Carlos Gesualdo Research Paper

Carlos Gesualdo Research Paper
Carlo Gesualdo was born on March 8, 1566 in Naples, Italy to the Second Prince of Venosa–what is now called Province of Potenza, Southern Italy.
Carlo had an older brother named Luigi who was born three years earlier but unexpectedly died in 1584. Although not much is known about Carlos
childhood, we know that his mother died when he was just seven years old from an unknown cause. "Carlo showed an intense interest in music
from the time he was very young, he played the lute, harpsichord, and guitar." After his mother's death Carlo, as per his request, was sent to Rome
so that he could pursue an ecclesiastical career. When Carlos's brother died in 1584 he became the designated successor and decided to disregard his
ecclesiastical career and married his first cousin, Donna Maria d'Avalos. They gave birth to one son named Emanuele. The two were married for
several years when Carlo found out that his wife, Donna,... Show more content on Helpwriting.net ...
The murders made him infamous. Gesualdo's published music falls into three categories: sacred vocal music, secular vocal music, and instrumental
music, but Carlos most famous work is his six books of Madrigals, all of which were published between 1594 and 1611. His books are often praised for
his experiments with harmonic progression, cross–relation and violent rhythmic contrast which is said to mostly been seen in his later books, the best
examples of this would be the madrigals "BeltГ , poi che t'assenti" and "Moro, lasso, al mio duolo". "Characteristic of the Gesualdo style is a sectional
format in which relatively slow–tempo passages of wild, occasionally shocking chromaticism alternate with quick–tempo diatonic passages. Gesualdo
was particularly fond of chromatic third relations, for instance juxtaposing the chords of A major and F major, or even C–sharp major and A minor, as
he does for example at the beginning of "Moro, lasso, al mio
... Get more on HelpWriting.net ...

Opera Divas
Introduction
Due to the obsession of evoking the 'affections' (emotions) of the audience, 17th century Opera was seen as the epitome of music in the Baroque era
as it combined intense emotions, serious drama, elaborate staging and costumes as well as it's beautiful singers (Opera Divas). Opera Divas were the
rock–stars of the era and were adored by many noblemen and women, as well as the lower classes but how did they reach this level of fame? I will be
delving deeper into 17th century opera and focus on the beginnings and development of opera and the rise (and fall) of two popular opera divas :
Francesca Cuzzoni and Farinelli. The Beginnings and Development of Opera
Generally, opera is said to have originated from Florence during the end of the 16th century.1 With the need to revive the arts of Ancient Greece,
they turned to their dramas, which were typically sung or said in such a way that the emotions of the audience are touched and that they could hear
the words clearly.2 Peri was one of the earliest composers of opera.3 His most well known opera being the story of Euridice, a Greek tragedy of Orfeo
travelling to the underworld and using his

Classical Music And The Romantic Era
Beginning circa 1820, and ending around 1910 (Paterson, 2017), the Romantic period followed the Classical era, marking the introduction of many
changes to the overall sound and composition of music. The increased use of large orchestras, combined with the use of chromaticism and
modulations, expressional devices such as dynamics, and sweeping melodies, led to a large amount of emotion being conveyed in pieces of music. An
example featuring many of these techniques and features is Chopin's "Nocturne in E–flat major, Op. 9", No. 2, which was published in 1832 (AllMusic,
2017). 20th Century music, commonly referred to as "contemporary" music, followed the end of the Romantic period. The rise of popular music
forms such as jazz, blues, and rock led to a large change in approach for the neoclassical composers, leading many into an avant–garde approach, such
as John Cage. The introduction of electric amplification changed the overall sound of music, with new instruments being invented, as well as
possibilities for foreign objects to be amplified. "Classical Gas", by Mason Williams (1968), was written for classical guitar, as Williams felt there was a
limited classical guitar repertoire, particularly amongst the popular music of the 1960s. Thus, he wrote Classical Gas, a piece inspired by the Classical
era, but involving more modern instrumentation and a contemporary flavour (Williams, 2013).
"Nocturne Opus 9 No. 2" (for solo piano) is written in the form AABABAC, with B

Romanticism in Music
Romanticism
Romanticism was an artistic movement that took place from the nineteenth to the early twentieth century. Drastic changes in the arts took place over
the course of this time period. During this movement, much emphasis was placed on emotion and imagination in the arts. Prior to the
Romantic Period, music had been seen more as recreation and njoyment than as an integral part of culture. The term "Romanticism" was first used in
England and Germany in reference to a form of literature. It soon after spread to music and the visual arts. Romanticism was largely a product of two
important revolutions in Europe. The new society that came about after the French Revolution emphasized the importance of the individual. This
brought ... Show more content on Helpwriting.net ...
This idea of interpretation and understanding of music was demonstrated in program music. This was a type of music for which the composer would
have prepared an explanation to help the audience understand the meaning. There is no text in the song, but there is a note, or program, to help
explain. These programs were a way for composers to connect their music to art, politics, or other aspects of the world around them. An important
difference between the Romantic Period and the Classical Period which preceded it is the motivation and direction of the art. The spirit of the Classical
Period sought order, while that of the Romantic Period sought wonder and strangeness. WithRomantic music, the melody was marked by lyricism, and
the music was more emotional and expressive. Composers used more dissonance and chromaticism in their works to help reinforce the idea of the
original or the strange. They expanded the classical music structure to lengthen the music, as they wanted more time to express the particular emotion
of a given piece. New terms, such as Dolce (sweet), Cantabile (songful), and Con Amore (with love) were used to emphasize these emotions. During
the Classical
Period, the most important genre of orchestral music was the symphony, whereas in

Essay Chopin Sonata NO. 3
MUS 404: Keyboard Literature
June 22, 2010
Piano Sonata No. 3 in b minor, Op. 58 by FrГ©dГ©ric Chopin
Chopin's third sonata is a masterwork filled with pianistic elements, daring harmonies, experimental form, and a wealth of expressivity. In this
four–movement work, references to other Chopin compositions and influences from fellow composers are found. At the same time, there is a
progressive element; it looks forward to the heights which would be achieved by Chopin and later composers.
Background
Chopin wrote the Sonata, Op. 58 in 1844, several months after the Berceuse, Op. 57. The Berceuse provides inspiration for the slow movement
(Samson, Chopin 23). These works were written at a time when Chopin's relationship with George Sand was ... Show more content on Helpwriting.net
...
It was an uninspired composition, a failure, and largely forgotten (Huneker 166).
Movement 1: Allegro maestoso
The first movement of the third sonata is the most experimental, the one which deviates most from Classical form and harmonies. The exposition, in
particular, is more like a fantasy than a sonata. The sonata opens quite promisingly. A descending broken chord followed by ascending march
–like
chords creates the primary theme (mm. 1 – 4). As soon as this theme is established, it is lost by a transition. The transition (mm. 12 – 16) is derived
from the opening theme. Traditionally, the transition should segue way into the second theme. However, this transition leads to another idea, which is
characterized by majestic chords (mm. 17 – 18). This melodic idea is equally promising; it has the potential to serve as the primary theme which had
been cut short. Unfortunately, it only holds for two measures before it is swept away by a descending chromatic scale in sixths.
The listener would perceive the slow–moving idea (mm. 23 – 29) which follows as the second theme, if it were not for its fleeting mysteriousness. It
provides a contrast to the majestic themes which opened the movement. The harmonic ambiguities, created by the chromaticism, are very progressive
for the Romantic era. This chromatic section is only the beginning of a lengthy transition (mm. 23 – 40), composed of at least

