Johann Sebastian Bach

Johann Sebastian Bach
Analysis of Concerto in F Minor for Harpsichord and Strings Movement 3: Presto
Johann Sebastian Bach's third movement, Presto, of the Concerto in F Minor for harpsichord and strings provides ample expertly crafted material for
analysis. This movement is in a binary form in which an opening ritornello alternates episodes of solo material. The ritornello, full of easily
recognizable material provided by both the orchestra and solo harpsichord, provides a stable back drop in between each solo section where the solo
part creates drama and excitement. Many of these themes come back in strategic spots in order to heighten the drama of the movement. J.S. Bach uses
many of techniques characteristic of the Baroque period, including imitation, vordersatz, fortspinnung, and epilogue, to help increase the drama and
tension of the piece in order to affect the listener's emotions. In this essay, I will be analyzing the form, compositional techniques, and historical
context of the Presto movement of J.S. Bach's Concerto in F Minor for harpsichord and strings. In analyzing the form of this movement, one can see
three distinct themes in the opening ritornello, which are then brought back in various episodes of solo material, in abbreviated versions of the
ritornello. These three themes all return in the final ritornello to help create a sense of closure to the piece. In the opening ritornello, we see an
example of vodersatz, where the opening theme, theme A, is stated for the first time.
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Descriptive Essay On Music
The piano is one of my favorite musical instruments. It is a great instrument because of how easy it is to pick up on it. Unlike other instruments
like the violin and guitar, you always know what you are going to get when you attempt to play a note. It also sounds amazing and it is very
relaxing to the ear. Pianos are played in many styles but the two most popular styles would probably be classical and jazz. Jazz styled music is most
focused on improvisation while classically styled music requires you to master many skills from the keyboard. Classical is known to be the hardest
style to learn. I tried to play a few classical pieces on my piano but each hand is playing completely different notes at different times and it's hard
because the notes are played so fast. If you accidentally play a wrong note, it doesn't sound right. My favorite genres of the piano are classical and
light jazz. There are many singer–songwriters who play piano that inspire me to play. The sound of the piano is very unique and I like how you can
combine many keys to make cool melodies. The piano has evolved over the years from the harpsichord to the grand piano to digital keyboards. In 1700,
the piano was born thanks to Bartolomeo di Francesco Cristofori. The piano is a fascinating instrument that has changed over time and continues to be
an important instrument in the music industry.
The first piano was created by, Bartolomeo di Francesco Cristofori. There isn't any detail about

Essay on Evolution of the Keyboard
The Physical Evolution of the Keyboard: From Monochord to Harpsichord
Since the first person heard the wind whistle through the trees or the sea in a seashell humans have been drawn to sound. Being the oppressive and
ingenious species that we are we felt the need to capture these sounds and any others that we could to keep for our own. Eventually people like
Pythagoras and gods such as Apollo found that by stretching materials and picking/plucking them that they would produce sounds and that the tighter
you stretched these strings the higher the sound would go. These were the early beginnings of the pianoforte.
The first ancestor of the modern pianoforte is the monochord (diagram 1). A monochord is a... Show more content on Helpwriting.net ...
It is a rectangular box set horizontally on four legs. The strings run parallel with the long sides
of the case, as does the keyboard, which sits off center to one end or the other. At the opposite end of this rectangle is the soundboard. The
soundboard is a box taking up one quarter of the total length of the instrument. It is usually made of softwood with an "f" shaped hole cut in it to
amplify the sound coming from the strings, which are situated just above it. The keys sit on a simple rocker mechanism and strike the strings with
brass blades called tangents. Under normal circumstances the strings are deadened by felt dampers lying very near to on end of the strings. As the key
is depressed it strikes the string just past the felt damper and creates a temporary bridge for that string allowing it to vibrate. For the note to continue
to vibrate the player must keep the key depressed. Also, due to the nature of the mechanism on the clavichord it is possible for the player to create
vibrato by varying the amount of pressure put on a key once it has been depressed. Unfortunately due to the size and construction of the clavichord it
has an extremely soft sound making it impossible to be heard in noisy surroundings.
The church had always been the center of the musical world and as music gained complexity the need arose for a keyboard instrument that could be
used in the

A Performance Practice On Louis Marchand 's First...
A performance practice on Louis Marchand's first harpsichord suite Musicians now tends to pay more attention on the composers of the first and
second generation of the French harpsichord music (Jacques Champion de ChambonniГЁres, Louis Couperin, and Henri d'Anglebert for the first
generation; FranГ§ois Couperin, Daquin, and Rameau for the second generation). However, what should not be ignored is that the first decade of
the 18th century, which was one of the most productive periods in the history of the literature. There are ten collections of harpsichord pieces; all
of them is ahead of FranГ§ois Couperin's first book of 1713. Louis Marchand's harpsichord suite is one of them . Brief overview of Marchand's
life and his harpsichord music Louis Marchand was born in 1669 into a French Musician family, he was active as a harpsichordist, organist, and
composer. Few records related to Marchand's early life, Titon du Tillet stated that Marchand was so gifted that he obtained numerous church
appointment in his early year. In the first decade of 18th century, Marchand entered royal service under Louis XIV, he replaced Guillaume Gabriel
Nivers and became one of the court organist in 1708. Marchand had a concert tour in Germany during the year 1713 and 1717, where he performed
before the emperor and various electors. In September 1717, Marchand was supposed to have a contest with J. S. Bach in Dresden court, it is unclear
why Marchand returned to Paris before Bach's arrival, neither

The Piano Research Paper
The Invention of the Piano
Since the piano was invented, it has been used to entertain, celebrate, and inspire others. Starting with the harpsichord, the piano has evolved to
accommodate many different genres of music. The piano has brought families together across the nations creating strong relationships among homes.
Today the piano is found in many homes, classrooms, and places of entertainment and it is heard almost anywhere. Over the years, the piano has
become one of the most popular instruments in the music industry. It may not be played as often today, but it has become more visual throughout the
internet and pop culture. Although, the piano is becoming digital and seen more in keyboard form; the piano has an unforgettable past. Many ... Show
more content on Helpwriting.net ...
In the nineteenth century there was no middle class home without a piano (Powers, 2003). Playing the piano was very common. In the past, the piano
symbolized the high standard of living, dedication, and wealth (Baldassini, 2010). In this day and age, playing the piano is not as common but is heard
almost anywhere. Although, it is commonly used to teach music theory.
A number of benefits are also found in playing the piano. A music specialist, Brenda Dillon, said "Playing the piano has always added joy to people's
lives, but we're just beginning to understand the full range of its benefits." Studies have shown, playing the piano builds motor skills and hand–eye
coordination. In older adults, it helps reduce depression and anxiety. For younger players, research has shown higher test scores than their peers,
especially in math. They are also looked upon to be more reserved (Baldassini, 2010, para.

