Aria Research Paper

Aria Research Paper
An aria meant any expressive melody, usually performed by a singer. It is typically featured in
opera, but also in oratorios and cantatas. The word 'aria' comes from the Greek and Latin 'aer' (air).
Late 17th century:
From simple melodies, arias evolved into structured forms. The differentiation between recitative
and aria is formed. The recitative is more speech–like, telling the story while the aria is sung,
melodically expressing emotional reaction to happenings of the story. The aria became a chance for
singers to show their vocal skills.
There were mainly two forms of arias– binary form arias (A–B) and arias in ternary form (A–B–A).
In ternary form arias, the 'B' section is usually in a different key such as the dominant or relative
major. Other ... Show more content on Helpwriting.net ...
The French ariette(usually a relatively simple ternary form) was formed as French opera became
strongly influenced by the Italian style.
In Opera seria, the setting of arias to the different roles were highly structured and set. Whereas in
opera buffa (comic opera), arias were often specific to the nature of the character being portrayed.
As such formats settled, a German composer Christoph Willibald Gluck believed that both opera
styles had become unnatural and lost their original form. Opera buffa were made up of too many
stereotypical characters and bad jokes while opera seria contained too much superficial vocal effects
and boring plots. In opera buffa, the vocal lines were often decorated so much so that the original
tune could no longer be recognised. Therefore, Gluck aimed to bring back the original focus of
opera which was on drama in humanity, passions and the equal value of music and text. The later
works of Mozart can be seen to be affected by these ideals, where arias develop far more on
characters' emotions and enriching the telling of the story.
19th
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Classical Era Research Paper
The Baroque and the Classical time era differ greatly due to the fact that they are close to 2000 years
apart. The Baroque era started with a texture as polyphony and gradually shifted to a homophony.
This era of music was all about emotions and expression, through the use of instruments sometimes
with voices as well. It started as very intense music, shifting between extremes, but eventually
became more standardized with predictable forms and procedures. Everything was done with
elaborate decoration and was very extravagant. The Baroque was very dramatic, just as the Classical
era was when performing either an opera seria or an opera buffa. The Classical era was created and
alive during the Enlightenment. This era was more about clarity and ... Show more content on
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The Baroque styles were more grandeur due to the fact that they were often created for special
occasions such as operas for royal weddings or cantanta for religious services. An important
creation during the Baroque era was the major minor tonality, which became the most powerful
force in music. It helped shape a musical structure and allowed forms of instrumental music larger
than ever before. Other contributing factors to the style of this era were the bass continuo, which
provided foundation for where a vocal or instrumental melody could unfold, and equal
temperament, which made it possible to play in every major and minor key without sounding horrid.
Within the Classical era the style was much more elegant. They tried to achieve clarity within their
music by the use of repetition and the frequent use of sequence. The sounds were all very bold and
most had a steady tempo. The opera seria, serious or tragic opera, was mainly demonstrated by
recitative and aria, while the opera buffa, comic opera, had more down to earth plot lines. Both
Baroque and Classical used operas to convey emotions. Although the operas were widely different,
each had a libretto trying to achieve a sense of connection with the

Comparing Whitman And Dickinson's Poems
1. The difference in tone found in Whitman and Dickinson's poems is in Emily Dickson's poem "I
like to see it lap the miles," the tone is playful and it is a riddle comparing a train to some sort of
animal. In Whitman "To a Locomotive in the Winter," the tone is happy and admiration as he uses
singular pronouns "thy" and "thee" in the beginning of the story. His poem celebrates the industrial
achievement symbolized by a mechanical machine "the steam locomotive" which is a train. 2.
Dickinson compares a train to a "son of thunder," although other lines make the train seem playful
and childish, the word omnipotent tells of the power and destructiveness behind it. It makes the tone
of train commanding and powerful. 3. A recitative is a narrative

Music And Music : The History Of Music
The history of music has been traced back by researchers to before 2,500 years ago. It was used by
the earliest human civilizations known to mankind. Our ancestors used music to worship and
practice religious texts. With the use of music in ancient times, it has paved a pathway for artists of
all types to express themselves without having to verbally speak. While music was created mainly
for religious reasons, it has developed throughout time and there is now over a thousand types of
musical genres. New styles of music were not introduced to the public until after The Middle Ages
in an era called the Renaissance.
The Renaissance, which occurred during the early fifteenth century, led the population to have a
refreshed attitude and perspective of art forms. As a result of the Renaissance, more people
considered music as a serious art form and a way to demonstrate their feelings. Instrumental music
and dance music was created at this time to sway away from the previous church music. Music used
for pleasure and entertainment would later inspire music artists to compose a new style of music
called opera.
After the end of the Renaissance, the Baroque period took place around the year 1600. This music
overtook Italy first, but later the majority of Europe because of its sophisticated and advanced form
in comparison to the music of the Renaissance. One of the styles of music that emerged during this
time was that of opera. This music, that originally started in Florence, created

Beethoven's Ninth Symphony Essay
Beethoven's Ninth Symphony
I attended Beethoven's Ninth Symphony on October 14, at the Bass Performance Hall in Fort Worth.
The Fort Worth Symphony Orchestra, conducted by Miguel Harth–Bedoya and Southwestern
Seminary Oratorio Chorus, directed by C. David Keith, performed it. Ludwig Van Beethoven
composed the work. He composed it between 1811–1824. Beethoven composed the work in D
minor, Op. 125 ("Choral"). His Ninth Symphony was his last symphony to compose. It was
preceded by eight other symphonies. I was attracted to this work because it was the first symphony
to include a choral. I found it astonishing that Beethoven was completely deaf when he finished this
work. The first movement is in sonata form – Allegro ma ... Show more content on Helpwriting.net
...
Then follows a scherzo with trio – Molto vivace – also in D minor. The scherzo itself is in sonata
form with all parts repeated. The octave tuned drums immediately announcing the important role
they play in the tonality of the movement as a whole. Then follows a hushed fugato, which serves an
introductory purpose as the full force of the orchestra. Then follows a more harmonic path with the
utmost vigor. The second subject in C major adds an unusual harmonic flavor. The trio has a quasi–
pastoral flavor, The trio is played only once, although Beethoven fools us into believing we will
here it once more at the end, like in the first movement but it abruptly ends. The third movement –
Adagio molto e cantabile – is quasi–variational similar and involves two themes: Adagio molto and
Andante moderato. Both themes are of unsurpassed beauty. There is no link musically between the
themes. Indeed it seems that contrast serves an important function in the movement as also seen in
the two dramatic fanfares hear towards the end. The finally movement and my favorite of the four
movements, Beethoven lets the cellos and basses 'talk' in a gruff recitative that passes judgment on
the themes of the first three movements. The recitative then halts and slowly, out of this darkness,
the 'joy' theme is heard. As the theme commences, the other instruments of the orchestra become
involved and the theme is evolved into its ideal instrumental form. But what does

