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1. CHAPTER ONE. INTRODUCTION. Luigi Dallapiccola’s Quaderno Musicale di Annalibera, a collection of eleven short pieces for piano solo, was written for the. Luigi Dallapiccola’s twelve-tone piece Quademo Musicale di Annalibera () The Quaderno Musicale di Annalibera presents these tonal references in three. Download Citation on ResearchGate | Luigi Dallapiccola’s Quaderno musicale di Annalibera: interpretive implications for piano performance derived from organ.

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The discussion of Webern’s Variations and Dallapiccola’s Quaderno Musicale consisted of a analysis of the two works followed by a comparison of stylistic and performance aspects. Physical Musocale xxiv, 34 leaves: Showing of 59 pages in this dissertation. This dissertation is part of the collection entitled: As there are four phrases, each phrase uses one of the four variations of the row.

R10 P10 am am Figure 1 – Rows and implied sonorities in Simbolo In addition to the sonorities included within the rows, Dallapiccola creates groupings within the row that highlight other implied tonal chords.

Digital Files 59 image files available in multiple sizes 1 file. Theses and dissertations represent a wealth of scholarly and artistic content created by masters and doctoral students in the degree-seeking process. AllMusic relies heavily on JavaScript. In addition to the lecture recital four other public recitals were given. The composer also uses the BACH motive in both direct quotations, as well as layering the prime form underneath it, in prime and inverted forms.

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Besides row choices, what elements of the piece clearly delineate the form and how so? Even though there are no words, this movement is set up as a sung melody line over a chordal accompaniment. Others explore rhythm, like “Accents,” in which luihi irregular meter is smashed out in chords.

Quaderno musicale di Annalibera,… | Details | AllMusic

With these trichords, Dallapiccola selects his rows to create a quasi-tonal Baroque chord progression throughout the entire movement Figure 1. Collections This dissertation is part of the following collection of related materials.

This expansion and contraction provides an extra layer of harmonic tension between the rows. The work was written during a journey across America for the Pittsburgh International Contemporary Music Festival. Log In Sign Ljigi.

Item Type Thesis or Dissertation. Help Center Find new research papers in: For guidance see Citations, Rights, Re-Use. Identifier Unique identifying numbers for this dissertation in the Digital Library or other systems.

A pedagogical analysis of Luigi Dallapiccola’s Quaderno musicale di Annalibera

Luigi Dallapiccola ‘s Quaderno musicale di Annalibera Annalibera’s musical notebookhowever, — dedicated to his daughter Annalibera on her 8th birthday — is dallapiccolla dense tone work whose name, form, and content all pay tribute to Johann Sebastian Bach. Reminiscent of 17th century Italian opera, the first two phrases are in an arioso style, while the second pair of phrases are more recitativo.

As part of your analysis, continue to trace and mark on the score where these motives occur, and any T and TI relationships they may hold to this first appearance.

The 10 short movements that follow alternate between freely expressive movements with names like “Accents,” “Shadows,” and “Colors,” and various species of canon titled with a term Bach used in the Art of Fugue, “Contrapunctus.


Two of these consisted entirely of solo literature for the piano. Click here to sign up. School of Music Discipline: Description The lecture recital was given on November 20, In what ways might the concept of the piece reflective of the title guide row choices? Short Pieces from Italy.

Description Last Updated April 5, Doctor of Musical Arts PublicationType: This is music of no mean interest — strictly constructed, and sharply characterized — but it may have left young Annalibera a little bewildered.

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Quaderno musicale di Annalibera, for piano

Creation Date May There is some invariance between these rows, which connect them all together. Tempo changes from 84 to and back to 84 Textural change from annlibera rhythmic ostinato with very staccatissimo accentuated articulation, while B section is legatissimo and linear. The rows I10 and P9 both start with the same tetrachord [9,t,2,5], R1 and RI6 both start with [7,0] znnalibera is a perfect fifth sonority, and by using the same row in the accompaniment then melody, RI6 and RI6 provides a connection between the two halves.

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