Italian Piano Research Paper
Two types of stringed keyboard instrument were available to the household or court musician from the 16th century to the middle of the 18th: the
harpsichord and its near relations, the spinet and virginal; and the clavichord. In the harpsichord family the string is plucked by a small plectrum,
originally of quill. The variety of sound from these plucked instruments is achieved not primarily by finger pressure, but more subtly by phrasing and
articulation. Variety of tonal color can be obtained, on a harpsichord by judicious choice of registration. The harpsichord was used both for solo
performance and accompanying in chamber groups and in larger ensembles of the period. It typically had two sets of strings per key, tuned either to
the same pitch or with one set sounding an octave higher (a 4' register). The registers were controlled by hand stops above the keyboard. Two manuals
(keyboards) were to be found on certain larger instruments, which usually featured three sets of strings. Found from the beginning of the 16th century,
the Italian harpsichords were lightly... Show more content on Helpwriting.net ...
Flemish instruments were more solidly constructed than the Italian, invariably with the basic two sets of strings (either one 8' and a 4' or both at 8'
pitch). Two manuals were common, though the upper manual was originally used for transposing; only in the second half of the 17th century was the
additional manual used for contrast of tone with the ability to couple the registers of both manuals for a fuller sound. The Flemish often painted their
instruments, decorative lids and soundboards being common features. French instruments developed from the Flemish design. Many so–called French
harpsichords were in fact Flemish in origin, rebuilt by French makers who increased the compass in both treble and

HISTORY AND ORIGINATORS OF KEYBOARD Essay
HISTORY AND ORIGINATORS OF KEYBOARD
BAROQUE PERIOD
Harpsichord (Italian cembalo; French clavecin), stringed keyboard instrument in which the strings are plucked to produce sound. It was developed in
Europe in the 14th or 15th century and was widely used from the 16th to the early 19th century, when it was superseded by the piano. In the 20th
century the harpsichord was revived for performance of music of the 16th, 17th, and 18th centuries, as well as for new compositions. The incisive
sound quality of the plucked metal strings adds clarity to melodic lines. The harpsichord is particularly effective in performing contrapuntal music–that
is, music that consists of two or more melodies played at the same time, such as that of the German ... Show more content on Helpwriting.net ...
A typical two–manual harpsichord of the 18th century had strings at normal and octave–high pitch playable on the lower manual, strings at normal
pitch controlled by the upper manual, and a coupling mechanism. Early History The earliest school of harpsichord building developed in Italy in the
16th and 17th centuries. Italian harpsichords differed from others in that they normally were made of extremely thin wood and then placed in a
stronger outer case of the same shape. A second important school of building developed in the 16th and 17th centuries in Flanders, centered around the
influential Ruckers family of builders. These schools gave way in the 18th century to distinctive styles of building that developed in France (the
Blachet family), Germany (the Hass family), and England (Jacob Kirkman). Harpsichords of the different national schools varied in details of their
proportions and construction, resulting in slight, although characteristic differences in tone color. Modern Developments In the 20th century, two
broad approaches to harpsichord building emerged. The first utilized recent principles of construction, such as are found in present–day pianos.
Stimulated by the Polish harpsichordist Wanda Landowska, this style was exemplified by the French piano firms of Pleyel and Г‰rard. Their
harpsichords relied on heavy strings under high tension in a heavily braced case. Many

History Is the Piano Essay
H
The Piano
Prepared By: Maria Darbinian
Prepared For: Professor Daniel Moser
Introduction to Humanities
DeVry University Online
In the 1700's the piano was invented by Bartolomeo Cristofori in Florence, Italy first introduced to the world as the "pianoforte" meaning "Soft loud".
"In the last quarter of the 18th century the piano had become the leading instrument of the western art of music that still lives on till today as an exotic
instrument played by talented people in the world." (Wendy Powers, 2003) Music has lived on from the beginning of time by all cultures and races for
decades. Music is known to make the heart, soul, and brain one. Without this invention Beethoven would have not made the music that lives on ... Show
There was an Economic decline; the powerful Habsburgs of Spain had dominated most of Italy in one form or another starting 1559 to 1713, and
music and art continued to speak freely.
In developing the piano Bartolomeo Cristofori had been working on getting a feel for the harpsichord to respond to touch. He developed a
mechanical action that made it possible to sound simultaneously as many notes as one had fingers and do to this to be able to produce any work in
the entire literature of Western music with variations of loud and soft according to the player's touch at the keyboard. It included a complex
mechanical action with a hammer that rose towards a string four times as fast as the finger, an escapement to allow the hammer to rebound from the
freely vibrating string, a check for the hammer to prevent bouncing, and a shift so the hammer would play only one of the two strings to reduce
volume. Cristofori's hammer mechanism was so well designed, that no other of comparable sensitivity and reliability was developed as known for
another seventy–five years. The highly compound accomplishment of the modern piano may be sketched directly to his original conception. Todays the
piano sustains pitches in a lyrical fashion, creating all musical styles and moods and is universal all because of Bartolomeo Cristofori's invention of the
great musical instrument. This popular instrument has changed over the years (except for its hammers), and how its

J. S. Bach Fuggue Essay
Talents vary in all human beings but a small fraction of those talents are noticed and are put into good use, which benefits not only the history of the
subject of his or her talent, but also the person's audience. According to Katherine Charlton, "A fugue is based on the polyphonic development of a
melody called the subject. J.S. Bach was one of those talented people who was not just a composer, but also composed works in fugue that he is most
famous for because of the quality of the works, which that are still performed today. Fugues were not a piece of cake, but he made it seem effortless on
his fugues even though they were difficult to perform. J.S Bach brought his uniqueness and special composing talents when creating his fugues,
including ... Show more content on Helpwriting.net ...
According to Betsy Schwarm, "The compound adjective well–tempered in the title refers to the employment of a tuning system that would work
equally well in all keys–a circumstance rare in Bach's day" (1). Betsy Schwarm also states, "By using the word clavier, Bach indicated that his music
could be played on any keyboard instrument, including harpsichord, clavichord, and organ" (1). It grabbed everyone's attention because it was
spectacular that the work could be played on a piano, which at that time was not known about in Bach's hometown of Germany at the time.
Toccata and fugue in D minor is also referred to as BWV 538 and is for the organ, but there is mystery behind it. There are reasons that strongly
suggest this work was not for an organ nor was written in D minor in the origin of it. There are even experts on the subject that doubt it was even
composed by Bach because Bach composed the work unlike his other works. There is even a copy by one of Bach's students that shows this work has
a different flow of others. There is a story through anything and both of these works have a background but just different

19th And 20th Century: Music Analysis
For my EPQ I have done an artefact, which is a composition physically showing how music has developed and changed over the years. I have chosen
the five main musical eras, Renaissance, Baroque, Classical, Romantic and 20th century, to feature within the composition. I have researched the key
features of these eras and what makes each era different from the others, and what allows them to be easily identified. I have then found the music for
'Happy' by Pharrell Williams (Pluta, 2014) and have copied the first verse and chorus five times, one for each era, and have moderated each section by
applying the characteristics for that specific era. Adding different features to the same piece of music has helped differentiate each section from each
other, ... Show more content on Helpwriting.net ...
The main feature of this era was the use of the sustained pedal on the piano, (Ehrlich, 2009) which is used to hold down notes once a pianist has
lifted their hands off the keys. (Vartic, 2011) This lets the pianist sustain notes which would otherwise be out of reach, and accomplish legato
(smooth) passages. Therefore as the use of the sustained pedal was a distinguishable feature of the Romantic era, I have used it in my composition.
Another feature of this period, was that the melody had long runs of notes, (Deverich, Romantic Musical Period Style Characteristics , 2015) and also
wide leaps between notes to heighten the expressive qualities of the melodies (Deverich, Romantic Musical Period Style Characteristics , 2015). So
therefore I have adapted the melody to include both long runs of notes and wide