Orfeo Tu Se Morta
The Baroque piece Orfeo: "Tu se morta" is classified as opera recitative, in this piece the singer
delivered sad news to Orfeo through speech and drama. In this piece the voice of a tenor is
predominant, but it also accompanied by organ and lute. Voice and some of the instruments heard
and the vocal line is accompanied by a basso continuo. In order for the audience to understand the
message, the texture used was homophonic and the word painting is clearly used described the past
and future events such as how Euridice died and what Eorfeo was going to do in order to be with his
wife in death or bring her back. Up until this moment, the piece went slow and stable in rhythm, but
his end action brought different drama to the recitative. On the

The Overlooked Richness of the Recitatives of Bach's...
The Overlooked Richness of the Recitatives of Bach's Cantata 78
In "Expressivity in the Accompanied Recitatives of Bach's Cantatas," George J. Buelow writes that
although many of the distinguishing properties of Bach's music have been studied over the years,
few scholars have examined Bach's recitatives or have given them proper credit. He notes that these
recitatives generally either are ignored by musical scholarship or are briefly discussed with "general
errors" or "confusion." 1 For example, he cites Jack Westrup as stating that Bach's recitatives are
"basically an adaptation of the idioms of Italian opera" (19), and he mentions others who term them
"improvisatory" or unrelated to the text. Buelow asserts that "informed ... Show more content on
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Some of these instrumentally guided recitatives even contain arioso segments, melodious passages
that may seem out of place in a standard recitative. Two such recitatives that Buelow does not
mention are the intriguing movements 3 and 5 of Cantata No. 78. In the first of these two examples,
the arioso section lasts for the last four and a half bars of the piece and helps show the shift from the
sinner's inner monologue to an outward presentation of his grief to Christ. In the second, the arioso
spans the last dozen "andante" bars of the piece and illustrates a similar shift from the text's
discussion of Christ's strengthening of mankind through his suffering to an individual's placement of
his own suffering heart before Christ.
To most Baroque theorists, recitatives were simply a form of sung speech, an "oration in tones" (25).
Buelow points out that while Bach is a skilled rhetorician, he is also unusually sensitive to words in
his recitative style, finding "such a variety of musical and rhetorical means to express them," an
atypical accomplishment for the Baroque period (26). Buelow notes several approaches that Bach
takes to express his text as he looks in depth at a specific cantata. Cantata No. 78 reveals similar
trends, demonstrating Bach's expressivity through vocal and instrumental

The Effect of the Lyrical and Musical Reciprocation in...
The Effect of the Lyrical and Musical Reciprocation in Bach Cantatas 106 and 80 Johann Sebastian
Bach was an 18th century composer, not a theologian, yet there are few men in the history of the
world who have so thoroughly captured God's character and even fewer still who have so
passionately impressed that character upon men's hearts. While the music or lyrics of his cantatas
alone are often enough to stir a man to action or reduce him to tears, it is the relationship between
the two that truly seems to reflect all that encompasses God's greatness. Two of Bach's most
renowned cantatas, "Gottes Zeit ist die allerbeste Zeit" (BWV 106) and "Ein feste Burg ist unser
Gott" (BWV 80), are prime ... Show more content on Helpwriting.net ...
Since it was written for a funeral and is one of his earlier works, nearly all the text is based on the
Scriptures, although who compiled the texts is subject to argument. Some have suggested Bach
himself, since so few of the lines required original poetic or literary thought. In any case, it was not
Bach's primary task to write the lyrics, but to match a style of music with those lyrics. He does so
masterfully. Bach opens the piece with a slow string (viola da gambas) and continuo sonatina in 4/4
time, which is very pastoral and peaceful. Following the strings intro is a beautiful recorder duet
adding to the tenderness and gentleness of the piece. The two recorder parts are very close to each
other sometimes moving apart from unison ever so slightly so as to get an effect that the two are
being interwoven forming a long chord or rope, perhaps signifying that life does not end with death
but only begins. It is not a sad piece written for a funeral, it is instead more empathetic and soothing,
reminding us that death of a loved one is painful for us but for the one who has died, it is only the
beginning. After the introductory sonatina there is a 4 part chorus reminding us that it is God's
choosing when we should go and that the time of his choosing is always best. It starts at a moderate
pace in 4/4 time but soon picks up pace and changes to

The Life and Musical Influence of George Frideric Handel
George Frideric Handel was born musically inclined. As a child he was deprived of musical
instruments because his father wanted him to pursue the law profession. However, George was
allowed to take music lessons from a local organist, by the name of Friedrich Wilhelm Zachau, after
Handel had impressed the Duke when he played the organ at the chapel. In his following years,
Handel would travel to many places, accepting many different musical occupations. As Handel
traveled, he was introduced to many of his musical influences. He wrote operas, oratorios, anthems,
secular cantatas, and also wrote scarred music. Throughout his life, Handel would become famous
for his compositions, particularly for his English Oratorios, however the most popular ones today
include: "Messiah", "The Water Music", and "Royal Fireworks."
George Frideric Handel made an incredible impact on several other well known musical composers.
"He has generally been accorded high esteem by fellow composers, both in his own time and since.
Bach apparently stated, " He is the only person I would wish to see before I die, and the only person
I would wish to be, were I not Bach." Mozart is reputed to have said of him, "Handel understands
effect better than any of us. When he chooses, he strikes like a thunder bolt," and to Beethoven he
was "the master of us all...the greatest composer that ever lived. I would uncover my head and kneel
before his tomb." (Classic Cat, Legacy)
While he was taking lessons with Zachau

Monody Context
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The concept of monody was detrimental in the progression of music from the Renaissance era into
the Baroque, shaping operatic arias into what we know them to be. Monody is a musical texture
consisting of a single solo voice, supported by a free instrumental bass line. The voice line is often
simple yet ornate, using embellishments to motivate the ideas of the libretto. Whilst having simple
chordal accompaniment – usually played on a lute, harpsichord, guitar or harp – the listener can be
focused on the text and meaning of the recitative and aria. Two of the more noteworthy
developments of the transition from the Renaissance era to that of the Baroque, was the step away
from choral music, and the introduction ... Show more content on Helpwriting.net ...
The piece is about love, betrayal, death and anguish. You can see in Figure 1 the figured bass and
singular bass line. This is an example of baroque notation and the freedom that the accompanist had
in harmonization and improvisation. Another well–known solo madrigal of the Baroque era is
Giulio Caccini's 1602 piece 'Amarilli mia bella' from Le nuove musiche. Caccini spent most of his
life in Florence, Italy – said to be the heart of Baroque music. He spent a lot of his time as not just a
composer and singer of the Medici court, but also a spy for the youngest son of the Grand Duke of
Tuscany, Pietro de'Medici. Caccini was supported by other Florentine nobles, one being Giovanni
de'Bardi – leader of the Florentine Camerata . 'Amarilli, mia bella' is an emotive song expressing
love for the singer's betrothed, Amarilli. Based on the Greek myth of Amaryllis, falling in love with
Alteus, a shepherd. Alteus, however, is only interested in the mountainside flowers she is picking
and says he can only fall in love with a girl who brings him a new flower. The story goes Amaryllis
takes the advice of the Delphi Oracle, each night waiting on Alteus' doorstep, stabbing

