Poznámky k tektonickým princípom v operách Richarda Straussa

Rok, strany: 2012, 85 - 97

Tis article has as its theme the tectonic principles in the works of Richard Strauss, taking account of his first six operatic compositions. Tese principles diverge notably in the individual works. Salome and Electra are so-called symphonic operas – apart from use of the orchestral apparatus, they are characterised especially by the applied tectonic and formal principles, adopted partially from so-called absolute music. Principally this means the sonata-form elements which we encounter in these operas – thematic dualism, tonal planning, tonal equalisation. In Te Knight of the Rose and Ariadne on Naxos, as regards tectonics there is a tendency towards the classical model of so-called number opera, though on a different qualitative level – to a greater extent there is a prominence of song and a traditionally conceived periodicity.

ISO 690:

Ladič, B. 2012. Poznámky k tektonickým princípom v operách Richarda Straussa. In Musicologica Slovaca , vol. 3, no.1, pp. 85-97. 1338-2594.

APA:

Ladič, B. (2012). Poznámky k tektonickým princípom v operách Richarda Straussa. Musicologica Slovaca , 3(1), 85-97. 1338-2594.