rhythmical pattern from bars 5-6 in the viola‚ resulting in fusion of two different motives. The second section (bars 14-26) begins with another contrasting movement; a gently piano melody line in the I violin and cello which is interrupted in bar 16-17 by short pitches on every quaver of bar 16. In bar 18 the melody line is repeated‚ but now the II violin and viola are joining‚ so the piano line has more weight than in bar 14. Bars 21-26 is a continuation of the pitches motive from bar 16‚ but here
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refers to two or more independent melodic lines working together to create music. In contrapuntal music— music created using counterpoint—each of the melodies works independently as well as together. Together these melodies create a texture called polyphony. Polyphony and counterpoint have been around for about 1‚000 years and are at the root of melody and harmony in Western music. You may already be thinking about how good it sounds in contemporary popular music when the bass and lead lines complement
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allows for a more open and spread interval. When using this grip‚ it is hard to do what Burton did‚ which was kick out a mallet to play melody‚ but usually this type of grip is used to strict
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socialist realism: called for using realistic style portraying socialism in a positive light. Relatively simple‚ accessible language‚ melody‚ folk styles. Intrinsic value in music condemned as formalism. Prokofiev: mostly diatonic melodies and harmonies make music accessible‚ occasional dissonance and unexpected turns make it engaging and distinctive; modal melodies and orchestration convey a Russian sound. This widely appealing style brought him more popularity than his modernist period. Shostakovich:
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Throughout the semester we have been reading‚ observing and listening to music and music analysis’s. Articles gave examples and broke down how to really look over music and multimedia to get the answers we were looking for. Then in class we would attempt to do the same things the author of the articles did. Those things consisted of leitmotif or themes‚ when there is music or lack of music‚ what type of music‚ the instruments‚ and what emotions it evoked. In class we started off shaky but with practice
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ascending in the order they were published. 15. Orchestration Assigning different musical lines to different instruments or groups of instruments. One group might play the melody(the main theme of the piece‚ usually played in the upper register) while another the harmony (a series of notes that complement the melody‚ usually played in the middle register) and a third might be assigned the bass line (a repeated series of notes played in the lower register). 16. Repertoire A collection
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Materials 5 Mu3107 Dr. C. Ross STRUCTURAL ANALYSIS OF MOZART: PIANO SONATA IN F MAJOR (K. 332); I Mm. Section Key(s) EXPOSITION FIRST GROUP (in PTA) 1-4 PT1‚ phr 1 F 5-12:2 12:3-16:2 phr 2 $ PT2‚ phr 1 $ Comments; Cadence Types Lyrical R. H. melody‚ mainly disjunct‚ supported by Alberti bass; Harmony is I‚ V7/IV‚ IV6/4‚ vii°6‚ with F pedal point in the bass. HC. RH continues unaccompanied for 2 bars‚ reversing the general contour of the first phrase (thus‚ an inexact melodic complement). The
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used by many composers in different genres eg Mozart’s finales often have several characters singing similar music with similar rhyming words but with opposite meanings‚ or several different melodies all together. Sullivan‚ in G&S operattas was renowned for his ’double choruses’ where two different melodies‚ with different and possibly opposing themes in the lyrics‚ would fit against the same harmony. Puccini‚ in Turandot has ensembles where several characters sing their own melodic lines with
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similarities and differences‚ showcasing the different styles of each composer. The most obvious similarity between all three adaptions is the text‚ a vital part of a Catholic worship service. The melodic shape of the pieces are very similar‚ with the melody building to important phrases such as ‘O Jesu‚ File Mariae’ (Oh Jesus‚ Son of Mary). The phrase reaches a climax point before receding away. The timbre remains the same throughout all three adaptions – SATB‚ except the Elgar has an organ/piano part
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The vocal never really rests on any unstable tones for too long during the versus‚ instead only passing on the unstable tones and then quickly resolving back to the diatonic key. The first verse is minimalistic ‚ using only piano with a solo vocal melody line that sets the tone for the song. Verse 2: In verse 2 we hear the addition of a tambourine being played on the offbeat and also an acoustic rhythm guitar. There is also backing vocals added in the second half of the verse in the form of
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