Unity in Bach's Cantata No.78
Unity in Bach's Cantata No.78
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.
First of all, the text is well organized in terms of its unity. The piece has seven movements.
According to Fuller, "The first and last movements adopt the text of an established ... Show more
content on Helpwriting.net ...
As a length of piece gets longer, a composer needs to come up with more techniques to maintain
unity. In case of the first movement, which is 144 measures long, Bach uses the technique of
"variation over the common bass line." The common bass line is a descending cromatic phrase. At
the beginning of the movement, this phrase is played by the continuo part. After it is repeated twice,
the oboe takes over the phrase. Then, when the voices start singing, they begin with a short
descending cromatic phrase. This descending cromatic phrase is played by different instruments at
different time, and sometimes it disappears, but it always comes back in the music until the end of
the movement. By composing variations over this descending cromatic phrase, Bach keeps the unity
of the longest movement among the whole Cantata No. 78.
At last, the first movement and the last movement have a very strong relationship to keep unity as a
whole piece. One of the two factors is that the melody from the last movement is sung in the several
parts of the first movement. In the first movement, soprano always sings at the end of the phrase
without any repeated word from the text. The melody of the soprano line is always the same melody
as the last movement, and the soprano sing the melody in the same order as it sung in the last
movement. For example,both movements are constructed by eight verses, and the melody of the
first

Parts Of An Opera Research Paper
Parts of an Opera: The Singers and Structure
Considering the many parts of an opera, it's no wonder that people often get confused–––the genre
stretches back to the very end of the 16th century and has changed dramatically over time. From
lyric sopranos to basso profundos, we've put together a guide to the types of vocalists you would
probably see at the opera today, paired with famous roles featuring those voice types.
We also included a quick overview of the structural parts of an opera–––the overture, arias,
recitatives, and chorus numbers are all included. We hope you feel right at home the next time you
visit the opera!
The Parts of an Opera: The Singers
Imagine walking home after community or high school choir rehearsal and someone ... Show more
Historically, the baritone most often fills a comedic role and can also play heroic parts that
complement the tenor. Baritone voices are warm and rich–––think of a cello in the string family.
The Toreador Song from Carmen's Bizet is a famous example of the baritone voice, and Nabucco
and MacBeth are also well–known operas for baritone.
The Bass Voice
At last we come to the bass voice–––the anchor of the vocal family. The bass in an opera rarely
enjoys heroism or much of a love life, since composers prefer to give basses the role of a villain. A
voice is generally considered a bass when it reaches the second E below middle C.
As with the other voice types, the bass voice is divided into subgroups. Basso Cantante refers to a
"singing" bass voice, while the Basso Profundo is the lowest and deepest of the basses. Basso Buffo,
or the "humorous" bass, and the hoher (high) bass round out the family.
Famous bass roles include Duke Bluebeard from Bluebeard's Castle(Bartok), Gounod's
Mephistopheles from Faust, and the title role of Don Giovanni by Mozart. As you have probably
guessed, Wagner wrote significant Basso Profundo roles into his Ring Cycle.
The Structural Parts of an

Essay on Opera
Imagine you are in a darkened theater and on stage are the actors. Behind the actors you can see the
scenery. Down in front of the stage, in what is called the pit, is an orchestra and a conductor. As the
orchestra plays, the actors on stage do not speak their lines they sing them!
Opera is the combination of drama and music. Like drama, opera embraces the entire spectrum of
theatrical elements: dialogue, acting, costumes, scenery and action, but it is the sum of all these
elements, combined with music, which defines the art form called opera.
Operatic dramas are usually serious, but there are several comic operas and funny scenes in tragic
operas. The music is usually complicated and difficult to sing well. Only the most skillful ... Show
more content on Helpwriting.net ...
Jean–Philippe Rameau, George Frederic Handel, and Christoph Willibald Gluck were the most
significant opera composers of the first two–thirds of the 18th century. However, their works were
surpassed by the brilliant operas of Wolfgang Amadeus Mozart. In the early 19th century,
Gioacchino Rossini and Gaetano Donizetti dominated Italian opera. In the later 19th century the
greatest works were those of Giuseppe Verdi and Richard Wagner. Wagner, with his bold
innovations, became the most influential operatic figure since Monteverdi. Richard Strauss and
Giacomo Puccini wrote the most popular late 19th– and early 20th–century operas. Though the
death of Puccini in 1924 is often cited as the end of grand opera, new and often experimental
works–by composers such as Alban Berg, Benjamin Britten, Gian Carlo Menotti, John Adams, and
Philip Glass–continued to be produced to critical acclaim. Opera entered the 21st century as a
vibrant and global art form.
The first roots of modern opera first appeared in Italy in the 17th century from the Camerata (an
academy of Florentine poets, musicians, and scholars). The Camerata, inspired by ancient Greek
drama, sung dialogues and choruses which were accompanied by musical instruments. The
Camerata developed the "stile recitative," in order to integrate drama, action, dialogue and narration.
In this "sung speech," a singer delivered a recitative melody with an actor's dramatic and oratorical
skills, achieving the goal of providing

Comparing Opera Seria to Orfeo Ed Euridice by Gluck and...
Orfeo ed Euridice by Gluck, was written in 1762 and The Marriage of Figaro by Mozart was written
in 1786. It is interesting to analyse the changes and developments from opera seria to these two
examples.
During the eighteenth century, composers wrote in a style of opera called opera seria.' Opera seria
had the following characteristics:
They used similar plots involving a hero and usually some sort of conflict of human passions, and
these operas were often based on a story from an ancient Greek or Latin Author. The opera always
consisted of three acts with alternating recitatives and arias. To show the virtuosic skill of the singer,
cadenzas were used within arias. The action was created from the dialogue within the recitatives, ...
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There were also stricter demands of the solo singers. The two mid eighteenth century composers,
Jomelli and Traetta played a big part in the reform of Italian opera in the late 18th century by
influencing the French towards opera of a more international flavour.
Born in Bohemia, Gluck built a more international style of opera. He was strongly affected by the
movement of the reform in the 1750s. He became court composer to the Emperor at Vienna after
visits to London and studying under Samartini in Italy. After a collaboration with a poet named
Raniero Calzabigi, Gluck composed two of his famous operas, `Orfeo ed Euridice' in 1762 and
`Alceste' in 1767. Gluck's aims were to remove the unpopular characteristics of opera seria, as
shown by his famous quote:
"To confine music to its proper function of serving the poetry for the expression and the situations
of the plot"
He removed the overuse of da capo aria or the showing off desire of the singer; he also broke down
the contrast of the recitative and aria and gave his opera more dramatic relevance than had been the
case in opera seria:
"I believed that my greatest effort should be directed to seek in a beautiful simplicity ...and there is
no accepted rule that I have not thought should be gladly sacrificed in favour of effectiveness."
One important way, in which Gluck reformed opera, was the use of his choruses as we can see in the
beginning of Orfeo ed Euridice. Example below.

