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Essay historical of piano
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Discovery A
1.) Ros, Irupe Tarrago
2.) AQ045 - ARGENTINA Irupe Tarrago Ros: Jazmin - Pequena cancion (after R. Schumann)
3.) The unaccompanied solo piece resembles that as described under unacompanied solo by Eckhardt-Gramatte in unit II of chapter 2. In Die Kranke und die Uhr or "The sick girl and the clock", we can visualize what the girl is going through as the song paints a picture, just as Pequena cancion. To me the song sounds very homophonic as one part supports the other. Since the piece is less than 40 seconds long there is not much time for development of the sound but it seems to follow a strophic form and would begin to slowly repeat itself.
4.) This piece was found using a random draw click and browsing through the composer's
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The piece sounds much like other madrigal music but only used male voices. The piece stems from the nearly 300 years after most madrigals but similar tones and voice types. The piece also seems to take on the theme and variations form in how the sound seems to repeat itself.
4.) In hearing the song for the first time it brought me back to our mens ensembles in high school and all the fin we had. The sound was so nicely blended it really grasped me. The second time through the structure of the music formed as I noticed that it repeated itself.
Discovery G
1.) Conlon Nancarrow
2.) OM1002-2 - NANCARROW, C.: Lost Works, Last Works (Nancarrow) - Track 1: Prelude
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It wasn't until the second time through that I watched closely to what was going on and attempted to grasp the message that was being conveyed. It begins with a man in a black robe singing to a group who appear to be his peers until a woman and another man appear. They sing to one another and appear to be declaring their love for one another while he watches. They eventually leave and he is left to alone and appears to be heart broken over their appearance. Then the couple make there way back into the act and are accompanied by many others who sing for the couple as a dancer in a red gown entertains them. The couple then drinks together until the man in the gold robe gets a letter that angers him and he rips it up. From them on the couple seems to converse back and forth until the entire group joins them and act I is finished. The piece seems very dramatic and the remaining acts I'm sure would not disappoint. The conductor does a very good job at keeping the opera lively and convey the overall tone of what is happening very
Overall I truly enjoyed myself at the opera. It gave me a new perception on plays and operas, before I went I thought it would be cut and dry and I would be ready to leave as soon as I got there, but it was the complete opposite of that. I laughed, I wanted to cry (but I didn’t), and I felt the energy from the stage. I did recommend this opera to some of my friends and I will recommend it to more people because it was really, really good. All of the music was well executed and performed beautifully. I can see myself checking out more operas and plays here at USC, they are really good way to spend an evening enjoying classical music and a good show.
The play begins with the monologue of the judge explaining the courtroom case circumstances. It explains the situation that the jury is to determine if the 18-year-old boy is guilty or innocent of murdering his father, and that if the boy is convicted, he will receive the death penalty. It is mandatory for the jury to have a unanimous verdi...
The central theme of the play is romance. The characters all experience love, in one way or another, whether it be unrequited or shared between more than one person. The plot is intricately woven, sometimes confusingly so, between twists and turns throughout the multiple acts, but it never strays too far from the subject of adoration. Despite the hardships, misperception and deceit the characters experience, six individuals are brought together in the name of holy matrimony in three distinct nuptials. Sebastian, the twin brother of Viola who was lost at sea after a shipwreck, and Lady Olivia are the first to marry, but things are not as they seem.
The music and sound effects are in the same pont with what the author nedded to say in that play. In the smok and sword fight on the first act we thought will be a play where every body is confusing and fight each other. The phone ringing all the time and this help the actors to play around in the hury and action come up with rehearsal process. The purposes of the phone is any time we heart that something is going to happen, so we expectin to change the sequence in the play. Ringing the phone open a problem, hanging up the phone close the problem. Opening and shoutting the door of dressing room as a slamming it create for the audience understanding the flow of the show and leaves the flexibility as we see white and black to the performance. Crying with tears make the player dramatic, but afraid of discover which it trying to keep things together laughting and
Is one of Heads more popular vocal works. This song is from a collection of works; Songs from the Countryside. The ritard in a the opening system and then a quick follow by the a tempo marking creates vivid word painting and puts emphasis on the lyrics money. The intensive use of accents and use of textual markings of this composition make it a great example of a 20th composition. In this case the dynamic and textual markings poses a great dimension of context as instruments were at this time capable of almost anything. A definite characteristic of the 20th century and a characteristic of this piece is the variety in mood, textual markings and accents on majority of the notes.
