Character Analysis Paul Kelly

Character Analysis Paul Kelly
INTRO Paul Kelly is an ambitious musician that is praised for his uniquely Australian compositions
of music and poetry. He has composed over 400 songs that each present elements of his own life;
the struggles and success. His bodies of work are ultimately important in reflecting the many
different characters he takes on; the heart throb, the bad boy and even the legendary Australian.
These characters and many more highlight Kelly as a shape shifter (in essence). Denial is heavily
featured subject matter in Stories of Me and I Don't Remember a Thing which subsequently
explores the bad boy element of his multi personality. Denial is especially interesting in how it
explores initial shame but also an honest reflection of ones actions, this is what I'll be examining
with you today. Good day classmates and Mrs Tihema. BODY 1 Shame is something we all
experience at least once in our lifetimes, we all know that horrible feeling; it starts as a lingering
thought that chips away at soul until there isn't a moment in the day where you don't feel guilt. And
you'll get over it soon, but until then all you can do is wish you could take back the time. Depending
on one's character, this is the interphase can often transgress into denial. As many moments of
shame begin, Kelly "...woke up with a heavy head on a hard bed trying to believe, these stories of
me. Yeah I woke up in a stranger's bed wondering about the things she said to me, these stories of
me, these stories of me, these stories
... Get more on HelpWriting.net ...

Music And Perceptions And Emotional Responses
In the last decade, there has been much debate over the value of musical training in schools.
Although some people claim that music education in schools is a waste of time and resources,
research has found that musical training can improve various cognitive processes and skills, such as
the development of language, reasoning, pattern recognition, and memory. These skills can translate
into other school subjects as well. This paper explores the relationship between music and
perceptions and emotional responses, and also examines the cognitive benefits of musical training.
In order to understand the relationship between music and cognitive processes, it is important to
understand how music is perceived and processed in the brain. Musical perception and cognition are
both actively constructed by the listener, as opposed to being passively transferred from the
performer to the listener (Iyer, 159). There are three levels of musical perception: the raw
psychophysical perception of tones, the perception of abstract qualities of tones apart from their
source, and the apprehension of environmental objects that give rise to the sound events (Handel,
181). According to Stephen Handel, the first level of perception is when the listener first hears and
perceives a musical stimulus such as melody, harmony, tonality, rhythm, meter, and form. The
second level of musical perception is when the listener perceives abstract qualities of the musical
stimuli. The final level of musical

The Form and Tonal Structure of Beethoven’s Piano Sonata...
The Form and Tonal Structure of Beethoven's Piano Sonata No. 8 in C minor, Op. 13, II. "Adagio
cantabile"
March 19, 2013
Form and Analysis
Many consider Ludwig Von Beethoven's Piano Sonata No. 8 in C minor, Op. 13 as his first major
musical accomplishment, more commonly known as Sonata Pathetique. Written at the age of 27 in
1798, the young composer had gained instant fame and his work was published only a year later.
Beethoven, being one of the first significant musicians to work for them selves, is said to have given
it the title. This composition consists of three movements of which we will further examine
movement II, Adagio Cantabile. This movement is placed in high contrast with the other two,
particularly in tempo. ... Show more content on Helpwriting.net ...
The C♭=B♮ and E♭= D♯ and E=F♭, which is ♭^6 of A♭ ultimately acting as the enharmonic pivot
into the flattened submediant with a PAC in m. 44 establishing the key of E major. The section
carries on with a V–I confirmation of the new tonic until m. 48 where the home key of A♭ is brought
back in through the use of secondary dominants and tension that ends the section with a HC at m. 50
and is released with the MT into the final A section. Section A'' (mm. 51–65) repeats the MT with
variation mostly in rhythmic changes leading up to the PAC in A♭ major at m. 66 where the coda (m.
66–73) begins. The coda essentially acts as a tonic expansion with some added 9ths to the dominant
as seen in m. 67 and m.69. The piece works the V–I in a decrescendo to the final PAC in A♭ major
in m. 73. Out of all of Beethoven's works, this one arguably stands as one of his most famous. Some
say it is because of the heart that was introduced by a musician that was working only for himself,
others claim he simply modified Mozart themes. Either way, the form is executed perfectly in a
beautiful musical