Recitatif Character Analysis
In Toni Morrison's short story "Recitatif", the story revolves around two girls, one white and the
other black, and how their social status affects their way of life. The narrator, Twyla, has five
significant instances in her life where she is in a setting with her childhood best friend, Roberta.
When they first met at the orphanage, they disliked each other, but because both of them still had a
parent to their name, they were seen as social outcasts to the other children of their orphanage.
Through their social disgrace they became friends and helped each other out. As they grew up, their
lives were distinctly different with Twyla living the life of a lower–middle class citizen while
Roberta was living a lavish lifestyle, creating conflict between the two. In the end, there is a slight
sense of reconcilement in that they clear up a misunderstanding of their past, but there is an open
question to what had happened to an element of their past. ... Show more content on Helpwriting.net
...
This brings understanding to the title "Recitatif", the French word for recitative. Recitatives would
be the style in which the person who is speaking is allowed to use ordinary speech in the middle of
the piece they are performing (such as a play, oratory, or act). For this short story, it would be
moments of Twyla's life that include Roberta. The distance between them has grown and they are no
longer a part of their daily lives. This story would be Twyla's recitatif because it is when her
everyday life has taken a change and Roberta appeared in her

Essay on Mozart and Die Zauberflöte
Wolfgang Amadeus Mozart, the Austrian wunderkind, was an accomplished and magnificently
gifted musician. He is attributed with the composition of 22 operas in his 35–year life, but his most
successful theatre work was his last. Die Zauberflöte, completed in 1791, was written specifically
for the Theater auf der Wieden in Vienna. The theatre housed a troupe of actors led by Emmanuel
Schikaneder, a versatile actor and writer who crafted the libretto of Zauberflöte and portrayed
Papageno at its premiere. Zauberflöte was written in the singspiel operatic style; the libretto is in the
vernacular – German – language, spoken dialogue is interspersed with recitative and aria, and there
is a folk–like strophic style in the music. Schikaneder had ... Show more content on Helpwriting.net
...
The rest of the orchestra enters; the high woodwinds take the fugue theme while the lower
instruments emphasize each downbeat with familiar chordal movement. The fugue enters the
development section and twists through a variety of major and minor tonalities. Mozart delays the
recapitulation by inserting three Adagio major chords repeated three times. Now the 'magic number'
is made blatantly apparent. The second Allegro opens, in Bb this time, and the anticipation build as
Mozart introduces dramatic dynamic contrast and contrapuntal texture. The overture ends in its
original key, with three pronounced Eb major chords accentuating the triumphant conclusion. The
curtain rises on a rocky terrain with a frightened Prince Tamino crying for help ('Zu Hilfe!). A
terrible serpent is pursuing him, and the key of c minor emphasizes his fear. The orchestra lays the
scene with descending scales and sudden dynamic changes until the Prince succumbs to his fright
and passes out. Three handmaidens of the Queen of the Night slay the serpent and resurrect the key
of Eb ('Triumph!'). As they inspect the fallen Tamino, each maiden develops a love for him and a
brief Allegretto in 6/8 time ensues. Mozart shifts to G major for this section, possibly because this
key rests a third above Eb major. This forms a quasi–tonal triangle, which began in c minor,
ascended a third to Eb major, and rose a third time to G major.

Personal Narrative
On last Friday, I went to Millennium Park at 7:30 P.M. to see the lyric opera to enjoy Friday night
with my girlfriend. As Professor told us, I brought wines, glasses, and a blanket to seat down on the
park. I arrived there at 7'o clock. I could see a lot of people crowded in that area; some people
brought their tea table, chairs, foods, and wines. While I was surprised on what I saw, I tired to find
our seats to see the amazing opera that thrilled me over the weekend. First, I want to say this opera
was the glorious opera. It started with a instrumental song. I could hear a violin sound that caught
me while hearing the instrumental song. And they begun the opera with this lyrics: "This place is
perfect for lovers to meet." I felt

Dido's Lament
Didos Lament
&
Messiah: Ev'ry Valley
By: Tabitha Watkins
ARTS/340
Mood is the affections (to impress the mid or move the feelings of our emotions, emotional
response). Composers of this time shaped or molded a musical language to depict the affections.
Music is written to fit the needs of society in our always changing world. Church music during this
time was very elaborate and music was usually only heard in the churches and if you were wealth
enough during that time you could go hear music in public opera houses. Religious music was a
huge part of baroque era; it saw the creation of tonality, made changes in musical notation, and
developed new instrumental playing techniques.
Didos Lament composed by Henry Purcell is an opera ... Show more content on Helpwriting.net ...
This piece is based upon the scriptural text from the King James Bible it was first performed in
Dublin in 1742; Handel makes use of the renaissance technique of word painting and multi–part
polyphony. It uses fascinating word painting and is repeated throughout the piece. This piece comes
from the oratorio called Messiah; it is the third piece of Messiah. It is the combination of
homophony and polyphony with the addition of two trumpets. There are also two oboes, two
violins, a viola, and a basso continuo. The use of basso continuo (instrumental accompaniment)
requires a chordal instrument and a thoroughbass.
When we put Purcells Didos lament next to Handels Messiah in order to compare and contrast them
you will notice some interesting things; to start they are both a different genre since one was created
during the Baroque time period and the other in the classical, obviously they are both composed by
a different person, Didos lament is an opera aria whereas Ev'ry valley is an oratorio aria. Operas
purpose is secular entertainment which is usually performed in a theater and is fully dramatic with
staging and costumes. Oratorios purpose is sacred entertainment which is also performed in a
theater but is a concert type. The both have the same musical form of a recitative and they are both
accompanied by an orchestra. Both the opera and Oratorios were made around the same time. To
make it a little

Printing Press Impact
The printing press is often overlooked when it comes to the impact it had on music and music
notation. The first impact the printing press made on music was making reproduction of music more
widely available. This made it easy for the average person to read, sing, and play music. The
printing press made it possible for composers to distribute their music. This led to the ability to
purchase music from varied artist. Finally, the printing press allowed for music to be at social
events. With the printing press people could gather with family and friends in informal situations
and enjoy each other company. Music became more social and enjoyable, even leading to some
people to preform as an entertainer to make money.
There were two types of music ... Show more content on Helpwriting.net ...
The Opera is described as the relationship between words and music. Opera is dramatic staged
secular vocal work with orchestral accompaniment .Consisting of alternating recitatives, arias, and
chorus numbers. Soloists, solo ensembles, choruses, dancing, dramatic action, costumes, staging are
all components of opera. It was important because it added interest in dramas and music and it
created interest is homophonic texture. Cantata was another important Baroque style. Cantata
extended solo or choral work. It was created for Lutheran worship service. Cantatas include
harmonized chorales, polyphonic choruses, arias, recitatives, solo ensembles, and instrumental
accompaniment. Oratorio is dramatic work for chorus, solo voices, and orchestra. It is similar to
cantata except it is longer and to a larger scale. Most were based on biblical texts to teach and
entertain. Chamber music works for solo instruments performing together in small ensembles. Trio
Sonatas were important chamber music pieces during the Baroque Period. Church sonatas would be
performed in church. Chamber sonatas were meant for concert performance. Finally, orchestra
varied in size and instrumentation. This style was favored by royalty and wealthy families. Most
court orchestra were made up only bowed stringed instruments although woodwinds and others
were gradually

