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Variation Process in G. A. Frescobaldi's Cento partite sopra passacagli (1637)
Luleå University of Technology, Department of Social Sciences, Technology and Arts, Music, Media and Theater.
2022 (English)In: Music Theory and Analysis (MTA), ISSN 2295-5917, E-ISSN 2295-5925, Vol. 9, no 2, p. 222-250Article in journal (Refereed) Published
Abstract [en]

Cento partite sopra passacaglia (1637), the longest keyboard work by Girolamo Frescobaldi (1583–1643), consisting of over 100 tonic-dominant harmonic cycles, exhibits the composer's expansive conception of the art of variation. This article demonstrates that the overarching formal structure in Cento partite is delineated by interconnected variation processes involving the relative stability/instability of the parameters of genre (passacaglia, ciacona, and corrente) and key (motion away from and returning to the original key of D minor). These large-scale variation processes relate to and affect rhythmic and motivic content and variation on the local (variation-to-variation) level.

Place, publisher, year, edition, pages
Leuven University Press, 2022. Vol. 9, no 2, p. 222-250
Keywords [en]
Baroque form, Cento partite, Frescobaldi, Passacaglia, Variation
National Category
Music
Research subject
Musical Performance
Identifiers
URN: urn:nbn:se:ltu:diva-97016DOI: 10.11116/mta.9.2.4OAI: oai:DiVA.org:ltu-97016DiVA, id: diva2:1754910
Note

Validerad;2023;Nivå 1;2023-05-08 (joosat);

Available from: 2023-05-05 Created: 2023-05-05 Last updated: 2023-05-08Bibliographically approved

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Sunstein, Aaron

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