“When I am laid in earth” is an aria written in the Baroque period. It is a lament featuring the character Dido that directly precedes her death. The aria it is written in repeated binary form, and the repetitions in this piece reflect the style of Purcell and of Baroque music as a whole. The aria is written in 3/2 time and the tempo marking is “larghetto.” The meter allows the piece to have weight, and this combines with the slow tempo is appropriate for the heavy emotion required in a lament. This is especially effective in measures 1-6, wherein the bass line places its emphasis almost entirely on the strong beats of the meter as it falls chromatically. The meter, direction of the line, and low pitches sounded by the instrument give it weight and imitate low, lethargic breathing.
A strong relationship between the music and the text can be seen throughout the melodic line, particularly in measures 22-23; 26; 32-33; and 36 as the soloist sings the word “ah!” This word is particularly emotive and in fact does not even act as a word, but rather something closer to a sigh. The music reflects this by placing multiple notes on one syllable, stretching it melismatically to mimic the drawn-out and lethargic nature of sighing. Additionally, each instance of “ah!” involves an arching line within the melody (this is particularly evident in measures 26 and 36), which further solidifies the resemblance to sighing (an act that involves a “swell” of breath). The idea of sighing occurs in many instances throughout this piece, even acting outside of the melodic line. The string accompaniment contains occasional slurs, and these slurs usually occur on a strong beat moving to a weak beat (e.g. see both violin parts in measure 9). This adds to the...
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... her death by abolishing her importance in the piece. A ritardando occurs within these measures as well, slowing the piece to denote the end of both the aria and of Dido.
The instrumentation relies on string accompaniment, which is common in Baroque pieces. Additionally, this helps to support the emotive nature of the piece as the mechanics of string instruments are very similar to the mechanics of the human voice; thus, strings can mimic human expressions like sighing and weeping. For example, in measure 8, the 9-8 suspension in the second violin part seems to indicate tension. When this is combined with the voice-like timbre of the instrument and the falling, melismatic line within the melody, it reflects a human’s sobbing. The ensemble is also intimate, involving only five voices, and this seems appropriate for the emotional but private message within the lyrics.
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The piece opens with a series of quick, fiery chords spanning almost the entire range of the piano, followed a by light staccato section in a scherzo style. The mood then changes with a long lyrical section, before fragments of the vigorous rhythmic opening section return and bring the music to a darker section that also echoes the theme of Rhapsody No. 2. The second half of the piece re-uses the melody of the lyrical section, only transposed up by a fourth, which provides a bigger contrast to the previous dark section.
In the woodwind family, the piccolo and the bassoon are being played. In the brass family, the French horn and the trombones are being played. In the percussion family the bass drum, triangle and the cymbals are being played. Lastly, in the string family, violas and cellos were being played throughout the 4th movement of Ode to joy. In addition, the famous Ode of joy melody is a simple, folk-like song, that Beethoven worked on for approximately 20 years. The effects that the choir introduces that the theme is very intense. The sopranos, altos, bass and tenor gives a very powerful message. It gives the provides the audience with a different perspective from the previous instruments that were being
Mussorgsky’s approach to language inspires the melodic line, creating a distinct lyrical idiom, but also this approach creates moments of dramatic priority over vocal elegance – this is most evidently in the agitato sections of the first song, Lullaby, but also the declamatory finale of The Field Marshall. Dramatic realism also influences the chose of form: the binary nature of the dialogue in Lullaby, but also the two distinct sections that make up the Serenade are clear examples of this. However, it is perhaps in the Trepak that Mussorgsky is at his most structurally inventive: the song starts with a simple melody for the narrator, which slowly transforms into the melody of Death’s Cossack inspired dance (which features a subtle quote of the Dies Irae), before morphing into a new closing melody which derives from both themes. This creates a seamless form, with no distinct moments of structural change, while also certainly not lacking musical contrasts. This blurring of structural boundaries has the effect of mirroring the songs setting within the environment of a blizzard, where ones own senses of sight, and indeed hearing would be blurred