La Boheme Essay
La Boheme
Music affects our emotions and has much to do with our everyday lives. Music has always and will
be a part of my life. I would have to say that without music there is no life –– something is missing
in our lives without music. If there were no music society we would only have people speaking to
each other, and there would be no entertainment. The form of musical entertainment that I attended
was the opera, La Boheme, composed by Giacommo Puccini and Libretto by Giuseppe and Luigi
Illica. The opera took place at The New City Opera on November 10, 2001. La Boheme takes place
in 1830, 19th century Paris around Christmas time. This opera tells the tragic love story of a young
Bohemian, Rodolfo, who finds a love interest in ... Show more content on Helpwriting.net ...
They greatly improved the intensity and helped the theme and plot of the story move along
smoothly. My favorite part of the opera would have to be the duet present in Act I, shared between
the two main characters, Rodolfo and Mimi. To hear these two characters singing in unison was
"music to my ears". Mimi, the soprano, hit all her notes beautifully and seemed to run smoothly
through her parts. Rodolfo, who represented a tenor, expressed emotion and great character. This
piece was where I seemed to become engulfed in their early blossoming relationship. I became
entranced in their vocals and at times I would replace my self with Mimi's character. The orchestra
and the singers flowed together in a way indescribable creating a level of great intimacy. I have
always been extremely impressed with the human voice. I value it as one of the most treasured
instruments. The main attraction for myself was the non–evident combined aria and recitative in the
production. In most opera there is an aria, or overflow of melody following the recitative. This helps
express the appropriate feelings needed for the audience to grasp the key aspects of the opera. Also,
it helps bring the plot to a halt and the characters then are able to reflect upon what is occurring in
the story. Puccini was much more concerned with his librettos and would rather use the same
material in each of his acts. At the conclusion of many songs I caught myself wanting to stand to my

Comparison Of The Italian Opera, Oratorio, And Cantata
Comparison of the Italian Opera, Oratorio, and Cantata Music during the Baroque period was
diverse and composers began to rebel against the styles that were popular during the Renaissance. In
the Baroque era music was driven by the text and the emotions behind it. Vocal and sacred music
developed greatly during the Baroque period. During the mid–17th century the Italian phenomenon
opera dominated most of the theatres in Europe. Sacred music was deeply influenced by the opera,
contributing to the development of the oratorio and cantata genre. The opera, oratorio, and cantata
contain musical similarities; among all three genres they feature recitative, soloist orchestras, and
duet arias. The Italian opera was a form of dramatic entertainment, ... Show more content on
Helpwriting.net ...
Oratorios were performed in prayer halls, which was a sacred setting similar to the cantata.
Oratorios were recitative and contained de capo arias and chorus, like the Italian opera. It was sung
drama performed without staging or costumes. "The catholic church saw the power of operas and
was quick to take on operas for sacred subjects, such as the lives of saints. However, the church also
condemned operas for its power to seduce and dazzle, banning the performance of opera during
Advent and Lent."3 George Handel, an opera composer also composed Messiah, which was one of
the best–known oratorios. Another important composer of this genre was Giacomo Carissimi, who
wrote many early

Why Was So Popular During The Baroque Period?
The Baroque music period was during the 17th century. Baroque music was and still is popular
because of its "rhythmic vitality and attractive melody". In fact, many people in this day and age
have listened to Baroque music without even realizing it. Composers during the Baroque period
were some of the original composers to create immense amounts of music for people to enjoy. A
Baroque composition contains contrast elements. Another type of music popular during the Baroque
period is oratorio, which is stories from the Bible that are arranged to music.
Opera was created in Florence during the 17th century and became very popular during this time
period. Opera contained singing the text instead of speaking it during a play. Mostly everyone in

Wolfgang Amadeus Mozart's The Marriage Of Figaro
Wolfgang Amadeus Mozart composed The Marriage of Figaro in 1786. For this assignment, the
focus was mainly on the first act of The Marriage of Figaro. The excerpt given was divided into two
main sections. First, I would like to expand on the opera as a whole. Next, I will discuss the first
section given. Then, I will discuss the second.
The entire opera is known as an opera buffa, which is a comedic opera. This was a very common
opera genre in the classical era. The Marriage of Figaro is a perfect example of an opera buffa in a
variety of ways. For instance, an opera buffa has believable characters as individuals. The characters
we see have titles such as a page boy, a music master, a count, and a fiancée. These are all very
common jobs or titles. There is no mention of mythical creatures or other unheard of species. This
makes the opera very relatable to the audiences. The opera also deals with everyday subject ... Show
Instruments such as the violin, cello, and clarinet are being used. The accompaniment thickens
greatly as well. You can hear the drastic difference. The instruments have more lines of music, and
on top of that the instruments are listed in full detail, and each has their own line of music. In
addition to the change of accompaniment, Mozart did a fabulous job of representing the characters
through the music. When the count sings alone, the sound is very regal. This, of course, is due to his
position. When Susanna sings, the accompaniment is higher, and also more rushed. This would be
because of the stress this character is experiencing, and also her gender. In addition, when Susanna,
the count, and the music master sing together, you can hear multiple melodies being played. The
action on stage also stops. In the first section, Susanna was constantly moving. The count and the
page boy both hide and caused great movement on

The Ambiguity Of Racial Identity In Recitatif By Toni...
"Recitatif", first published in 1983 in Confirmation: An Anthology of African American Women, is
the only short story written by Black novelist Toni Morrison. The short story uses the ambiguity of
racial coding to challenge the "black– white" stereotypes in literature. The main characters, Twyla
and Roberta, are never explicitly assigned as either Black or Caucasian, but are obviously separated
by race and socioeconomic class. Morrison's purpose for creating the text is to provide an
experimental passing narrative about two characters of different races for whom racial identity is
crucial, but unknown to the audience (Playing in the Dark).1 While being housed in a girl's home as
children, the two girls become friends. The friendship between ... Show more content on
Helpwriting.net ...
Toni Morrison's rich and beautifully layered text, "Recitatif", is a work that depicts the complex,
parallel relationship of Twyla and Roberta while simultaneously complicating the relationship
between text and reader. The title of the short story is the first example the reader gets of the text
having a parallel meaning. While the word recitatif is unique to the story it acts as a play on the the
French musical word recitative2, both styles follow an episodic form. Recitatives hover back and
forth between song and ordinary music much like Twyla hovers back and forth to her interactions
with Roberta. Since, the story has five sections (or more appropriately vignettes) all narrated from
the perspective of Twyla, the story as a whole is her 'recitative'. However, while this is happening, a
'recitative' is being created through the text and the reader. One moment there may be a fixed idea
that Twyla is the Black one, while the next episode provides new information that changes that.
Morrison offers a nontraditional passing narrative where instead of an account where someone is
passing as another race, she poses her characters in such a way that they can be any ethnicity. As a
Black author Morrison focuses on literary imagination, what it means to manipulate the question of
race in a text, and force readers to unpack their notions of race and racial coding. Anticipating that
readers may try to affix race to either character, Morrison parallels the reader's unease by Twyla and
Roberta trying to identify Maggie's race. This means that the two characters and the reader have to
wrestle with the same question. Both girls have observed the "sand–colored" Maggie, but disagree
on her race with Roberta being adamant Maggie was black and Twyla only able to reassure herself
Maggie wasn't "pitch black" ("Recitatif" 1175)3. Maggie's