An Analysis Of Stories Of Me And I Don 'T Remember A...
INTRO Paul Kelly is an ambitious musician who is praised for his uniquely Australian musical
compositions and poetry. He has composed over 400 songs which each present elements of his own
life; both struggles and success. His bodies of work are ultimately important in reflecting the many
different characters he takes on; the heartthrob, the bad boy and even the legendary Australian.
These characters and many more highlight Kelly's diverse range of personality similar to that of a
shape shifter. Denial is a heavily featured subject matter in Stories of Me and I Don't Remember a
Thing, songs of which subsequently explore the insubordinate element of his multi personality.
Denial is especially interesting in how it explores initial shame but also an honest reflection of one's
actions, this is what I'll be examining with you today. BODY 1 Shame is something we all
experience at least once in our lifetimes, we all know that horrible feeling; it starts as a lingering
thought then slowly chips away at your soul until there isn't a moment in the day where you don't
feel guilt. And you'll get over it soon, but until then all you can do is wish you could take back the
time. Depending on one's character, this interphase can often evolve into denial. Stories of Me
begins as many moments of shame do, "I woke up with a heavy head on a hard bed trying to
believe... Yeah I woke up in a stranger's bed wondering about the things she said to me, these stories
of me, these stories of me."

How Does Beethoven Use Gcse Form In Symphony 8
Introduction One of the most crucial composers throughout the transition of the classical era to the
romantic era was Beethoven. He was pronounced as the greatest living composer by the time he was
50. Throughout his lifetime he had published 138 compositions and after his death there were over
200 more compositions published. This is an amazing feat as he had started suffering from hearing
loss at the age of 26 and by the time he was around the age of 46, he became fully deaf. He created
some of the most famous pieces of which includes Fur Elise, Symphony No.5, and Symphony No.9.
This topic interested me because of how he was able to create spectacular compositions even while
being affected by hearing loss. I also realized that I did not ... Show more content on Helpwriting.net
...
This theme begins with a legato and lyrical style that contrasts the staccato style of the first theme.
The violins are used as an accompaniment of the melodic exchange between the flute and the oboe.
This exchange creates a back and forth movement between the two instruments. The melody begins
with a rising fourth which is a link to the first theme. The accompaniment plays staccato arpeggios
which gives a reminder of the last measure of the first theme. From measure 65, the use of
syncopation previously heard measures 57 to 58 gives rhythmic drive through this section. The
violins then take the lead and restate the theme with the flutes and oboes answering. Beethoven's use
of diminished chords, in measure 65, and adding emphasis using sforzando adds more the dramatic
nature of the passage. In measure 69, the strings have rising eighth notes with semitones. A few
measures later the flutes and oboes double the violins' rising eighth notes which again underlines the
importance of the rising semitone. This last until measure 77 as the second theme returns to a soft
ending as the lyrical phrases played by the violins, oboes, and flutes are now played by the cellos
and double basses. The codetta, or closing, begins at measure 88 and lasts until measure 110. This
section creates a conclusion by combining familiar elements from the first and second themes. In
measures 94 to 99, the strings have tremolos which gives a sensation of the music being at fast
rhythmic tempo and in measures 100 to 109 the woodwinds and horns have slurred phrases which
resembles the lyrical phrases played in the second

K. 332 First Movement Analysis Essay
Mozart Sonata No. 12 in F Major
K. 332
First Movement
Rachel Gilmore
MTC 461.001
November 26, 2012
The first movement of Mozart's piano Sonata No. 12 in F Major is written fairly typically in the very
structured sonata form. Historically is follows the main guidelines that were understood for the
form. Harmonically, is progresses like expected. There are a few surprises here and there, but they
are typical for Mozart's compositions, especially his sonatas of the 18th century. In all, it makes a
very interesting piece of work, especially with so much contrast within it.
The formal structure of the first movement is sonata form. Not only is this evident in the title but it
is very clear after an analysis of the piece has been done. ... Show more content on Helpwriting.net
...
The No. 12 F Major sonata is a great example. The first movement in itself has seven different
melodic devices.
The harmony tends to stay within the realm of normal for the 1700's. There are places, though,
where Mozart again drifts from common practices. Mozart was fairly well known for his inventive
bridge sections during the expositions of his sonatas. In these bridge sections, Mozart would begin a
theme on v (minor), ♭III, III, VI, or V that eventually creates the false sense of having transposed to
the dominant V key. Often Mozart would proceed to the tonic sounding V with an augmented sixth
chord. He does just this in Sonata number 12, as shown in the example on the top of the next page in
measures sixty–four through sixty–seven. VI7 ii7 V7 Ger+6 V
Mozart begins a harmony on a Major sixth chord and leads into a V with a seventh chord, giving a
dominant to tonic feel. He further gives this effect by leading into another V with the augment sixth
German chord that has been filled out with a perfect fifth and a major third above the A♭ bass.
Though the augmented sixth chord is voiced unorthodoxly, it gives the same effect.
The chord structure of this work is very functional. Cadence points are fairly clear and the phrases
are usually of a

