By Harald Krebs
Delusion items examines from numerous vantage issues an essential life-force of Robert Schumann's tune, specifically metrical clash. Harald Krebs's resourceful but rigorous research uses Schumann's attention-grabbing projections of his personal personality--the characters Florestan and Eusebius--as one technique of addressing the biographical and aesthetic context of the music.In counterpoint with the feedback of those personae, Krebs develops an unique thought of metrical clash through adapting the ideas of consonance and dissonance to metrical research. He investigates how states of metrical dissonance come up, and exhibits how they're manipulated and resolved during compositions. He bargains new tools for realizing the metrical progressions of complete works or events, and reports the interplay of metrical clash with shape, with pitch constitution, and with the texts of Schumann's vocal works. Krebs contains a wealth of illustrations from the entire variety of Schumann's paintings and provides a number of insights vital for functionality. within the ultimate bankruptcy, he presents richly exact reviews of items through Schumann in quite a few genres, interspersing them with shorter discussions of song through Berlioz, Chopin, Clara Schumann, Ives, and Schoenberg.This is a publication that would charm not just to scholars and students of tune thought, yet to all musicians drawn to the existence, paintings, and specific character of Robert Schumann.
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Additional resources for Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann
42 Schillinger indicates how the interference of two or more noncongruent periodicities creates resultant rhythms and demonstrates, in a variety of meters, the resultants of three-against-two and four-against-three dissonance in the form of "vamps" (pp. 30-31). " His use of the dissonance metaphor, then, is similar to Seeger's. Interestingly, Colin drifts into the Cowellian application of the metaphor at one point; his distinction between greater or lesser rhythmic dissonance depends on the degree of dissonance of the pitch intervals suggested by the ratios involved, recalling Cowell's rigid analogy between pitch and rhythmic intervals.
La). 1b), there \vere (5+3)—2, or six nonaligning pulses between points of alignment. 7. G3/2 in the "PreambuLe"from Carnaval, mm. 28-32 our music, especially in the specific form G3/2. The author has mentioned your poignant application of this dissonance at the opening of the Davidbundlertanz op. 6 no. 3). In the tenth piece of op. 6, I employ the same dissonance, but in a much more impassioned vein. The passage beginning at m. 99 of the original finale of our Piano Sonata op. " Eusebius added, "You used this dissonance with humorous effect in the 'Preambule' from Carnaval.
Two or more interpretive layers, however, may or may not align with each other. " The appropriateness of this metaphorical use of a term traditionally applied to pitch rests on the literal meaning of the word "consonance"; metrical consonance exists when pulses sound together. The metrical state arising when interpretive layers do not sound together can, applying the same metaphor, be termed "metrical dissonance. " Its aptness is obvious when states of alignment or nonalignment result from the interaction of layers whose pulses are metrical beats, or beats above the level of the bar line (hypermetrical beats, or hyperbeats).