Britten Voice Range
As we discussed earlier, the voice ranges that Britten chooses in this particular opera is very
interesting. Britten expanded the voice range in all voices in order to allow the listener to have a
better understanding in characters. As Godsalve said "...four special things stand out in setting
voices; the assignment of voice classes to roles, the use of recitative and aria, textual changes, and
the combination of two or more voices..."1 (156). Britten is very aware of all these changes and
make sure that all of these applies to his composition. For an example, by using counter–tenor in the
music, it allows Britten to illustrate the difference between human and fairy. Since Oberon is a
representation of non–mortal, it's very interesting to see ... Show more content on Helpwriting.net ...
It shows that in order to create power and difference between human and immortal, by using unique
voice ranges allows Britten to explore the possibilities that no one else have ever tried. Furthermore,
because Oberon's natural voice was higher, by using the counter–tenor it allows him to have a high
voice sound quality which is best fit with the creature that have magical power. Furthermore, it also
gives the audience an illusion that the characters have "magical" power and also abilities to create
without any restrictions. On the other hand, because Tytania represent power and domination as a
queen, by adding coloratura soprano to her roles it gives her power because as a singer, in order to
have become a coloratura soprano, one must require to have high level of control over her demand,
and have the confident to perform high virtuosity with an ease. Therefore, it can symbolize that
Tytania also have the power and her role in this particular opera is with great demand and power on
her

Dbq Italian Cantata
JOHANN SEBASTIAN BACH: CANTATA In the Seventeenth–century a new style of composition
had its origin in Rome, Italy. This style is known as the cantata da camera or secular cantata. The
study of the cantata shows that there were some problems which remained and could not be solved
due to the huge numbers of compositions during the baroque era. Vocal chamber music performed
in private for the wealthy at their houses, became the most common or popular social entertainment
way of the moment. The performing group for this entertainment was cooperated by one, two or
three voices accompanied by the basso continuo (which was rarely a pair of solo strings). Something
that was crucial for the popularity of this entertainment was the popularity already ... Show more
the raise in the importance of the gospel settings, psalm settings and works based on chorales was
given because of the textual division into verses such an important fact that supported the mixture of
musical styles that was to become a hallmark of the cantata. Poetic texts became more frequent, and
particularly important were those works which combined arias and Biblical texts to become the
'concerto–aria' cantata, which normally began and ended with a setting of a Biblical text, between
verses of a hymn or other texts which were set for soloists or small

Difference Between Oratorio, Cantata and Opera
Oratorio and cantata were two genres that re–emerged in the first half of the eighteenth century.
They were already important musical alternatives to opera by the mid–seventeenth century, but
differed in nearly every respect from the genres of the same names found in the early eighteenth
century. As genres late in the period, they both bespoke the traditions from which they originally
sprang and permitted new recombination of the musical elements of these same traditions.
The oratorio and cantata of the eighteenth century were both linked, unlike opera, to religious
themes. Although intended for very different uses and circumstances of performance, all three
genres contained musical commalities. Not surprisingly, the three genres would ... Show more
Handel's discovery of oratorio was quite accidental and came in the form of a commission from
Dublin. His appreciation of its possibilites was immediate, and the die was cast that he would devote
the rest of his creative life to composing in the genre.
Handel's libretti were drawn literally from the Bible, though the verses he used were not necessarily
consecutive ones. His musical style in the oratorios is a reversion to the high Baroque idiom, and in
oratorio he abandonned the fashionable new stile galant touches he used in in his last operas in
hopes of saving them from financial failure. His choral style resonates with fugal writing, but this
too is affected by older traditions. His fugues are not the monthematic ones that German organ
composers wrote to fill the time before the worship service. Instead the subjects could change as the
work unfolded or the imitative texture could be abandonned altogether. The music was controlled by
the dramatic needs, not requirements of musical form, and, in this respect Handel's choral fugues
show a direct and strong linkage to both Grand Concerto and madrigal! Another madrigal element is
Handel's use of music to set mood or depict events. In madrigal, tone painting was a rather local and
sometimes puerile device; in Handel, musical depiction occurs on a grand and alomost profound
scale. Handel's oratorios also approach recitative differently than opera

The Magic Flute Analysis
The recitative tells the story and the aria responds emotionally to what just happened.
The recitative refers to song–speech. It is derived from the Italian verb meaning "to recite" and its
purpose is to portray the quality of speech. The no. 4 recitative of The Magic Flute is where we are
introduced to the Queen of the Night. The recitative is in the key of B–flat major and continues the
Allegro maestoso tempo marking of the entrance music. It starts with a syncopated accompaniment
figure which is useful in creating a disturbed and restless mood, making listeners wary of the Queen
of the Night.
Mozart adopts secco accompagnato, an old style from the Baroque operas. However, Mozart did not
entirely utilise the Baroque opera styles and structures. Baroque arias were characteristically in the
ternary form, which was a reason for their downfall as the music did not move with a strong sense
of direction– it always ends where it started, which stopped the progress. Mozart changed it in a
number of ways. He used the orchestra as a filling more complex than in earlier music, and a way
for mood setting, which is a crucial difference compared to before. When the Queen of the night
starts to sing, dry chords are played in the orchestra to keep the singer in tune and also emphasise
certain words. The secco accompaniment brings the music to modulate to the relative G minor. This
leads into the aria.
The aria is kind of in binary form, however it is not exactly binary as the two parts are not related.
The first part starts in G minor in Larghetto and shows us the introverted, worried and anxious side
of the Queen as she remembers the horror of her daughter's kidnapping. The second part of the aria
is back to B–flat major and is in Allegro moderato. This part portrays her bossy and commanding
personality as she orders Tamino to rescue her daughter. This aria would be more appropriately
classified as through–composed as the music follows the text.
The Queen of the Night attempts to create a firm image of herself, but the music betrays her. It
shows her lack of control. The very rapid shifting between emotions suggests that she is fickle and
shows that her façade is extremely shallow.
In the recitative, Mozart uses a

The Characteristics Of The Baroque Era
Around the 17th century, the Baroque era contributed a new style than the previous Renaissance era.
The Baroque era thrived in all of Italy and eventually the remainder of Europe. The Baroque era had
new characteristics than music from before. Some characteristics that could be heard in the music
during this period include a more definite and regular rhythm as compared to the floating rhythms of
the Renaissance era, a systematic meter due to the first use of bar lines, and clearer beats
emphasized by instruments. The change of rhythm and meters in the Baroque era created a mood of
deep emotion and seriousness. The texture of music also developed during this time. The basso
continuo enhanced both of the homophonic and polyphonic textures of the Baroque music. Basso
continuo, otherwise known as a continuous bass, used low voices or instruments such as cellos or
bassoons to advance the music of the time. Initially, the basso continuo was the lowest part of the
polyphony that was strengthened by the chords, however, the basso continuo eventually was created
along with the chords and the higher polyphony was modified to complement it. Chords during this
era also became standardized and created tonality or a feeling of a central part among a home pitch.
The chords of the music from this era were developed in a more logical fashion and they led to
functional harmony. This music also used different dynamics, called terraced dynamics, that were
not used formerly. Terraced dynamic