Scarlatti Essay On Symphony 8
In playing Scarlatti's K. 159 sonata I have made several conscious and historically informed choices regarding choice of instrument, tempo, dynamics,
ornamentation, and touch. While I am not seeking to play the piece exactly as Scarlatti might have played it, I am aware of its historical context, and
have to some extent recreated the effect the piece would have had were it played in the 18th century.
The first choice was in playing this sonata on the modern Grand Piano, a very different keyboard to the 49–61 key harpsichord for which it would have
been written1. This is important not only in the piano's different tone, but its capability of sustained notes and subtle dynamic variation. The second
choice was in playing the piece at a consistently fast and lively tempo with: a predominantly light staccato touch, few sustained notes, and sparing use
of the sostenuto pedal to accentuate the sonority of the low 'D' in the repeated passage shown below. Scarlatti gives little or no guidance regarding
dynamics2 (due to dynamic limitations of the harpsichord) or tempo, and thus I intuitively chose the speed and spirit at which to play. Other than the
use of subtle graded dynamics, my interpretation creates a musical effect not completely dissimilar to that of ... Show more content on Helpwriting.net
...
While precise ornamentation notation was developed in France in the early 1700's and shown in various treatises such as Couperin's 'art of keyboard
playing,' it did not appear in Italian tradition till later in the century3. As the tradition placed the responsibility upon the performer to ornament the
performance live, Scarlatti indicated trills of an unspecified length with the symbol 'tr' or a short wavy line as shown below. These are able to be
played with as many or few notes as the performer is capable of4 while maintaining rhythmic integrity. The acciaccaturas are to be treated similarly, and
I adjust their duration to suit the

Beethoven Piano Research Paper
Ludwig van Beethoven's Moonlight Sonata is one of the most famous pieces of piano music. Another famous piece is Claire de Lune by Claude
Debussy. Both of these pieces are very beautiful and elegant. In these pieces of music, there is a lot of dynamics, and use of the pedal which makes
them so graceful, and elegant. Over the years, the piano has been invented, played, and improved. The history of the piano is very fun to learn about
and includes the different eras of music. Before the piano, there was the harpsichord. The harpsichord is a somewhat bland version of the piano, that
was invented in 1387 by Hermann Poll. The outside decorations are very beautiful,and a lot of the time the harpsichords would be brightly painted on
the inside and outside and intricately carved as well. Therefore, the harpsichord is the ancestor of the piano. The harpsichord, like many would think,
is made out of wood. A harpsichord is usually made from American Basswood, Yellow Poplar, or Pine on the outside. "Oak, Maple, Walnut, Beech,
and Spruce are used for structural supports inside the cases" (Source).
There are also different ... Show more content on Helpwriting.net ...
When the piano was first invented it looks like a harpsichord excluding one row of keys. At the time, the piano only had about eighty–five or less keys
on it. Now, there are eighty–eight keys, fifty–two white keys and thirty–six black keys. The piano shape itself has also changed a lot. It can still be
found in many ways, the original way, which is similar to the way a harpsichord is set up. An upright piano, which is exactly what is sounds like;
the back part of this piano is up tall, so that it can go against a wall, or wherever it needs to go. There is also the electric piano, which plugs into a
wall where it can be played like a piano, but with different sound effects. There is also a grand piano, which is the most recognized for its unique

History Of The Suite : French Keyboard And Lute Music...
BRDPAT004 History of Music 1 Assignment The development of the suite in French keyboard and lute music during the 17th century Looking at
the suite from a German perspective, it seems as if the French suite is less cohesive and refined as compared to the fixed structure of dances found
in the German suite. The French suite is described as a 'loose form' as it is sometimes seen as a sequence of contrasting dances and other times as a
series of dances in the same key. In early French suites it can be said that the influence of other cultural aspects in society is vast on the music.
Trends noted in society pertaining to aesthetics and values can be found represented in the music. One of the earliest significant publications of a
keyboard suite was "Pieces de clavicin" by Jacques Champion Chambonnieres, who was seen as a big figure in the development of suite. Another
significant manuscript, known as the Bauyn MS , features dances by both Chambonnieres and his student, Louis Couperin. The arrangement of
early suites in France differs, but it is noted that these manuscripts are arranged by composer, key and genre. The dances were arranged by key in
ascending order. In these early examples the Courantes always appeared before the Sarabandes and Gigue. Some evidence does exist that some
consideration was taken by the composers to specify the order in which pieces should be played. Notes were usually made on the top of manuscripts
for example written on a Gigue from D'anglebert's

Essay on Ensemble Music During the Baroque Period
Baroque Period (1600–1750) Ensemble Music During the Baroque period, instrumental music was written for every conceivable size of ensemble.
On the smaller side, the Baroque sonata offers one of the finest examples of chamber music. Two types of sonata are found during this period: the
sonata da chiesa (church sonata), and the sonata da camera (chamber sonata). The sonata da chiesa was more somber, while the sonata da camera
was, much like the suite, usually comprised of dance forms. The gigue from Corelli's Sonata for 2 violins and lute is a fine example of the sonata da
camera The term sonata was used during the Early Baroque to denote musical works to be played instead of sung (cantata). Sonatas were usually
played by a small... Show more content on Helpwriting.net ...
His piano and violin arrangement of the Air from Bach's Suite known as Air on the G String has been, however, his most enduring achievement. Suite A
popular form among composers was the suite, a series of movements based upon the rhythm and style of a particular dance. The suite could be written
for a solo instrument, for example the harpsichord or violoncello, or small instrumental ensemble, and usually included the German Allemande, the
French Courante, the Sarabande (originally from Spain), and the English or Irish Gigue (Jig). Many also included the Gavotte, originally a French folk
dance characterized by the raising rather than the sliding of the feet. At times, non–dance movements such as the Prelude were also employed. This
series of movements was designed to offer interesting contrasts in meter, tempo, and texture. Often written for a large orchestra, the dance suite
became more popular in the late Baroque. Examples of this type are Handel's two most popular orchestral suites: Fireworks Music and Water Music.
The Fireworks Music suite was, appropriately, first performed at a large fireworks display, while the Water Music was written for a party held on the
Thames River. Legend has it that the partygoers rode on one barge floating down the Thames, while Handel and the musicians played on another barge
immediately following. The most famous movement from these suites is entitled Alla Hornpipe from the

Classical Music 's Influence On The Beatles
Classical Music 's Influence on the Beatles In this essay I am going to look at the way that classical, in particular baroque, music has affected music of
the 20th century. To do this I have chosen three beatles songs and compared them directly to music by Bach and Beethoven. I hope to find many
correlations between the two pieces of music in each case. The first song I have chosen is the song Blackbird. McCartney has claimed that the music
was inspired by Bach 's Bouree in E minor, of which he and George Harrison had learned to play at a young age. https://www.youtube.com
/watch?v=BrxZhWCAuQw https://www.youtube.com/watch?v=APNI2CC0k6A&list=RDAPNI2CC0k6A&index=1 Blackbird – Bouree In E Minor
(Bach) Musically, the songs at first glance aren't that similar, for example the song Blackbird is majoritively in a major key, whereas Bach's
Bouree in E Minor, as named, is in a minor key. This is a seemingly large difference but Blackbird is in G major and therefore the relative major key
of E minor. The two keys are very closely related and add to the similarities between the two pieces. The BourrГ©e is distinguished by melody and
bass notes played simultaneously on the upper and lower strings. McCartney adapted a segment of the BourrГ©e and reharmonized it into the relative
major key of G as the opening of "Blackbird,". He then carried the musical idea throughout the song. This song also makes use of baroque like
counterpoint melodies. "Part of its structure is a particular