This is how I heard the music, piece by piece with some help to understand and ...
It is also the piece that had enough of an effect to make the evil man go away, in the film, Fantasia. My strongest reaction to this piece, is the warm and chilled feeling I get hearing it. The idea of developing “chilled” bones from music is amazing. I arrived at this certain place, by truly diving into the song. I really listened to it, and could hear the seriousness in the singer’s voice. I could hear and understand the passion that the musicians felt when they pressed the piano’s keyboards. The singing, along with the instruments complimenting, is astonishing. I caught myself listening to this piece during the interview, and I could imagine even an evil monster falling in love with this tune enough to turn good. I felt the drama and power in the singing, and the seriousness in the playing of the
This opera tells the story of a man’s infatuation with a woman that throws her heart away to any man that picks her fancy. Jose in general is a confused man torn between his mother, Micaela, and Carmen. Being a “momma’s boy” does not help his situation in the least. Jose starts caring for Micaela because his mother wished it so. Carmen comes into his life and he is dumbstruck with lust and that eventually turns into infatuation. By the end of the opera Jose becomes wild with crazy obsession for Carmen. However, Carmen is also looking for a love that will be hers forever. This is why she is continually juxtaposing love and lust. Carmen makes a statement early in Act I that “I will die for the one I love”. By the end of Act IV she loves Escamillo and ends up dying for him.
The first aspect of the music I recognized was the volume, or the dynamics. It ranged from forte during the climactic moments to mezzo piano during the calmer parts, but mostly remained in this range throughout the concert. There were also several instances of crescendo and decrescendo, which served to build up tension or slow the piece down, respectively.
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...
Many say that music has evolved over the years. This essay shall explore the elements of two versions of one song. It shall discuss the correlations and disparities of these songs and confer how it has been revolutionised to entertain the audiences of today.
3 is the second movement of the piece. It lasts around five minutes of the total 22 minutes of the whole Orchestral Suite. Air is written for Trumpet, timpani, oboe, violin, viola and continuo. It is written in major key. The meter is duple, and I would dare to say that it is quadruple. The texture is polyphonic. It has a slow tempo and there is no presence of accelerando nor ritardando. The harmony is consonant. Melody is conjunct and peaceful. Has a lot of repetition. The melody is consistent. The string instruments are prodminant 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
The second piece, Paratum Cor Meum, was a much shorter piece with very few lyrics. It was interesting to hear a piece by Haydn, since we had discussed this composer in class. I was impressed by the choir members’ ability to remember words in another language, and I enjoyed the sounds of the piano accompaniment.
...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.
In keeping their vocal chords in between the minor and major scale, creating a subdued harmony, it is easily distinguished how the first part of the composition, we can hear the violins’ gradually keep their tempo in a relaxed but yet happy momentum. From 00:00 till 4:31 We can identify what the strong bass being played right after the violinist end their notes, I fee like this was included in the composition to help the bass player to solidify the violinists ends and its sound my profound it at the endings only. The second part of the music composition is played in A-Major, in this part of the section the composition takes a more harmonic but longer interval with an upbeat turn. Here the momentum picks up in certain phrases, making the listeners get excited. When I was listening to this part, I was able to disguising the anticipation of the coronation. It felt as though, I was physically witnessing the coronation of James II occur. The way the musical composition is played is highly soothing and remarkable because at the start of the second section, the composition starts of with a melody that has a long tempo which ends to start up gradual