Home Slovenská hudba 2010 Slovenská hudba, Vol. 36, No 2, p. 175-194

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Slovenská hudba, Vol. 36, No 2, p. 175-194

Title: Tektonika a harmonická reč Chopinových mazúriek
Author: Eva Ferková

Abstract:  the listener “identifies” as a handwriting of a composer may be in many cases deciphered as a typical and unique harmonic pattern (structure and relation) of Chopin’s poetics, usually eased, blurred and uncertain, filled by ephemeral acoustic beauties and leading to impressionistic atonality and timbre, but – for the time being – on the principle of condensed tonal chromatics, swiftly changing diatonics and unfinished or surprisingly modified cadencing.
Chopin reached the blurring of the key exclusively by centralizing means, he used the power of centralization and decentralization of chords and of break of their classical resolutions. New subtle timbres, shades and moods originated.
In many cases harmony became the main means of imitation of emotional tension, its gradation or its various variants and nuances. Here harmony is the most powerful tool for remaining in the sphere of impressions of sombreness, uncertainty, obscurity, doubtfulness, even desperation and grief.
Chopin added also metre, tempo and articulation for easing or stressing the beats when necessary. On the contrary, where he needed to inhale joy, dancing definiteness and brightness into the music, it is articulated in unambiguous mostly major keys and cadence progressions, lacking the rotation of the tonal axis or multiplication of the directing tension of characteristic dissonances, mostly in diatonic pureness and clarity of a tuneful melody.
Spectrum of tempi, of moods and timbre, this is the main domain of Chopin’s mazurkas and harmony was one of the most powerful means for their rendering.

Year: 2010, Volume: 36, Issue: 2 Page From: 175, Page To: 194

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