An Analysis of Beethoven Pathetique Sonata
An application of Analysis of Beethoven's 'Pathetique' piano sonata No. 8 inC minor, Op.13 with
particular focus on musical features such as melody, thematic content, rhythm, form and structure,
and harmony.
Bent states that analysis is the means of answering the question, how does it work? According to
Bent, analysis is a relatively young discipline "analysis as a pursuit in its own right became
established during the 19th century" (Bent, 2006, p.13), although basic methods of analysis of music
has been suggested to date back to the eighteenth century and have become a seductively
compelling and important topic for music scholars over the last fifty years, and as a result, an
extensive range of literature proclaims the value of ... Show more content on Helpwriting.net ...
8 in C minor, Op. 13 composed in 1798 focussing on musical features such as melody, thematic
content, rhythm, form and structure and harmony. This sonata has been chosen for analysis as it is
the most popular Beethoven sonata within the performance circuit, as it is a well known piece
worldwide. Secondly, Beethoven developed Sonata form, adding more thematic contrast and
contrasting melodies reflecting his own personal struggles with his progressive loss of hearing and
also his failures in his love life which all contributed to the passion and despair that is depicted
within the sonatas during his second compositional stage in his career.
Firstly, I will discuss the methods used in order to analyse the Form and Structure of the piece. The
emphasis in analysis was often given to the form and structure of the piece, especially during the
nineteenth century as this allows performers to gain knowledge more directly regarding the overall
style of the piece. The sonata is composed in Sonata form and is separated into three movements,
firstly the Grave– Allegro di molto e con brio movement, followed by the Adagio Cantabile middle
movement and finally the Rondo Allegro movement. There are different meanings to the word
structure in music, the first is to do with locating the different movements or the different sections of
the piece and the second is to look at how the piece has been put

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.

Essay about Mozart k310 sonata (2nd movement)
Mozart k310 sonata (2nd movement) Analyzation
The 2nd movement of the Mozart k310 Piano Sonata resembles standard sonata form in many ways.
It opens with a first theme in F (same as key signature). The theme is four bars long; two bars of
antecedant, two bars of consequent. Mozart then starts the first theme again with a 32nd note run
pick–up instead of the 16th note arpeggio pick–up in the the begginning of the piece so we are
prepared for variation in the second statement of the first theme. He then continues the theme with
variation until the consequent phrase which is completely different from the first consequent phrase.
This new consequent has not only faster rythmic movement but also compressed harmonic rythym.
This tension ... Show more content on Helpwriting.net ...
The I chord confuses the tonal direction becasuse the listener expects the ii to be followed by V and
then I. This is even more confusing because the scale that accompanies the I chord implies V (the
chord the listener wants to hear). The next bar rounds off this cadential prolongation (ii–V–I) but the
exposition does not yet end. The arrival to I does not occur until beat three of the bar. The first two
beats create even more prolongation as they nearly modulate. And even after this, the exposition is
not done. There is a two bar codetta (a one bar figure played twice, the second time with variation)
before the strong V7–I cadence with a C pedal tone. This is the first very strong cadence since the
start of the closing material. Since the cadence at the end of the exposition is to C without any hint
of F as a tonic, the Developement begins in C. In fact, it is clearly in C as its pick–ups are a C
arpeggio and the first bar looks and sounds like I and shows no indication of a 'Bb' or any other
scale alteration. The opening of the developement is also a textural change but seems to resemble
old material in its melody. Both the first theme and the second theme have similar figures to the new
material. The developement starts with tonal movement in each of the first two measures, I in the
first measure and ii6 in the second. In the third bar the harmonic rythym increases with a I64 for the
first two beats and a V7 in

Essay on Mozart's Sonata k331
Mozart's Sonata k331
The first movement of Sonata K331 is comprised of a theme, six variations and a coda. The theme
comprises of 18 bars: four times four bar phrases with an 'extension' tacked onto the end. Mozart
followed this strict binary theme but this does not mean that the music is at all predictable; he uses
different techniques to bring the best out of this form, as detailed later. The extension is an example
of Mozart surprising the listener and enhancing the journey to the end of the theme. Each of the
groups of four bars ends with a cadence. This is periodic phrasing, one of many signatures of 'galant'
musical style (also known as Viennese classical music) that had its emphasis on ... Show more
This could be countered by contrasting the first movement to the radically different form later in the
piece and by pointing out that the use of the two bar extension was unusual and Mozart added this
primarily to avoid becoming too predictable.
A piece lacking in continuity may also have several ideas that may only appear for short periods in
the piece or not work well together. However, Mozart uses the same simple melodic ideas
throughout this movement that does provide continuity. He achieves this through using the melody
within different textures and not using much counterpoint at all.
Next is the question of tonal variety– Mozart's use of chords and shape in the piece. There is a good
argument for the lack of tonal variety in the piece– in the whole Andante only one type of chromatic
chord is used (in bar 12 of variations 1–4). Also, Mozart's reliance on the tonic and dominant chords
is evident; in the theme, over 75% of the chords are in the tonic (A major) or the dominant (E
major).
However, as the variations progress, the listener can hear plenty of tonal structure to ward off
criticism. Right from the beginning of Variation 1 (bar 19) the theme is decorated in the right hand
with semi–tonal appoggiaturas as well as contrasting semi–quaver octaves in bar 23. There are many
tonal marks in the piece–

