application of Analysis of Beethoven’s ‘Pathetique’ piano sonata No. 8 inC minor‚ Op.13 with particular focus on musical features such as melody‚ thematic content‚ rhythm‚ form and structure‚ and harmony. Bent states that analysis is the means of answering the question‚ how does it work? According to Bent‚ analysis is a relatively young discipline “analysis as a pursuit in its own right became established during the 19th century” (Bent‚ 2006‚ p.13)‚ although basic methods of analysis of music has
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Baroque Period – Bach Toccata and Fugue in D minor The Toccata and Fugue in D minor‚ BWV 538‚ is an organ piece by Johann Sebastian Bach. Like the better-known BWV 565‚ BWV 538 also bears the titleToccata and Fugue in D Minor‚ although it is often referred to by the nickname Dorian — a reference to the fact that the piece is written without a key signature — a notation that is uncommon today and leads one to assume the Dorian mode. However‚ the two pieces are quite different musically‚ it is nearly
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Piano Trio in G Minor‚ Op. 15‚ is the first of several pieces of music to be inspired by a tragedy in Smetana’s life. Spurred by the death of his beloved daughter Bedřiška (1851-1855)‚ “an extraordinarily gifted child‚ [Smetana was inspired] to compose [his] chamber work in 1855.” (Large 65) The trio starts with feelings relating to Smetana’s anguish‚ followed by a dedication to the memory of his daughter torn between her life and death‚ and ending with a movement that gives eventual closure to
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Rondo Op.51 No.1 in C major by Beethoven • Rondo: a musical form characterized by a repeated theme that alternate with other themes • Opus: a number given chronologically order the works of a composer • This rondo was composed between 1796 and 1797. • About the composer and period: Beethoven‚ Ludwig van (1770-1827) • Period: Classical (1750-1820)/early Romantic (about 1820/30s-1910) • Nationality: German • Contemporaries: Haydn‚ Mozart‚ Clementi • Works included: • 32 piano sonatas (including
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The Piano Sonata in B minor (German: Klaviersonate h-Moll)‚ S.178‚ is a musical composition for solo piano by Franz Liszt‚ published in 1854 with a dedication to Robert Schumann. It is often considered Liszt’s greatest composition for solo piano. The piece has been oft analyzed‚ particularly regarding issues of form. The sonata is notable for being constructed from five motivic elements that are woven into an enormous musical architecture. The motivic units undergo thematic transformation throughout
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Beethoven’s use of Sonata form in his 1st Symphony Beethoven‚ in common with his predecessors Haydn and Mozart‚ uses the Sonata form in the first movement of his first symphony. This was Beethoven’s first attempt at the symphonic form having composed chamber music and two piano concertos. Beethoven made the sonata form more expressive through his use of dynamics and more extreme key relations. Beethoven started this piece with a slow introduction. It is not unknown
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9/29/12 MTO 13.3: Ricci‚ The Progress of a Motive in Brahms ’s Intermezzo op. 119‚ no. 3 Volume 13‚ Number 3‚ September 2007 Copyright © 2007 Society for Music Theory Adam Ricci* The Progress of a Motive in Brahms’s Intermezzo op. 119‚ no. 3* ABSTRACT: Brahms’s Intermezzo op. 119‚ no. 3 is structured around a motive with two components—one melodic‚ one harmonic—that operate sometimes separately and sometimes together. The global harmonic trajectory of the piece is embodied in the combination
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taught to play the piano by his older sister Ludwika. (Orga‚ pg.13) While he was being taught by his sister his parents started to see that he was very talented at playing the piano‚ so when he was around the age of six maybe seven his parents got him a teacher. His first teacher was Adalbert Zywny‚ a bohemian composer and is only known because he was Chopin’s composer. But when he was Zywny’s pupil he did not really do the exercises (even though later on in
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In Beethoven’s Symphony no. 5 in C minor the first movement is called Allergro con brio and it is in sonata form. This movement is very intense and strong sounding and has a single rhythmic motive that is short-short-short-long. The first theme of this movement is in C minor. Throughout this theme he shifts the motive to different pitches and instruments. The second theme is in E flat major and starts with a varied basic motive of short-short-short-long-long-long. The horns starts a new melody that
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Beethoven MUS HST 70 Mindy LaTour O’Brien Listening Journals #1 Ludwig van Beethoven String Quartet No. 1 in F Major (1st movement) I enjoyed listening to this piece. All throughout the first movement‚ I constantly felt tension rising and relaxing (tension rising because of the repetitive melodies with crescendo and changing the melody key to a minor key and tension relaxing when it has descend or a key changes to a Major); I think this was Beethoven’s intention to have the audience
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