Music, Organ, Piano, Classical, Baroque, Keyboard
Musicology | Music Performance
This research project focuses on the relationship between musical aesthetics in the Classical and Baroque musical periods by analysing the Apollonian elements of order and rational thinking and Dionysian elements of chaos and irrationality in both styles of music. I have shown the ways in which Classical and Baroque music are stylistically and aesthetically closely related, despite often being contrasted as two opposite ends of the classical music spectrum. The most notable conclusion to be drawn from the music and analysis is that Baroque, Classical and Romantic composers used Apollonian and Dionysian elements extensively in their music which, though overshadowed and possibly less prominent in certain time periods, are still a present and driving force in both composition and performance.
The research was facilitated by the analysis, rehearsal, and performance of:
J.S. Bach Prelude and Fugue no. 1, C-major (from 8 Kleine Preludien und Fugen für Orgel)
J.S. Bach Prelude and Fugue no. 2, d-minor (from 8 Kleine Preludien und Fugen für Orgel)
W.A. Mozart Fantasia d-moll KV. 397
W.A. Mozart/E. Grieg Piano Sonata no. 3 in C-major KV.545 (with piano secondo by E. Grieg)
L.v. Beethoven Piano Sonata No. 14 c#-minor op. 27 no. 2 (Moonlight) mvt. I
T. Dubois Toccata in G (from Douze Pièces pour Orgue)
Department 1 Awarding Honors Status
Licharz, C. (2020). Apollonian and Dionysian Elements in Baroque and Classical Keyboard Music: Spirit of Apollo or Dionysus? (Undergraduate honors thesis, University of Redlands). Retrieved from https://inspire.redlands.edu/cas_honors/1004
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