Intonational Vocabulary of Basso-Ostinato Themes and their Transformation in Clavier Works of the Baroque Era
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Abstract
The article presents the results of research of semantic organization
of the musical texts of contrapuntal works for clavier. This subject
matter is elucidated with the aid of pieces for clavier by Western
European composers written in the genres of the passacaglia,
chaconne, foglia and ground. Music from the late 17th and
early 18th centuries, little-studied and virtually unperformed in
Russia, is given careful examination. An analytical perspective
is applied to compositions by clavier composers from Germany
(J.S. Bach, Dietrich Buxtehude, Johann Pachelbel, J.C. P. Fischer
and Georg Muffat), France (Louis Couperin, Francois Couperin)
and England (Henry Purcell, William Byrd, John Bull, Thomas
Tompkins, etc.). The author displays semantic figures of modalscalar
(catabasis, anabasis) and plastic origins (rhythmic formulas
of Sarabandes, Minuets the dactylic step, etc.) applying new
definitions “semantization” and “de-semantization,” “folding
and unfolding,” “contextual regulators of meaning (Liudmila
Shaimukhametova), etc. The role of the linear theme of the
lower stratum of basso-ostinato related genres is also analyzed.
The artistic attributes of the clavier pieces are examined through
the prism of interaction with organ and violin music. The article
discloses means of adaptation of migrating formulas to the
technical, acoustic and expressive capabilities of the clavier.
At that, a demonstration is given of the process, common to all
instrumental music, of maturation of homophonic thematicism
within the depths of contrapuntal thematicism, which in clavier
music happens on a much more intensive and mobile level.
Keywords: music for clavier, Western European Baroque
music, basso-ostinato
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