By Ralf Noltensmeier (eds.)

ISBN-10: 347600161X

ISBN-13: 9783476001610

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Abschwellens eines Tons erst seit Mitte des 18. Jh. belegt, doch scheint sie bereits um 1600 in den Gesangsschulen geübt worden zu sein. Auch P. Fr. Tosi beschreibt sie in Opinioni de’ cantori antichi e moderni (Bol 1723) bereits als ältere Praxis. Eine genauere Ausführungsanweisung für das Crescendieren innerhalb musikalischer Abschnitte, »louder by degrees«, findet sich bei M. Locke in The Tempest (1667); ihr entspricht die Aneinanderreihung dynamischer Vorschriften, etwa als Folge forte – piano – pianissimo bei italienischen Komponisten des 17.

S im 20. Jh. (I. Strawinsky, 1934; L. Dallapiccola, 1934; B. Bartók, 1939) blieben Ausnahmen. – 2) In der italienischen Kontrapunkt-Terminologie bezeichnet D. auch den freien Zwischensatz einer Fuge. Dixieland-Jazz, Bz. für den ersten weißen Jazzstil. Er ist aus der Nachahmung des New Orleans Jazz durch weiße Musiker entstanden und läßt sich schematisch als eine Verbindung von Ragtime und Marschmusik umreißen. Dixieland wurden im 19. Jh. volkstümlich die Südstaaten der USA genannt (südlich der um 1765 fixierten Dixon Line).

Die Chromatik wiederum wurde im Zusammenhang mit der kunstvollen Schreibweise sowie mit der Darstellung bestimmter Affekte bevorzugt. Daher ließe sich eine Einteilung nach Gattungen vornehmen. Die Tendenz zur diatonischen oder chromatischen Schreibweise innerhalb einer Epoche wurde schließlich ein Stilkriterium: so nahm die Chromatik z. B. bei J. S. Bach eine gewichtigere Rolle ein als bei G. Fr. Händel. In der Mitte des 19. Jh. gewann die Chromatik immer größere Bedeutung, die bis zur unbestrittenen Vormachtstellung gegenüber der D.

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Musik by Ralf Noltensmeier (eds.)

by Paul

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