Brahm's Intermezzo No.3, Op.119 in C Major Analysis
9/29/12
MTO 13.3: Ricci, The Progress of a Motive in Brahms 's Intermezzo op. 119, no. 3
Volume 13, Number 3, September 2007 Copyright © 2007 Society for Music Theory
Adam Ricci*
The Progress of a Motive in Brahms's Intermezzo op. 119, no. 3*
ABSTRACT: Brahms's Intermezzo op. 119, no. 3 is structured around a motive with two
components–one melodic, one harmonic–that operate sometimes separately and sometimes together.
The global harmonic trajectory of the piece is embodied in the combination of these two
components; local harmonic motion proceeds through an expanded LR–cycle, with periodic short
cuts from one zone of the cycle to another. The A section unfolds a double–tonic complex while
introducing chromatic pitch classes in ... Show more content on Helpwriting.net ...
In this first appearance, the descending third is minor. Moreover, the total pitch–class content of the
progression in its first appearance is diatonic.
www.mtosmt.org/issues/mto.07.13.3/mto.07.13.3.ricci.html (click to enlarge)
Example 1. The Form
Example 2. The Two Components of the Motive
(click to enlarge)
1/10
9/29/12
MTO 13.3: Ricci, The Progress of a Motive in Brahms 's Intermezzo op. 119, no. 3
[7] The melodic cell and harmonic progression–J and DOWN–THIRD–UP–FIFTH– sometimes
occur independently, but for the most part interact to create a larger unit. This larger unit, given at
the bottom of Example 2, is the motive of my title.(8) Again, the fact that the motive is exclusively
diatonic is significant, because it makes the chromatic pitch classes especially salient. [8] The

opening of the piece animates the motive by repeating and varying the duration of J while
arpeggiating the chords of DOWN–THIRD–UP–FIFTH. Example 3 annotates the melody of m. 1
through the downbeat of m. 3, which fuses together three Js.(9) By fusing together three Js and
altering the duration of the final pitch of each J (the durations are , , and , for the three occurrences,
respectively), Brahms creates a symmetrical rhythmic structure.(10) The dots below the staff
indicate metric position: two dots indicate a strong beat, one dot a weak beat.(11) The first J starts
on a strong beat and concludes on a weak beat. The third J starts on a weak beat and

Analysis Of The Four Seasons
The Four Seasons is a set of four violin concertos composed by 17th and 18th century composer
Antonio Vivaldi. Vivaldi was born on March 4th 1678, in Venice, Italy and was renowned for his
Baroque styled concertos and operas. He was a prolific composer who created numerous works and
became "a highly influential innovator in form and pattern" (biography.com). He was also ordained
as priest but chose to follow through with his passion for music. Giovanni Battista Vivaldi, Vivaldi's
father, was a professional violinist and taught Vivaldi how to play, but as his violin practice
flourished "a chronic shortness of breath barred him from mastering wind instruments"
(biography.com).
Amongst the most popular pieces in the Classical music repertoire, The Four Seasons is Vivaldi's
best–known work. Composed between 1720 and 1723, during the Baroque period, Vivaldi published
his work in 1725 in Amsterdam as part of a set of twelve concerti. Uncommon to the time, The Four
Seasons were published with accompanying poems, possibly written by Vivaldi, to illustrate what is
was about the seasons that his music was designed to evoke. Vivaldi was inspired by many
landscape paintings by Marco Ricci, an Italian artist of the time, and wanted to represent each
season.
All three movements are written in Ritornello form and are performed in common time. In each
movement there are five instruments used Violin I, Violin II, Viola, Cello, Bass.
The first movement is mainly homophonic and is performed