BOOK 1: THE PIANO HANDBOOK In this book...
BOOK 1: THE PIANO HANDBOOK
In this book McCombie explains how Bartolomeo Cristofori changed a Harpsichord in to a piano over three hundred years ago. McCombie goes on
describing how when Cristofori was angry and frustrated he banged on the keys of the Harpsichord. Cristofori found that they didn't respond with
satisfactory crashing chords. By the year 1700 Cristofori changed the Harpsichord so that he could use two strings for each note and a set of leather
covered hammers to strike them. He then developed a key mechanism to control the force of the hammers.
McCombie uses a lot of illustrations to describe the mechanisms within a Harpsichord and a piano. In the next chapter talks about buying a ... Show
Closson in the following chapter talks about how the piano came from two geniuses; Cristofori and Erard. He explains how they perfected the
Clavichord and the Harpsichord into an instrument of greater sonority, one that could be heard in larger rooms. The Clavichord is basically a dulcimer
with a keyboard and the Harpsichord came from the psaltery, which is like the Dulcimer, but its strings are plucked by the fingers rather than being
struck.
Closson uses a few illustrations to describe the different mechanisms in the Harpsichord, Clavichord and the piano but mostly uses photographs to
show each instrument and the way that they have developed throughout the years. I think that this book is aimed at people that have some basic
knowledge on the piano. It has got pieces of music for readers to try on the piano, although I did not find quite as useful as Book 1.
BOOK 3: GREAT PIANIST SPEAK FOR THEMSELVES
This book is about thirteen pianists'. The author writes predominantly about their lives and how they first got interested in the piano. The article is
written in a journalistic manner. The first pianist that the author interviews is Claudio Arrau. She spends much of the time telling the reader how she
was greeted at the door and ushered down a short flight of stairs. She goes into great detail in trying to set the scene in the

Lady At The Virginal With A Piano Analysis
Dalton Hocutt
Scott Baine
Art 1113 VG 01
4 October 2017
Part one: General Information
Title: Lady at the Virginal with a Gentleman, The Music Lesson'
Artist: Johannes Vermeer
Date: 1662–1665
Provenance: This painting was painted in London, England. It was painted for a fellow named Jacob Dissius, and around 1742 it was acquired by
King George the 3rd.
Location: This painting was located in the Royal Collection in London. Later it was moved to the Buckingham Palace.
Media: Vermeer painted this artwork by using oil paint. He painted this painting on a canvas.
Dimensions: 29.4" x 25.2"
Part Two: Description
There is a young girl, who is wearing a dress, in the painting playing on the decorated piano in the painting "The Music Lesson." She is being taught
by a teacher who is not in as much of detail as the little girl. The instructor is holding a cane. The instructor is also wearing a gold bracelet. The
instructor is located on the right hand side of the painting just right of the young girl playing the piano.The texture of the painting really expresses
its age. In this painting there is another painting inside of this one painting. There is also a mirror directly above the young girl playing the piano
which is held up by a brass knob. The room that the teacher and young girl are in is very well decorated. There is a vase on the table which is located
on the right hand side of the paintng.The windows in the room are stained. The windows are located on the left

Use of Symbolism in Hawthorne's The House of the Seven...
Use of Symbolism in Hawthorne's The House of the Seven Gables
In the novel The House of the Seven Gables, Hawthorne portrays Alice Pyncheon as a unique and compelling character, placing her in contrast with a
story full of greed, lies and betrayal. Hawthorne reveals her fantastic character to us in numerous uses of symbolism throughout the novel. By painting a
picture of a gentle yet proud woman, Hawthorne chooses to represent Alice's impressive characteristics using images that come up repeatedly in his
novel such as the nature and flowers in the garden as well as Alice's Posies. Hawthorne also makes reference to the Maule "mastery" and its power
over Alice and the playing of the harpsichord during a Pyncheon death. All the... Show more content on Helpwriting.net ...
Hawthorne describes the bush as "literally covered with a rare and very beautiful species of white rose" (68). The white hue of the roses could no
doubt represent the purity of Alice's character and spirit. The rosebush radiant in full bloom mirrors the fact that Alice's spirit is very much alive and
vibrant despite her unfair death two centuries earlier. Also, when Hawthorne states that "the whole rosebush looked as if it had been brought from Eden
that very summer," he shows the innocence of Alice's spirit through his reference to the garden of Eden and her character's place among the heavens
above. This rosebush in the Pyncheon garden symbolizes Alice's innocence and purity as well as her connection to nature and the flowers that God
himself created.
Besides Alice's connection to the nature in full bloom within the Pyncheon garden, Hawthorne makes several references to "Alice's Posies" which
bloom every summer on the roof of the House of the Seven Gables. Hawthorne notes that these flowers did their "best to gladden it [the house] with
tender beauty" in the same way that Alice's tenderness does its best to dominate the gloom of the Pyncheon House (31). Most notably, Alice's Posies
"were flaunting in rich beauty and full bloom . . . a mystic expression that something within the house was consummated" on the day that Holgrave and
Phoebe unite their love for one another, therefore

Descriptive Essay On The Museum Of Music
On Monday, September 18th, 2017, I visited the Honolulu Museum of Art's Doris Duke theater which is an intimate, yet charming venue fixed in the
heart of downtown Honolulu. That night, I was in for a unique experience of the traditional mixed with the contemporary, featuring Dr. Thomas Yee,
harpsichord, and a Tresemble which contained two violins, viola, cello, bass, flute, oboe, and bassoon performers. Dr. Thomas Yee, who is a professor
of music at the University of Hawaii at Manoa, is usually seen tickling the ivories at a ravishing concert grand piano on an illustrious stage. However,
that night, he brought the theater's elaborate, magnificent, and special harpsichord to life instead. The harpsichord was commissioned by a musician
named Gertrud KГјnzel Roberts who played it often at concerts. What truly makes this harpsichord valuable is the artwork on the inner part of its lid
which was painted by Jean Charlot, a family friend of Roberts. The artwork on the lid is an original mural in a Spanish style and a suite of pieces
was actually written for this particular harpsichord, with each of the pieces being dedicated to a member of the Charlot family. I did not get to hear
any of those pieces that night, but I did get to hear some very thought–provoking, engaging, and majestic music. The first piece on the program was
Trio Sonata No. 3 in B–flat Major ZMV 181 for Violin, Oboe, Bassoon, and Harpsichord. This piece was written around the

Maria Anna Mozart
This performance composed and brought about by Sylvia Milo and coordinated by Isaac Byrne, is a noteworthy and provocative anecdote about
Maria Anna Mozart, the more seasoned (by four years) and just developed sister of the renowned worldwide established period arranger Wolfgang
Amadeus Mozart. The story depends on protected letter correspondences from the Mozart family.
It starts with Samantha Hoefe holding a piano–like toy, recounting the account of Nanner and Nannerl's association with her younger sibling Wolfie.
Evidently, Nannerl would have wanted to take in the harpsichord at an exceptionally youthful age. Nonetheless, her dad Leopold Mozart, an arranger,
artist, and instructor, declined to show her when she was exceptionally youthful, ... Show more content on Helpwriting.net ...
Later in the play, when she at long last puts all in all dress, which comprises of an enclosure like undergarment as the middle piece, this is the defining
moment in her life. She weds two–time widower Johann Baptist Franz von Berchtold zu Sonnunburg, who lives in a manor in a detached town in St.
Gilgen. In spite of the fact that wedding him gives her a monetarily stable life, she is compelled to raise his five inadequately taught kids, and her
musical abilities, together with her musical instrument, are totally ignored in his home. The sounds and music are frequently out of sight in order to
not defeat the performance entertainer's voice. Being an established music darling and a Mozart fan, I would have wanted to hear more music, even
without live performers. Maybe a genuine toy piano as a prop, or playing out the teacup ensemble with more teacups, could fulfill the musical interest.
This play is, at last, a miserable and pondering tale about Maria Anna Mozart. In the meantime, it is additionally an update for us about how far ladies
have come in the battle for equivalent rights and equivalent expert acknowledgment. Overall I didn't enjoy this production too much, and I honestly
wouldn't recommend it to

