After listening to Bach’s Wachet auf, I was able to hear a four part chorus with an orchestra. The bar form for this work is A-A-B. Improvisation was very well liked in Baroque music. Bach used a tune written by another composer and used it as a melody. The tune heard is a chorale. While listening, I was able to hear clearly as the sopranos sing in a higher range, and then change pitches to a much slower rate than the other three parts of the chorus. The lower voices heard sing a complex, faster moving, imitative polyphony. While listening, there are three large sections of music, the first two are repetitive, and the third introduces new music. After listening to Cozzolani’s Magnificat, I was able to hear two soprano soloist performing.
Listening is an important skill that many people take for granted. Listening empathelicay means putting oneself in “someone else’s shoes”. Listening only to get information takes away much of what the speaker is saying, by being able to empathize with someone one is on the same wavelength. In this world, there exist many different cultures and subcultures. In Graciela Limon’s novel, Song of the Hummingbird, Huitzitzilin tells her story as Father Benito listens. She tells Father Benito the native view of what has happened- she tells him things that he has never heard of from his people. Huitzitzilin and Father Benito are products of two different cultures: Aztecs and Spaniards, respectively. Limon portrayed that the Spaniards didn’t even try to understand the Aztecs ways. Limon uses the literary elements of characterization, point of view, and internal conflict to show that in order to understand another culture, one must be able to treat his/her’s history with the same compassion and understanding as if it was their own's.
The silence hangs heavily in the air, creating a single moment where one can feel the weight of the absence of sound. But a lone D cuts through the stillness, a flicker of light amidst black oblivion. It is followed by eleven other notes, a simple melody, but one that will be the very core of one of the greatest musical masterpieces to ever be conceived. This twelve-note melody becomes entwined and enveloped in an intricate accretion of variations, counterpoints, and modified themes, all based on the original twelve-note motif. The entire collection of variations comprises what is considered to be Bach’s most ambitious undertaking, the Art of the Fugue, meant to serve as an intensive study of the fugue as an entity. Already a complex and multifaceted piece, Art of the Fugue gains a whole new level of depth and significance when placed inside its historical context, amidst the story of its creation and the demise of its creator. During the two hundred and fifty years of its existence, Art of the Fugue has acquired quite the reputation, as it has become enshrouded in a web of mystery and mystique. However, when we strip away these layers, the piece retains its magnitude, as the sheer mastery of the piece is enough to merit substantial renown and reverence.
The Baroque style of music was in prominence from the beginning of the 17th century until the mid-18th century. Some primary features of this style, particularly in the later years, include an emphasis on polyphonic textures and a continuity throughout the entire piece. Most compositions were created for specific events and sometimes written for particular instruments. (Kamien, 2015). The Trumpet Concerto for 2 Trumpets, composed by Antonio Vivaldi, is one example of these late Baroque style compositions and one we can use to analyze: the common elements, the overall effect, and the composer’s possible perspective.
Johann Sebastian Bach was one of the most famous German composers of his time. All of his work was mostly during the baroque era. The baroque period was from 1600 to 1750 and it is known to be one of the most diverse musical periods as opposed to the other classical music eras. It was in this era that “included composer like Bach, Vivaldi and Handel, who pioneered new styles like the concerto and the sonata.”(Classic FM) Johann Sebastian was born in the midst of the Baroque era as he was born on March 31, 1685 in Thuringia, Germany. Johann came from a family of musicians, which is how he himself became one as well. It was his father who showed him how to play his first instrument, which was the violin. His father was also a well-known musician in his town as he “worked as the town musician in Eisenach.”(Johann Sebastian Bach) It is known that Johann Sebastian went to a school that taught him
According to Rowell, "Musical composition became much longer, and composer were forced to evolve new means of maintaining unity and continuity over long time spans" during the Baroque period. Therefore, the texture of music became very important. When I look at the musical texutre of the Cantata No. 78 by J. S. Bach, I realized that this piece was unified very well within a movement and as a whole piece by many techniques. Some of those techniques were found in the text, and the others were in the music.
The truth can sometimes depend on the circumstance and the person who states it. When confronted with conflicting accounts or questionable details, a judge within the court of law must decide the sentence of an individual with these obstacles in place. In this case, the defendant Dannie McGrew has been charged with the murder of Barney Quill, but claims that it was self-defense. The following contains a thorough explanation as to how the judge decided upon the verdict of acquittal.
Questioning Reality in Richard Bach’s Illusions. The message of Richard Bach’s Illusions is based on the concept that the things we interpret in the world as reality are actually illusions. This is made evident to one of the main characters, Richard, through his interactions with his newly found friend, Donald Shimoda. Donald Shimoda is a “messiah”, and he has gifts that he uses to help mankind.
Brunner. This composition was also conducted by an Auburn University student. As soon as they started to sing it was very quiet and gradually got louder. While listening to this song I was immediately reminded of a hymn that you might sing in church. This work also was accompanied by a piano. The choir sang on a four-part canon throughout most of the song. When they were all singing different parts I instantly saw how talented they were by the way they could do that. At the very end of the work all of the men came back together as one and all finished in a bass voice. When they were all in bass voices you could hear the echo in their vocal cord which mad the composition that much
(TheRealConcertKing), the polyphonic contrapuntal style is apparent. However, it is accompanied by concerto grosso with use of the technique of terraced dynamics in ritornello form (Whitehouse 76). In Johann Sebastian Bach’s, “Brandenburg Concerto No 4 G major BWV 1049”(Classical Vault 2), the major and minor tonality is obvious, The terraced dynamic are clearly heard when the solo (violin and two flutes) play and when the full orchestra plays (Whitehouse 86). Author Whitehouse writes,” The immediate decrease in sound when the smaller group plays and a return to a full sound when the full orchestra plays” (Whitehouse 87). Bach also used ritornello form in “Brandenburg Concerto No 4 G major BWV 1049” (Classical Vault 2). Bach’s chosen ripieno is, tutti, solo, tutti, solo, tutti, solo (Whitehouse 8...
