Newsgroup: it.arti.musica.classica
Titolo: Tintinnabuli

Sto ascoltando Part.
Sulle note di copertina si parla dello stile di certe produzioni di Part,
stile che appunto viene definito "tintinnabuli". Cosa significa esattemente?
Aldo.

 ha scritto nel messaggio
news:a4uk4l$37vlg$1...@ID-114486.news.dfncis.de...

Ahia... qui mi attendo massacri e demolizioni da parte di Tito e Cabassi....
aiuto! :-)
--
Emanuele Passerini
ema.pa...@libero.it
ICQ 34957310

 aiuto! :-)
O mamma, che ho chiesto ?!? :-)
Forse avrei fatto bene a fare prima una ricerca con 
groups.google.com
 :-)
Aldo.

 ha scritto nel messaggio
news:a4uk4l$37vlg$1...@ID-114486.news.dfncis.de...

ecco qui, dal maggior esperto, mitico Grove N E
It was only in 1976, however, that he began to compose fluidly again, this
time using a tonal technique of his own creation which he calls
'tintinnabuli' (after the bell-like resemblance of notes in a triad). The
first piece to be written in this new style was the short piano solo Fur
Alina.
A two-part homophonic texture forms the basis of tintinnabuli technique: a
melodic voice moves mostly by step around a central pitch (often but not
always the tonic), and the tintinnabuli voice sounds the notes of the tonic
triad. The relationship between these two voices follows a predetermined
scheme (which varies in detail from work to work) and is never haphazard.
Furthermore, the entire structure of a tintinnabuli work is predetermined
either by some numerical pattern or by the syntax and prosody of a chosen
text. Very often these two ideals are combined.
Typically, the melodic voice part can be reduced to ascending or descending
modes, to or from a central pitch. To this the tintinnabuli voice is fitted
note by note (ex.1), either by providing the pitch in the triad that is
nearest to the melodic voice pitch (1st position), or the pitch that is
nearest but one (2nd position). The tintinnabuli pitches may be applied
above or below the pitches of the melodic voice, or alternate between these
(ex.2).
In 1976--7 Part laid the foundations of this new style and composed several
of the works that would help to establish his international reputation --
Cantus in memoriam Benjamin Britten, Fratres, Summa and Tabula Rasa.
However, his position as a composer of overtly religious music in an austere
and seemingly simple tonal style endeared him neither to the Soviet
authorities nor to the academic establishment, and the development of his
career as a composer inside the Soviet Union was continuously being
frustrated. In 1980 he and his family emigrated, first to Vienna and then to
Berlin. He took with him sketches of the St John Passion, which was
completed in 1982 and has become the quintessential work of the tintinnabuli
style. A strict, through-composed setting of the text, the Passion employs
the tintinnabuli techniques described above but using a number of
interconnected triads and pitch centres so that the whole work draws upon
three sets of overlapping 5ths: D--A--E--B. The work lasts approximately 70
minutes, and comprises a short introduction (exordium) and conclusion
flanking the main narrative section of the text. The Evangelist is
represented by an SATB quartet and four instruments; the part of Christ is
sung by a bass solo and that of Pilate by a tenor. Both solo voices are
accompanied by the organ, as is the choir, who sing the remaining roles and
also represent the turba. The words are set in a rhythmic scheme which
employs three relative note values -- short, medium and long -- operating at
three different speeds. Ex.3 shows the general scheme of the work and the
relative range of the different voices. (Turba is here used for the choir's
collective role. The tintinnabuli triad for each group is always fixed and
is given in semibreves; a square white note denotes a pedal or drone pitch
and the black note heads indicate the melodic scales employed. The
underlying note value is shown in brackets.)
The majority of Part's works composed after 1980 are for chorus or small
vocal ensemble; his choice of texts has ranged from Latin (which
predominated at first) to German, Church Slavonic, Spanish, Italian and
English. Among the larger works mention should be made of Te Deum which
invokes -- but does not in fact use -- Gregorian chant; Stabat mater, in
essence an extended piece of chamber music for double trio (three strings
and three voices); Miserere which incorporates an earlier setting (here
revised) of the Dies irae sequence; two a cappella choral works, the (Latin)
Magnificat and the (German) Seven Magnificat Antiphons; and Litany (1994),
the first work since the Third Symphony to employ something approaching a
full orchestra; and Kanon Pokajanen, a large-scale a cappella setting of
Russian Orthodox texts.
In later works, the underlying tintinnabuli concept has remained largely
unchanged, though it has been subject to various technical refinements. The
use of speech patterns to determine melodic contours and the combination of
enharmonically related triads and chromatically inflected scales have
enriched Part's musical vocabulary; later choral works have also shown a
tendency to divide text and music more equally among vocal parts, creating a
more fluid texture.
gliesempi musicali non l ho potuti trascrivere.
Sob
A,

 A,
Scusa, ma il Grove Music è consultabile online gratuitamente???
Partendo da 
http://www.grovemusic.com/
 ho trovato la pagina da cui hai
tratto le informazioni, con le gif degli esempi incluse. E' possibile?
Ciao,
    Al.


Esattamente quello che fa,  campanellini ;-)
Roberto
-- 
_/  Roberto Maria Avanzi Mocenigo  <><
/  Institut fuer Experimentelle Mathematik / Uni Essen

 tratto le informazioni, con le gif degli esempi incluse. E' possibile?
no. cioč sě.
E' gratutita l'edizione "piccolina" del Grove (qualche paginetta con poche
informazioni).
Ma se hai consultato quella con gli esempi, č quella "ufficiale".
Te la lasciano consultare due o tre volte, poi devi pagare.
Inutile farlo, perchč basta chiedere a me.
Mi sembra che una che paga basta e avanza :-))))
ciao
A.

 A.
Ciao,
    Aldo.

 A.
Ciao,
    Aldo.