A University Of Southern Iowa College Student
Annalea Milligan, Bassoon Recital
As a University of Northern Iowa College student taking Soundscapes, I attended a recital by Annalea Milligan on Wednesday Oct. 19th, 2016 at 8:00
p.m. in Davis Hall, a small auditorium, at the Gallagher Bluedorn. Annalea Milligan received her Bachelor of Music degree in performance at Pacific
Conservatory of Music, and is currently a first–year graduate student pursuing a Master of Music degree in bassoon performance at University of
Northern Iowa. For the first half of the program she played the bassoon in Rhapsody composed by Willson Osborne and then she was accompanied by
Mariya Akhadjanova on piano playing Variations on Theme of Pergolesi composed by Otmar Nussio which included I. Arietta, II. Scherzetto, III.
Tamburino, IV. Lamento, V. Ostinato, VI. Rapsodia, VII. Elegia, VIII. Barbaresca, IX. Stornello, and X. Danza. Then after a brief intermission
Milligan played the bassoon and was accompanied by Serena Hou with the harpsichord playing Concerto in G Minor, RV 495 composed by Antonio
Vivaldi which included Presto, Largo, and Allegro, not to mention she also played Bachianas Brasileiras No. 6 composed by Heitor Villa
–Lobos and
was accompanied by Azeem Ward with the flute which included I. Aria (Choro), and II. Fantasia. I will depict the first and second part of the recital
and describe my reaction and total opinion about the overall concert.
In the beginning of Annalea Millgan's Recital she opened with a neoclassical composition

Modern Music During The Baroque Era
The term Baroque has been widely acknowledged as a period in Western European Art Music lasting for 150 years from early 17th to mid–18th
century. The word itself is originated from barroco in Portuguese meaning "oddly shaped pearl", which best describes the visual and details of the
buildings existed during that period. Its flamboyant and ornate details of the building is what causes ornamentations and harpsichords to become an
essential element of Baroque music. Bach, ornamentation, and harpsichord are few of the most recognisable elements of Western Art music during the
Baroque period. Nonetheless, we all came to a second realisation that the Baroque era lasted for more than 150 years, meaning that it has its own
remarkable history and ... Show more content on Helpwriting.net ...
S. Bach, G. F. Handel, and Domenico Scarlatti. Antonio Vivaldi, Claudio Monteverdi, Couperin, Jean
–Phillippe Rameau and Jean–Baptiste Lully are
other popular names in the Baroque era. Each composer specialises in different instrument compositions and techniques. Out of all the names
mentioned, J. S. Bach remains to this day, one the greatest composers of both the Baroque era and all–time. Each of these composers specialise in
different areas or compositions and instruments. Working extensively with keyboard instruments such as the organ and harpsichord, a few of J. S.
Bach's well–known compositions include his Brandenburg Concertos, Goldberg Variations, and St. Matthew's Passion. G. F. Handel himself composed
Italian operas, oratorios, anthems, and organ concertos. His most popular work of all–time is the "Hallelujah" chorus from the oratorio Messiah, which
went on to become the most popular Baroque work and considered as a choice of piece often performed in Christmas time. Domenico Scarlatti on the
other hand composed in a number of musical forms, but is best known for composing 555 keyboard sonatas.
As a major instrument of the Baroque era, the harpsichord has parallel strings used for the players to pluck in order to produce sound. This instrument
is highly used and heard in compositions such as J. S. Bach's toccatas and Domenico Scarlatti's piano sonatas. Unlike the modern piano, the
harpsichord has no pedals so "it is

Clavichord Research Paper
The pipe organ, clavichord, and harpsichord are considered as the earliest keyboard instrument. The hydraulis organ is the oldest kind of pipe organ,
appearing in the third century BC. It was not a keyboard in the modern sense. From its invention until the 14th century, the organ remained the only
keyboard instrument.
Clavichord and the harpsichord appeared during the 14th century. The clavichord probably appeared earlier than the harpsichord. The harpsichord and
clavichord were both common until the appearance of the piano in the 18th century, after which their popularity decreased. The Clavichord is a
European stringed keyboard instrument known from the late Medieval, through the Renaissance, Baroque, and Classical eras. The Clavichord was
mostly used as a practice instrument and as an instrument for composition, because the instrument itself was not loud enough for larger performance.
The clavichord produces sound by striking brass or iron strings with small metal blades called tangents. It allowed the strings to continue vibrating as
long as the key was depressed. Thus, players had more control over the volume of their instrument. ... Show more content on Helpwriting.net ...
Harpsichord was an important keyboard instrument in Europe from the 15th through the 18th centuries. The Italian harpsichord is a single–manual
instrument with a very light construction and relatively little string tension. The Italian instrument is considered pleasing but unspectacular in its tone
and serves well for accompanying singers or other instruments. Towards the end of the historical period larger and more elaborate Italian instruments
were built, notably by Bartolomeo Cristofori, who later invented the piano. A major weak point of the harpsichord was that the dynamics of each note
could not be controlled. This meant that composers could not evoke emotion in their music as much as they

Bach And Telemann Critique
On April 2, 2017 at 2pm I went to watch the Baroque Chamber Music Series: Bach & Telemann's Coffeehouse: St. Luke's Chamber Ensemble at the
Brooklyn Museum. There were 5 performers: Krista Bennion Feeney, who played the violin; Naoko Tanaka, who also played the violin; David
Cerutti, who played the viola; Myron Lutzke, who played the cello; and Robert Wolinsky who played the harpsichord.
The first performer was Krista Bennion Feeney, she played Gigue from Fantasia No. 12 for Solo Violin by George Philipp Telemann. The next
performance was Trio Sonata in G Major, BWV 1039 byJohann Sebastian Bach, which included four movements: Adagio, Allegro ma non presto,
Adagio e piano, and Presto. This was performed by two violinists, a cello player and ... Show more content on Helpwriting.net ...
It started with a rather slow tempo that had a call and answer type of theme, with the call part being more loud and dramatic while the answer was soft
and then after a part that flowed without the call and answer theme, it was vice versa– so the call part was soft and the answer was louder and more
dramatic. This movement faded out and into a slightly more fast paced part, however it wasn't the end of that movement because it wasn't a complete
stop. The second movement was quicker and much shorter than the first movement. The third movement was very similar to the first, in that it was a
little slow and has very short pauses that fade into a different paced part of the same movement. This movement had variations to the first theme and
had a short harpsichord solo. The fourth movement, Menuetto alternativo– trio had a faster pace and sounded like a non imitative polyphony with the
violins and viola as the main melody and the cello and harpsichord as the second melody at most times and as the background accompaniment at other
times. The last movement was much louder, more dramatic and more lively than the rest of the movements.This movement had multiple parts that
sounded were crescendo and then decrescendo. They finished the song with crescendo and it was a very dramatic ending. Most of the movements in
this piece were played by the strings, and the harpsichord was rarely heard because the strings overpowered it and were much louder than the

Piano Progression
The notion of technology has become a ubiquitous force is modern day society, where its rapid advancement has revolutionised all aspects of life.
Undoubtedly, the progression of technology has had a profound influence on the art of music. The way music is now transmitted, performed, and
composed has evolved in accordance with the physical and stylistic components of particular musical instruments. Radical technological developments
throughout time has provided the piano with a long and diverse history, featuring variations of its physical figure as well its tone colour and texture(?).
The harpsichord served as a starting point for future developments of the piano and essentially laid out the basis for the emergence of the pianoforte.
Up until the mid 18th century, the harpsichord was a ... Show more content on Helpwriting.net ...
It is chiefly associated with the baroque era (1600–1750) and embodies characteristics of exuberance and articulation, reflective of the time period in
Western Europe. Italian harpsichords were lightly constructed and veneered in natural wood to allow the tone colour to vary from brittle, well–defined
and percussive, to bright, shimmering and incisive. Sound is produced by plucking a string when a key is pressed down, but, a distinct feature of the
harpsichord is its incapability of dynamic gradation, rendering it limited to one unvarying volume. Performing artists could not convey the same degree
of musical expression on the piano as that of other instruments. This artistic desire for dynamic freedom ultimately led to the development of what is
now known as the modern piano. Bartolomeo Cristofori, an Italian instrument crafter, produced a breakthrough technological advance; a new
mechanism for the harpsichord which allowed for it to be played with dynamic variations. He named this invention "gravicembalo col piano e forte," or
"harpsichord with soft and loud", later known as the 'pianoforte'. Cristofori's innovation included an