Baroque Music Characteristics
Baroque Period (1600–1750)
Baroque Music Characteristics 2
Rhythm
Most baroque music has an easily recognizable strong, steady pulse, and continuity of rhythm.
Patterns of rhythmic sequences permeate much of Baroque music.
Rapid changes in harmony often makes the pieces feel more rhythmic.
Dance rhythms were frequently used in multi–movement form pieces.
Dotted rhythms were widely used.
Harmony
Figured Bass–a system of numbers placed under the music–was developed to indicate clearly the harmonies that should be played with each note
indicated in the bass line. The figured bass was typically realized–performed–by the harpsichord.
The use of the basso continuo, also known as thoroughbass, is a bass line running ... Show more content on Helpwriting.net ...
This developed the concept of tonality.
Texture
Monophonic, texture evolved to homophonic texture in opera and solo arias, influencing both sacred and secular music. Many instrumental
compositions were also homophonic.
The soprano and bass lines are usually more important than the inner voices.
Imitation between the voices is common.
Counterpoint–a very complex and rule–bound type of polyphony in which the resulting harmony provides the tonal organization for the music–is used

extensively.
In the late Baroque, polyphony, as a result of counterpoint, was used in all sorts of compositions, especially the fugue.
There was an increased emphasis on contrasting textures; for example, large groups of instruments play one section and a small group plays another, or
groups of instruments take turns playing the main theme(s).
Timbre
Most of the instruments commonly used today were in use during the Baroque era.
The violin family was refined and perfected.
The beginning of musical phrases are usually highlighted by a change of timbre.
There wasn't a fixed, standard orchestral group. Ensembles were usually composed of strings, a few woodwinds, percussion, and the harpsichord
providing the basso continuo.
The Baroque pipe organ, which has a very soft, mellow tone, was used extensively.
Use of brass instruments and percussion to denote pageantry, solemnity, ceremony, and splendor was a common trend.

Analysis Of Bach 's Orgel Buchlein
J.S. Bach was born into a stylistic period called the 'Baroque' period. This period
was one of decorative, lavish extravagance in relation to art, architecture and
music. Similar to architecture at this time, Bach's music was extremely ornate
with heavy embellishments and was somewhat characterised by its ornamentation
yet still had a strict organisation of insistent rhythms. "Thus, music of the
Baroque period is somewhat paradoxical in that, while it is extravagantly ornate
and emotionally expressive, it still manages to be rigorously controlled and
systematic." This may be seen particularly in Bach's Orgel–Buchlein, more
commonly known as "The Little Organ Book," which contains 46 chorale
preludes for organ which has been argued to be "a key to understanding his
music as a whole." Each of these chorales within the 'Orgel–Buchlein' takes an
original Lutheran chorale and develops it by adding a motivic development.
Further, throughout Bach's Orgel–Buchlein, he explores diverse range of
expressive techniques, techniques that had not yet been discovered by any of his

contempories as he combines a rhetorical and expressive musical language with
refined counterpoint. Bach had been determined to combine strict polyphony
with free composition whilst also using contrapuntal elements to articulate the
emotion behind the words being sung. This development marked the beginning
of Bach's individuality, personifying every note of each

Characteristics Of Grunge Rock
Discussion of Findings
Music has a great power to influence mood. Many people ability link this to the genre of the music. For instance, it is known that classical music is
calm and relaxing and heavy metal music creates large amounts of tension and hostility (refer to the grunge rock graph below) . Allmusic pieces in their
own genres are not always the same in the way that not all classical music pieces are relaxing. However, most music within a genre is similar and that
is why genres exist. Music is put into genres as a way of classifying music according to its components, style and textures. Instead of associating
different genres with the moods that they create, it is more appropriate to associate the different components of music and ... Show more content on
Helpwriting.net ...
In the graph below we can see that Grunge rock influences the listener by significantly raising their hostility by almost 60 percent and their tension by
roughly 50 percent . Characteristics of rock music
Grunge rock has very similar element to rock and metal music as it was inspired by hard–core punk, heavy metal and indie rock. These genres are
characterised by heavy drumming, distorted or "dirty" guitars with loud and long solos, dissonant harmonies and complex instrumentation. The
combination of these elements will create a lot of tension and hostility. Rock music should be considered as a tool to help the listener stay awake and
keep their brain functionality high during times where it wants to naturally lower its self however it can be distracting to certain listeners if important
works needs to be completed.
Classical Music
Classical music was one of the first types of music to form from early western music. It evolved from the baroque era and is very melodic. In the
graph below we can see that the major significance in classical music is that it decreased tension levels by roughly 10%.
Characteristics of classical

Afroban Explosion Research Paper
Afro–Cuban Explosion Jazz music originated in New Orleans around the beginning of the 20th century, developing through various increasingly
complex styles. These scores are generally marked by intricate, propulsive rhythms; polyphonic ensemble playing; improvisatory, virtuosic solos;
melodic freedom and a harmonic idiom. These pieces range from simple diatonicism, through chromaticism, to atonality (Dictionary.com). The
foundation of jazz is associated with the Black experience in the United States, but different cultures have added their own personal experiences and
styles to this art form as well. As a result of jazz spreading around the world, it grew locally, regionally, and nationally in cultures. Each decade
brought a new form of jazz including brass bands in the twenties, swing bands in the thirties, and smooth cool jazz in the forties. ... Show more content
on Helpwriting.net ...
The group playing at the club was the Cleveland Jazz Orchestra, which was directed by Kenny Koblitz and Paul Ferguson. The ensemble consisted of
trombones, trumpets, a alto saxophone, a bass, a baritone saxophone, bongos, a bass trombone, a tenor sax, a french horn, a piano, drums, a cello, and
maracas. The concert was presenting music of Afro–Cuban Explosion. Afro–Cuban Explosion is the earliest form of Latin Jazz, combining the
elements of African–american culture with those of Cuban culture (dictionary.com). The spirit of the music –– a true fusion between North, South, and
Central America –– and an emphasis on infectious rhythms are the keys (Afro–Cuban Jazz Music Artists). The beginning of Afro–Cuban jazz can be
linked back to trumpeter–arranger, Mario Bauza. Bauza introduced trumpeter, Dizzy Gillespie, to the masterful Cuban percussionist, Chano Pozo, to
create innovative music (Afro–Cuban Jazz Music Artists). Because of these people, Afro–Cuban jazz caught on as one of the most popular jazz