Who Is Arnold Schoenberg's Life Or False Music?
Arash Hajihosseini
European history
Peyman farzinpour
Arnold Schoenberg
Arnold Schoenberg was born on 13th September 1874 in Vienna. He started taking violin lessons at
the age of 8. One year later he started composing music. He also took some counterpoint lessons but
for the most part he was self–thought. He lost his father at the age of 15 so he had to provide for his
family. He left school and got a job at a bank. At that time Vienna's infrastructure was modernizing.
Vienna became an industrial city and cultural life improved. Schoenberg could not afford the
cultural venues because he was poor. He went to concerts and stood behind the fence so he could
hear the music for free. Later he left the bank and started conducting and orchestrating ... Show
more content on Helpwriting.net ...
When you play a note you can only play it again once you played all the other 11 notes. This is
called a tone row. For Example, In opus 23 all 12 tone are presented in this order: C#, A, B, G, Ab,
F#, Bb, D, E, Eb, C, F as you can see no note repeats until all the other 11 notes are played. The tone
rows in a way function as scales in tonal music. The first time that he tried using all the notes in the
chromatic scale was in Piano opus 9. In that piece we can still hear a little bit tonality though. It
starts with a melody that outlines a b major triad but accompaniment makes causes the whole thing
to sound ambiguous. Using tone rows is not the only rule in 12 tone music. There are other rules in
this type of music as well. For example, the notes that are in top and bottom voices have to be
shorter in duration. This is a very important rule because it helping keeping every notes importance
the same. Otherwise the outer sound more important than the others because their placement. These
rules aren't rigid. In fact Schoenberg broke them often and he suggest you should break them as well
if necessary. In The Unanswered Question 5 Leonard Bernstein says" There is no such a thing as
atonal. Schoenberg used the same 12 notes that Bach used. He just destroyed the hierarchy.
Schoenberg even denied the possibility of atonality. The 12 tones of the chromatic scale have a tonal
relationship to each other. If true atonality is to be achieved some uniquely different basis for it is
needed. Maybe a different division of the octave." In the 12 tone system you can take one row and
use some of it's notes as melody and others as chords. Some of the phrases in 12–tone music spell
out certain chords but because it is following the tone row principles it sounds ambiguous and
atonal. We see this kind of harmonic implication happening with augmented triads in opus 23. Also
Opus 30 starts with a repeated 4 bar phrases that

Summary Of ' Beethoven ' Sonata First Movement '
CHEN, YIHAN
T252 Conditional Pass Analysis Paper
Fall 2014
Beethoven's "Waldstein" Sonata First Movement
Piano Sonata No. 21 in C major, Opus 53 is one of the most technically challenging and
compositionally ambitious piano sonatas by Beethoven. The name of the sonata, "Waldstein", is
derived from Beethoven's dedication, Count Ferdinand Ernst Gabriel von Waldstein of Vienna, a
long time close friend and patron of the composer. Composed from 1803 to 1804, it is one of the
most important pieces of Beethoven's middle period and surpasses all the earlier sonatas in scope,
power, and energy. Like many other major pieces around the time the piece was composed,
Beethoven was constantly augmenting the sonata form, giving significantly more ... Show more
The key characteristic of this five–note cell is that it is entirely composed of step–wise motion. This
feature would affect the melodic and harmonic choices of the movement's composition, as the
movement is almost entirely built on step–wise motion. Because of the step–wise quality of the
movement, the primary harmonic motion is an oscillation between tonic and dominant chords.
The movement begins quite solidly in C major as the first component of the theme (figure 2), which
we will call component A, is a repeating eight note C major chord which hammers the tonic tonality
into the listeners' minds. This component ends with an ascending three–note step–wise motion in the
right hand into the dominant of the key, with the second note being a sharpened–F, temporarily
tonalicizing the dominant, suggesting the idea to the listeners that the beginning C major chords may
instead be serving a subdominant function to G. In measure 3 and 4, the left descends into B,
serving as a bridge to the upcoming flat–VII to smooth out the jarring key shift. We will call the
right hand motif in measure 3 as component B and the one in measure 4 as component C. All three
motifs would come back later as important building blocks of the movement. Beethoven confuses
the listeners further as we progress into measure 5. The first four measures are repeated, but the
music

Compare and contrast two works from the same genre from...
Compare and contrast two works from the same genre which were written at least a generation or
half a century apart. Consider and explain similarities and differences with regard to musical style
and historical context. The Renaissance and Baroque era entailed very different characteristics, due
to the Renaissance composers writing more freely and being more individual then those of the
Baroque era where they followed more 'rules' and experimented less. This essay will show the
difference in two pieces by different composers, even though they were written less than a century
apart. Giovanni Gabrieli was an Italian composer born in 1554 and wrote many works in the 'in
between' stage of Renaissance and Baroque. He was a composer and ... Show more content on
Helpwriting.net ...
The cello and organ provide the basso continuo, following the figured bass. The modulation in bar
10 to A major ends in a V7 – I, providing strength to the piece. This differs from Sonata pian'e forte
which is in the Dorian mode with lots of root position chords (bar 1 and 2) and suspensions (bar 3).
The melody is mostly stepwise and the tierce de Picarrdie in bar 4 gives a sense of balanced
phrasing. This is felt again in bar 8, due to the consonant 4th. The modal harmony in bar 13 creates
an imperfect cadence to mark the end of the A1 section. An interesting phrygian cadence (IVb – V)
is used in bar 16 leads into a short circle of 5ths (bar 17) and then a perfect cadence in F major with
a 4–3 suspension (bar 20). This 'busy–ness' before cadences was not uncommon, due to the very
expressive works that were composed in this era. Trio Sonata also uses engaging rhythms and
harmonies, for example, the 7–6 suspension in bar 9 and the hemiola before the perfect cadence in
bar 28. Corelli also uses an inverted tonic pedal in bar 15 to create a sense of strength and
anticipation before the start of the B section. "Unity of mood in Baroque is first conveyed by the
continuity of rhythm."3 This quote shows the importance of rhythm in the Baroque era, particularly
lively, driving

