Along these same lines, Gerald Abraham once quipped, "When is ornamentation not ornamentation?. Beethoven has provided a thematic justification for an ornamental convention-here, structural process and ornamental expressivity are inseparable. 111 features a gradual acceleration in each variation that culminates in a cadential trill in the final variation. (1) As an example, the finale of Beethoven's Piano Sonata op. ![]() 33 quartets and continuing through Beethoven's late works. Charles Rosen traces this shift occurring as early as Haydn's op. ![]() This dichotomy was brought into focus at the turn of the nineteenth century, which marked a stylistic shift from the classical use of ornament, to articulate structure, towards a style in which ornamentation was treated thematically. The distinction between musical structure and ornament, like most dichotomies, affords an opportunity for boundary play.
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