Transcendental Music
To Introduce, traditional and sentimental music are both a like and diverse however to comprehend you should first realize what they are. The term
sentimental music was a period of western music which was conveyed into from 1820 to 1900 AD. Sentimental music is connected with the
development sentimentalism that happened in the eighteenth century . Sentimentalism was not just a development identified with music it was identified
with the way we may now and then act. Established music is the music of the traditional period that started in 1730 to 1820 AD, a sort of music which
wasn't advanced or complex, yet smooth, straightforward, and unwinding. Traditional music is connected to classicalism, a style of expressions of the
human experience, ... Show more content on Helpwriting.net ...
Established arrangers were attempting to make tracks in an opposite direction from the old music of the Baroque period. In any case, Romantic authors
did not attempt to move far from the music of the Classical period. Sentimental music is connected with sentimentalism in the Europe while traditional
music is identified with Classicalism. The Classical periods was very purpose on safeguarding arrange and showing tunes in the clearest way
imaginable. The harmonies in the Classical period were exceptionally clear and construct intensely with respect to the significant minor scale
connections. This state of mind toward musical guidelines changed in the Romantic period. Arrangers in the Romantic period started extending sonata
structure, darkening the tune with more progressed and chromatic harmonies, and making another style of music that communicated the sensational
and not as a matter of course the physical parts of music. The topics or articulations of sentimental music incorporate nature and self–expression while
subjects of traditional music incorporate restriction and passionate equalization. Instrumental game plans of established music incorporate ensemble
without solo piano works while that of sentimental music incorporate bigger orchestra with solo piano

Claudio Monteverdi : Madrigals And Church Music
Claudio Monteverdi, an Italian Baroque composer, was born in 1567 in Cremona and died in Venice in 1643. He is known to be the most significant
developer of opera as well as secular church music. Monteverdi's father was a chemist and barber–surgeon, and so he took music lessons with
Marcantonio Ingegneri who was the Cremona cathedral's music director as well as an established musician who composed many madrigals and
church music. Monteverdi realized his musical talent at an early age, having published multiple books of sacred and secular music in his adolescent
years: these books contained competent compositions that were almost as good as his teacher's. The highlight of Monteverdi's early years of
composition occurred with the publication of two madrigal books by a highly renowned Venetian printer in the years 1587 and 1590. These books
contained brilliant works that had a more modern approach than that of Ingegneri's. This may be because Monteverdi also studied under Luca
Marenzio, one of the greatest composers of madrigals. (Arnold, 2017)
The exact date of composition for Lamento della Ninfa, translating to "The Nymph's Lament," is unknown; although it is said to have been written
between the years 1614 and 1638. It was published in Monteverdi's Eight Book of Madrigals. (Anonymous, 2012)
The text for Lamento della Ninfa can be divided into three different sections. The nymph laments her fate in the second section with the choir of
pastori, or shepherds (a bass and two

Romantic Music Period
Did music ever reach a point to where all restraints seemed cast off and composers had the opportunity to express musical freedom? Similar to the
emotional and intense paintings done through this time, the music during the Romantic Period also expressed heightened passion and paralleled the
trends in art. It lasted from circa 1825– 1900. Looking at the musicians during this time, the purpose of the music, and the things that characterized
Romantic music, one will see how things changed from the previous Classical period. Many of the great, famed musicians now known today lived
during the Romantic period. Some of the better known names included Rossini, Mendelssohn, Tchaikovsky, Chopin, and Brahms. Gioachino
Rossini, known for his piece, The Barber of Seville, excelled in operas. His overtures grew to be extremely popular pieces as well and are still
played to this day. Felix Mendelssohn started his career early in life and grew famous off his own overtures as well. Connecting with nature as many
of the Romantic composers, he composed the Fingal's Cave Overture which mirrors the waves and coasts of Scotland. Pyotr Ilyich Tchaikovskygained
his fame as the most well–known Russian composer through his ballets, such as Swan Lake and the Nutcracker Suite. FrГ©dГ©ric Chopin had many
different famous pieces with Nocturne No. 9 and Scherzo for piano No. 2 in B flat minor gaining a place above the rest. His music left him as one of
the most significant Romantic composers. Finally yet

The Girl With The Flaxen Hair
"The Girl with the Flaxen Hair" is a piece written by the French composer Claude Debussy. It is the eighth piece on his book of Preludes that was
written between 1909 and 1910. The title "The Girl with the Flaxen Hair" is translated from its original namein French "La fille aux cheveux de lin."
This piece is written in the key of a major scale (G flat major). Debussy composed this piece while inspired by a poem. He utilized music to portray the
emotions using harmonic and technical elements. He chose to write the song, going the more untraditional route, with simplicity. It is in the genre of
classical French. https://www.youtube.com/watch?v=TOxJpPiFe0kThe song begins quietly and gently with single notes being played. Seeming to use
the same

Summary Of Symphonie Fantastique
wider range of emotions, similar to other symphonies from the Romantic period. Beethoven was able to draw from his own internal emotional struggle
and reveal some of these insecurities through his compositions but intensifying the Classical form and other practices.
Programme Music
During the Romanic period, there were many advances in regards to instrumentation, and the size of a typical orchestra increased in size and range,
adding in more instruments to the wind, brass and percussion sections. Symphonie Fantastique, by Hector Berlioz, was no exception, and was written
for an extensive orchestra of 220 players, including, piccolos, flutes, oboes, horns, clarinets, bassoons, cornets, trumpets, trombones, tuba (or
ophicleides), timpani, bells, a wide variety of percussion, bells, violins, violas, cellos and double basses. Through this symphony, various instruments
have programmatic purposes to develop the scene, such as the pizzicato strings in the 4th movement, representing the head bouncing after he was
decapitated, and the clarinet in E flat and bassoons in the 5th movement, depicting bubbles rising in a cauldron.
Both movements 4 and 5 were through composed, featuring various musical fragments and themes. Movement 4 features two key themes in addition to
the idГ©e fixe, whilst Movement 5 centred around 3 musical themes; the Beloved (Harriet), the Great Shout, and the Fearsome Crowd. An idГ©e fixe
is a melodic fragment that returns throughout, and in Symphonie

Georges Bizet Essay
Georges Bizet, an outstanding composer around the opera era, is best known for his opera comique Carmen, composed in 1875. Carmen depicted
great controversy around this time because it was the first time where women were represented in a different and exotic way. The character Carmen
specializes in a particular aria known as Carmen's "Habanera" and Seguidilla. In this aria, the representation of women is characterized as a femme
fatale, where women are dangerous for men due to their power to seduce them. Bizet was criticized for aiming to create a character that in this era
was seen as dreadful and out of proportion. Bizet's aria of the "Habanera" is distinguished in a "slippery tonality" where the character Carmen
successfully manages to... Show more content on Helpwriting.net ...
The power in her voice managed to go through each segments and cadences in the way the music was built. The performance is on a stage and
Carmen is sitting in the table with a medieval time dress surrounded by men and women wearing similar attire. The costume choice for this aria in
particular open my eyes to the diversity that Bizet tried to reach where a simple women such as, Carmen, grabbed the attention of many men that
look like they had power. Her aria in particular managed to give women the power. This femme fatale idea is given prioritization in this aria because
Carmen has the ability to seduce men and make them do things she wants them to do. The beauty in tone that Ewing carries throughout this aria
emphasizes this masculinity tonality that overpowers the choir and the instruments as they integrate. Ewing's great skill is to have the ability to
undergo into Carmen's style of singing and this was what Bizet tried to persuade. Ewing has the right rhythmic tonality that this aria is supposed to
have and her ability to go from a speeding tempo and turn to a low tempo is exciting. The versatility she has to overcome these hard slow and fast
tempos is