The Four Seasons Analysis
Vivaldi crossed over any barrier amongst words and verse and music by introducing every
development with a piece and mirroring these states of mind with particular melodic subjects and
thoughts. He utilized both exacting interpretations of thoughts to music, for example, pizzicato to
demonstrate raindrops and impersonations of winged creature calls and more allegorical
interpretations, for example, cacophony to indicate icy present in winter and quick scales that depict
twirling winds.[22] These strategies enabled the audience members to feel just as they were
encountering nature through Vivaldi's musicality. It was this inclination that enabled the concerto to
genuinely become animated straight from the strings of the violins, and maybe this is the reason that
groups of onlookers even today have experienced passionate feelings for "The Four Seasons".
Vivaldi's music was exceptionally noteworthy in light of the fact that he instructed a lot of youthful
understudies who utilized his procedures later and promoted them, his ideas of musicality are as yet
utilized by numerous authors today, ritornello is as yet utilized as a part of concertos, and his music
started to cross over any barrier amongst Baroque and Romantic music because of his amazingly
automatic concertos. Without his work at La Pietà, he in all probability would not have been so
roused to make such an astonishing number of concertos. Moreover, his work allowed him the
chance to instruct the youth of Italy,

Joseph Hayden's String Band Essay
Joseph Haydn was one of the most acclaimed composers of the Classical Era. Known as the father
of the string quartet, he has created music that is withstanding the test of time and only becoming
more eminent in today's choice of literature. Hayden's String Quartet in C Major, Op. 74, No. 1,
Movement III, is one of so many that deserve a closer look and a keen eye to decipher. The use of
elements such as balance, harmonic closure, form and modulations are easy to look over at first
glance. However, through active listening and chord analysis, it becomes easier to absorb the
material and thoroughly appreciate the masterpiece. While looking at the bigger picture, we can see
that the overall form of the piece is ternary with smaller binary sections within. The entire beginning
Menuetto section can be considered an 'A' section, which would make the Trio the 'B' section. This
is considered ternary because after both sections have been completed, the A section is repeated
once again (without its' internal repeats) and ends on a strong tonic cadence without continuing on
to the B section. The A section contains a binary form in itself. This is easily visible with the use of
repeat signs from measure 1–14 (a) and then signifies b from measures 15–60 (also the end of A).
Although beginning material is repeated in this b section, in measures 32–39, Hayden takes the
piece elsewhere with a small scale tonicization of a bVI chord and continuing on in a different
manner than a.

Brahms’ “Wie Melodien” Op. 105 Essay
The lyrics for Brahms' "Wie Melodien" Op. 105, No. 1 are from a poem written by Klaus Groth. It is
a poem that never clearly states its true meaning. Instead, it arouses an emotional feeling of one
dreaming about something from the past. And, these emotional feelings are expressed in Groth's
poem through a variety of images. The poem begins with using "melodies" as an image. In the first
phrase, "Like melodies draw it to me softly through the mind," the word "melodies" seems to be
symbolic of thoughts or memories. These melodies are like a tune that you cannot get out of your
head, a memory that he is unable to forget. In his next phrase, "Like spring flowers blossom it and
floats like a scent away," he uses the ... Show more content on Helpwriting.net ...
However, it is not a bitter loss. Instead, the memory of that love continues to remain with him like a
sweet fragrance. Groth's reference to a "moist eye" also seems to symbolize how the memory of this
lost love continues to remain fresh (moist referring to something fresh in difference to stale) in his
eyes. And at the same time, "moist eye" represents when an emotion is so strong (either happy or
sad) that it brings tears to one's eyes. Brahms' vocal and piano accompaniment do not fail to capture
and express this imagery of the poem. One example of the vocal line capturing one of the poem's
images is in m. 41. Here, the vocal line is falling in register, painting an image of how a tear might
fall. Another example where the vocal line supports the imagery of the text is when the text is
talking about how it "floats like a scent away" and "vanishes like a breath" in m. 10 and m. 23. The
same text appears twice here and when it is repeated the second time it can be heard like an echo to
the first statement, as it fades away and becomes lower in register at the end of the phrase. This echo
that fades away supports the images in the text of "floating away" and "vanishing." The piano
accompaniment also assists in expressing the poem's imagery. Most of this Lied is quarter notes in
the voice with eighth notes in

