Prelude
A prelude is an introductory action, event, or performance that precedes and prepares for a more important matter.[1] In music, it most commonly refers to a short instrumental composition that introduces a larger work, such as a suite or fugue, or stands alone. For the musical form, see Music. The term is also used in literature as a preface or introductory section Literature, and in other contexts including automobiles Other uses.Music
Musical works
In music, a prelude is a short composition, typically serving as an introduction to a larger work such as a fugue, suite, or opera, though it often stands alone as an independent piece. The term derives from the Latin praeludium, meaning "to play before," reflecting its origins as an improvisatory prelude or warm-up.[2] The form emerged during the Renaissance, where lutenists and organists performed brief, unmeasured improvisations to test instrument tuning or prepare for subsequent pieces. By the Baroque era, preludes became more structured, often paired with fugues to explore keys and harmonic progressions. Johann Sebastian Bach's The Well-Tempered Clavier (Books I and II, 1722 and 1742) exemplifies this, comprising 48 preludes and fugues—one pair for each major and minor key—demonstrating polyphonic techniques and the equal temperament system.[3][4] In the Romantic period, composers expanded the prelude into expressive, standalone character pieces, emphasizing emotional depth over strict introductory function. Frédéric Chopin's 24 Preludes, Op. 28 (1836–1839) covers all major and minor keys in concise, varied moods, such as the meditative "Raindrop" Prelude in D-flat major. Alexander Scriabin followed this model in his 24 Preludes, Op. 11 (1888–1896), infusing Chopinesque lyricism with emerging modernist harmonies.[3][5] Early 20th-century composers further innovated the form with impressionistic and post-Romantic elements. Claude Debussy's Préludes (Books I and II, 1910 and 1913) consist of 24 pieces evoking vivid imagery—titles like "La cathédrale engloutie" appear at the end to avoid programmatic influence—blending tonal ambiguity and coloristic effects. Sergei Rachmaninoff contributed 10 Preludes, Op. 23 (1901–1903) and 13 Preludes, Op. 32 (1910), known for their virtuosic demands and lush Romanticism, as in the brooding Prelude in C-sharp minor from an earlier set.[3][6][7] Structurally, preludes vary widely, from free-form improvisations to more defined pieces in specific keys, often featuring recurring motifs to probe harmonic possibilities and set the tonal foundation for ensuing works. This flexibility allows for technical display, mood exploration, and innovation without rigid constraints like those in sonatas or fugues.[2][4] The prelude's influence extends to operatic and symphonic genres, where it functions as an overture to establish thematic motifs and atmosphere. Richard Wagner's preludes, such as the ethereal Act I Prelude to Lohengrin (1850) or the yearning Prelude to Tristan und Isolde (1865), integrate leitmotifs to foreshadow dramatic narratives, transforming the form into a dramatic entity within music drama.[8]Albums and songs
In various music genres, the title "Prelude" has been used for both full albums and individual tracks, often evoking the idea of an introductory or atmospheric piece that sets the tone for a larger work. This naming convention draws from the classical tradition of preludes as opening movements, but in modern recordings, it frequently appears in jazz, rock, and soundtrack contexts to suggest thematic foreshadowing or instrumental introspection.[9] One notable album titled Prelude is the 1972 jazz-funk release by Brazilian arranger Eumir Deodato, which features orchestral interpretations of contemporary pop hits like "September 13" and "Premeditacao," blending big-band arrangements with electronic elements for a crossover appeal that reached number 13 on the Billboard 200 chart.[9] Similarly, saxophonist John Stubblefield's self-titled Prelude (1977) represents a hard bop and post-bop effort on the jazz label Storyville Records, showcasing his tenor work alongside Gil Evans alumni on tracks like "Scree-Run Blues," highlighting the genre's evolution in the late 1970s.[10] In rock, the British band Prelude's debut How Long Is Forever? (1973) fits the soft rock and folk rock style of the era with acoustic guitar and harmonious vocals, released on Island Records.[11] Individual songs titled "Prelude" or variations thereof appear across genres, underscoring the term's versatility. In jazz, Dave Brubeck's "Prelude," recorded with his octet in 1946 and later reissued, serves as an early example of his compositional style, featuring intricate polyphony and swing rhythms that previewed his quartet's innovations in the 1950s.[12] Progressive rock group Nektar included "Prelude" as the opening track on their 1971 debut Journey to the Centre of the Eye, a 1:24-minute synthesizer and guitar vignette that introduces the album's space-rock narrative, evoking a sense of cosmic departure.