{"title":"个案研究:卡尔菲利普伊曼纽尔巴赫的wÜrttemberg奏鸣曲。3.","authors":"Bojana Šumanski","doi":"10.22190/FUVAM1801017S","DOIUrl":null,"url":null,"abstract":"This paper will attempt to question the reliability of such primary elements of a note, which seem fixated−it's pitch and duration. By analyzing the composer's musical language and his way of utilising the notation system we will attempt to bring to light the layer of the text that remains unwritten in the score. We will also try to clarify the extent to which the decisions of a performer are spontaneous or arbitrary.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"3 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"CASE STUDY: READINGS OF CARL PHILIPP EMANUEL BACH'S WÜRTTEMBERG SONATA NO. 3\",\"authors\":\"Bojana Šumanski\",\"doi\":\"10.22190/FUVAM1801017S\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This paper will attempt to question the reliability of such primary elements of a note, which seem fixated−it's pitch and duration. By analyzing the composer's musical language and his way of utilising the notation system we will attempt to bring to light the layer of the text that remains unwritten in the score. We will also try to clarify the extent to which the decisions of a performer are spontaneous or arbitrary.\",\"PeriodicalId\":297431,\"journal\":{\"name\":\"Facta Universitatis, Series: Visual Arts and Music\",\"volume\":\"3 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-10-22\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Facta Universitatis, Series: Visual Arts and Music\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.22190/FUVAM1801017S\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Facta Universitatis, Series: Visual Arts and Music","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.22190/FUVAM1801017S","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
CASE STUDY: READINGS OF CARL PHILIPP EMANUEL BACH'S WÜRTTEMBERG SONATA NO. 3
This paper will attempt to question the reliability of such primary elements of a note, which seem fixated−it's pitch and duration. By analyzing the composer's musical language and his way of utilising the notation system we will attempt to bring to light the layer of the text that remains unwritten in the score. We will also try to clarify the extent to which the decisions of a performer are spontaneous or arbitrary.
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