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The classical music era
Classical music history essay
Short essays about classical music era
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he beginning melody starts with a solo horn, while the strings play sixteenth notes behind it, giving the harmony. Then the harp quickly plays before the strings takes over the melody. The melody is then shared with then shared with the lute for a short period before returning to strings only, followed by the trombones joining in as well on the melody. At about one minute and ity seconds, there is a brief moment of silence before the violins come back with the melody playing quietly. They then play the melody with the trumpets for a brief period, before the trumpets drop back out. With approximately twenty-ive seconds let in the song the brass secion takes over the melody for the remainder of the piece. Harmony in this piece is played …show more content…
This piece has a full texture, as for most of the ime there are more than one instrument playing harmony or melody. This song has an on the beat rhythm, and is played in quadruple meter. This song has a medium-fast tempo for a majority of the piece. This song has a light but brassy imbre due to the violins oten holding the melody, but while receiving string harmony from the brass secion at imes. This song has a clear color from the crisp notes played by all instruments. This song comes from the end of the ballet, The Firebird Suite. This song is played with loud dynamics for a majority of the ime, but has brief moments of sot dynamics that build up to loud dynamics.This song from The Firebird Suite is the revised ediion from 1945. Ballets aim to tell a story using music and dancers, not having any dialogue in the piece. Ballet music is used to relay the emoions of the story to the audience, while the dancers tell the story throughtheir dancing. This song creates emoion through their use of changing dynamics, choice of instruments, and tempo played at. The music alone is able to create a feeling inside the listener,even without seeing the dancers showing it is used to do just that. Without music ballets wouldsurely be a
The next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different
Introduction: The piece begins with a major syncopated rhythm played by timpani and percussion, along with strings, then there is a modulation to minor. The brass plays a descending sequence, and the syncopated rhythm continues as the French horn plays the melody, using sequences. There is a crescendo as the orchestra repeats the melody. Pizzicato strings play a descending chromatic scale, and this is followed by the strings playing the horn melody. This is then repeated. The main melody is repeated in a variety of ways, with the maracas and snare drum in the percussion section becoming prominent. There is a crescendo with a roll of the timpani. The orchestra plays descending scales, and then there is a huge crescendo with the whole orchestra. Bass instrumen...
Throughout the piece, the oboes, first and second clarinet, first alto saxophone, and second cornet, all have the same melody. Measures one through five are a four measure phrases that gets repeated again in measures six through nine, and again in fourteen through seventeen. Around measure ten, the dynamic changes to forte and is slightly faster, then slacken. Measures fourteen through seventeen mark the end of the first statement of the melody. There is also a slowing effect added in measure sixteen through seventeen by a sustained note. After measure seventeen the dynamics go back to piano adding shape to develop with the melodic outline. Around measure twenty-six, the ensemble gets filled out by other instruments such as the tuba, euphonium, and trumpet. This makes it go from the darker cornet sound to a bright trumpet sound. The last few measures slow down, going from about eighty beats per minute, to forty beats per minute, ending with piece with two
Today I will be presenting an analysis of my favourite song, “Fix You” by Coldplay. Since I was a little kid, in 2005, when it was first released, I have been listening to this song. My parents loved Coldplay at the time, so I was played their music since I was a baby, and I loved this song from the first time I listened to it. “Fix You” by Coldplay, is a rock song that deals with true love, helping someone in their time of need, and learning from your mistakes, but I d liken it to my personal, or childhood memories. Coldplay lead singer Chris Martin hasn't spoken about the specific inspiration for the song, but it could be directed to his wife, who was dealing with the death of her father in 2002. Martin did say where the song started: "My father-in-law Bruce Paltrow bought this big keyboard just before he died. No one had ever plugged it in. I plugged it in, and there was this incredible sound I'd never heard before. All these songs poured out from this one sound. I love its gentle and strong dynamics at different times and its mixed meanings to different people. Guy Berryman, Jon ...
Throughout the second and final act the musical content within the play acts as a story of it’s own through theme and variation. Each separate song represents a feeling and or mood and is enhanced as it is varied throughout the act. Like the first act, the songs are used to portray poverty, suffering, hardships, and even death. However, unlike the first act, there is also a theme of love and happiness. Closure is brought about with a sense of warmth and this is often heard through the display of the tempo. When the times were tough the tempo decreased and was often slow and morbid like.