[13] In punk rock, AFI's "Prelude 12/21" from the 2006 album Decemberunderground—which debuted at number one on the Billboard 200—acts as a haunting, piano-driven interlude reflecting themes of loss and renewal, bridging the record's aggressive and melodic sides. Soundtrack inclusions further diversify the use of "Prelude," such as Howard Shore's Prelude to a Kiss (Original Motion Picture Soundtrack) (1992), where the title track opens the score for the romantic fantasy film, using piano and strings to establish an ethereal, dreamlike atmosphere amid orchestral cues composed for Alec Baldwin and Meg Ryan's characters.[14] In progressive rock, Barclay James Harvest's "Prelude," featured in later recordings such as the 2010 release with Les Holroyd, provides a symphonic intro with Mellotron and flute, symbolizing the band's fusion of rock and classical influences.[15] Recent examples include adaptations inspired by Sergei Rachmaninoff's preludes, such as pop reinterpretations of his Prelude in C-sharp minor, Op. 3 No. 2, which have appeared in contemporary tracks and remixes to evoke dramatic tension, though specific chart-topping versions remain niche within electronic and indie genres. These instances illustrate how "Prelude" continues to inspire introductory pieces that hint at broader musical journeys across decades and styles.Literature
General concept
In literature, while "prologue" is the conventional term for a preliminary section integrated into the narrative that introduces key themes, characters, or settings, "prelude" is occasionally used similarly, distinguishing it from a foreword—written by someone other than the author to endorse the work—or a preface, which is the author's meta-commentary on the book's creation and purpose.[1][16] Unlike these paratextual elements, the prelude (or prologue) functions as an organic part of the story, often blending seamlessly with the main text to immerse readers from the outset.[16] The historical roots of such introductory sections trace back to prologues in ancient Greek drama, where a character—frequently a deity—delivered an explanatory opening on an empty stage to outline prior events and foreshadow the tragedy's catastrophe, effectively acting as the drama's first act.[17] This convention evolved through Latin adaptations in playwrights like Plautus, who employed elaborate prologues to clarify plots, and persisted into medieval English mystery plays with homiletic introductions, before gaining prominence in 18th- and 19th-century Romantic literature through introspective openings in poetry and prose that reflected the era's emphasis on emotion and individualism.[17][18][19] By the Romantic period, these sections had transitioned from dramatic expositions to more personal and philosophical forms, evolving into modern prefatory chapters, with "prelude" sometimes used metaphorically to suggest a musical-like introduction.[19] Structurally, preludes or prologues fulfill essential roles such as establishing the tone, delivering backstory, or foreshadowing central conflicts, thereby orienting readers to the narrative's emotional and thematic landscape.[20] Their length can vary significantly, from concise poetic vignettes to extended chapters, allowing flexibility in pacing and depth while avoiding disruption to the primary plot.[21] In epistolary novels and autobiographies, such sections often appear as initial letters or reflections that establish the author's voice, providing intimate context for the ensuing correspondence or life narrative.[22] Conventions differ between poetic and prosaic forms: poetic preludes or prologues employ rhythmic, figurative language to evoke mood through imagery and meter, whereas prosaic ones use straightforward narrative prose for direct exposition.[23] This variation allows them to adapt to genre-specific needs, such as heightening lyricism in verse or grounding realism in fiction. Theoretically, the form draws metaphorical influence from musical preludes, which introduce thematic motifs in compositions; critics like T.S. Eliot explored this parallel in modernist poetry, using fragmented, improvisatory structures to mirror sonic anticipation and evoke urban disconnection.[24]Notable works