How Did The Music Influence Claude Debussy's
Popular music during the 1890's to the 1920's reflected on the attitudes, beliefs, values, and behavior of the American population. Ranging from
sentimental ballads to ragtime, the entire world was soon overcome with the power and complexity of the revelations happening in music. The
interruption of World War II seemed to be a distraction; however it introduced the true twentieth century culture. Claude Debussy's, the face of
impressionism, career began in the mid–to late 1880s was at its peak of influence. Although Debussy saw competing composer Richard Wagner'smusic
as too aggressive and absurd, his style was respected for its impact on the Romantic period. Similarities can be found between the two, especially
with their comparison in a natural type of flow and driven expression. Debussy's vision of music was comprised of poetic compositions full of strong
moods, imagery, and impressions. Many refer to his music as impressionistic, referring to Claude Monet's style of painting. Debussy's works such as
Prelude to the Afternoon of a Faun (1894) and Three Noctures (1990) are examples of Debussy's attention and great lengths he did to accomplish his
goal of creating perfect imagery in the listener's mind. ... Show more content on Helpwriting.net ...
Austrian composer Arnold Schoenberg developed atonality out of the expressionism that derived in the early 20th century; he later developed the
twelve–tone technique, which was further perfected by his students Alban Berg and Anton Webern. Richard Strauss was a beacon of German
post–Romanticism, mostly known for his programmatic symphonic poems and operas. Strauss was known as the Bach of the Romantic age. He
followed in the footsteps of other romantics and expanded musical expression enormously, such as changing music performed by

Teaching Sight-singing in Choral Rehearsals
1.What have been some of the obstacles to the teaching of sight–singing in the contemporary choral rehearsal?
One difficulty in teaching sight–singing in a choral program is that there is not one accepted method that has been adopted to teach sight–singing. I
believe this is because we have many different types of students in our classrooms so we need many different methods to reach these students. Also, not
all music teachers are comfortable teaching sight–reading or give enough rehearsal time to sight reading. It seems that the main reason that directors
put emphasis on sight reading is so that they can go to contest. Sight reading is a required event in order to go to contest. I believe this is great to have
at contest because it forces teachers to make time to teach sight reading in their groups if they want to go to contest. This is one of the major
complaints by music instructors are that they do not have enough time to teach sight reading in their rehearsals.
3. How do movable do and fixed do differ? Which is more commonly used by music teachers in the United States? Movable do is used so that the
first note of the scale or mode is always do. When key signatures were established that created a need and use of movable do. Having do movable
made reading music easier. Then in the seventeenth century the expansion into chromaticism made movable do more difficult. New syllables had to be
created to fill the gaps when using chromaticism in music passages.

Analysis of Firebird by Stravinsky Essay
Analysis of Firebird by Stravinsky
Immediately we are introduced to the leitmotif, major and minor thirds, within a tritone. This returns at bars 15 – 18 and at various other parts in the
suite of which I will later elaborate. Within the opening few bars the pizzicato and legato combined in the cello and bass section produces an
ominous opening to the work. The base drum roll and the murky off beat and horn entry at bar 5 makes it clear that it is evil magic. One of
Stravinsky's traits that often appears is how he uses tritones to represent evil magic, e.g. f# to C, shown in bars 11 and 12, and more simple harmony and
chord progressions, e.g. dominant 7ths and 9ths to show good magic which can bee ... Show more content on Helpwriting.net ...
The bars silence leaves the audience in suspense wondering whether or not Ivan has managed to catch the Firebird, before a certain elegance added in
the variations which has a waltz like lilt to it. The high register, quick rhythms and simple harmony represent good magic and has an uplifting feeling
to it. The imagery is quite clear of a bird teasing Ivan mocking him as he can't quite catch her. In bar 3, the tonality becomes less clear, and a whole
tone scale is used, this is yet another of Stravinsky's traits, he pushed these boundaries where other great composers were scared to use it. Stravinsky
uses the piccolo to represent the Firebird taking to flight; this can be seen in 2 bars before figure 11. During the coda there is a feeling of speeding up
without actually doing so. The flurry of descending triplet semi–quavers could represent the Firebird falling slowly down, into Ivan's clutch.
Stravinsky's use of orchestra shows that Ivan finally manages to catch her in the pantomime. (Pantomime used in the traditional sense, miming). The
hand stopped horns in figure 20 represents Ivan actually capturing the Firebird, there is a first inversion augmented 6th and tritones heard three times
during figure 20 this is the firebird trying to escape from Ivan's tight clutch. We hear once again the original leitmotif in semi–quavers, retrograde
inverted and simply retrograde.

Comparing Classical and Romantic Music through the finale...
The Music of the classical and Romantic era is a period of time where it shows the development and different styles of music. This can be shown
through the manipulation of musical elements, (dynamics, pitch, tempo, rhythm, texture, meter, tonality, structure, melody, harmony, instrument) while
contrasting them, but it can also be shown through the composers of the music, the size of the orchestra, musical directions, emotional content, and
non–musical developments through that period of time.
After the Renaissance and the Baroque era, the Classical era soon followed at around the 1720–1820's. During these times in Europe, there were many
non musical developments, ideas of the enlightenment, political issues, scientific discoveries and the ... Show more content on Helpwriting.net ...
In classical music, the structures emphasize more the grace of proportion and balance, moderation and control; polished and elegance in character
with expressiveness and formal structure held in perfect balance. Furthermore, the forms do not vary as much as the Romantic era, they had forms
like sonatas, symphonies etc. The melodic phrases are usually balanced and symmetrical made up of two phrases of the same length. For an
example, in Mozart's Clarinet Quintet, the music is very symmetrical and well balanced, in a variation form. However, in Romantic music, they
rather emphasize on the emotional content than trying to sound balanced and symmetrical, and expanded their use of forms and created new forms,
like impromptu, ballade, etude, nocturnes etc,. Moreover, the melodies normally have either really long or short phrases, increased in range, but
also increased in chromaticism. For example in Mahler's symphony no.1 in D major "Titan", we can see that except it is in a ABA form, the whole
movement was not as symmetrical and well balanced as the Mozart, although it is in a variation form, the melodic phrases have increased in range,
are either really long, for example in the first 18 bars, or really short, where the melody can be hardly seen in bar 134–137.
Classical and Romantic era are very different in the use of harmonies too. In Classical music, harmonies were formed from the chords. If the chords in
a music composition are all major chords, then the

An Analysis Of An Opera By Georges Bizet
Carmen is an opera by Georges Bizet that adeptly portrays the story of the same title by Prosper MГ©rimГ©e. It is most well known for its two arias,
Habanera and the Toreador Song. Through the music, Bizet conveys many feelings through the portrayal the common man rather than the aristocrats,
which was revolutionary in the operatic world. Despite being composed in the Romantic era, the subject matter of the opera is more similar to the
Realist movement of the 19th century. Since the beginning of his life, Bizet "showed precocious ability in music and at the age of 10 was admitted to
the [Paris Conservatory of Music]" ("Georges Bizet"). He continued to refine his musical talent and ended up winning the Prix de Rome, which allowed
him to spend ... Show more content on Helpwriting.net ...
The use of chromaticism in his music demonstrates mastery of compositional techniques. Besides this, Bizet's dedication to learning all the techniques
of Spanish music is incredible. According to one source, "Bizet had gone to some lengths to familiarize himself with the musical sounds and forms of
the region in which Carmen is set, and several of the best–known portions use rhythms he learned from those studies" (Schwarm). This dedication
allowed Bizet to master the Spanish Habanera dance despite never having gone to Spain, helping to make it one of the most well–known pieces in
operatic history. His mastery of musical techniques and his dedication to his music allowed him to compose Carmen and refine it into a masterpiece.
In addition to the imaginative techniques, the plot of Carmen is revolutionary. Unlike other operas of its time, it focuses on the lower class. Carmen is
known for "its defiantly sexual leading female character" and its "non–heroic portrayal of a wide slice of society" ("Bizet, Georges"). As well as this,
the undeniable realism of the portrayal of the gypsies, smugglers, and factory workers was not well received (Schwarm). This innovation, although
originally not well received, helped it become one of the five most performed operas in the world. Because opera in that time generally tendered to the
nobility and the sophisticated, having the focus being on the lower class did not end up well.

