Fantzia
Páginas: 2 (261 palabras)
Publicado: 9 de noviembre de 2011
he fantasia (from Italian: fantasia; also English: fantasy, fancy, phantasy, German: Fantasie, Phantasie, French: fantaisie) is a musical composition with itsroots in the art of improvisation. Because of this, it seldom approximates the textbook rules of any strict musical form (as with the impromptu).
The term was firstapplied to music during the 16th century, at first to refer to the imaginative musical "idea" rather than to a particular compositional genre. Its earliest use as atitle was in German keyboard manuscripts from before 1520, and by 1536 is found in printed tablatures from Spain, Italy, Germany, and France. From the outset, thefantasia had the sense of "the play of imaginative invention", particularly in lute or vihuela composers such as Francesco Canova da Milano and Luis de Milánn. Itsform and style consequently ranges from the freely improvisatory to the strictly contrapuntal, and also encompasses more or less standard sectional forms (Field2001).
In the Baroque and Classical music eras, a fantasia was typically a piece for keyboard instruments with alternating sections of rapid passagework and slower,more melodic passages. From the Baroque period, J. S. Bach's Chromatic Fantasia and Fugue, BWV 903, for harpsichord; Great Fantasia and Fugue in G minor, BWV 542, fororgan; and Fantasia and Fugue in C minor, BWV 537, for organ are examples. For an example from the Classical period, see Mozart's Fantasia in D minor, K. 397 forfortepiano, along with his Fantasia in C minor, K. 475. In contemporary music, Busoni's Fantasia contrappuntistica or Corigliano's Fantasia on an ostinato are e
The term was firstapplied to music during the 16th century, at first to refer to the imaginative musical "idea" rather than to a particular compositional genre. Its earliest use as atitle was in German keyboard manuscripts from before 1520, and by 1536 is found in printed tablatures from Spain, Italy, Germany, and France. From the outset, thefantasia had the sense of "the play of imaginative invention", particularly in lute or vihuela composers such as Francesco Canova da Milano and Luis de Milánn. Itsform and style consequently ranges from the freely improvisatory to the strictly contrapuntal, and also encompasses more or less standard sectional forms (Field2001).
In the Baroque and Classical music eras, a fantasia was typically a piece for keyboard instruments with alternating sections of rapid passagework and slower,more melodic passages. From the Baroque period, J. S. Bach's Chromatic Fantasia and Fugue, BWV 903, for harpsichord; Great Fantasia and Fugue in G minor, BWV 542, fororgan; and Fantasia and Fugue in C minor, BWV 537, for organ are examples. For an example from the Classical period, see Mozart's Fantasia in D minor, K. 397 forfortepiano, along with his Fantasia in C minor, K. 475. In contemporary music, Busoni's Fantasia contrappuntistica or Corigliano's Fantasia on an ostinato are e
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