Fantasie was firstly comprised of free improvisatory type and multi-section structure. In the 19th century, the formal structure of sonata and character pieces were combined into the Fantasie. In the process of its evolution, the introduction, slow mid-section, and improvisatory elements which Fantasie includes always play important roles. However, Fantasie varied with different characteristics of individual composers. This paper focuses on three works titled ¡§Fantasy¡¨ from Chopin. It includes five chapters: the first chapter is the introduction. The second chapter is about the historical development of Fantasie in keyboard works. In the third chapter to the fifth chapter Chopin¡¦s Fantaisie-Impromptu Op. 66, Fantasie Op. 49, and Polonaise-Fantaisie Op. 61, and fantastic features of Chopin will be discussed in details.

How does children communicate and interact in a situiatuin when creating pictures

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Many have criticized Schumann's compositional style as being incompatible with sonata form. For example, his Fantasia, Op. 17 appears to be a series of cleverly interactive themes which, by virtue of their poetic diversity and dramatic momentum, manage barely to function within the confines of a quasi-sonata form. Schumann's discomfort, some would say, is made evident by the absence of developmental sections in the outer two movements, by the invasion of literary and musical quotation, and even by the rhetorical presentations of his too lyrical themes. Such appraisals focus on that which is absent or unusual, ignoring the inherent craftsmanship and masterful motivic manipulation exhibited throughout the Fantasia. Schumann does not explore and reveal the latent energy in a collection of motives; rather, he varies, transforms, mutates and metamorphizes a few cellular ideas into a collage of richly diversified themes, all of which bear the stamp of these "genetic" cells. Much of the musical momentum in the Fantasia derives its energy from the surface interplay of those themes; thus the engine of the form is more closely akin to variation and cyclic techniques than to those involving thematic development. The essential purpose of this paper is to explore thematic processes in Schumann's Fantasia, these being fundamental to the language of the work. The paper also encompasses a history of the fantasia genre, an overview of Schumann's aesthetics, and a brief discussion of the Fantasia's structure. / Arts, Faculty of / Music, School of / Graduate

This study compares Busoni's two original piano compositions, Indianische Fantasie for piano and orchestra (Indian Fantasy), op.44, and Indianisches Tagebuch (Indian Diary) Book I. They represent Busoni's late period of maturity and new aesthetical points of view on music. Both pieces are originated from Natalie Curtis's The Indian's Book, and particularly the Indian Diary is very closely related to the Fantasy, for three of the four pieces in the former work directly quote sections from the latter. To provide clear understanding of the composer's intention in creating two different versions from the same origin, this research examines how Busoni demonstrates his aesthetical ideas of new music in these two Indian piano compositions throughout structural and formal analysis. Busoni's adaption of Indian folk song in these works for the piano aimed at integrating Indian folk element with his personal harmonic language, both of which emphasized freedom in nature.

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Large number of researches proven sexual differences in frequency and content of sexual fantasies (SF) in men and women. Results of the recent studies consent on fact that male SF are more frequent, and there are more types of SF compared to female SF. Study that we propose is one of the first to investigate repertoire gaining in both sexes based on different presumptions for each. Among mechanisms we will test are: higher frequency of masturbation among man which gives more space to form larger repertoire, selective attention to external erotic stimuli related to different evolutionary-biological relevance in men and women and gaining the content of SF trough realization of activity that SF later represents. Also we present factor analysis of SF content. Significant difference was found in number of SF in man and woman in absolute number of different types of SF related to objects (F=10,06, p= 0,002) but not activities. Largest impact on amount of SF related to objects was found in age when person had most orgasms - negatively (r = -0,347, p = 0,003), amount of orgasms in that age per week(r = 0,930, p = 0,011), frequency of masturbation (r = 0,776, p = 0,030) and erotica exposure (r = 0,353,p = 0,001). When GLM was aplicated on previously tested affects sex of participant was not significant...

Die einsätzige Fantasie für Flöte und Klavier (1985-86) entstand als eine meiner ersten Arbeiten im Rahmen meines Aufbaustudiums Komposition bei Ulrich Leyendecker in Hamburg. Zu Beginn wird eine Tonfolge in Engführung imitiert, wobei die Flöte als Mittelstimme von den beiden Klavierlinien „eingepackt“ wird, ein Effekt, der auf eine Anregung meines Lehrers zurückgeht. Die schwebende Tonalität dieses Themas ist von F-Dur mit hinzugefügter kleiner Sexte des geprägt, eine Tongruppe, die bei aller harmonischen Freiheit für mich eine Art Klangzentrum bildete. Dass ein zweites zunächst vom Klavier allein vorgetragenes Thema in der Dominanttonart C-Dur steht, kann man als Anlehnung an die Sonatensatzform werten. Ein Triolenmotiv erinnert an die 9. Klaviersonate op. 68 von Alexander Skrjabin, aus der an späterer Stelle ein kurzes, wörtliches Zitat im Klavierpart erklingt. Bei der nochmaligen Durchsicht des Werkes fiel mir auf, dass die Fantasie stärker als frühere Kompositionen von mir bereits wesentliche Merkmale meines heutigen Stils in motivischer, rhythmischer und harmonischer Hinsicht enthält. Ich halte es für so interessant, dass ich mich 2017 entschieden habe, es abgesehen von redaktionellen Kleinigkeiten (Korrekturen offenkundiger Fehler, Ergänzung einiger Dynamik- und Artikulationsangaben, enharmonische Verwechslungen) unverändert im Notenschreibprogramm SIBELIUS neu zu setzen. Das Werk erschien 1992 auf meiner ersten CD „Kammermusik“.

Die Pedalharfe ist ein vergleichsweise junges Instrument. Vom Anfang des 18. bis zum Anfang des 19. Jahrhunderts fiel ihre bau- und spieltechnische Entwicklung nicht nur zeitlich, sondern oft auch räumlich mit der Geschichte des Cembalos und des Klaviers zusammen. Das neue Instrument war zunächst vor allem in Paris und dann in London erfolgreich. Dieser Beitrag will die Diskussion um einen weniger untersuchten Repertoireausschnitt der Harfen-, Klavier- und Geigenliteratur von den 1780er Jahren bis zur Zeit von Berlioz anregen, sowie bekannte Stilmittel unter einem neuen Blickwinkel zeigen. / The pedal harp is a relatively young instrument. From the beginning of the eighteenth century to the beginning of the nineteenth century, its technical and musical development coincided not only temporally but often also spatially with the history of the harpsichord and the piano. The new instrument was originally most successful in Paris and then in London. This article is intended to stimulate a discussion on the less-studied repertory for harp, piano and violin from the 1780s until the time of Berlioz, as well as to offer a new perspective on better-known stylistic elements.