The History of the Piano Essay
The History of the Piano
The piano has seen many sights and has been a part of countless important events in the past and present, and is said to have dominated music for the
past 200 years (Welton). Throughout history, inventions come along that "take art away from princes and give it the people" (Swan 41). Not unlike the
printing press, the piano made what was once intangible possible: the poorest of peasants could enjoy the same music that their beloved rulers did.
The piano can be played by "the rankest of amateurs, and the greatest of virtuosos" (Swan 41); so even if a person is not very intelligent, a simple
tune can easily be learned. In addition to being a key factor in almost all western music styles, the ... Show more content on Helpwriting.net ...
However, the harpsichord was limited to one, unvarying volume. Its softness and loudness remained the same while playing. Therefore, performing
artists could not achieve the degree of musical expression of most other instruments. The artistic desire for more controlled expression led directly to
the invention of the piano, on which the artist could alter the loudness and tone with the force of his/her fingers (129).
The first piano appeared in Italy sometime around 1693, originally named the gravicembolo col piano e forte ("the harpsichord with loud and soft"). An
Italian harpsichord–maker named Bartolomeo Cristofori "replaced harpsichord's jacks with leather covered hammers, activated by a remarkable
mechanical system" (Hollis 51). Where the harpsichord could only make a string produce one sound, the new piano could be played loud or soft,
make dynamic accents, and could produce gradations of sounds (52). Even though this new invention attracted little attention at the time (because of
the existing popularity of the harpsichord), the piano would captivate the world in the years to come. Cristofori made only two pianos before he died
in 1731, but an article was written about the new invention, and the article made it's way to Germany. There, an organ–builder named
Gottfried Silbermann read the article and became fascinated with the idea of a modified harpsichord (Hollis 54). Additionally,
Silbermann had

Who Is Johannes Veermeer Lady At The Virginal With A...
A. Scott Baine
ART 1113 GT01E
October 4, 2017
Part I General Information
Title:Lady at the Virginal with a Gentleman, 'The Music Lesson'
Artist:Johannes Vermeer
Nationality:Dutch
Date Created1662–1665
Provenance:The painting was made in Great Britain for Jacob Dissius before 1696. After that it was obtained by the low countries by Giovanni
Antonio Pellegrini in 1718. After these events the painting started getting sold and bought from person to person. Joseph Smith bought it from
Giovanni's wife. Giovanni's family then sold it to King George III in 1762.
Location:The first location this painting was located was in the royal collection in the Windsor castle outside of London. It was later moved to
Buckingham palace and placed in the picture gallery. It was taken off display for future conservation.
Media: Johannes Vermeerused oil paint on canvas, and he executed the painting by using shades of grey or browns. After those steps he would apply
transparent glazes in more saturated colors such as blues, yellows, reds.
Dimensions:77.3 x 64.5 cm (28 7/8 x 25 3/8 in.)
Part II Description
In the painting "The Music Lesson" There is a little girl playing the piano with her piano teacher. Her piano teacher is watching her play, making sure
she is playing the right notes. The piano teacher is using his arm to rest on the piano. There are stained windows on the right side of the paintings
letting in some light onto the girl playing the piano. Directly above the little girl is a mirror reflecting the girls face and the other side of the furniture.
The walls are not cluttered full of paintings but only have a single painting on the right–side of the room getting halfway cut off. The one picture they
have hanging on the wall has a nice picture frame around it. The family has stained windows for showing their wealth and to make their house look
pretty. There a marriable floors throughout the room and they are multi colored. There is a white ceramic watering jug with a silver lid sitting on the
table with the cloth wrapped over it on the right side of the painting. The jug has a shiny silver top on it. The jug looks very well crafted and
expensive. The ceramic watering jug

A Music Faculty Recital At Prince George 's Community College
"A Music Faculty Recital" at Prince George 's Community College was actually the very first concert I've been to that included Baroque style. The
environment created a nostalgic yet modern and elegant mood; something that made you feel like you were in the late 1700's yet still in modern times.
The songs were mostly enjoyable and we 're all well played. This concert included an ensemble: the flute, the cello, the piano, and the harpsichord.
Peggy Bair, who played the flute, was very enthusiastic. Irma Cripe, who played the cello, was quiet for the first part of the concert but gradually
became more important throughout the concert. And lastly, the virtuous Gary Kirkeby, who played the piano and harpsichord, served as the backbone
of all parts of the concert and made this concert very enjoyable.
When the concert first began, the three instrumentalists walked with energy despite their age. The first song, "Sonata I in G–Major Op. 2, Nr. 1" by
Michel Blavet, was a Baroque Sonata. There were five movements and was played by the harpsichord, flute, and cello. All movements of the song were
polyphonic because of the three instruments that had different parts and equal importance. In the first movement, I noticed that the flute tended to rise
in pitch. In the second movement, I noticed that the melodies often repeated. Throughout the rest of the song the tempo changed from fast to slow and
the flute would usually take the lead. On the last movement, the cello and the harpsichord

Amagio Symphony 8 Analysis
In the first sonata there is a very nice trio playing a smooth and intimate section. A very slow moving part that is rather simple in its virtuosity but rich
in its harmonies is a perfect introduction to the sonata, creating a gentle atmosphere to the listener. Moving on to the allegro part (part ll) the music
begins to become slightly more virtuosic at around 40 seconds in to the section we can hear the violins begun to expand their range, playing in a call
and response style. Completely opposite to the first section this section becomes lively very quickly at around 15 seconds the violin begins to expand
to an ascending arpeggio and is brought back into the piece throughout this section. The Adagio section as expected slows down and becomes ... Show
The harpsichord changes the sound of the instruments by its plucking sound adding to the long holding string notes it makes a very relaxing and
distinctive sound. The tempo suits the music perfectly. The speed of the harpsichord compliments the strings and emphasises the dragged out notes
in the string section. Moving on to the next section, the Allegro section. Slightly similar to the first section in sound, the change in tempo is very
noticeable in the first couple of notes playing by the solo violin followed by a chord at 4 second in instantly grabs the attention of the listener and
indicates what will be following. A more lively part with accented notes at around a minute in and ornaments make the section a lot more interesting.
Followed by another Allegro section, Corelli does not change the sound too much from the previous section. The harpsichord plays a very chord base
role, sometimes ascending in semitones with the strings playing a bit louder creating it quite a faint sound in the background. The final section of this
sonata, like the previous two is allegro. Similar to the last section, this opens with a brief solo from the violin followed by all other instruments at 2
seconds in. Continuing with the liveliness of the previous section, this part keeps the piece moving at a nice energetic speed that is pleasant and perfect
for the music that is being