Claude Debussy's Influence On 20th Century Music
It is not uncommon in music that a particular style or genre may share similar traits with another completely different musical genre. In fact, this
happens quite often, and much like other forms of art, different types of music influence each other regularly and co–exist to create newer forms of
music. A brilliant example of this is demonstrated through themusic of Claude Debussy and his widespread influence on 20th century music.
Considered one of the fathers of "impressionistic music" (a title he personally disapproved of), Debussy's selection of harmony opened an entirely new
realm of harmonic possibilities that hadn't existed previously. Through the implementation of extended harmonies and flowing non–diatonic melodies
(among other techniques) he carved a unique sound completely different from his contemporaries. One of the genres his music inspired was Jazz.
Debussy's usage of harmony and modulation was highly influential on many of the Jazz greats including Duke ... Show more content on Helpwriting.net
...
Somewhat unconventional, Debussy employed several techniques that composers before him had explored, but he delved with a level of detail that
none had accomplished previously. Thoroughly aware of the diatonic system, Debussy sought to build upon it. He had a fascination with "exotic
harmonies" as demonstrated through his work. At its core, the diatonic system is used to classify harmonies in a particular key (or set of keys), but
Debussy added altered and extended harmonies such as 9ths and 13ths that provided extra coloring to his chords. Sharpening 9ths, 11ths and 13ths
created tension, flattening them created even more tension, and leaving them natural provided stronger consonance. His treatment of diatonic harmony
strongly correlated to his implementation with bitonality and polytonality. Debussy would superimpose major or minor triads on top of 7th chords to
extend his harmonies and suggest multiple key

Escape Lane
Escape Lane is an avant–garde jazz record by a creative quartet that feels cohesive regardless the distinct backgrounds and styles of its menbers.
Trumpeter Marquis Hill shows an inclination for groundbreaking sounds, feeling comfortable in playing over inventive rhythms as he explores fresh
musical concepts. In his latest works as a leader, Hill has been teaming up with altoist Christopher McBride and the quirky drummer Makaya
McCraven, both longtime collaborators.
Creative guitarist Jeff Parker, a member of the indie rock band Tortoise since 1998, loves to electrify the air around him with chops that aggregate free
improvisation, avant–jazz, and stylish art–rock. As a sideman, he teamed up with Fred Anderson, Joshua Redman, Brian Blade, and Scott Amendola.
Not so prolific in terms of ... Show more content on Helpwriting.net ...
There are many opportunities for individual flights, and Parker, now and then, exhibits a pleasurable folk–jazz disposition to remodel his usually
abstract modus operandi. After probing enigmatic paths one after another under the rhythmic conduction of Fournier, the tune initiates a swinging
motion that serves Hill's motivic efficiency, before decelerating toward a reflective state of limbo.
Introduced by chimes and guitar harmonics, "488 S. Lake Park" ekes out poetic drifts declaimed by Hill, having Florent's bowed bass underneath.
Similar meditative tones and ruminations build "Une Petetite Fille Danse Asisse" where the trumpeter straddles Coltrane's exultations and Miles' cool
vibes.
The title "Roughed Grooved Surface" is sufficiently transparent to let us have an idea about its mood. Fournier's hyperactive drumming joins the eerie
vibes invented by Parker, who also uses chromaticism and strident, rapid–fire strokes to respond to Hill's intercalation of high–pitched blows and
ascendant/descendant

Sebastian Bach Biography
Born in Eisenach on March, 21 1685, Johann Sebastian Bach was the youngest son of Johann Ambrosius Bach and Elizabeth Limmerhirt. His Father
was a prominent town musician from a highly respected musical family and at the time of his birth served as the director of municipal music in
Eisenach (Williams 9). He got his name Johann from his father's family as was the tradition and his middle name, Sebastian, was that of his
God–father, another musician in Eisenach. Nothing is written or known about his early musical education but, one could assume that he received
instruction from his father and various other relatives based on the musical accomplishments of his immediate and extended family.
When Sebastian's father died in 1695, he was sent to live with his oldest brother Christoph who was a student of Johann Pachelbel in Erfurt (Boyd 8).
Christoph eared his living as a church organist. While living with his brother, Sebastian, in his ambition for learning, copied his brothers most treasured
manuscripts by moonlight without permission and later had them confiscated. When there was no longer room for Sebastian with his brother's family,
he made his way to Luneburg where he was given a place in the Mettenchor (Mattins Choir) for his fine voice. While he was there , Sebastian would be
... Show more content on Helpwriting.net ...
As a court musician he would have the opportunity to perform a much larger repertoire and he would be able to engage in musical theatre and other
secular musical settings. He would also be required to compose a great deal more music as well as employ his skills as a violinist. While in service to
the court Bach formed relationships with many more skilled musicians and composers than he had been exposed to in his church positions. Bach spent
ten years as the court and chamber organist at Weimar where he matured and grew as both a composer and musician (Williams

Nationalism: How Did This Impact The Music Of The Romantic...
What is nationalism? How did this impact the music of the Romantic period? Nationalism is patriotic feeling, principles, or efforts.
2. What is chromaticism? Chromaticism is. more simply put, in contrast or addition to tonality or diatonicism (the major and minor scales).
3. What are the three types of Romantic composers? Describe each type. Conservative Romantic composers were those who retained the classical forms
and guidelines. Schubert, Mendelssohn, and Brahms are examples of conservative Romantic composers.
Full Romantic composers were those who were more innovative and creative in the form and style of their works. Examples of full Romantic
composers include Liszt, Mahler, and Chopin.
Nationalist Romantic composers were those who used the ethnic and national folk traditions in their work. An example of a nationalist Romantic
composer is the Russian composer Tchaikovsky.... Show more content on Helpwriting.net ...
What were some of the social and cultural influences on the music of the Romantic period? this period expresses "freedom" and "individuality.".
During the early Classical periods such as Baroque, music was made for the church and only for the church because there was no profit, or
benefitAnother similarity touches the both music eras include melody and harmony. In reference to the "Billboard Illustrated Encyclopedia of Classical
Music," aspects like melody and harmony were not ruined during the Romantic period.
4. Choose one piece of music from the Romantic period. Identify the piece of music. What emotion do you think the piece is illustrating? Why? What
aspects of the music indicate this emotion? One of the famous musical pieces during the Romantic period of music was "The Lark Ascending" by
Ralph Vaughan Williams in which the primary emotions that the musical classic shows are the elements of calmness, tranquillity, and introspectiveness
wherein it was famously performed in the Queen's Hall in