Baroque Music Research Paper
There were a lot of characteristics for Baroque music. Baroque comes from the Italian word barocco
meaning bizarre, which describes all the different styles of the music. Out of all the characteristics,
none of them can be singled out; the music has a methodical quality. Style features of the Late
Baroque Music consisted of: Rhythm, dynamics, tone color, melody, ornamentation, texture, and
musical form. All of the above presents somewhat of a contradiction. Baroque art and architecture
traits affected the music of the time in many ways. The traits behind some of the baroque art and
architecture betrayed the good and the bad leaving good and bad vibes. The main developments of
instrumental music were mainly the different types of orchestral genres like concerto and concerto
grosso. Also instrumental music developing this term called movements, which is a section of
music. Later developing a form called ritornello, which typically starts the music off. Another form
called "Variation form" entails the successive, uninterrupted repetition of melodic units. Baroque
dance form which is also called binary form consisted of two sections "a&b" including motives,
cadences, ... Show more content on Helpwriting.net ...
The components of opera style music included a combination of poetry, music, vocal virtuosity,
dance, and so much more. During the making of opera style music, librettists build up drama as a
whole from short texts changing with one another, for recitatives and arias. The baroque era
consisted of cantatas and oratorios. Both are different from each other, one betraying a musical
composition of choruses, recitatives, and aris. The other which is "Oratorio" portraying an opera on
a religious subject, basically a sacred story in a way. The chorale was incorporated into the cantatas
of Bach by both being the same piece. Both of the two related to the same thing, so they felt the
need to combine

Analysis Of The Song ' My Beloved Is Mine '
In Canticle I, composed by Benjamin Britten, the song has been praised for its beautiful
composition to its seventeenth–century poem by Francis Quarles, entitled "My beloved is mine".
Britten has written this song for a "high voice", with no specific type of a voice. Thus, this song
could be sung by a tenor or a mezzo, although often times by a tenor. The poem, derived from the
Song of Solomon, has seven stanzas in all. However, Britten has omitted the fourth stanza and
combined the first and the second, and the last two stanzas to make a four–movement song of this
poem. This poem is unique in a sense that at the end of each stanza (with the exception of one), this
poem concludes with "So I my best–beloved's am; so he is mine." Although the poem is said to be
adapted from the Song of Solomon and thus the bible, Britten chose this specific poem to represent
his personal relationship with the pianist who accompanied this very song, Peter Pears. In this paper,
I will be looking at each movement carefully and how the text relates to the music Britten has
composed. This song is clearly divided into four movements, along with the poem. The first
movement is entitled Andante alla barcarola, and by definition, is a folk song sung by Venetian
gondoliers. This movement contains the first two stanzas of the poem, and right away, we see the
symbolism within the music by Britten. This first stanza specifically discusses of the metaphor of
two streams (people) coming together to be one.

Analysis Of The Momenta Concert
On Tuesday, October 3, 2017 at 7:00pm the Momenta Quartet, comprised of a violist, a cellist, and
two violinists, performed their third night of the Momenta Festival III at the Italian Academy. The
classical concert, curated by Michael Haas, the cellist, was entitled "A Room with a View" and
explored Italy through the eyes of foreign composers. The program featured Benjamin Britten's
String Quartet No. 3 in G Major, Op. 94 (1975), Pyotr Ilyich Tchaikovsky's Souvenir de Florence
Op. 70 for string sextet (1890), and the world premiere of Claude Baker's Années de pélerinage:
Italie (2016–2017). In this essay, I will be focusing on the performance of Britten's piece, String
Quartet No. 3 in G Major. The work has five movements structured in a pattern of "slow–fast–slow–
fast–slow" all of which are characterized by unique forms of dissonance.
Overall, the concert was very enjoyable. The stunning Teatro had large windows and great acoustics
because of its high ceilings. The proscenium stage framed the musicians' semi–circle well. I
originally approached this concert feeling disappointed that I would not get to experience a full
orchestra; however, the intimacy of the setting made it so I could really see what was going on and
appreciate each musician and their respective instrument. I love that the curator chose works
produced by composers from different countries and time periods who were all inspired by the same
beautiful country that is Italy; in doing so, he gave the audience

Legend Of Orpheus Comparison
Throughout Opera's long history, the myth of Orpheus has been one of the genre's most recognized
stories. Many operas have been based on the Greek legend of Orpheus. The legend of Orpheus tells
a story of the demigod musician whose songs conquer Hades itself with their beauty. The use of
music in the Greek legend serves the same purpose, as music does in operas, to show the power of
music, and how it can change emotions, and how intertwined music and love is. This tale of love, a
love so strong it can overcome death, shows how true passion can bring music to life. The Operas
show that music is able to soften any heart and overcome any obstacle.
Out of all the Operas composed based on the Orpheus legend, there are two that stand out the ...
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When Benedetto Handel advised Gluck that his works had not pleased the public he traveled to
Paris where he was very much influenced by the operas of Jean Philippe Rameau. From 1755 to
1761 he was in Vienna, where he began reforming opera along the more dramatic lines suggested in
"Marcello's Teatro alla moda." Gluck composed his piece Orfeo ed Euridice in 1762.
In the legend, Orpheus is considered the greatest musician to have ever lived. He was the son of the
God Apollo, the god of the son, music, truth and prophecy. According to the story, Orpheus' wife
Euridice was unfortunately bitten by a snake and killed while trying to escape from Aristaeus, a
Shepard, who was overcome by her beauty and was pursuing her through the woods. When Orpheus
learned of Euridice's death he was grief stricken and sang, he sang a tune so beautiful it deeply
touched everything, living and not living, in all the world and the heavens above. He descended into
Hades, and when he played his song, even managed to melt Hades cold heart. He was told that he
told take Euridice, but only on one condition, he could not look upon her until they were out of the
underworld. As foreshadowed, Orpheus could not resist looking back before they had fully escaped
the underworld, and he lost her forever along with meeting his own death soon after. Both operas
replace the tragedy of the original myth with something more suiting and cheerful. In L'Orfeo, the
opera ends with Orpheus being

Tragédie Lyrique – Comparison of Approaches of J. B. Lully...
1
Tragédie lyrique – Comparison of Approaches of J. B. Lully and J. P. Rameau
Jean –Baptiste Lully and Jean –Philippe Rameau both were composers who made a distinctive
contribution into a development of French opera genre. Born in 1632, Jean – Baptiste Lully was
probably the most powerful force in French music in the seventeenth century. With a generous
support of Louis XIV who granted him an exclusive right to produce sung drama in France, he and
his librettist Jean – Philippe Quinalt reconciled the demands of drama, music and ballet in a new
French form of opera called tragédie lyrique. Being successful in their attempts, Lully and Quinalt
gave birth to a new form of dramatic action that without any significant ... Show more content on
Helpwriting.net ...
In the study called Meter fluctuation in Lully's Recitativ, Remi Castonguay concludes about the
three types with two additional subdivisions. In the type titled recitatif simple or ordinaire, the vocal
line is accompanied only by continuo and contains frequent meter changes. When the second type of
recitatif accompagne with both its variations solennel and pathetique appears, a listener might notice
some intense dramatic moments like scenes of confusion, madness, or magic going on the stage.
Agitated rhythmic accompaniments of this recitative type also exhibit
5 frequent meter changes. The third type or recitative, so called recitatif mesure brings us to the
point of eventual similarity between the forms of recitative and air. The character of the air form is
more on a lyrical side of Lully's musical expression. Surprisingly, this is something that both forms
share in common. Recitatif mesure as well as Air are forms reserved for expression of the most
lyrical and delicate passages of the libretto. Here, a question can obviously occur. Why not to avoid
a confusion of two different forms expressing the same type of emotion by using only one of them?
From the musical point of view,