American Studies is a difficult but interesting subject to try and understand, especially when looking at a few main themes such as authenticity and the folk. Two great examples that involve these themes are the publication of “Romancing the Folk” by Benjamin Feline and the film “O Brother Where Art thou” which have shown similar but different views on the two key themes, authenticity and the folk. The theme of authenticity within music has been altered by various groups of people as well as the artists themselves, for various different reasons. Another key theme is that of the government and how it has been helping the people to accept cultural differences, especially when you look at music. The analysis of the Lomax’s career in Benjamin Feline’s
I am listening to a studio recording of this song. This song was released on the album Flow in 2005, then arranged for full symphony orchestra on his 2007 album A Tale of God’s Will (A Requiem for Katrina). I will be listening to that version of the song. The piece starts out with a woodwind and string prelude. Then, the prelude decrescendos, then stops completely, making the way for the solo piano to come in at a mezzoforte dynamic with the melody line. The piece is shifted down a half step in key, with the melody's starting note going from G to F#. It’s solo piano for sixteen bars, then the tenor sax comes in at a mezzopiano dynamic in the middle of his range, making it easy to blend with the right hand piano line. Lower strings are also heard at a piano dynamic, adding harmony in a lower range (with some countermelody and fills) to the tenor sax/right hand piano part. Soft mallets are being used on the cymbals to add an occasional percussive color, but only at a pianissimo dynamics, as not to interrupt the main theme. When Blanchard comes in on trumpet, the cymbal work comes up to a mezzopiano dynamic with tom work as well. The melody line changes as well, and the full string orchestra is in at this point adding a dark color to this new melody line. Then the melody comes back in in the piano, tenor saxophone, and upper strings at a mezzoforte dynamic, different from the dynamic they were at earlier. They
The movement of the dancers is crucial to establishing the idea of struggle and suffering for the people and the scariness of the government. The ballet starts off with three men facing a murky green light. They start to slowly move around giving off an ominous feeling as they support each other moving slowly and in unison; in addition the movements they make give the audience the feeling that the body they
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.
...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.
During this movement, every instrument was present and heard including the piano. The instruments played in this section were the piano, drums, electric guitar, double bass, saxophone, conga, marimba, and trombone. This section seemed to have a tempo and a steady beat, unlike the opening piece. The segment also seemed to be more mellowed out with very few high pitches. There were forms of imitations and from the opening piece however in this section the themes were descending, but the feelings were still upbeat similar to the conclusion of dance music. At the end of this piece, the audience stood up and
The Wind Ensemble presented the piece with a wonderful sense of musical accuracy. Each performer and soloist communicated the music to the audience extending the vision from the composer. They worked to keep the audience engaged and interested throughout the total of the 18 minute piece, which can sometimes be hard.
Music has always been an essential part of my life, so I would always take any opportunity handed to me with which I could embrace my love for music. My mother and father were a big influence when growing up, because my mom loves to sing and my dad used to play the French horn. That having been said, I can never say I was one to ever be deprived of music. The love I had for music and singing was evident from an early age when I would listen to music every night when I went to sleep and sing to any stranger who would listen. I also grew up with five older siblings, and since I would sing so much, I would constantly be shushed. However, nowadays my siblings compliment me and love to hear me sing, and I never stopped singing just because they
I have been studying classical vocal repertoire for five years. My interest in music began when I began taking harp lessons at age 6. As I grew up, I surrounded myself with music, singing songs with my family, performing new pieces I had taught myself. In 5th grade, I began voice lessons, and intensely participated in my middle school choir the year after. Since then, I have honed my craft as a musician and performer.
For me personally, music appreciation is defined as looking at different pieces of music and musical forms, and learning to find appreciation for them. This appreciation is formed not only by listening to several pieces of music, but by learning to understand what you may be listening too. This involves introducing yourself to many pieces of music and learning to interpret, what makes each piece different and unique. Understanding the historical background and societal changes that have taken place during the creation of the musical piece, is also an important factor to consider. Music is not only creative, but it also makes up part of a societies history. Music is an art form that connects different societies and cultures together, it possess the amazing ability to make us into one.