Aleksandr Scriabin Research Paper
Aleksandr Scriabin entered Moscow conservatory in 1888. There he studied composition with Anton Arensky, and piano with Vasily Safonov. As a boy,
Scriabin had previously studied with Sergei Taneyev, a famous Russian composer who also taught Rachmaninoff. Scriabin was skillfully adroit on the
piano, and for the notes his span couldn't reach, he justified with his nimble fingers . During his studies at the conservatory, Scriabin suffered an injury
to his right hand, due to onerous, self–imposed practice of certain highly technical pieces. While this incident sent him on a downward spiral into
despair and depression, it also forced his attentions more towards composition. During this temporary handicap, Scriabin

Analysis Of Bach's Fugue
2. J.S. Bach's Fugues: chromaticism
The celebrated Baroque composer Johann Sebastian Bach composed two books worth of preludes and fugues, each consisting of 24 preludes and
fugues per book for a total of 48. In both of these collections, Bach created a piece "for each tone in both major and minor key" (Goeth). These books
were written at drastically different times in his life, and as a result, had different characters. I will be analyzing Bach's Fugue no. 24 in B minor from
Book I of the Well–Tempered Clavier; it is the last piece in the first book, and features significant amounts of chromaticism within its subject.
2.1 Analysis of Bach's Fugue no. 24 in B minor It seems fitting that the last fugue in the first book of the ... Show more content on Helpwriting.net ...
In fact, Fugue No. 24 contains the most chromatic subject of all 48 prelude and fugues, and this occurrence is not by chance; Ledbetter believed that
Bach had a "deeply symbolic use of B minor in his music", generally associated with Christ's passion. The irregular, dissonant sounds present in the
subject create tension, as well as a sense of frustration and despair.
The Greek letter Chi, or П‡, is seen in the first two bars of this piece (fig. 2.1.1). It is both an allusion to Christ, as П‡ is the first letter in the Greek
spelling of his name, and to Christ's cross – since visually, П‡ resembles a cross (Smith). According to Ledbetter, this is "surely Bach's most elaborate
use of the device of chiasmus, with every four quavers of the 'sigh' motif forming the cross shape". One of Bach's students, Johann Philipp Kirnberger,
"identified the sighing semitones of this particular fugue as word paintings of despair" (Smith). This furthers the idea that Bach was trying to portray
suffering through this piece of music.
fig. 2.1.2 – Visualization of harmonic events and analysis of harmonization (bars 21–24)
In the bars 21–24 of the fugue (fig. 2.1.2), several appoggiatura–resolutions occur. While the top layer shows the original score, the middle layer
visualizes the passage without appoggiaturas, and the bottom layer represents the harmony. Within this passage, the first note of each slur is an
appoggiatura (a non–chord

Samuel Barber Piano
Noted to be one of Samuel Barber's most popular piano works, acclaimed pianist Vladimir Horowitz called Sonata for Piano, op. 26 "the first truly
great native work in the form" and premiered the sonata, sparking it's rise to fame. Barber was a friend and fan of Horowitz, and found compositional
inspiration through Horowitz's playing by implementing wide pallets of color, flexible tempo changes, and huge sonorities. In addition, Horowitz
found Barber to be "one of the few American composers who knows how to write for the piano." Composed during the late 1940's, this sonata is very
emblematic of some of the many unconventional 20th Century composing techniques, through the usage of 12 tone technique, unconventional
harmonies, and chromaticism and ... Show more content on Helpwriting.net ...
The dynamic and energetic first movement starts in a different key than it's home key of E flat minor, and was woven in sonata form. It is known for
having many staggering several key and time signature changes and rhythmic figurations that mostly consist of dotted 8ths and 16ths, triplets, and
groups of 16ths while contrasting with very mysterious sounding lyrical themes in–between. These alternations are very unpredictable and constantly
keep the listener guessing. The second movement, which is in rondo form, maintains the mysteriousness of the first movement, but maintains a very
playful and mischievous attitude, rather than an intense and fiery one. It keeps flowing and flowing like water without stopping to slow down once, all
while maneuvering between double and triple meter and skipping around the range of the keyboard. The third movement's aesthetic is one of
heart–wrenching lament through lots of sobbing chromaticism, dissonant shades, and dark, tempestuous chords. Stylistically, it is the most
modern–sounding movement of all and employs the 12 tone technique like the first

The And Borrowing Of Georges Bizet's Carmen
EXOTICISM AND BORROWING IN GEORGES BIZET'S CARMEN
On March 3rd of 1875, Bizet's opГ©ra–comique, Carmen, debuted in Paris and was received poorly by its mostly bourgeois audience. While today
Carmen is esteemed as one of Bizet's masterpieces, it was not initially thought as such. In his book, D.C. Parker addresses the fact that opera–goers at
the time were content with watching Italian operas that displayed plots of scandal among the upper class, but were shocked by the idea of Carmen–a
character content with her promiscuous, bohemian life and with no pretense of being a member of the upper class. Carmen has been described by
Cooper as, "a most sophisticated and advanced entertainment to which not all men would take their wives and no man would take his daughters".
Throughout Georges Bizet's opera Carmen, he employs exoticism in various manners to captivate his audience with a Spanish and gypsy–like
atmosphere. Carmen proves to be a sublime example of exoticism in opera of the Romantic period through the combination of stimulating foreign and
re–interpreted chords, established motives, the concept of musical language, and dramatic conflict both in and regarding the opera. Bizet revolutionized
the use of large–scale exoticism and consequently changed the norm of the OpГ©ra–Comique stage. The opera tells the tragic story of Carmen, a
young gypsy girl, and Don JosГ©, a soldier who is enchanted and manipulated by her. For Carmen, men are tools for her personal agenda–she uses

Musical Theatre, By L ' Incoronazione Di Poppea
In any musical drama, be it opera, oratorio, or even musical theatre, it is possible for a composer to convey the personality of their characters through
compositional and musical techniques. Doing so heightens the audience's understanding of the characters, their motivations, and the relationships
between them. Monteverdi, as a pioneer of opera, was one of the first to capitalize on this opportunity to heighten the audience's understanding of the
characters. This is highly apparent in his last opera, L'Incoronazione di Poppea. The music for two of the characters, Poppea and Nerone, is especially
well composed to demonstrate personality, and this is no more apparent than in the dialogue which introduces the audience to them, Signor, deh... Show
more content on Helpwriting.net ...
This allowed the men to "disavow responsibility for their erotic adventure." In other words, it was customary for men who engaged with courtesans to
behave as though they were submitting to the inevitable, and for courtesans to be the dominant ones in the relationship. Poppea, the courtesan, must
behave, according to social norms, as though she is dominant to Nerone. Now that the socio–historical context of this unusual power hierarchy has
been explored, it is possible to explore, in an informed manner, the musicals means by which it is expressed.
Monteverdi used harmonic language to portray the distinct personalities of Poppea and Nerone and the power hierarchies between them. Major–minor
tonality was still being developed at this time and wasn't recognized formally yet. However, according to Geoffrey Chew, most of Monteverdi's works
can "be analysed in terms of major–minor tonality." In this essay, harmonies will be analyzed using this framework. Poppea's passages are
accompanied by highly chromatic harmonies. They are free to follow the dramatic intentions of the composer without the restrictions of any diatonic
scale. Take for example the passage from M34–37: it starts on an E major triad, moves to Bb6 major, and settles on C minor before coming to a
cadence in D major. Even to 21st century ears, these harmonies are unexpected and chromatic. This chromaticism reflects her

