Part One: What I Know About This Subject (the Knowledge Base) a) What works by Messiaen we have studied this year? - We've studied two works by Messiaen this year. The first piece is La Nativite Du Seigneur and the second is Amen de la Creation. b) What are some of the rhythmic devices I can expect to find in Messiaen? In La Nativite Du Seigneur, Messiaen employs the use of cells, little sections of music upon which he forms the structure of the piece. New cells are constantly introduced and previous cells are brought back and/or developed at the same time. Besides the use of cells, Messiaen also highlights contrasts in the melody and uses that to structure the piece. In Amen de la Creation, Messiaen shows us the isorhythmic style where he takes sequences of rhythmic cycles(Talea) and uses them to provied a structure although they have no relation to pitch material at all. He also adds colour by using a pitch cycle, a sequence of pitches. To sum it up, I believe one can be expected to find mainly rhythmic devices in Messiaen works to establish a strong structure, afterwhich pitch cycles and cells will add to the color and enhance the piece melodically. Part Two: What I Am Trying to Prove (the Aim) - I am trying to show how the piece is structured and what kind of effect the composer's rhythmic writing has on the piece as a whole. Part Three: How I Am Going to Prove This (your Methodology) L'Ange Aux Parfums is divided into four main sections or taleas. Sections are clearly marked on the score by double barlines and this combined with unique rhythmic patterns help to divide the piece up. The piece highly repetitive but not monotonous as Messiaen varies the rhythmic re... ... middle of paper ... ...n ascending sequence in the top part and this leads on to the next bar with 10 notes still continuing the rising motif continuing to Bar 111 which has 12 notes and builds it right up to the final high G in the top part and D flat in the bottom. In conclusion, L'Ange Aux Parfums is a typical Messiaen work which exhibits the composer's oddly-metered, jarring melodies and timbre with the use of striking intervals where overtones conflict hugely and brings to mind a painting where dabbles of harmony can be seen here and there but not quite put together somehow. Melodies often form themselves and develop with each succesive return varied and usually with longer note values. In this way, Messiaen's melodies are spun out with a feeling of timeless expansion. Messiaen's musical language is highly individual and this is very evident in the L'Ange Aux Parfums.
1. Narrow-ranging, dynamically restrained modal melodies are played in a variety of tuning temperaments that generate an "illogical" modal harmonic succession. 2. An unrestricted range of multimeters, polymeters, and complex rhythms are used. 3. A texture of two or more independent and equally important melodies accompany one another (i.e., polyphony). 4. The formal construction is often vague and unclear. 5. The instrumentarium is unrestricted and nonstandardized.
Besides bright or dim colors, and fine or rough brush strokes, artists use centralized composition to convey their interpretations in "The Acrobat's Family with a Monkey," "Amercian Gothic," "The Water-Seller," and "The Third of May,1808.”
Despite its non-Italian origins and because of its timing and specific achievements in the portrayal of the human form, emotions, and artistic balance, Jean Hey’s “Annunciation” can be considered a natural representative of the culmination of the transition from the learning process of the Early Renaissance to the perfect execution of the High Renaissance.
What I see in this piece is peacefulness. Stokes of the paintbrush are perfect to make it look whole. With the sun shinning down making the colors pop out even more. The olive trees glowing in the suns light with the mountains behind it. It is a piece I could look at for a long time with out getting bored. The colors of the piece just make it look so complete. With the lines of the
The isorhythmic motet is a compositional style that emerged from the movement Ars Nova in the fourteenth century. It is defined based on the use of a talea, a repeated rhythmic pattern, to the main melody of a motet that is the color or the melodic pattern. Philippe de Vitry and Guillaume Machaut are the two most representative composers of this music style. Both composers wrote sacred and secular music in a variety of styles. For the purpose of analysis, the pieces Cum statua/Hugo, Hugo/Magister invidie composed by Philippe de Vitry in 1320 and Felix virgo / Inviolata / Ad Te Suspiramus composed by Guillaume de Machaut in 1360 will serve as a subject of comparison and contrast to determine the characteristics of isorhythmic motet from
Before Impressionism came to be a major movement (around 1870-1800s), Neoclassical and Romanticism were still making their impacts. Remembering last week’s lesson, we know that both those styles were different in the fact that one was based on emotion, while the other was practical and serious. However, one thing they both shared was the fact that the artists were trying to get a message across; mostly having to do with the effects of the French Revolution, and/or being ordered to do so. With Impressionism, there is a clear difference from its predecessors.
The French 1884 oil on canvas painting The Song of the Lark by Jules-Adolphe Breton draws grasps a viewer’s attention. It draws an observer in by its intense but subtle subject matter and by the luminous sun in the background. Without the incandescent sun and the thoughtful look of the young woman, it would just be a bland earth-toned farm landscape. However, Breton understood what to add to his painting in order to give it drama that would instantly grab an onlooker’s interest.
I will discuss Post Impressionism by using three works, A Sunday Afternoon on the Island of La Grande Jatte, Still Life with Basket of A...
The melody is consistent with the song. The string instruments are prominent whereas the timpani and oboe just go along with the melody. Esta es una pieza sencilla binaria; claramente no hay devolución del material melódico apertura en la segunda parte del movimiento.
When viewing Georges Seurat’s, A Sunday on La Grande Jatte (Fig. 31-37), perception is changed vastly depending on the viewer 's proximity to the piece. At close range, all that is visible is a mass array of countless circular dots and tiny lines in a vast range of colors. Greens, blues, reds, oranges, yellows, white, browns, black and purples are all visible in a multitude of intensities. The Divisionism technique utilized causes this piece to appear as an abstract collection of colors when viewed at close range. Yet when distance is between the piece and the viewer, these seemingly sporadic dots come together to create a complete and detailed scene. Primarily consisting of biomorphic shapes, Seurat’s incorporates in every inch of the canvas
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
‘Do not forget that the melody is the Idea, the outline; as much as it is the form and the subject matter of a work. The harmony is an illumination, an exhibition of the object, its reflection…’(3)
Music throughout the ages has changed dramatically. Starting in the Medieval period, from 400-1475, music was in the form of what is called the Gregorian chant. Instruments were very rarely used at this time. Since songs during this period were either troubadour or trouvere these chants had no real harmony. One example of this type of medieval composition is “Viderunt Omnes” by Leoninus. Like most Gregorian chants the texture of this piece is monophonic and polyphonic. “Viderunt Omnes” is a typical Gregorian chant in that it uses diatonic, not chromatic notes of the scale. Musical compositions during the Medieval period was made mostly by members of the church for the church. It was and is a very slow and steady movement that was meant to create a feeling of peace for worship purposes.
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
The characteristics of romantic music are influenced by the Romantic Movement, where the arts of literature and painting play a great role in influencing romantic music. Other evidence of non-musical influences in romantic music is the popularity of romantic poetry during that era. Poems, opera arias and works form great romantic poets are transformed into instrumental works and composers like Schubert uses musical elements such as melodies inspired by poetry in his works (http://absoluteastronomy.com). The musical language itself has shown that romantic music is different from the rest of the music before its time. Extended tonal and harmonic elements are noticed in romantic music compared to those in the classical era, where chromaticism, the usage of dissonance, and modulations are used extensively.