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Composition on modern music
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Symphonie Fantastique is an astonishing program music piece done by Hector Berlioz in 1830. The symphony illustrates a lunatic story of a young musician going from a life with a lack of passion, to the death due to his passion towards a woman. The gap between reality and illusion has become blurred as the music keeps changing throughout the work, with Berlioz’s usage of different techniques such as word-painting and the arrangement of various instruments that made this symphony looks almost like a wordless opera. Symphonie Fantastique is composed of five movements, each illustrates changes and different events happening on the young musician that developed the story. The first movement is called Reveries-Passions. In this movement, Berlioz first shows the musician’s lack of passion with a monophony played by many low pitched instruments, mainly violin, to display the vanity and nothingness hiding inside the musician’s spirit. Although the texture of sounds thick, it makes the …show more content…
In the last movement, the musician dreams of his own funeral after the execution. The rhythm is slow and the pitch is low at the beginning. Based on the program notes, the musician sees the woman at his funeral, however, the woman is no longer the ideal image anymore. She’s not innocent not noble, instead, she’s just like the other monsters at the party, abnormal and evil. The pitch suddenly rises to extremely high, especially the brass instruments, and the beat turns rapid, representing the collapse of the musician’s dream of the ideal image. When the bell rings, the flow of the music is broken. different pieces of music appear randomly and everything seems out of order. The movement then changes into a dance music, a dance of the monsters, like a carnival is happening. The rapid rhythm near the ending and the silence when the movement finally reaches its terminal marks the end of the musician’s nightmare as well as his
The music correlates to the images because the slow-playing violin and soft-playing woodwinds complement the nefarious activities shown; therefore, molding a creepy and ominous tone in order to demonstrate the credulous attitudes of the audience. When thinking of demonic activities, the soul of an individual is automatically frightened, which is what the composer manipulates in the opening scene. Fenton takes advantage of this and incorporates melodic dark music to further intensify the fear of the “so-called” villain, Abigail Williams, in the
Betty’s father warns Betty Boop not to do it as he understands the consequences. The nature of the mood is also shown in the way the instrumentals are perceived. The dancing at the end shows it all. Sound and music is used at the start and the end of the music. At the start, the music is somewhat slow and the instrumentals set the mood expected from the film. The band and orchestra is more casual just as the characters in the film. This gives the author the expectation from the film as well as how the characters could utilize the environment. At the end of the film, the cab sings in a way that is more spiritual, ghost like and the skeletons nature scares everything. The music is related to the image on the screen since it indicates what Betty could expect. In most instances, the music goes with what is on the screen to create some sense of
The musical score proficiently provides the viewers with a sense of what is happening in the scene which could not be communicated through text. Dramatic music is played for Creon’s entrance; this immediately communicates to us that he is a man of great importance and power. When Antigone enters after being arrested, the music is dynamic and tense. This conveys the seriousness and desperate atmosphere of the scene. The score is also a representation of the varying moods of the characters. An example of this is when Antigone is anxiously trying to appeal her sentence. The music makes the audience drawn is drawn to feel sympathy and pity her when she is preaching her views on death. For instance, a solemn melody is played when Haemon’s dead corpse is brought to King Creon. Creon grieves by himself as he is overcome with devastation caused by his foolish actions; his emotions are intensified by the sorrowful and sombre background music. The music is able to complement the play, while accentuating the more significant events.
We all remember Berlioz as the editor of an anti-religious literary journal and the chairman of MASSOLIT. He was well loved, for he was a good follower of the policies of the USSR and represented the intellectual elite of the great communist nation. While we mourn this man’s demise, we must also investigate the circumstances of
Hector Berlioz wrote the Symphonie fantastique at the age of 27. He based the program on his own impassioned life and transferred his memoirs into his best- known program symphony. The story is about a love sick, depressed young artist, while in his despair poisons himself with opium. His beloved is represented throughout the symphony by the symbolic idee fixe. There are five movements throughout symphony. The program begins with the 1st movement: Reveries, Passions symbolizing the artist's life prior to meeting his beloved. This is represented as a mundaness and indefinable searching or yearning, until suddenly, he meets her and his longing abruptly ceases and is replaced by volcanic love. The soaring melody becomes the Idee fixe and is introduced in this section.
... began the piece, and the beat of the drum was frequent. After the introduction, the rest of the musicians joined. The pianist also had a solo part with the companion of the drum. The pace of the song was moderately fast, and the song ended with a climax.
Each individual player in this orchestra is a soloist of sorts, playing a completely different piece than the musician seated directly next to them or across the stage. Rather than being written as a concerto, this piece, written in three movements, allows for each of the accomplished musicians to display their skill individually though each solo is not brought to the forefront of the piece, creating a what sounds like a disgruntled compilation of individual pieces that come together. This piece both begins ends with the Funeral March of Beethoven’s Eroica Symphony directly tied into the basses, at first it is quiet and difficult to recognize but as the third movement is introduced it becomes more pronounced and evident. Those who were present for this pieces introduction to society were able to see its emotional effect on its composer who had obvious emotional ties to the music. Strauss never showed up to see his work debut instead he attended the dress rehearsal, asked Sacher if he could conduct this work. Strauss was said to have given a beautiful reading of the score that many view as his most...