Mozart Overture Structure
The overture is played before the curtain opens to set the stage for the action and music to follow
and helps the audience emotionally prepare for the opera. This only became common well after
Mozart's time, hence Mozart's use of the overture to set the scene and introduce prominent musical
ideas from the opera was refreshing during his time. The slow introduction to this overture
contained three chords that are heard again in the opera at significant points.
The form of the Overture is the sonata form structure: a first section called exposition that presents 2
themes; a middle development section where the themes are varied and developed; and a final
recapitulation section that re–states the main themes.
The overture is in the key (with key signature) of E flat major with three flats namely B, E and A
flats. The key E flat major is thought of as the most religious, most philosophical and most other–
worldly key. This is evident among composers as Francesco Galeazzi(an Italian composer of the
same time as Mozart) identified E–flat major as "a heroic key, extremely majestic, grave and
serious". The three flats in the key also follow the 'rule of three' suggesting ties to Freemasonry. The
overture begins with a brief adagio introduction featuring heavy, solemn chords. This draws a link to
the Masonic initiation ceremony which began with the candidate knocking three times at the door to
ask admittance. The long, slow stately introduction creates the grand image of Sarastro. It
foreshadows and introduces the audience to the underlying serious nature of the opera.
The allegro that follows marks the start of the exposition section. It begins quietly and then builds in
intensity, suggesting the playful and light–hearted comedic aspects of the opera. Fugal techniques
are applied. The fugue subject theme 1(in the key of E flat major) is first presented by the second
violins, starting on tonic E flat. The first violins repeat the subject but start on B flat, the dominant,
which shows the influence of Renaissance period. The subject is then played in the lower strings. A
contrapuntal tapestry is weaved from these materials which undergo many variations. The flute
leads into the transition which is very homophonic and

Concert Analysis Of A Concert
The concert that I attended was played by Michael Kirkendoll on Wednesday, November 8 at Beall
Concert Hall. Kirkendoll played two pieces during the performance. The first was called "Marriage,
Mile 55 From the Road," which talked about the disturbing tale of a man that explains how he
murdered his wife. The second piece, "De Profundis," talked about a distal longing for love from a
homosexual man who was arrested because of who he loved. The first piece, "Marriage, Mile 55
From the Road," was played as a piano solo, with other forms of instrumentation coming from
Kirkendoll using his voice including both lyrical dictation and simple sound effects. He also used
the piano as a percussion instrument and a string instrument by slapping and hitting the wooden
sides and reaching over into the belly of the piano and plucking the strings like a guitar. There was
not a specific tempo used for this song, as it changed many times because the lyrical parts. Many
times, the lyrics would dictate tempo. Dissonance was used mainly because of the minor notation.
This fit perfectly into the horror theme that the composer was trying to express in his work. There
was not a defined tempo as Kirkendoll changed the timing in order to build suspense and further the
plot. To my untrained ears, Kirkendoll sounded like he was jumping around on the keyboard rather
than keeping a specific tempo. The music being played was complex to play, but especially hard to
understand. The song "Marriage," was

The Music of Claude Debussy
When one thinks of impressionistic composers, it is only natural for Claude Debussy to be part of
the subject. However, it is rare that impressionism and classical form are mentioned within the same
breath. For that reason, it is necessary to remind oneself that the free–flowing music of the
contemporary only exists by standing on the shoulders of the rigidly methodical music that came
before it. Claude Debussy's First Violin Sonata exemplifies this beautifully. Though the harmonic
language is that of parallelisms and unstable key centers, motivically, the piece is balanced around
the same Sonata Principal that governed Debussy's forefathers, going back to Beethoven and Haydn.
Claude Debussy's First Violin Sonata was completed in 1917, in the year before Debussy's passing.
These three fiery movements represent some of the more aggressive music that Debussy has written,
rather than the more mellow Preludes he is commonly known for. The harmonic vocabulary of
Debussy would quickly make one realize that instead of gleaming the Sonata Principal out of the
relationship between I and V, Debussy would do that with the relationship between sonorities that
are unstable and even less stable.
The piece is in Sonata form, with a complete Exposition, Development, and modified
Recapitulation. However, the key areas don't reflect that the way the listener might expect. Being
that the vast majority of this piece is in G, it is musical material other than key areas that one must
use in order

