By Frédéric Chopin, ed. Alfred Cortot
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Additional info for 12 Études op. 10
These three distinctions, and others, suggest that quite radical transformations of understanding of the place of the body and its social definitions as source of artistry and expression have been involved, along with more widely recognised formal and institutional changes, in subsequent directions of what we now refer to as 'music'. Continuity, Change and Purpose Clearly, then, the originary senses ofMousike (though ofhistori- Music and its Language 23 cal interest and importance) can in themselves offer little assistance with practical definitions for and perspectives on the present.
In turn, this new eminence of the performer is secured and promoted in the successive new concert arrangements: the rows of chairs and the rostra, the musicians arranged and facing their audience, the lighting of the performance arena, and the changing styles of dress. Nor is this strand in the history isolated from certain consequences of the concert origin in forms of social occasion and assembly. From beginnings in ceremony and ritual, the concerthall reforms festive association in its secular mode of art-appreciation, in ceremonies with revised codes of obeisance and reverence.
Orchestration develops as both a specialist understanding of technical requirements of instruments (what they can play, what they cannot), and as exploration of expressive textural possibilities. Tone-colours become integral resources of composition. A gradual shift from polyphonic and contrapuntal music towards homophony, well established in the course of the seventeenth century, accentuates the importance of accompanying melodies, and with the new styles of accompaniment, tonal contrasts become increasingly important in recapitulation of stated themes, which are decorated with orchestral variations as well as with counterpoint and embellishment.
12 Études op. 10 by Frédéric Chopin, ed. Alfred Cortot