The funeral scene does not have any sound apart from the bells ringing very sombrely and echoing around the courtyard; this makes it feel bleak and depressing, as a funeral in these circumstances should be. He makes some cuts to the plot that he doesn’t think are particularly relevant or would spoil the way he expresses the characters. He cu... ... middle of paper ... ...
Music is representative of pagan and non-Christian beliefs throughout the play, this is emphasized by Kate shouting 'Yaaaah' as this exclamation seems almost primitive. The 'frantic' movements made by Kate are spontaneous and impulsive she 'suddenly leaps to her feet' as if she loses all control, through Kate, the most reserved of the sisters, finally losing herself to the music it hints at a secret longing to rebel and has freedom from the expectations at the time. However as the music stops Kate is the first person to stop, representing how as much as she wants to gain this freedom from society she knows that in reality she has duties and expectations she must fulfil; Freil may have used this to illuminate the strong ideals of Catholicism and how the sense of freedom was taken away by society. ' Alarm' makes the music and dance seem a threat to the household and the reader is given a
The sequence starts with a woman who is part of the Dead searching frantically for something, shown through her facing the audience and bringing her hands towards them, then breaking down sorrowfully. A man from the Dead then joins her and they embrace, performing a series of lifts. This symbolises the bond between the characters and the emotional connection they share. The dance then turns into hiding and ducking movements as the couple tries to escape from an unseen force. Accompanied again by the dripping sound, the Dead perform reaching, circular movements, as if attempting to escape. The woman performs her movements with a sense of sorrow, focussed on the man, as if she knows he is going to be
Beethoven’s musical work was recognized as “heroic” as it elaborated on the feelings of struggle, pain, fear and being able to overcome all these somber feelings (Sayre 908) as patently witnessed in his famous third symphony, the Eroica (Sayre 908). Furthermore, other romantic composers seemed to be highly influenced by Beethoven’s work such as Hector Berlioz (Sayre 909). Berlioz’s compositions expressed originality while portraying his own life within his musical compositions such has his symphonic piece the Symphonie fantastique (Sayre 909). Considerably, Berlioz embellished his music through the use of emotions, passion etc. to detail the presence of specific themes within Romanticism making him a critical part of music during the Romantic Movement (Sayre 911).
The opening prelude is a pastoral melody in B minor, opening up the work with a seductive, expressive oboe cantilena in the upper voice. Due to the size, acoustics and organ in the Wesley chapel, my interpretation of the piece will vary from the original, premiered on the Cavaille-Coll organ. Due to the nasal yet soft tone of the oboe on this organ, to make the melody more nostalgic and flowing, I have coupled the solo Hautbois with the Flute; on the swell manual. Similarly, I tend toward a slower and more held back interpretation, in order to have the notes resonate clearly in the chapel hall. Together these registrations create a held-back melody, painting a picture of a nostalgic countryside scene close by the Parish of Sainte-Clotilde in which Franck was inspired; The melody being highly reflective of this country side scene which he composed by.
The Violin Concerto No. 1 in G minor, Opus 26 is one of the most famous violin concertos over the musical history. It is also considered to be the most renowned work by the German composer Max Bruch. I will begin with a short explanation of why I choose to analyse this piece followed by what makes this piece so remarkable. I will then present the musical context – German Romantic period – in which this piece was composed and discuss how it is representative of this period. Also, I will present briefly the biography of the composer and relate his life and style with this particular piece of music. After, I will explain the basic structure of a concerto, associate it with this violin concerto, and analyse how each movement is related. Then, I will analyse some psychoacoustic parameters of this piece (pitch, dynamics, rhythm, and texture). Finally, I will give my appreciation of this piece in term of beauty, musical expression, and mood.
The first section, which lasts for the first 35 seconds, has a predominant non-diegetic foreground and a subtle diegetic background. The foreground segment corresponds to a musical score made by multiple violins playing a lengthy discordant piece. It is characterised for its high pitched notes which create a feeling of tension and anticipation to the audience. On the contrary, the background sounds, which encompasses both, the ripping paper and Marion’s body movements, are both diegetic and lower in intensity and volume in comparison to the forefront. It is possible to affirm that the background noises do not play a major role in the fragment but rather complete the picture the audience is
This desolation does not last too long though. As if the song was bi-polar so to speak, the sadness is interrupted by times of joy and happiness. The second movement of Symphonie Fantastique is also known as “Un Ball” which translates to “a party.” The party brings loud confusion and commotion torment to the writer, but he also enjoys natural beauty and tranquility of the environment.