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Uluslararası Sosyal Araştırmalar Dergisi / Thé Journal of International Social Research became a member of Cross Reff since 2014 and started to assign DOI numbers to the articles. Bu Dergi DOI ve Crosscheck üyesidir


EXAMINING THE SUBTEXT OF MÁXIMO DIEGO PUJOL’S TRES ENSAYOS SOBRE UN BOCETO DE KANDINSKY
(EXAMINING THE SUBTEXT OF MÁXIMO DIEGO PUJOL’S TRES ENSAYOS SOBRE UN BOCETO DE KANDINSKY )

Author : Tuncer ÖNDER    
Type :
Printing Year : 2021
Number : (76-3)
Page : 397-404
7    9


Summary

Tres Ensayos Sobre Un Boceto De Kandinsky is a striking classical guitar piece, based on a Sketch for Composition II by Wassily Kandinsky (1866-1944). It was composed by an Argentinian classical guitar player and composer Maximo Diego Pujol (b.1957) in 2006. It has three movements and each of them represents a different stage of the piece’s main idea which emerges from the composer's very first impression of the sketch. This study examines the subtext of Tres Ensayos Sobre Un Boceto De Kandinsky by the composer’s own descriprions and portrayals. In this context, the subject of composing is discussed from a different point of views. Kandinsky’s relation with sound and music was emphized. Detections of the subtextual references between Sketch for Composition II and Tres Ensayos Sobre Un Boceto De Kandinsky are examined and shown through the score.



Keywords
Tres Ensayos Sobre Un Boceto De Kandinsky, Pujol, Kandinsky, Guitar

Abstract

Tres Ensayos Sobre Un Boceto De Kandinsky is a striking classical guitar piece, based on a Sketch for Composition II by Wassily Kandinsky (1866-1944). It was composed by an Argentinian classical guitar player and composer Maximo Diego Pujol (b.1957) in 2006. It has three movements and each of them represents a different stage of the piece’s main idea which emerges from the composer's very first impression of the sketch. This study examines the subtext of Tres Ensayos Sobre Un Boceto De Kandinsky by the composer’s own descriprions and portrayals. In this context, the subject of composing is discussed from a different point of views. Kandinsky’s relation with sound and music was emphized. Detections of the subtextual references between Sketch for Composition II and Tres Ensayos Sobre Un Boceto De Kandinsky are examined and shown through the score.



Keywords
Tres Ensayos Sobre Un Boceto De Kandinsky, Pujol, Kandinsky, Guitar

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