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.…
After that part, the percussion came in with a syncopated rhythm where unusual notes were accented. Then the brass responded to that and accented unusual notes in their melody as well. That cadence ended with a dissonant chord, and the piece moved into series of duets. The timbre was very mellow, and the tempo was at an andante. Once again, the piece changed directions and suddenly was back at an allegro.…
The binary form in Baroque music: describe the structure and comment on tonality as would occur in the different sections:…
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.…
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…
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.…
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.…
In the following, three operas will be compared by their ability to effectively tell stories through music. The three operas that will be discussed are: “Don Giovanni” by Mozart, “La Boheme” by Puccini, and “Wozzeck” by Berg. All of them represent a different era in classical music, and have similarities and differences. The music will be analyzed both instrumentally and vocally, to show how each is able to communicate to the audience, and tell a story.…
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?)…
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.…
Section A is in the key of D flat major whereas section B is in C sharp minor. The piece carries put an enharmonic relationship between notes. In section A there is a continuous repetition of A flats with a dominant note of D flat major. In section B there is a continuous repetition of G sharps with a dominant note of C sharp minor. The last four quavers in the bass line are G sharp, E sharp, F sharp and D sharp and can be read as A flat, F, G flat and E flat whilst in the key of D flat major. There is a ritenuto bar of tonic harmony at bar 88. The final tonic chord is at bar 89. Section A lasts 27 bars in the key of D flat major, section B lasts 47 bars in the key of C sharp minor, the repeat of section A lasts 6 bars in the key of D flat major then finally the codetta lasts 8 bars also in the key of D flat major. The harmony…
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.…