ‎didactic dimension of prelude and its relation to the genre of ‎Etude, a short discussion of the latter is also included when ‎appropriate, as in the case of Chopin. A review of shorter ‎works by Bach’s contemporaries are included in Appendix 1.‎

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02/27/2015

 
The Evolution of Keyboard Prelude From Bach to Shostakovich
Author: Payman Akhlaghi (2004) Graduate Paper Toward Degree of PhD in Composition
www.ComposerPA.com
© 2004, 2012: Payman Akhlaghi. All rights reserved.Page 1 of 45
Toward a Better Understanding of 
The Evolution of Keyboard Prelude
From Bach to Shostakovich
A Brief Discussion
Essay By
Payman Akhlaghi
Music 251BProf. Ian KrouseSpring 2004UCLA
(*) Original Submission Title (2004):
Toward a Better Understanding of 
The Evolutionary Axis in the History of Keyboard PreludeFrom Bach to Shostakovich
A Brief Discussion
 
The Evolution of Keyboard Prelude From Bach to Shostakovich
Author: Payman Akhlaghi (2004) Graduate Paper Toward Degree of PhD in Composition
www.ComposerPA.com
© 2004, 2012: Payman Akhlaghi. All rights reserved.Page 2 of 45
Abstract
This paper traces the evolution of the genre of Prelude byexamining selected compositions from representatiecomposers of each period, from Bach to Shostakovich. Thestudy tries to establish the validity of an evolutional axis inthe history of prelude as a genre, which it sees to be passingthrough the works of Bach, Chopin and Debussy, with eachfigure defining the genre on his own term and influencing thesucceding generations of prelude composers. Considering thedidactic dimension of prelude and its relation to the genre of Etude, a short discussion of the latter is also included whenappropriate, as in the case of Chopin. A review of shorter works by Bach’s contemporaries are included in Appendix 1.
Introduction
Roughly put, an important element of Wittgenstein’s later philosphy suggests thateach usage of a word is not a mere affirmation of its current sense, but each time a wordis used, its sense is further modified or enhanced. This is a result of the social andconventional aspects of human languages and their inherent uncertainties. While mostmemebrs of any speaking group have some idea about the meaning of a given word, nonehas any sure idea about its absolute, prescribed sense. Hence, each usage of the wordwould involve a ‘leap of faith’, an ‘exitensialist projection’, a ‘creative act’, on part of hespeaking member. Over time, each successive application of a word redefines themeaning of the word, over and over. (My summary).
 
The Evolution of Keyboard Prelude From Bach to Shostakovich
Author: Payman Akhlaghi (2004) Graduate Paper Toward Degree of PhD in Composition
www.ComposerPA.com
© 2004, 2012: Payman Akhlaghi. All rights reserved.Page 3 of 45
Composers couldn’t agree more! At least as far as the evolutionary histories of various musical forms and genres are concerned, the above statements have a ring of truth to them. The astonishing array of contrasting compositions under each of the titlesof sonata, symphony, concerto and alike, or the demographic and historical variations of numerous dance forms, such as Sarabande
1
, Gigue or Minuet support this thesis. Indeed,in one case, i.e. the Sonata form, the multifaceted variety of the form was duely – andapprovingly – reflected, from the outset, in the title of Charles Rosen’s 1988 book,
Sontata Forms
.In this context, the evolution of the genre of the
keyboard prelude
occupies animportant niche of its own. The present paper tries to delineate a ceratin axis of evolutionin the long history of this genre by offering a comparative study of sample works of thosegiants who defined and redefined it, again and again, through their creative output. Notwithstanding the long history of the written preludes, which dates back as early as ca.1448 with Adam Ilebogh’s preludial cycle (Harvard 1986, p. 653), it seems prudent toconfine our study mainly to the period spanning from 1722 to 1951, that is from the dateof assembly of the first book of 
Well-Tempered Clavier 
(WTC I) to the completion of Shostakovich’s
Preludes and Fugues,
Op. 87
.
Placing such emphasis on the WTC preludes is a personal conviction that is fortunately in agreement with the centuries longconsensus over the seminal importance of these works in the history of music.
1
…from its fast pre-baroque origins to the slow baroque sarabandes of Handel and Bach, and still to its fastnineteenth century manifestations in no less than a work such as the beginning of Beethoven’s
Egmont Overture
.

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