Mozart : The Aria In The Romantic Period
In this aria, the Queen demands for vengeance and the death of Sarastro. She expresses her fury and longing for revenge. The aria is
through–composed as there is no repetition. This is effective in expressing the Queen's fury as the aria is an outpouring of emotions– there is no strict
structure to it. This is something different that Mozart did in the classical period. It brought in the use of the through–composed form in the Romantic
period. The melody is aggressive, with frequent use of staccato. It is full of large leaps and jagged movement which successfully relays the intensity
and anger. Mozart also used coloratura(florid, elaborate vocal passages with heavy ornamentation) and melismas to add to the turmoil of the piece.
Music is vivace, a very fast tempo, with sweeping flourishes and tremolos in the accompaniment. The strings play the tremolos aggressively, and the
full orchestra (winds and brass) is used for loud, punctuating chords. The vocal line is sharp and has very precise rhythms. The instrumentation differs
slightly from Queen of the Night Aria 1, as it includes a trumpet and timpani. The oboe, flute, bassoon, horn, and string section all remain the same. The
strings accompany the vocal line, to strengthen the emotion in the lyrics, but also to help the singer tune accurately on the higher notes. One example
can be seen directly after the triplet melisma, where the vocal line is about to go back into the staccato motif, so the motif is played the bar

Critical Analysis Of Symphonie Fantastique
During the Romanic period, there were many advances in regards to instrumentation, and the size of a typical orchestra increased in size and range,
adding in more instruments to the wind, brass and percussion sections. Symphonie Fantastique, by Hector Berlioz, was no exception, and was written
for an extensive orchestra of 220 players, including, piccolos, flutes, oboes, horns, clarinets, bassoons, cornets, trumpets, trombones, tuba (or
ophicleides), timpani, bells, a wide variety of percussion, bells, violins, violas, cellos and double basses. Through this symphony, various instruments
have programmatic purposes to develop the scene, such as the pizzicato strings in the 4th movement, representing the head bouncing after he was
decapitated, and the clarinet in E flat and bassoons in the 5th movement, depicting bubbles rising in a cauldron.
Both movements 4 and 5 were through composed, featuring various musical fragments and themes. Movement 4 features two key themes in addition to
the idГ©e fixe, whilst Movement 5 centred around 3 musical themes; the Beloved (Harriet), the Great Shout, and the Fearsome Crowd. An idГ©e fixe
is a melodic fragment that returns throughout, and in Symphonie Fantastique, it references the Beloved, Harriet, and varies in rhythm, tempo, metre,
instrumentation and harmony throughout to change the character. In the 4th movement, he is getting taken to the scaffolds. The solo clarinet plays it
from beat 3 of bar 164 to 168, however, it is abruptly

The Father Of String Quartets
Known primarily as the "father of string quartets", Joseph Haydn played an extremely important role in the development of the string quartet. When the
composer first arrived on the scene, the usual name given to a "string quartet" composition was actually considered a 'divertimento '. This title was a
general term to describe any "one on a part" type instrumental music that was compatible with a variety of different music scorings, styles and character.
It wasn 't until about 1780 that modern titles/terms such as the quartet and quintet become common for 'serious ' chamber music in the now standard
scoring. (Eisen, Grove, "String Quartet") This change of terminology that happens during Haydn 's career does not imply that there was nothing
'serious ' being performed on strings prior to terminology change. In fact, examples of 'serious ' works can be found during Haydn 's op.9 (1769–70)
early divertimentos, with a cello playing the bass line. This serious work of Haydn also incorporated a new idea within the world of string quartets, a
four movement scheme. Throughout the four movements the textures were varied, having moments of a possible elaborated homophonic 'trio sonata
style ', paired with a more contrapuntal polyphonic style.
Another characteristic that encouraged stylistic growth were the various fugal moments being introduced throughout string quartet music during this
time. The Viennese set k168–73 (1773) by Mozart illustrates an irregular phrase construction,

Chopin Essay
The term Romanticism originated from composer's self–expression and was influenced by the major social and political events during the late 18th to
the early 19th centuries. FrГ©dГ©ric Chopin's "Revolutionary" Г‰tude Opus 10 No. 12 is a clear example of this, where form, keys & harmonies,
chromaticism, rhythms and dynamics reflect the social/political tension and a sense of nationalism within the composition. The Polish composer was
born near Warsaw in 1810 and died in Paris during 1849. Chopin's Etudes are not only intense technical studies but also poetic statements, combining
virtuosity with artistic content. The French word of "Г©tude" translates into English as a study and is a 'composition intended' to improve a particular
element of... Show more content on Helpwriting.net ...
Creating imagery of a 'dying effort' that 'gathers and rushes with' a 'defiant shout on the guns and bayonets of the enemy'. Chromaticism itself
creates a sense of emotional tension and dissonance as well as distress . Throughout many of Chopin's letters he appears in a distressed state after
hearing of the taking of Warsaw. From his notebook written in Stuttgart after September the 8th 1831; "Sometimes I can only groan, and suffer, and
pour out my despair at the piano." "There are no words for my misery; how can I bear this feeling." This is evidence that Chopin was deeply affected
and influenced by the turn of events, which is then portrayed within this particular etude. Chopin's use of rhythm also supports the harmony and form
in creating tension. Motif 1 and Motif 2 pictured below play a significant role in creating this piece. Variations of motif one are seen throughout the
work and gives a slight sense of stability. Motif 2 also gives a sense of speed without the necessity of increasing the time signature indicating building
tension. The triplet configuration within the melody seen in the bar below is 'an embellishment of the first A section melody'. Adding to the minuet
stability within a fierce and moving

Symphony Number 45 in F# Minor (the "Farewell symphony")...
Symphony Number 45 in F# Minor (the "Farewell symphony")
Between 1761 and 1790 Haydn was employed by the enormously wealthy Esterhazy family who had two palaces on the borders of Austria and
Hungary. The court orchestra was similar to that of many baroque orchestras – two oboes, a bassoon, a string ensemble and a harpsichord. But it also
included a pair of horns – instruments that became a regular part of the orchestra thereafter.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
It was this orchestra that accompanied operas in the palace theatre and played symphonies twice a week. Haydn's symphony number 45 in F# minor
was first performed in the summer prince Nikolaus ... Show more content on Helpwriting.net ...
The last movement of the Farewell symphony contains both styles. The presto is stormy, but the violent mood is restrained by its form. The major
–mode serenity at the start of the Adagio is later tinged with minor–mode sadness and one of the strangest endings in symphonic music.
Haydn's use of wind instruments is quite different from Bach's and shows how orchestration changed during the 18th century. Where Bach uses wind
instruments to provide melodic lines within his contrapuntal textures, in this symphony Haydn uses them to add colour or weight to the string parts. In
fact a performance of the presto on strings alone would make perfect sense.
The oboes are used in two ways: they reinforce the violins in loud passages and provide sustained notes that bind the texture (eg bars 20–24) or give a
reedy edge to discords (eg start of bars 25,27 and 29). Although printed on a separate stave in some scores the bassoon simply doubles the cello/bass
part throughout the presto.
Natural horns, like natural trumpets, could play only a limited number of notes. But by requiring the use of different crooks for the town horns Haydn
is able to use a wider number of pitches that would otherwise have been possible. The horns' most important job is to provide harmonic glue for
contrapuntal passages such as bars 20–24 of the finale, where the second horn doubles the first oboe pedal

