Another melody in the song no. 2, melody B (fig. 19) appears together with the melodies A and A’ in the middle of the song in mm. 88-99 and mm. 128-139. Contrary to the melodies A and A’, the orchestra and the melody B have the same mode, C# Aeolian. Therefore, a direct modulation in fourth relationship occurs between melodies A and A’ in G# Aeolian and melody B in C# Aeolian, while a modulation using a common chord G# minor occurs in the accompaniment as seen in fig. 20.…
- Recapitulation: 3rd section of the sonata-allegro. Reviews the material of the exposition, presenting it in a new light.…
This baroque concerto is composed by Johann Sebastian Bach, the famous baroque composer of his time. This work is the fifth of six concertos the composer dedicated to Christian Ludwig, Margrave of Brandenburg. This piece showcases Bach's inimitable strength as a contrapuntist. Bach’s music has flexibility in its form and influence, but still retaining the constraints of the form of baroque music. He blended Italian and German music in these concertos, giving them a distinctive touch. This fifth concerto is made distinctive by the flute, solo violin, harpsichord, and strings. It is the only one of the six pieces to have any solo given to the harpsichord, which is part of the continuo throughout…
The binary form in Baroque music: describe the structure and comment on tonality as would occur in the different sections:…
In the overall analysis of the three pieces in terms of piano, guitar and orchestra versions, I have found that the three songs in various versions are different in some extent. That is to say, each piece has its distinguished feature with reference to sound, time, structure, melody, tempo, and harmony. To be more specific, the report will examine each song within its different versions only. Before I start analyzing the pieces, I would like to give a brief introduction about Albeniz’s work.…
Together with the coherent use of form and language, Harwood uses a variety of different poetic techniques to create unity within her works, producing an integrated work in its meaning and value. Harwood’s skill as a composer to explore different and unique structures, style and poetic techniques achieves textural integrity and adds significance to her work.…
For perspective, we begin before 1650, with Monteverdi. His opera Orfeo of 1607 did not redefine any new style in vocal music, but rather served to collect existing techniques and forms of the time combining such forms as recititative, airs, madrigals, ritornello, and recitativo arioso. It also was significant for its mature use of the orchestra, bringing together instruments from all consorts ñ the violins, the cornets, viols, organ, trombones, and others. Orfeo drew from all styles of secular music at the time, achieving a unity overall through the use of ritornello and the orchestra.…
The emotional journey of this great masterpiece continues within the second and third movement by bringing the listener back to feelings of calmness and sweet flowing melodic lines. This significant contrast from the first movement creates within an individual a sense of peace and tranquility that allows for the listener the opportunity to further enwrap themselves in the musical emotion of the piece. As the piece continues, this dolce expression crescendos with a melodic playfulness throughout the rest of the second movement and into the third movement taking the listener.…
During the period of the Baroque musical style (1600-1750), emotions ran high, literally. This was a time for expression of emotions through musical performances called operas. Operas were made popular in Italy in 1600 and employed many theatre elements such as music, acting, poetry, and costumes. Operas, in all simplicity, were dramas set to music. The Baroque was defined by sudden shifts in dynamic, homophonic musical texture, emphasis on beats, and unity of rhythms. Both performances, “Tu Se Morta” by L’Orfeo and “Dido’s Lament” by Henry Purcell, display distinctive qualities of this time period and serve as excellent examples of technique.…
This is an amazing energetic piece by the presented of these instruments: piano, cowbell, timpani, maracas, voices (soprano, alto, tenor, and bass). The tempo throughout the piece are rallentando and fast tempos. The piece sounded strong, powerful, harmonizing in between the instrument, but also chilling at the sacred movement where it got slow and a bit softer. Overall, the dynamics where mezzo forte, forte, tenuto, crescendo, and sforzando. The word that have been repeated the most throughout the piece was “silliza” with a loud (forte) by the voices singing. I have enjoyed this piece and love it because it sounds really energetic, strong, happy, fun, and exciting. In my opinion, this is an good ending song where all the choirs get to sing together before the concert…
Within sixty years of the opera’s appearance, new concepts developed such as the aria, which similarly to a theatrical soliloquy, real time stops. “In an aria, the librettist provides words that pause and reflect and the composer creates music that interprets and deepens the emotions behind those words” (L12, 8:12). About “the year 1660, the aria had joined recitative as one of the two essential aspects of operatic dramaturgy” (L12, 30:21). “Unlike recitative in which the words carry the expressive message, in an operatic aria it is the music that carries the expressive message” (L12, 31:59). “The same Baroque advances in harmony; rhythm, motivic manipulation and melodic construction that led to the development of purely instrumental music…
People in Paris came together in Salons, where they spoke as intellectuals, listened to the popular music of the day, and read stories. (beatnik generation gatherings?)…
This movement is written in sonata form, which was very common during this era of music. The recapitulation runs from the beginning and ends in bar sixty-eight. The development then occurs and lasts from bar sixty-nine till bar 105. There is then a three bar transitional phrase back to the recapitulation from bar 105 to bar 107. Bar 108 is the beginning of the recapitulation and lasts till the rest of the movement. Although it could be said from bar 175 to the end could form a small coda.…
Lieder ohne Worte (Song without Words) is written by the Romantic composer Felix Mendelssohn Bartholdy. It is a collection of forty-eight short lyrical piano pieces of markedly song-like character that he wrote at various periods of his life between 1809 and 1847. They are well suited to the study of musical form because of their artistic value. Op. 19b, No. 1 Andante con moto in E major was written in 1830 and is the first in the collection. The piece is in the key of E major and modulates from E to B to G major.…
This review represents Maria Callas as a great Operatic singer, with “outstanding gifts”, “theatrical personality” and “extraordinary brilliance”. Unable to control her high notes, but with a unusual tone to her voice her low or chest register was extremely dark and almost baritonal in power, and she used this part of her voice for dramatic effect, often going into this register much higher on the scale than most sopranos. Her voice was penetrating. The volume as such was average: neither small nor powerful. In soft passages, Callas seemed to use another voice altogether, because it acquired a great sweetness. The value of this review for music historians today is significant as it really does tell us a lot about her performance, her voice, her acting skills and how she captured an audience to depict the story.…