Analysis Of J. S. Bach Concerto Bach 593 No 3 No 2
J. S. Bach Concerto BWV 593A. Vivaldi Concerto op. 3 no 8, RV 522
Mov I(No description)Allegro
Mov IIAdagioLarghetto e spiritoso
Mov IIIAllegroAllegro
Mov IAllegroAllegro
Mov IILargoLargo
Mov I(No description)Allegro
Mov IILargoLargo – Larghetto – Adagio – Largo
No 2. the internal structure of the individual movements. We have a ritornello construction in the outer parts and a section of improvisation in the
middle.
No. 3 harmonic structure of the piece even when he transposes the piece to a new key.
No. 4 the melody of the subjects.
It ... Show more content on Helpwriting.net ...
Concerto RV 522 and BWV 593/III/137–141
Passages with big interval jumps that in the organ transcription become more linear.
EXAMPLE 2 Concerto RV 522 and BWV 593/III/105–107
Bach also changes the passages consisting of fast repeated notes that are impossible to perform on the organ.
EXAMPLE 3 Concerto RV 522 and BWV 593/I/72–75

We can also see Bach changing the way of notating to make it easier for the performer to play the particular section of the piece.
EXAMPLE 4 Concerto RV 522 and BWV 593/III/76–79
In a harpsichord concerto in F major BWV 978 there is only one section in which Bach modified the violin figure based on the repeated notes and
changed it to a more harpsichord–like figuration with the repeated note at the top. The short and airy tone of the harpsichord allows, unlike the organ,
to easily assimilate the violin parts.
EXAMPLE 5 (BWV 978 / III / 56–71)
Let's now talk about the most important changes – changes in the texture.
Bach made the texture more dense by using the motives more often. When it comes to the organ concerto, it meant adding extra voice in the middle
EXAMPLE 6 Concerto RV 522 and BWV 593/I/6–8
As we can see, Bach added a semiquaver motive that works as an imitation to the middle voice (marked with a) and also added a broken chord
motive in the middle voice that is followed by the original motive in the top voice (marked with b). Thanks to

Mozart Research Paper
In January 27, 1756, in a town in Austria called Salzburg, Wolfgang Amadeus Mozart was born to Leopold Mozart and Maria Pertl Mozart. Mozart
was the younger of two children. His sister, Maria Anna Mozart (who was dubbed "Nannerl" by her brother) was only five years older than Mozart
and was probably one of the greatest child prodigies in all of Europe, until her brother came along. Mozart's sister traveled all around Europe to places
like London, Paris, and Switzerland to perform compositions on the harpsichord, which is an instrument similar to the piano. When Mozart's father
taught Nannerl to play the harpsichord, Mozart eagerly looked on, and by the age of three, Mozart had mastered the harpsichord and had won his
father's interest. Mozart also went on to play many instruments like the piano, organ, violin, and viola. ... Show more content on Helpwriting.net ...
The name of the composition was A Minuet and Trio in G Major. It was one of the many compositions Mozart performed while he and his sister
traveled around Europe and were portrayed as child prodigies from when Mozart was as little as six years old to when he was thirteen. WHen Mozart
was thirteen, it seemed as though his sister's musical career would be over because she was reaching the age when women at that time were supposed
to get married and couldn't show any musical talents in public. Nannerl's music career may have been over, but Mozart's career was only beginning.
He continued traveling around Europe for four more years until he was seventeen. His last trip in Europe was a trip to Italy where he wrote many
compositions including an opera called Mitridate re di Ponto for the Court of Milan, Ascanio in Alba (1771) and Lucio Silla

Pianoforte Influence On History
The Pianoforte: How It Shaped The History of Music There are few instruments as widely known or recognized as the pianoforte, more commonly
known as the piano. It is an instrument that has evolved greatly from the time it was invented and has travelled the world to be the leading instrument
for composing. The world would not be the same place without the famous works of Johann Sebastian Bach or Ludwig Van Beethoven. The piano
changed the way music would be written forever when it was invented in the early 1700s. While it did not pick up in popularity right away, obviously
the piano made strides to become massively popular and the main source of composition for instruments across the board: "The average piano has 7
octaves, therefore, composing music for instruments as low as the oboe or as ... Show more content on Helpwriting.net ...
The word "piano" is a modernization of the instrument's original name, the pianoforte. In 1711, "Marchese Scipione Maffei publishes an article on
Cristofori's instrument 'a newly invented harpsichord with piano and forte,'" (Schott 30). Maffei was an Italian writer and critic who published an
article reviewing the new instrument. Though it is not clear in many sources what he actually thought of the instrument, whether he thought it was
worthwhile or not, he did come up with the official name for it, pianoforte. He says that Cristofori has invented a new instrument that is like a
harpsichord but can play both piano, which means soft, and forte, which means loud. It is important to note that there have been many different
variations of this name, however. It has been called the pianoforte, the piano–forte, the fortepiano, and the modern day, simply, piano. The pianoforte,
however, has come very far in terms of popularity and use since the days of Cristofori and

The Evolution of the Concerto from Classical to Romantic...
The concerto form was developed significantly from the Classical to the romantic era; producing changes within its instrumentation, form thematic
material and rhythmic devices. The societal attitudes towards the composition and consumption of the concerto form also changed during this time.
A concerto is an arrangement with solo works performed within the piece, alternating between a larger ensemble and the soloist. The root of its
definition was believed to mean to 'skirmish with one another' (Boyden, 1957), this definition helps explain the idea of a concerto, it displays a notion
that the soloist is 'skirmishing' with the remainder of the ensemble. The defining characteristic of a concerto is its arrangement. It has a contrast in ...
Show more content on Helpwriting.net ...
This marked the first actual publication of the concerto grosso genre (Jander, 1968). Corelli's Opus 6 was comprised of entirely strings. The solo
section known as the concertino that must be made of two violins and a cello. This soloist group then alternated with a larger group called the ripeno,
which usually consisted of two violins, a bass and a viola, of which the numbers can be increased; there was also sometimes a continuo. This was the
standard instrumental setup for the concerto grosso and other composers such as Handel used this.
Bach was a prolific composer during the later parts of the baroque period, he was also a prolific concerto composer also, He himself composing many
pieces in concerto form. Most of these works were composed around 1720. Bach was the Kapellmeister for Prince Leopold of Anhalt–Cothen during
this period; this was also the period in which his wife died suddenly, perhaps striking inspiration. Many of Bach's concertos used additional and varied
instrumentation to those of Corelli and the concerto grosso form. They often had woodwind and brass instruments such as the oboe, recorder, trumpet
and piccolo. There was no standard instrumentation for Bach's concertos, the instruments he used varied from piece to piece. To contrast this, Bach's
concerto No. 1 used two horns, three oboes, a violino piccolo accompanied by the bassoon, a strings section (similar to a

In This Paper We Will Go Through The Development Of The
In this paper we will go through the development of the keyboard through the nineteenth century in chamber music. We are going to look at three
different composers, Joseph Haydn, Ludwig van Beethoven, and Johannes Brahms. We are going to look and see how they treated the keyboard in
their lives and compositions. For each of the composers we will look at one keyboard chamber piece so we can learn just a little more about how
important it was to each composer and why. [introduction paragraph to be continued] The first composer we will be looking at is Joseph Haydn. He
was one of the earliest composer of the nineteenth century, living most of his life in the eighteenth century. Therefore, he becomes the perfect
candidate for us to use to... Show more content on Helpwriting.net ...
Yes, there were many important composers between Bach and Haydn but Haydn stands out from the rest. The harpsichord was already in it's
decline by Haydn's time and the fortepiano was rapidly becoming popular among musicians, professionals and amateurs alike. However, it had not
yet become obsolete. There were many amateurs and professional musicians who still owned a harpsichord or two, including Haydn, who owned a
few harpsichords himself. (He owned a similar harpsichord as the one pictured on the left.) Haydn grew up learning the harpsichord and even taught
the harpsichord when he was a older. Yet, the harpsichord was becoming a thing of the past. While the harpsichord was not yet obsolete, the way
music for the keyboard was being written was changing. Edward L. Kottick in his book, A History of the Harpsichord, writes that "The dynamics in
the late sonatas of Haydn can be realized to perfection on an English Harpsichord with machine and swell,...,but Haydn's sonatas are piano music and
achieve their full potential only on that instrument." However, Haydn "abandoned" the harpsichord a few years before the nineteenth century. Helen
Rice Hollis in her book, The Piano – A Pictorial Account of its ancestry and development, writes: "He [Haydn] urged Madame von Genzinger [a
close friend of Haydn's] to buy a piano saying he could no longer compose for a harpsichord." So right at the beginning of nineteenth century we
already see the

