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Topic: Prokofiev Theory. . .  (Read 1822 times)

Offline skywalker_06

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Prokofiev Theory. . .
on: May 09, 2017, 07:31:04 PM
I've listened to Prokofiev more extensively than ever before throughout the past few months, and I just was wondering is there a theory behind the seemingly random and common accents he puts into his music? I understand he generally writes a lot of notes but in a light manner which creates a sort of sound unique to him - which I like. But what's the theory behind the accents in, not only Prokofiev, but 20th century+ pieces in general?

If anyone has any insight on this or articles/books to recommend, please do so!!

Thanks!

Offline beethovenfan01

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Re: Prokofiev Theory. . .
Reply #1 on: May 09, 2017, 07:40:27 PM
I believe that one possible explanation behind his seemingly odd rhythms lies in the kind of beat he's using: He likes to use an uneven beat--for example, ONE-two-three-FOUR-five-six-seven ONE-two-three-FOUR-five-six-seven or something like that. Even when he's using a more conventional time signature, I think he uses rhythmic suspension to create even more tension in his writing, even more than is already there from his dark harmonies. We're awaiting rhythmic resolution, as well as harmonic resolution.

Just a theory--and no, I don't think this is unique to Prokofiev, but it does seem to be a possible answer to your question. If anyone has a better theory, by all means contradict me!
Practicing:
Bach Chromatic Fantasie and Fugue
Beethoven Sonata Op. 10 No. 1
Shostakovich Preludes Op. 34
Scriabin Etude Op. 2 No. 1
Liszt Fantasie and Fugue on BACH

Offline visitor

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Re: Prokofiev Theory. . .
Reply #2 on: May 09, 2017, 08:50:43 PM
A question that cannot really be fleshed out amd properly unpacked in the forum posts.
A solid understanding of traditonal tonal theory through late romanticism is neccessary so that ine can properly understand the "rules" he breaks  and the conventions he sticks to.
It is not unique to Prokofiev, though we saw it at a higher degree in that region and that time in history.
It is not too disimilar to how Kabalevsky and Shostokivich were able to use an evolved composition language that was very much not in the same vein as the 2nd Vienesse school

This will provide a little bit of initial reading but evdn this as well as it is written doesnt fully encompass what you are asking to have explained.

This been asked before and the paper used in similar fashion
https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=2022
 

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