Accompaniment can affect the mood, atmosphere and interpretation of a dance. Using sections 1 and 5, discuss this statement. In section 1 we are introduced to the ghosts of the title. Straight away we hear the accompaniment of which is very quiet environmental sounds. They are the sounds of the whistling wind and raindrops, which shows a sense eeriness of the ghosts who we are introduced to after the accompaniment begins. The three ghosts that appear on the stage, dance almost straight away
The prelude is setting up the idea of a storm for the listener. This is emulated in the accompaniment by the staccato eighth notes in the first six measures before the text even begins. The tempo marking at the beginning of the piece is Langsam, which means slowly. Slow tempo allows the tension of the storm to build up throughout the piece. In measure 5, there is a forte piano in the accompaniment. The forte piano is a representation of a thunder clap or a strike of lightning. Before the
To consider a text setting in a song effective, all aspects of the music must work together. The accompaniment, motives, and text must all be one cohesive group. One excellent example of this is Schubert’s “Der Lindenbaum,” which allows each part to communicate with each other and create art. It allows the vocalist to convey the meaning of the text, while being supported by the accompaniment that continues the story. Schubert’s work also has sections that varied in tempo, dynamics, and character
given the form concerto by its name, he followed in the path of many twentieth century composers and used the name of a classical form but changed many basic elements of it. The classical example of a concerto form is a sonata with an orchestral accompaniment for an instrumental soloist. The classical concerto form generally consists of three movements, with the first being fast, second slow, and the third fast. The exposition of the concerto would be, “a double exposition played first by the orchestra
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... ... middle of paper ... ... 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
the title page, it appears as “Opus 37/12”, with the first number being Robert’s and the second being Clara’s. Clara Schumann’s Liebst du um Schönheit, directly translated to “If you love for beauty” sets a four-couplet poem to a very effective accompaniment. Liebst du um Schönheit is set, musically, in a modified strophic form: Introduction (mm. 1-2), A (mm. 3-10), A’ (mm. 11-18), A (mm. 19-26), A’’ (mm. 27-36), and Coda (mm. 37-41). Each section of the strophe can best be described as a contrasting
a backdrop to the trumpet and woodwinds, which pose and attempt to answer the “unanswered question”, respectively (Ford 17). Without this context, a lot of valuable insight would be lost in an attempt to analyze the work. The string ensemble accompaniment is incredibly slow and quiet. In fact, in the score itself, in the score
privileges justice, as the perspective of revenge being destructive is driven constantly throughout. Consequently, Disney is shaping the future generations with positive morals and ethics. A thorough examination of the film’s symbolism, musical accompaniment and plot reveal a constant thematic moral from Disney – that revenge is destructive. Symbolic colours and their representations are a key theme in Big Hero 6. Colour is a form of non-verbal communication. It is not a static energy, and its meaning
Cantoria of Brazilian Caboclo is represented by the different types of singing that are used by the Caboclo. The Caboclo are that part of the population of Brazil that came as a mix of the European and American Indian ancestry. For them, music plays an important role in social festivities, ceremonies and religious rituals, great part of these events are associated with the rural life of this population. Caboclo usually belong to the poor working class that live in the rural areas of the Northeast
for voice and piano features a soaring and delicate melody over a pulsing piano accompaniment. The piece is quiet and unhurried, while the poem praises the ethereal beauty of the night sky, and the gentle loveliness of the natural world on the earth below. Mondnacht is a poem and art song about dichotomies coming together. The poem contrasts the earth and the heaven, movement, and stillness; Schumann’s accompaniment mimics this distinguishing characteristic with the gentle contrast of the piano and
the upper voices come in as an accompaniment, which adds a shimmer-like effect over the melody. The melodic phrase is repeated numerous times and the harmonies are growing thicker. The section is building up and there is a slight sense of tension in anticipation for the next section. It then begins to gradually slow down, transitioning to the next section, which suddenly gets faster. The clarinet comes in with the melody, with very fast and scalic runs. The accompaniment is played by the violins, in
The melody initiates at 0:13 with a moderately fast tempo in which the king recalls his early stages of regality when he was universally acclaimed (“Viva La Vida”). Alongside the main melody, the stringed section produces the primary form of accompaniment, and drums help structure the tempo with a soft dynamic. Despite the relatively fast tempo, the guitars and violins form a timbre that acts in conjunction with the vocalist’s higher pitch to maintain a mellow atmosphere and avert a sense of disarray;
mysterious character of their name, Midnight Voices opens the album with a curious chant titled “If You Knew Us.” Beginning with a gradual fade-in, the group chants the puzzling phrase “If you knew us, then uh . . .” repeatedly and without any musical accompaniment. A steady rhythm is maintained throughout, even when the Voices modify their chant by including their names. After the chant is repeated a few more times, the group throws in yet another mysterious line, which further heightens the listener’s curiosity
Goizueta, Caminemos Con Jesús: Toward a Hispanic/Latino Theology of Accompaniment (Maryknoll, N.Y: Orbis Books, 1995), 202–203. Rifat Odeth Kassis, Forward in Ecummenical Accompaniment Programme in Palestine and Israel, “A Theological Reflection on Accompaniment” (World Council of Churches, 2005), 8. Ibid., 7. Unless notified all scripture references are from New American Standard Bible 1995 version. Justo
Rap and poetry have been living in the roots of human civilizations. Controversy regarding the two genres has surfaced in the recent rise in popularity of rap music. Rappers seldom deny the title of a poet, while poets often deny the title of a rapper. Although the two genres are very similar, they contain distinctive elements. Because of many contrasting qualities, rap is unquestionably a discrete genre and cannot be mixed with poetry. In rap, vulgar and offensive language appears often. Frequently
Lay All Your Love on Me (Andersson & Ulvaeus, 1981) from the musical Mamma Mia expresses the fiery, edgy and very sexy relationship between two already involved lovers. Through the exploration of musical elements including rhythm, timbral and accompaniment features and melodic techniques, it was proven that both songs are effective in promoting the idea of seduction, however, their ideas vary greatly,
expect from its C major tonality, the solo part has wide melodic leaps, long strings of harmonic sequences, and frequent arpeggiation. The opening and closing sections are built on a simple rising idea in the violin part, supported by a repetitive accompaniment which giving crescendos to a climax along with the soloist. The central section is sweetly
In that variation we notice Marie’s line no longer arpeggiating a G minor triad, but instead leads toward an F-sharp to C tritone in measure 28. Berg goes even further as to make that tritone the goal in the bass of the accompaniment as well, in measures 30-32. However, much like the underlying tonality of G in the first iteration of the second theme, this theme highlights the pitch D. While Marie’s line does not transparently arpeggiate a D triad, by beginning her line on
most prolific composers of the nineteenth-century German Lied. His reputation is based not only on his extensive output of songs, but also on the uniquely beautiful style characteristics he infused into each one. His lyrical melodies, descriptive accompaniments, and ability to capture the mood of a poem make his songs rich material for analysis, but also very accessible to the performer. Du bist die Ruh, which Schubert composed in 1826, exemplifies these characteristics and serves well as a representative
achieved all that was possible in this field, he turned in 1918 to six of Brentano’s original poems. Inspired by their highly charged imagery, Strauss produced not only some of his most virtuoso vocal writing, but a series of intricately woven piano accompaniments that clearly owe their richness and fluency to his many years of writing for the opera orchestra. A musical characteristic of these songs is their constant forward motion and organic extension of the melodic lines illuminating somewhat obscure