Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

Copland’s Fifths and Their Structural Role in the Sonata for Violin and Piano

View through CrossRef
Perfect fifths occupy a privileged role in much of Aaron Copland’s music. This essay explores the structural significance of ic-5 emphases in the Sonata for Violin and Piano suggested by the pairings of particular pitch centers. In the perspective offered here, pitch centers and other pitch events at the music’s surface parallel the entire work’s tonal organization via a network of perfect-fifth relationships.
Title: Copland’s Fifths and Their Structural Role in the Sonata for Violin and Piano
Description:
Perfect fifths occupy a privileged role in much of Aaron Copland’s music.
This essay explores the structural significance of ic-5 emphases in the Sonata for Violin and Piano suggested by the pairings of particular pitch centers.
In the perspective offered here, pitch centers and other pitch events at the music’s surface parallel the entire work’s tonal organization via a network of perfect-fifth relationships.

Related Results

Approaching the Sketches for Beethoven's Hammerklavier Sonata
Approaching the Sketches for Beethoven's Hammerklavier Sonata
Contrary to his usual procedure, Beethoven seems to have composed the "Hammerklavier" Sonata without the aid of a desk (or standard-format) sketchbook: the surviving desk sketches ...
Piano Music by Erik Chisholm
Piano Music by Erik Chisholm
Piano music of Erik Chisholm and his friends. BARTÓK: With Drums and Pipes. SORABJI: Fantasiettina sul nome illustre dell'Egregio poeta Hugh MacDiarmid ossia Christopher Grieve. CH...
Aaron Copland (I)
Aaron Copland (I)
We identify the iceberg with the tenth of its bulk that is visible above water, the composer with that fraction of his total output that we happen to know. For those of us who firs...
TIPPETT'S FOURTH PIANO SONATA
TIPPETT'S FOURTH PIANO SONATA
AbstractOn 10 May 1989 pianist Philip Mead was engaged to play Tippett's Fourth Piano Sonata at Birmingham University on the occasion of the composer receiving his honorary doctora...
Aaron Copland (II)
Aaron Copland (II)
Copland's earlier works seem to invite classification—almost to classify themselves—by virtue of the composer's tendency to attack problems singly, and because the situations that ...
WHAT BEETHOVEN LEARNED FROM K464
WHAT BEETHOVEN LEARNED FROM K464
ABSTRACTBeethoven imitated Mozart's String Quartet in A major K464 more openly than any other work by a fellow composer. Yet critics have never explained his fascination with the f...
Spinner's Violin Sonata – Why op. 1?
Spinner's Violin Sonata – Why op. 1?
Leopold Spinner composed his Sonata for Violin and Piano at the age of 30, in Vienna, in late 1936, while Studying with Webern. It was performed in Vienna on 22 November of that ye...
The Middle Style/Late Style Dialectic
The Middle Style/Late Style Dialectic
In this essay, I aim both to elucidate and to problematize Adorno’s reading of Beethoven’s middle and late styles as essentially dichotomous. Specifically, Adorno holds that the mi...

Back to Top