When the second theme plays, it’s noticeably less lighter and less higher in pitch from the strings. The third theme is done by the woodwind instruments like the oboe and clarinet, which preface the use of the opening motive again. The motive is soon followed by the violin. Next, there’s the repetition of the themes played in the piece so far, but not only are they repeated, they’re fleshed out into variations. The piece slows down and makes a quiet transition as the opening motive plays, jolting the instruments into action again. The themes continue to work counterpoint against each other. The triangle can be heard throughout certain sections, the clear ringing sound making an interesting contrast to the rest of the orchestra. When the movement nears its end, the instruments are initially soft and hesitant, but then pick up in tempo and volume in unison, finally cutting the piece off at a high and enthusiastic note. Bedächtig is a fun composition to listen to, and I admit that I preferred it over the other songs of the night. The main motive in Bedächtig honestly captivated me - I always perked up at that spirited combination of flute, sleigh bells, and clarinet that came in and out of the
The choral writing and texture as well as the lack of counterpoint or difficulty to distinguish it resemble hymn passages which were incorporated into the concerto – particularly in the opening fifteen measures of the second movement, played by the string
The speaker started the poem by desiring the privilege of death through the use of similes, metaphors, and several other forms of language. As the events progress, the speaker gradually changes their mind because of the many complications that death evokes. The speaker is discontent because of human nature; the searching for something better, although there is none. The use of language throughout this poem emphasized these emotions, and allowed the reader the opportunity to understand what the speaker felt.
The complexity of this opera is witnessed straight away with the first few leitmotifs that are introduced. The most notable thing about these leitmotifs is that they are very strong both melodically and rhythmically. Each motif serves a purpose, and there is almost no musical phrase used without context.He successfully portrays emotion through musical development.
In Emily Dickinson’s poem “It Was Not Death”, Dickinson is stuck in a mental state of hopelessness and despair which she cannot define nor understand. As Dickinson does not know the cause of her anguish, she begins the poem by referring to her condition with an unidentified “it”, and throughout the poem she is trying to make sense of this “it”. The poem is written in ballad meter as it consists of four line stanzas that contain alternate lines of iambic tetrameter followed by iambic trimeter.
In this poem, the speaker’s encounter with death is similar to a courtship. In the first stanza of the poem the character Death is introduced as playing the role of the speaker’s suitor. In this way, this poem about death takes on an unexpected light tone, giving the reader a sense that the speaker is content to die and able to approach it with a sense of calm. Death’s carriage is also introduced in this stanza serving as a metaphor for the way in which we make our final passage to death. The final line in this stanza introduces a third passenger in the carriage. Both the uses of Immortality, the third passenger, as well as the use of Death are examples of personification.
...se on both the tenor and alto flute, one an octave higher than the other. While the return of the verse and the flute’s soothing sound give this ending a vague happy feeling, the contrast between the flutes’ pitches and timbres cannot help but leave the listener with a feeling of tension and apprehension over what will ensue.
Jumping right into the first line of the poem one sees that it begins by stating, “Because I could not stop for Death”. Since this line was selected for the title of the piece, it can be inferred that it must hold some strong significance. Over the course of this poem the reader is drawn to the concl...
To begin, the episodic shifts in scenes in this ballad enhance the speaker’s emotional confusion. Almost every stanza has its own time and place in the speaker’s memory, which sparks different emotions with each. For example, the first stanza is her memory of herself at her house and it has a mocking, carefree mood. She says, “I cut my lungs with laughter,” meaning that...
...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.
Frost uses it within this work to create a satisfying harmony of pleasing tonal qualities that enhance the mood. A good example are lines one and two of stanza three in which the poet gives voice to the little horse: “He gives his harness bells a shake / To ask if there is some mistake.” (9, 10) The H sounds make the reader force the wind from the throat in puffs, the S sounds breeze across the teeth and tongue briskly. These subtle, repetitive, rhyming sequences emphasize the light-hearted beat, and help to maintain a light-hearted mood throughout the