The Most Influential African American Composers Of The...
Edward Kennedy "Duke" Ellington
Duke Ellington is considered to be one of the most influential African–American composers of the twentieth century. He was a composer, bandleader,
songwriter, and a musician. Duke Ellington was born in Washington D.C on April 29, 1899 and died on May 24, 1974 in New York, New York. Often
times, Duke's music was called "American Music" because it was for America, later his music was placed under the category of Jazz. After his death,
Duke's musical reputation was widely spread across America gaining more popularity.
Many jazz artist do not write their own music but Duke composed most of hs albums and compositions. Duke composed his songs so that every
player in his orchestra would sound their best and each instrument was emphasized. He mainly focused on rhythm and how each instrument would
sound together and how it would make the audience feel. Duke had many famous songs but a few are: "If it Ain't Got That Swing," "Sophisticated
Lady," "Take The 'A Train." Over his 50 year musical career he won many honors and awards for his songs.
At the young age of seven, Duke's musical career was beginning to show its head, his parents placed him into piano lessons. He did not too much
care for music at the time and would have rather played sports. He later found out that he did not desire to play the piano, often missing most of his
lessons, but later on he would come to realize he loved the instrument. He did not know how to read music or write it

Ludwig Van Beethoven's Influence On The Romantic Movement
The music of Ludwig van Beethoven served as a pivot between the styles of the classical and romantic periods. In his early career, Beethoven worked
primarily in the classical idiom. However, in his later work, Beethoven often "pushed the classical forms to their furthest extreme." According to Francis
Claudon, Beethoven was not truly a romantic composer because he "never overstepped the boundaries of classical art." At the same time, Claudon
claims that Beethoven was a "revolutionary" whose innovations paved the way toward the increased expressionism which was characteristic of romantic
music. It is commonly known that Beethoven's personality had a strong influence on the composers of the romantic period. In this regard, it has been
noted that ... Show more content on Helpwriting.net ...
Mozart and Haydn are two other great musicians that come to mind when you talk about Ludwig van Beethoven because they were his foundation. Due
to his impressive foundation, Beethoven was then enabled to reach new heights of power and expressiveness through his own imprint. I did some
research and stumbled across an essay called, "Beethoven's Influence on the Romantic Movement" and it had some good information about his
influence on the Romantic period.
In the essay I read that Beethoven served as a pivot between the styles of the classical and romantic period. Francis Claudon reported that Beethoven
was a "revolutionary" whose innovations paved the way toward the increased expressionism which was characteristic of romantic music. It's almost like
he was part of the cause and not just an influence. "It is commonly known that Beethoven's personality had a strong influence on the composers of the
romantic period" was also written in the essay. Just to know that his personality had such an influence is applaudable. One of the major elements of
romantic music such as the emphasis on the expression of emotions can be found in music produced by Ludwig van Beethoven. That single handled
speaks about his influence and contribution to the Romantic style. Beethoven was profound and remarkable, considering the fact that he went deaf, but
still managed

Analysis Of Carlos Gesualdo's Moro
Analysis of Carlos Gesualdo's Moro, Lasso The purpose of this analysis is to understand the aspects that made Carlos Gesualdo's madrigal unique to
the musical history of the renaissance era. 1.) Qualities of motion: This piece has plenty of contrapuntal action. Similar, contrary, oblique, but very
little parallel motion. In the first two bars of the repeated coda we get the best example of parallel motion with the top three and bottom two voices
moving together. There is also some parallel motion between voices in the very beginning of the piece during the "I die", but after that each voice is
moving independently. The speed at which the voices move is dependent upon the line of text to which it is associated. The opening line declaring "I
die" is the slowest part of the madrigal. Even though every other occurrence of this line grows slightly shorter throughout the piece they are still the
slowest moving sections when they occur. Gesualdo immediately contrasts this opening section with a much busier section with plenty of
text–painting, which will be addressed shorty. The speed of the text helps to create a mood by having the voices slowly drag out words expressing
anguish. Or by having the voices move quickly to suggest the crazy nature of life or of love and relationships. 2.) Chromaticism: Chromaticism is a
way to bring out expressive passages, words, or to bring out the importance of the subject matter that one might be trying to express. Gesualdo uses
many

Debussy Essay
The Problem with Debussy – Subverting Formal Structures
A composition for a solo instrument arguably shows the inner–workings of a composer's musical being. It is transmitted through a sole individual,
rather than a collective group of individuals. One must also note the divide between solo works for a monophonic and homophonic instruments. A
homophonic instrument, like the piano for instance, is one that is constantly referring back to color and polyphonic capabilities of orchestras in
elucidating textures and voices, while a monophonic instrument is inherently linked to the voice. Upholding this argument, a work for solo flute should
grant us a glimpse into a composer's inner process, exposing a verity that larger works cannot express. One piece that contains such potential is Claude
Debussy's (1862–1918) Syrinx (1913). ... Show more content on Helpwriting.net ...
First published in 1927 as Syrinx, this title change was likely initiated by Louis Fleury the first flautist to play the work. Regardless of the title, both
the piece, and Mourey's poem, are clearly evoking the myth of Syrinx. Within the myth Syrinx, a chaste nymph is being pursued by the half man, half
beast god Pan. Syrinx, hoping to escape the pursuit of the Pan is turned in a hollow water reed by the help of her water nymph sisters. With Syrinx
nowhere to be found, and Pan subdued in his pursuit, to quell his boredom he cuts water reeds and fashions himself a flute, thus cutting Syrinx. Pan
ultimately, although unwittingly, captures Syrinx in the form of her voice and eternal song, rather than in the flesh. Understanding the myth's concepts
of time, perception, and physical form is integral to imagining a theoretical formal analysis, as Syrinx's voice remains consistent, in light of her shifting
states of animate

Sergei Vasilievich Rachmaninoff's Symphonic Dances
Sergei Vasilievich Rachmaninoff's last composition, the Symphonic Dances, is arguably the most well–known and recognizable to come through his
repertoire. Around the middle 1930s his output had dwindled due to his increasingly discomforting efforts to balance his triple career of composer,
conductor, and concert pianist. Previous to the Symphonic Dances, he endured failures with the public with his Fourth Piano Concerto and Variations
on a Theme by Corelli, as well as his indifference to his Third Symphony. During the summer of 1940 while in Long Island, Rachmaninoff began
composition on the originally named Fantastic Dances and wrote to Eugene Ormandy informing him that he would give the piece to his orchestra with
which he made his American ... Show more content on Helpwriting.net ...
Though critics were largely uninterested in the performances, the public paid great attention to this work. Though however slow to gain a more
appropriate recognition, its absolute originality and persuasive energy is highly relatable and transparently performed by orchestras worldwide. Only 2
years later, this infinite staple of orchestral music would serve as the boldly marked period to the essay of his compositional legacy.
The first movement of this piece is based on the typical sonata form, beginning with an exciting pulse of a rhythmic three–note descending motive that
cuts through to the ear with aggressive and especially well–written writing for winds and brass. This intro turns out an unforgettable percussive effect
yet paired with subtle balance and attention to the melodic support providing an enduring first theme followed with an equally dynamic, though
evolved in nature, second theme. A limelight shines surprisingly for an alto saxophone solo during the compositional development, passed off
effortlessly to the entire string section. Rachmaninoff's nostalgic character and tribute to previously compositions comes through his treatment

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