Essay on Jean-Baptiste Lully
Giovanni Battista Lulli was born on November 28, 1632. His father, Lorenzo di Maldo, was a miller
and his mother, Caterina del Sera, was a miller's daughter. Lully was born in Florence, Italy and
lived there until age 11. While in Italy he studied dance and music; he played violin and guitar. In
March of 1646 he moved to France to tutor Mlle de Montpensier in Italian. There he studied
composition and harpsichord. Lully was able to hear the King's grande bande perform, witness balls
where the best French dance music was played.
When Mlle de Montpensier was exiled from Paris, Lully was released from her service and gained
the attention of King Louis XIV. In February 1653 he danced in "Ballet de la nuit" with ... Show
In 1673 Lully began composing and performing one opera each year for fourteen years, except
1681. The most famous work from this period was "Le Triomphe de l'Amour." It was the first to use
a recitative with orchestral accompaniment. It was also the first performance to include professional
female dancers. (Newman, 1979) Lully's monopoly stunted the natural progression of music. He
once had the King personally stop the production of an opera that had not received Lully's
permission to be performed.
Lully's career never slowed down. In 1687, while conducting his Te Deum in celebration of the
King's recovery from illness, he got excited and hit his toe with the tip of the cane he used to beat
time. The wound developed gangrene but he refused to let doctors remove the toe. Three months
later, on March 22, 1687, Lully died.
The musical monopoly lived for decades after Lully's death. People criticized and rejected others for
writing music in different and progressive styles. His exclusive hold on opera writing led to one
hundred years of French opera in his style. Music in England was also highly influenced by Lully's
work. Charles I sent his musicians to France to learn how to emulate Lully's style. Some of the
advancements he made with orchestra and the development of the ballet and tragedies lyriques as
respectable genres drastically influenced western music for centuries following his career.
Lully established a distinct French style for

Beethoven's Fidelio Overture
Next, Beethoven's Fidelio (1814) is the final overture that Beethoven wrote and is meant to use in
the opera. This overture is about 6 to 9 minutes long. The instrumentation "calls for an orchestra
consisting of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two
trombones, timpani, and strings. (Huscher par. 1)." This overture is the shortest overture as
Beethoven cut down the length so it can be used in the beginning of the opera and nowhere else.
From the start of the overture, it is much more joyful and lighter than what experienced before in
Leonora No.3 (1806). The heavier sections balance well with the lighter notes and doesn't
overpower the piece. Beethoven copied parts of Mozart's style in this overture. ... Show more
While Marzelline is dreaming of love, Leonore is fighting for hers. This aria is where she, disguised
as Fidelio, overhears Rocco and Pizarro's plot to murder Florestan, as their duet was before this on.
She is so angry and scared that she calls Pizarro a monster. The recitative and the aria are gorgeous
and really invoke the scene. Before the singing even starts, the strings come in with this loud and
dynamic chord that sets the mood instantly. Soon, the singer comes in with the recitative and
emphasizes the scene to its fullest. Then, the constant change in tempo, meter, key helps to signify
her various emotions that she is going through when she hears that Pizarro and Rocco conspiring to
kill

To A Locomotive In Winter
Although both Walt Whitman as well as Emily Dickinson write about trains in the poems "To a
Locomotive in Winter" and "I like to See it Lap the Miles, "they both make different uses of tone in
their poems. The tones both authors use with the subject are slightly similar, but are also polar
opposites in other ways. For example, both Whitman and Dickinson use a tone that is in awe of the
power that locomotives possess. Even though they use a similar tone for the power of locomotives,
there are some differences with the tone each author uses; Whitman's work has a sophisticated yet
serious tone. Whereas, Dickinson's poem has a more playful tone. There are many examples of
Whitman's awe of locomotives in "To a Locomotive in Winter." For example, ... Show more content
on Helpwriting.net ...
In Whitman's "To a Locomotive in Winter", the first line is, "Thee for my recitative, /" (Gioia 724).
His use of the word "recitative" implies a serious if not tragic tone. Yet at the same time, "recitative"
also has a feeling of sophistication and grace. According to the OxfordDictionary.com recitative is
defined as, "Musical declamation of the kind usual in the narrative and dialogue parts of opera and
oratorio, sung in the rhythm of ordinary speech with many words on the same note: singing in
recitative." Therefore, since most operas have a serious if not tragic tone, Whitman is letting the
reader know from the first line that the poem will have a serious tone. Now compare that to the first
line in Dickinson's poem, "I like to see it lap the Miles– /" (Gioia 724). Her use of the phrase, "I like
to see it lap", gives the impression of a more fun or playful tone. These differences in tone can be
seen again, when comparing line nine of "To a Locomotive in Winter" with line two of "I like to see
it lap the Miles". In line nine Whitman writes, "Thy dese and murky clouds out–belching from thy
smoke–stack, /" (Gioia 724). This line is very serious and dark. Yet, line two of Dickinson's poem,
"And lick the Valleys up –/," shows how playful her tone is, with the connotation of the word

Dido's Lament Henry Purcell
Dido's Lament "When I am laid in earth" is an aria from the opera written in English that is included
in many classical music textbooks. This piece includes word painting through text that is included
on the text "darkness" and "death". This piece was composed by Henry Purcell in the late sixteenth
century and is one of England's oldest operas and Purcell's only opera. The chorus is "With drooping
Wings" with a lament "Thy hand, Belinda". Purcell put a good plot on this piece about tragic love. It
has an Italian tradition of setting a lament over a basso ostinato, or ground bass. This piece has
changing harmonies, and violins come in adding expressive dissonances to heighten the mood.
Purcell used major keys to provoke happiness and minor

Song of Myself by Walt Whitman
Working within the individual / community opposition of mid–nineteenth–century America, an
opposition that essentially defines the ultimate threat to the United States at the time, Whitman
wished to mend America's social and political demands through his poetry. Throughout Whitman's
works, the reader can evidently observe the widths and basis of his social and political philosophy
and the layers of various circumstances that exist within his American culture – which is an essential
part of his democratic vision. Many of Whitman's poems, including major works such as "Song of
Myself," can be studied with this tidbit, but yet these elements can be witnessed within clumps of
poems, or within groupings in the clusters. The main grouping that will be focused on is the "Sea–
Drift" cluster, which is composed of the following poems: "As I Ebb'd with the Ocean of Life,",
"Song for All Seas, All Ships," and "After the Sea–Ship." Combined, these works demonstrate a
shift from an individualistic outlook to a mature democratic perspective. In "As I Ebb'd", Whitman
is primarily concerned with his failure as a poet to recognize the elements of the world that are
external to his self, i.e. the importance of one self. He states,
Oppress'd with myself that I have dared to open my mouth,
Aware now that amid all that blab whose echoes recoil upon me I have not once had the least idea
who or what I am,
But that before all my arrogant poems the real Me stands yet untouch'd, untold, altogether

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