TRIO 1/2012: Abstracts in English
Jyrki Linjama The Church Opera Die Geburt des Täufers (The Birth of the Baptist): Features of the Composition Technique (Part 1) The Article explores my church opera in the manner of a workshop report, going through the first act movement by movement. The aspects of inquiry include harmony and voice leading, the structural role of specific numbers, instrumentation, and cantus firmus technique. These are studied in relation to the text from the beginning of the Gospel of Luke. Special attention is given to the tuning of a harpsichord in an ensemble consisting mainly of modern string instruments. Key words: church opera, tuning of harpsichord, cantus firmus About the Author Jyrki Linjama (b. 1962) is a free-lance composer, who has studied in Helsinki, The Hague, and Berlin (Doctor of Music, Sibelius Academy 2003). He has worked as a teacher in The University of Turku and Tampere University of Applied Sciences. His compositions include vocal, orchestral, and liturgical music (fimic.fi, fennicagehrman.fi)
Kai Lindberg The Organization of the Exposition and the Way to the Secondary Key in the First Movement of Anton Bruckner’s Symphony No. 1 The ways Anton Bruckner handles sonata form in the outer movements of his symphonies have proved challenging for scholars. Bruckner’s music typically proceeds in clearly articulated sections that result from the treatment of the thematic material and key areas. This study examines the various aspects of the musical organization in the exposition of the first movement of Anton Bruckner’s First Symphony. In order to carry this through, two main perspectives are used against which the different organizing principles are studied, viz. the formal outlines and the Shenkerian voice-leading structure. The discussion focuses on the question of how the secondary key is established and how the secondary background Stufe is attained, as revealed through Schenkerian analysis. In the discussion of formal outlines, the study adopts the ideas and terminology presented by Warren Darcy and James Hepokoski in their Sonata Theory. This exposition is in dialogue with the twopart type, but in no straightforward manner. The study reveals that the two parts are placed within a diffuse network of events with multiple formal/tonal and structural implications.
156