Pianoforte Research Paper
Most of the history takes place during the years of the Regency that the popularity of the Piano and the Harpsichord instruments intersect, they both
have seen their time in the spotlight. Many of the more affluent homes during this period had both keyboard instruments, nowadays you mostly see a
Piano instead. But though they are somewhat similar in appearance, they are very different in terms of their construction, their touch and feel when
being played, and the quality and volume of the sounds which they can produce.
Many musical instrument makers produced both types of instruments during these years. Many notable composers composed music for both
instruments, including Bach, Mozart, Handel, Haydn, Beethoven, and Scarlatti. But during this ... Show more content on Helpwriting.net ...
The case of the instrument was similar to that of a harpsichord but shorter and wider. The bedside was more curvilinear, with a deeper concave
curve and a more rounded outer curve at the back. The legs were made so as to place the keyboard at the correct height to be played while seated.
The pianoforte was never designed to be played in a standing position. It only had one keyboard, though it was longer than that of a harpsichord, the
keys were wider and usually made of ivory, not wood. Pianofortes during the Regency had a range of five octaves. Instruments with seven octaves
were first made in the 1820s.
A variation of the pianoforte was made with a rectangular case, called the "square pianoforte." The plainer, less expensive models came with a simple
trestle stand, while the more expensive version had exotic wood veneers and bonding and the more elegant "French frame." The keyboard on all
models ran about two–thirds the length of one long side, with ivory keys. These square pianofortes were more affordable and compact, which meant
they could fit within the budget and the smaller spaces of a middle–class family

Baroque Period: Questions And Questions On The Baroque Era
Bach Brandenburg Concerto Number 5, 3rd mvmnt When was the Baroque era? The Baroque era started around the 1600 to the 1750 Name 2 other
famous Baroque composers Handel & Vivaldi What is a concerto grosso? A composition for a musical solo accompanied by an orchestra. What is a
concertino? Solo instruments playing in an orchestra. What is a ripieno? A body of instruments accompanying the concertino in an orchestra in a
baroque concerto grosso What instruments make up the concertino? Flute, Violin and Harpsichord What instruments make up the ripieno? Violin,
Viola & Cellos What is unique about the harpsichord's role in this particular concerto? The harpsichord accompanies the other instruments. What does
cembalo concertato on the score mean? Note there is only... Show more content on Helpwriting.net ...
Explain what is figured bass. Figured bass is a partially improvised bass accompaniment usually played on the keyboard. What are the small notes
on the treble clef for harpsichord? Why are they small? Editorials put their version of what they think the song would have been like. This is called
a realisation Note the recording for the anthology is a "historically informed performance". What does this mean? The editor or interpreter who
filled in the figured bass as there was no treble part when the composer wrote it. What is the range of the flute part? Why is it not actually very big
for a flute? A flute typically has a wide range, however, in this piece the flute used 2 octaves. What is the time signature and how do you name this
metre? 2/4 simple duple What does the small figure 3 mean over some note groupings? It is a triplet The rhythm of this movement is similar to a
gigue. What is a gigue? A gigue is a lively style of dance originally from the Baroque era. Bach was famous for his counterpoint. Explain counterpoint
and mark several examples on your score. Mark the sections on your score: A bars 0–78 B bars 79 – 232 A1 bars 233 –

The Third Movement Of Johann Sebastian Bach
Johann Sebastian Bach lived in Leipzig from 1723 until his death in 1750. In Leipzig, he was the music director of the Collegium Musicum, which
presented a series of evening concerts that brought visitors and musical talent to the city. An example of the repertoire presented in these concerts
would be Bach's harpsichord concertos, which were arrangements of other concertos for different instruments. According to Pankratz, these concertos
(both for the original instrument and harpsichord) were written with didactic purposes, meaning that they were supposed to help the students improve
their musical skills. Following Pankratz's idea of Bach being a music director with instructive goals, this paper suggests that the third movement of the
Harpsichord Concerto No.5 in F minor, BWV 1056 by Johann Sebastian Bach is a prime example of his pedagogic influence in Leipzig, represented by
the constant interaction between the soloist and the ripieno. This is symbolic of the teacher–student relation Bach had with the students, as he would
often be the solo performer in the evening concerts and the students would play the ripieno parts.
The interaction between the soloist and the ripieno comes in various forms: advanced counterpoint, dynamics, dialogue, and/or harmonic changes. The
work features three ritornello themes in which we find all these interactions. The first theme (R1) is the main theme and it is four measures long. The
interaction is presented with the soloist simply playing

Baroque Music Research Paper
The aristocracy is rich and powerful during the Baroque period. It is called " age of absolutism" because of the high power of the aristocracy. They use
luxury entertainments to show their power. On the other hand, the religious institutions, which is divided into Catholic and Protestant, also compete
their power with their baroque style in churches. And the middle–class also distribute the development of Baroque style as well. And because its ability
of influence the development of baroque style, a style that represent luxury, it shows that the social status of the middle class is rising. 2. It means full
of action and movement, well structured, filled with drama, being theatrical, and can be referred as magnificent extravagance,
3. The music elements, such as mood, rhythm, melody, dynamics, texture, harmony, tone color and form, has a characteristic defined in baroque.
Firstly, the unity of mood means that one basic mood is expressed in one piece of music. Continuity is the main character in rhythm, melody and
dynamic. Rhythm patterns and melodic lines in the beginning of the music is constantly repeated throughout the whole piece while dynamics stay
unchanged and stable mostly. However, different elements have their specific defer, too. While a forward motion is formed by the continuous of
rhythm, we cannot over look that beat is emphasized far more than the previous period, Renaissance. And the melodic line is not easy to sing and hard to

Compare And Contrast Renaissance Music And Medieval Music
The Medieval period began in 500 A.D. and ended in 1450 A.D. During this time in particular, the Catholic Church had significant influence on how
music was used and created. Sacred music, for example, was most prevalent because of this. Due to the religious nature of this period, music in the
church had to adhere to very specific regulations, some of which included prayers such as plainchants or Gregorian chants. A single melody without
harmony, or one musical part sung together in unison, is called a Monophonic melody, which was sung primarily by monks. Some time later, around
900 A.D., the using of two melodic lines was permitted by the church, this music was called organum. A low, continuous note called a drone, was sung
at the same time as the main melody. The two melodies were often moving in contrasting motion to each other. By the Late–Medieval period, 1100
A.D., the music of the church had shifted from monophonic to more polyphonic, often two or more varying parts. The Renaissance period, from 1450
A.D. to 1600 A.D., comprised of two main types of music, sacred and secular. In comparison with the Medieval period, where music was usually
reserved for church purposes, the Renaissance period allowed music to expand beyond the church into upper aristocratic society. Sacred music included
motets and mass, while secular included madrigals, instrumental and dance music. Motets initially came about during the late Medieval period, but
grew sizably during the Renaissance,

Johann Sebastian Bach

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