title: Anton Arensky — educator and master of musical form
metadata.name: dc.contributor.author
metadata.value: Kyuregyan, Tatiana S.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2018-09-21T11:13:36Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2018-09-21T11:13:36Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2018-09
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Kyuregyan, Tatiana. “Anton Arensky — educator and master of musical form”. Vestnik of Saint Petersburg University. Arts 8, no. 3 (2018): 356–80.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: 10.21638/11701/spbu15.2018.302
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/14929
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: The article researches the interaction between polyphonic and homophonic and harmonic
  principles of form in the genre of lyrical miniature. Anton Arensky in his “Manual to Studying Forms of Instrumental and Vocal Music” (the first in Russia, 1893–894), sticks to the common
  opposition of counterpoint and homophonic building of form. However, in his artistic
  practice he follows the harmonic interpretation of imitational constructions. Canon as one of
  symbols of polyphonic reasoning is subject to patterns of homophonic song forms in the age
  of romanticism. Accepting the alien symmetrical time arrangement (with its dynamic effect
  of extrapolation) and the directing action of tonal functionality, it becomes not the basic but
  the additional factor of musical building. The vertical correlation of parts (its essence is in
  transmission of the same material from one voice into another), which is typical of imitational
  structure, ceases to be principal for form. Functionally differential, horizontal, juxtaposition
  when initial exposition is followed by the thematic and harmonic development with subsequent
  final comes to the fore. Temporal independence of parts, characteristic of a genuinely
  linear canon, almost vanishes in an integrated temporal stream which is set by the rhythm of
  harmonic changes. The homophonic (“horizontal”) form becomes leading, while the polyphonic
  (“vertical”) form moves back to the level of texture. There is a possibility of a different
  combination of polyphonic and homophonic regularities in composition: adding to the given
  «cantus» (in the form of basso ostinato in the work by Arensky) not a contrapuntal part, or
  parts, but the whole homophonic form with its principle of organization; and the resulting
  emergence of the counterpoint of forms (according to Y. Kholopov), the origin of which has
  its roots in the Baroque music.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Arts;Volume 8; Issue 3
metadata.lang: -
metadata.name: dc.subject
metadata.value: A. S. Arensky
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: manual to form
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: polyphonic and homophonic form building
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: temporal and tone organization
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Harmonic Canon
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Song Forms
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Counterpoint of Forms
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Anton Arensky — educator and master of musical form
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 02-Kyuregyan.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/14929/1/02-Kyuregyan.pdf
resources.format: Adobe PDF
resources.size: 1,78 MB