SOUNDING WORLD OF CLASSIC FANTASY
UDC index:
786
DOI: 10.31773/2078-1768-2019-47-92-97.
Article ID in the RSCI:
Article file: Download
Information about authors: Georgievskaya Olga Vladimirovna, PhD in Art Histoty, Associate Professor, Associate Professor of Department of Musical Art, Institute of Culture and Arts, Moscow City Pedagogical University (Moscow, Russian Federation). E-mail: olgageo@rambler.ru
Annotation: The analysis of a fragment of Fantasy in D minor by W.A. Mozart is presented in the article. The author’s approach is based on the synthesis of analytic description of musical structure and performer hearing the composition. That makes it possible to view Mozart’s texture not containing a great number of notes from a new perspective, to reveal its profundity and multidimensional characteristic. The realized examination also permits to define specific interrelating texture elements, which are essential for the aesthetic impression of the music, and to get understanding the conformity of the unique fantasy form to inherent laws of development. The case of seventeen measures of the central section is given to show the important factors to be considered. Some of them contribute to our perception the internal symmetry and ideal proportions of the structure, distinctive features of classicism; others make to feel a force of free development and continuous unfolding. The classicism of typical structural characteristics, the gradual evolution of the rhythmical texture component, general logic and properties of the harmonic ripple frequency are minutely described. This paper carries on the detailed study of the composition by Mozart following the article “Some Words on the Work on Mozart’s Piano Pieces,” which deals with the analysis of its introductory section and the rest of the piece is assumed to be examined. The presented results demonstrate convincingly that the proposed method, based on performing analysis and predominately taking into account the real sound of music, is promising to allow a new interpretation of the well-known masterpiece. It also opens the doors to interesting and difficult questions in closely related fields, concerning, first of all, the interdependence of composer’s and performer’s hearing and musical thinking.
Keywords: Mozart, fantasy, performing analysis, performing hearing, texture, musical form.
DOI: 10.31773/2078-1768-2019-47-92-97.
Article ID in the RSCI:
Article file: Download
Information about authors: Georgievskaya Olga Vladimirovna, PhD in Art Histoty, Associate Professor, Associate Professor of Department of Musical Art, Institute of Culture and Arts, Moscow City Pedagogical University (Moscow, Russian Federation). E-mail: olgageo@rambler.ru
Annotation: The analysis of a fragment of Fantasy in D minor by W.A. Mozart is presented in the article. The author’s approach is based on the synthesis of analytic description of musical structure and performer hearing the composition. That makes it possible to view Mozart’s texture not containing a great number of notes from a new perspective, to reveal its profundity and multidimensional characteristic. The realized examination also permits to define specific interrelating texture elements, which are essential for the aesthetic impression of the music, and to get understanding the conformity of the unique fantasy form to inherent laws of development. The case of seventeen measures of the central section is given to show the important factors to be considered. Some of them contribute to our perception the internal symmetry and ideal proportions of the structure, distinctive features of classicism; others make to feel a force of free development and continuous unfolding. The classicism of typical structural characteristics, the gradual evolution of the rhythmical texture component, general logic and properties of the harmonic ripple frequency are minutely described. This paper carries on the detailed study of the composition by Mozart following the article “Some Words on the Work on Mozart’s Piano Pieces,” which deals with the analysis of its introductory section and the rest of the piece is assumed to be examined. The presented results demonstrate convincingly that the proposed method, based on performing analysis and predominately taking into account the real sound of music, is promising to allow a new interpretation of the well-known masterpiece. It also opens the doors to interesting and difficult questions in closely related fields, concerning, first of all, the interdependence of composer’s and performer’s hearing and musical thinking.
Keywords: Mozart, fantasy, performing analysis, performing hearing, texture, musical form.
