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Ludus tonalis hindemith f fugue
Ludus tonalis hindemith f fugue












Each of twelve fugues possesses a unique characteristic, that improves and upgrades the baroque form of fugue, which is best observed in fugues with multiple themes (triple fugue in C, double in A, double in F-sharp). Fugues in Ludus Tonalis are organized in a particular order, which is a product of Hindemith’s principle of musical thinking based on acoustic facts, and twelve fugues were enough to encompass all of the notes, i.e.

ludus tonalis hindemith f fugue

Liberated from tonal way of thinking and “reckless” harmonies, Hindemith enables a wider range of possibilities for using counterpoint techniques. There are similarities to both of these collections, the fugues are arranged according to a set sequence of tonalities, and all tonalities are provided (although it lacks the major and minor variants of a tonality, rather in C, in G), and the themes in fugues are provided in different types of imitations and forms. This cycle of fugues is obviously an homage to Bach’s Well-tempered clavier, as well as to Bach’s collection The Art of Fugue.

Ludus tonalis hindemith f fugue how to#

This provokes a question: how to maintain a connectivity to tradition and at the same time strive towards a unique expression? The connection between Hindemith’s music and established canons is observable in his Ludus Tonalis cycle. For a work to be specified as innovative and original, it needs to utilize a new form, organized into a compact system. One of them is the fact that a single work is always compared to countless other traditional musical creations. In constant battle for artistic independence, a composer encounters numerous obstacles.

ludus tonalis hindemith f fugue

Paul Hindemith, fugue, counterpoint, sonata form, neoclassicism, baroque Abstract Music school “Stevan Mokranjac” Požarevac, Serbia












Ludus tonalis hindemith f fugue