Directionality in two melodies of the twentieth century: Syrinx, by Claude Debussy and the first of Three pieces for solo clarinet, by Igor Stravinsky
The present work analyses the melodic structure of the pieces Syrinx, by Claude Debussy, and the first of the Three pieces for solo clarinet, by Igor Stravinsky, in search of procedures employed to generate the sensation of directionality along the discourse. In order to do so, aspects such as dynam...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2012 |
| País: | Brasil |
| Recursos: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Per Musi |
| Idioma: | portugués |
| OAI Identifier: | oai:periodicos.ufmg.br:article/39944 |
| Acesso em linha: | https://periodicos.ufmg.br/index.php/permusi/article/view/39944 |
| Access Level: | acceso abierto |
| Palavra-chave: | Melodic analysis Directionality in music Twentieth-century music Debussy Stravinsky Análise melódica Direcionalidade em música Música do século XX Análisis melódico Direccionalidad en la música Música del siglo XX |
| Resumo: | The present work analyses the melodic structure of the pieces Syrinx, by Claude Debussy, and the first of the Three pieces for solo clarinet, by Igor Stravinsky, in search of procedures employed to generate the sensation of directionality along the discourse. In order to do so, aspects such as dynamics, rhythmic structure, the organization of the intervals and the movement through the register were taken into consideration. The analysis shows that both composers make use of traditional procedures to make their lines directional, and yet they contribute with new and particular resources. |
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