One of the most prominent literary works titled The Prelude is William Wordsworth's autobiographical poem, published posthumously in 1850 under the full title The Prelude or, Growth of a Poet's Mind: An Autobiographical Poem.[25] Written in blank verse across 14 books, it chronicles the poet's intellectual and emotional development from childhood through maturity, emphasizing formative experiences in nature that shape his imagination and poetic vocation.[26] Wordsworth's exploration of memory as a restorative force against the disorienting effects of adulthood has established the work as a cornerstone of Romantic literature, influencing subsequent autobiographical poetry by highlighting the interplay between personal growth and the natural world.[27] In modernist poetry, T.S. Eliot's Preludes, a sequence of four interconnected poems published in 1917 as part of Prufrock and Other Observations, captures the fragmentation and alienation of urban existence.[28] Through vivid, sensory imagery of city streets at different times of day—from evening grime to morning routines—the poems evoke the monotonous drudgery and spiritual emptiness of modern life, with fragmented perspectives underscoring societal disconnection.[29] Eliot's innovative structure and objective correlative technique in Preludes have profoundly impacted 20th-century poetry, exemplifying modernism's shift toward depicting psychological and cultural breakdown.[30] Katherine Mansfield's short story "Prelude," first published in 1917 and later included in Bliss and Other Stories (1920), offers an intimate portrayal of domestic life through the lens of the Burnell family's relocation to a rural New Zealand home.[31] The narrative unfolds in impressionistic vignettes, focusing on the women's and children's sensory experiences, interpersonal tensions, and subtle revelations of gender roles and familial bonds, revealing the quiet complexities beneath everyday routines.[31] Mansfield's stream-of-consciousness style and emphasis on epiphanic moments have cemented "Prelude" as a seminal modernist work, advancing the short story form by prioritizing psychological depth over plot.[31] Shifting to science fiction, Isaac Asimov's Prelude to Foundation, published in 1988, serves as the opening novel in the Foundation prequel trilogy, introducing mathematician Hari Seldon and his groundbreaking theory of psychohistory.[32] Set on the sprawling planet Trantor, the novel follows Seldon's perilous journey to refine psychohistory—a mathematical framework for predicting large-scale societal trends—amid political intrigue and imperial threats.[33] Asimov's intricate world-building and integration of sociological concepts have bolstered the novel's enduring influence in the genre, expanding the Foundation universe and inspiring explorations of predictive analytics in literature.[32] Among more recent works, Lyra R. Saenz's Prelude (2021) exemplifies contemporary speculative fiction, where a long-deceased witch awakens in a modern world, navigating resurrection and rediscovery through musical and magical elements.[34] The novel blends fantasy with themes of identity and legacy, using the prelude motif to frame the protagonist's tentative re-engagement with existence, contributing to ongoing literary traditions of genre-blending narratives that probe personal and supernatural rebirth.[34]Other uses
Automobiles
The Honda Prelude is a sports coupé produced by Honda from 1978 to 2001, encompassing five generations and emphasizing innovative engineering such as advanced suspension systems and performance-oriented engines. Designed initially as a premium front-wheel-drive alternative to economy cars, it evolved into a benchmark for affordable sportiness, incorporating features like pop-up headlights in its first three generations and variable valve timing (VTEC) starting in the fourth. In the United States, sales totaled 826,082 units, with strong markets in the United States and Japan.[35] The first generation (1978–1982) featured a 1.7-liter SOHC inline-four engine producing 72 horsepower, paired with front-wheel drive and a five-speed manual or automatic transmission; it shared components with the Accord but suffered from sluggish acceleration (0–60 mph in about 19 seconds) and modest sales due to its high price relative to performance. The second generation (1983–1987) improved dynamics with double-wishbone front suspension and a MacPherson strut rear setup, offering a 1.8-liter engine (100 horsepower) or the 2.0-liter Si variant (110 horsepower, 114 lb-ft torque), achieving 0–60 mph in around nine seconds and gaining praise for sharper handling. The third generation (1988–1991) introduced Honda's mechanical four-wheel steering (4WS) system for better maneuverability, powered by a 2.0-liter SOHC engine (109 horsepower) or the DOHC Si model (135–140 horsepower), with a mid-cycle refresh in 1990 enhancing aerodynamics; this era marked the Prelude's peak U.S. sales at 336,599 units.[36]| Generation | Years | Key Engine | Horsepower | Notable Features | U.S. Sales (Peak) |
|---|---|---|---|---|---|
| 1st | 1978–1982 | 1.7L SOHC | 72 hp | Pop-up headlights, CVCC emissions | Modest (initial) |
| 2nd | 1983–1987 | 2.0L DOHC (Si) | 110 hp | Double-wishbone suspension | Growing |
| 3rd | 1988–1991 | 2.0L DOHC (Si) | 140 hp | Mechanical 4WS steering | 336,599 |
| 4th | 1992–1996 | 2.2L VTEC | 187 hp | Optional 4WS, curvaceous design | Declining |
| 5th | 1997–2001 | 2.2L H22A4 | 200 hp (2001) | ATTS torque vectoring | 58,118 |