Al realizar un análisis armónico de una pieza musical, se recurre al uso de determinados signos gráficos que representan una relación de sonidos en un contexto armónico. Pero ¿qué se comunica exactamente cuando se eligen dichos signos? El presente trabajo pretende poner de manifiesto cómo tres enfoques teóricos diferentes permiten diferentes acercamientos a una misma obra. Para ello, se presenta un análisis del Coral BWV 253 de Bach desde la teoría de grados, la teoría funcional y la nominación absoluta de acordes. AbstractWhen carrying out a harmonic analysis of a piece of music, certain graphic signs are used that represent a relationship of sounds in a harmonic context. But what exactly is communicated when these signs are chosen? The present work aims to show how three different theoretical approaches allow different approaches to the same work. For this, an analysis of Bach's Choral BWV253 is presented from degree theory, functional theory and absolute chord naming.
When carrying out a harmonic analysis of a piece of music, certain graphic signs are used that represent a relationship of sounds in a harmonic context. But what exactly is communicated when these signs are chosen? The present work aims to show how three different theoretical approaches allow different approaches to the same work. For this, an analysis of Bach's Choral BWV253 is presented from degree theory, functional theory and absolute chord naming.
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