Musical language and style of Ernest Bloch's 'Poeme Mystique'.

摘要

The intention in this treatise is to show the multiplicity of stylistic sources in Ernest Bloch's violin music that are integrated with his personal musical language. Bloch's violin piece, Poeme Mystique is used to demonstrate the integration of styles.;The influence of Satie's neo-classically clear form, and textured transparency, gypsy-like rhythmic figures associated with warm Spanish temperament, and Debussy's impressionistic parallel intervals and symmetrical chord structures, adopted through the technique of Franco-Belgium Chausson and Ysaye, are found in this work. Sources also include Brahmsian gypsy and Hebrew melodies. A characteristic of Bloch's harmonic language is parallelism of fourth, fifth, and seventh chords. This combines with subdominant and dominant chord progression.;Bloch combines the romantic, neo-classical, and impressionistic styles. His meditative style and ornamental ostinato decorations are combined with gypsy fantasia-like melodies that have a distinguished Oriental flavor. The vocal style of his writing as well as essentially Hebrew motives indicate the transformation of words into a musical content to worship God (e.g., the Gregorian Chant motive).;Bloch's divergent stylistic features, tonally harmonic structure and ornamental parallel chords as manifested in his violin techniques reveal his contribution to violinistic expression, with full coloring of dynamic exposure derived from nineteenth-century Romantic music. Bloch's evolution of his twentieth-century musical language foreshadows certain features of his follower, Roger Sessions. Bloch's musical contribution is seen in the transition from Franco-Belgium neo-classical, romantic, and impressionistic styles to a mixture resulting in a more contemporary musical language.