An invention in this context is really a short two- little bit of music, customarily instrumental, which shows off the composer's inventiveness in inditing polyphonic (multiple independent voice) music. Bach's inventions are the absolute most often played pieces in this genre. His two-part inventions were composed in Cothen around 1720. They certainly were intended not just as pieces for edifying "unsullied" playing of two (or three) part polyphony, but withal as types of composition. Bach engendered a complete of 15, 2- part inventions. Of those 15, I'd the ability of heedfully aurally perceiving number 6 in E Major. The musical composition is played on which I postulate to be the harpsichord or even a guitar. In the beginning impression, the musical composition seems just increase and down the scales. Starting slow and eventually expediting and then ultimately visiting a screeching halt similar to the life span of an elevator. I came across the melody might be broken into 3 sections: Measures 1- 20, 21- 42, and 43- 62. I verbalize this because each section appears to have its story to tell. Measures 1- 20 and 43- 62 seem to behave as an introduction and outro, with 21- 42 playing the human body of the musical composition and possessing the capability to be broken down further. Measures 9 through 13 of the initial section are intriguing to optically canvass due to the fascinating pattern. Optically canvassing measures 9, 11, and 13 you are able to visually perceive a consecutive dip in chord progression. Put simply, the chord in 9 is equipollent to 11, but 1 degree lower. The exact same rule pertains to 11 to 13 and the exact same relationship is available between measures 10 and 12. The cessation of the initial the m...
Johann Sebastian Bach was born into a family of musicians. It was only natural for him to pick up an instrument and excel in it. His father taught him how to play the violin and harpsichord at a very young age. All of Bach’s uncles were professional musicians, one of them; Johann Christoph Bach introduced him to the organ. Bach hit a turning point in his life when both of his parents died at the age of ten years old. Bach’s older brother Johann Christoph Bach took him in and immediately expanded his knowledge in the world of music. He taught him how to play the clavichord and exposed him to great composers at the time. At the age of fourteen, Bach and his good friend George Erdmann were awarded a choral scholarship to the prestigious musical school St. Michael’s in Luneburg. From then on, Bach began to build his career in the music industry. His first two years at the school he sang in the school’s a cappella choir. Historical evidence has shown that Bach at a young age would visit Johanniskirche and would listen to the works of organ player Jasper Johannsen. This was thought to have been the inspiration to Bach’s Toccata and Fugue in D minor. Studying at the prestigious musical school has help Bach network his way around and become acquaintances’ with some of the best organ players at the time such as Georg Böhm, and Johann Adam Reincken. Through his acquaintance with Böhm and Reincken Bach had access to some of the greatest and finest instruments.
3. BWV in D major. Johann Sebastian Bach wrote four Orchestral Suites. This piece is the second of the five movements that compose his Orchestral suite No. 3. The date it was composed remains unsure, as there is strong evidence that the writing of the piece was done during his years at Köthen, even though the piece is said to have been composed and premiered some years later in Leipzig sometime between 1727 and 1730 by his son Carl Philipp Emanuel Bach, one of his students and himself. Johann Sebastian wrote out the main violin and continuo parts, C.P.E. Bach did the same with the trumpet, oboe, and timpani parts, and Johann Ludwig Krebs, his student, finished with the second viola and violin parts. Regardless the authors of the piece, Johann Sebastian Bach ended up getting all the credit for the piece. Air stands out as one of his most famous and successful pieces of the Baroque period, as well as of his life. The beginning of the piece is one of the most recognizable melodies of the Baroque
A choir director must fix his own hearing, before they can get to ’first base’, with their choir members. They can do this by listening to some Bach chorales, then leave them for a week, come back and play them several times, then write them down on a manuscript. (p. 27)
A sinfonia (Italian for symphony) broadly refers to a number of instrumental works from the Baroque period, including symphonies, sonatas, canzonas, concerti, and Italian opera overtures. Even J.S. Bach titles his “three-part” inventions for harpsichord “Sinfonia”. Torelli’s Sinfonia in D (G.8) is a four-movement “concerto” for trumpet, strings and harpsichord continuo. Unlike a concerto grosso, where a main theme is presented and then reappears in fragments, the main themes of Sinfonia in D are developed rather freely. The second movement (Adagio) is a very short, slow, interlude without trumpet that introduces the third movement (Allegro). Hence, the program shows these two movements as “adagio-allegro” joined together.
This piece is by Johann Sebastian Bach, was originated in 1710, and finalized in 1721. It is the fifth piece in his Brandenburg Concerti, which is a set of six concertos sent to the Margrave of Brandenburg. They also use a concept of concerti grossi, meaning they are a form of baroque music in which the musical material is passed between a small group of soloists and a full orchestra. This specific piece in the first movement uses ritornello, a short instrumental refrain in a piece of work. I absolutely loved this piece and its use of instruments. It made me feel excited and entertained.