Musical Analysis Of Songs Without Words
Musical Analysis of "Songs Without Words, Op. 19, No. 3" by Felix Mendelssohn Felix
Mendelssohn composed "Songs Without Words, Op. 19, No. 3" during the Romantic Period. It is
known as a hunting song. The form of this song can be categorized as a rondo. This can be argued
because the A theme that begins at measure 5 reappears throughout the song about two times. It
comes back at measures 50 and 83. In between these A sections are a B section and a C section. The
B section starts in measure 29 and the C section starts at measure 67. Measures 1–5 are a short
introduction. The A section begins at the fourth beat of measure 5 and is in A major. The A section
ends in a half cadence, which is an E major chord. The B section, which starts on the fourth beat of
measure 29, is in C sharp natural minor. This is the relative minor of E major, which was the final
chord of the first A section. At measure 49, there is a modulation back to A major which leads into a
second A section beginning at measure 50. However, this A section is different mainly because the
melody appears in the left hand and the section ends in an imperfect authentic cadence instead of a
half cadence. This cadence is at the downbeat of measure 67, and there is no modulation to E major
this time. The C section begins at measure 67 and is in A major. This section acts more as a
transitional section that leads into a new statement of the main theme at measure 83. The final A
section restates the main theme one last

Essay about Analysis of Beethoven Symphony 3 and Mozart...
Beethoven Symphony No. 3 and Mozart Symphony 40 Forms
Sonata form is one of the more popular forms of music that is found in a variety of different works
including symphonies, concertos, and sonatas. Sonata form features three distinct sections: the
exposition, development, and recapitulation. Mozart was one of the early composers of this form of
music. I will examine the clear distinctions between each section and how he does not stray from the
typical form. In later years the form would change to become more fluent and focused on the growth
and expansion of the piece. This progression of change was led by the works of Beethoven and the
changes can be clearly seen in his grandiose works. By comparing the first movement of Symphony
... Show more content on Helpwriting.net ...
The recapitulation is much like the exposition, except it does not modulate. All of these sections can
be seen in the Mozart and Beethoven movements that are being analyzed and relatively easy to
identify. In the Mozart symphony, sections defined by strong cadences. An easy example would be
at the end of the exposition where there is a PAC in ms. 99. Following that is a rest and then an
appearance of F–sharp minor. This is the beginning of the development. The end of the development
ends with a huge forte with a pedal tone and a cadence at ms. 160. The wind section quietly brings
the section to a close as the strings reintroduce the primary theme back in the original key of G
minor. These large sections are not likely to be mistaken. Beethoven too has clearly defined the large
sections of the sonata form. His exposition begins after two opening chords with the theme in the
cello section. The exposition closes with full orchestral chords in a perfect authentic cadence around
ms. 144–148 and after a short link/transition the development begins at ms. 166. The development
closes with huge orchestral chords. The big pictures for Mozart and Beethoven line up, but a closer
and deeper look reveal that the small sections are quite different. Mozart's smaller sections continue
to remain clearly defined, but Beethoven tends to blur it all together. In a typical exposition, we
expect to find

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.

Arnold Schoenberg 's Drei Klavierstucke
Arnold Schoenberg's Drei Klavierstücke, Opus 11 (Three Piano Pieces) represent his first fully
atonal work, which would become the basis for moving forward in his later atonal and serial works.
Schoenberg believed that music history naturally pushed forward and that tonality could not contain
music forever. He believed atonality was the next step and Schoenberg admitted, "The most decisive
steps forward occurred in the Two Songs, Op. 14, and in the Three Piano Pieces, Op. 11." However,
small traces of tonality and Romanticism remain, as the small thematic units of the work have
shown connections to that of Brahms and Liszt, especially in the opening of the first piece.
Numerous theorists have tried to place these three short pieces into various tonal centers for
analysis, trying to argue that it is not atonal. Attempts have been made to analyze the pieces in E
major and minor, as well as phyrygian mode, with no luck on forming an agreement to place this
work into the world of tonality. The first two pieces of Drei Klavierstücke were composed in
February 1909 in Vienna, while the third came later in August and a revision in 1924. Schoenberg
published the work with the Universal Edition in Vienna in 1910, revised in 1925. A typical
performance lasts roughly 14 minutes. The world premiere of the work was given by Etta Werndorff
in Vienna's Ehrbar–Saal on January 14th, 1910. Schoenberg wrote these pieces in his new outburst
of expressionist music in 1909, along

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
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.

The Tyranny Of Tonality Analysis
In the words of Jewish Austrian composer and painter Arnold Schoenberg; or Schönberg, harmony
was freed from "the tyranny of tonality". Schoenberg's term is interesting in its suggestion that the
tonal system exerts an overpowering pressure to conform. The carefully ordered hierarchal keys;
with its singularity, central focus on each movement or work, and tonal centres that made up the
tonality of "centuries–old harmonic basis of music" became of less importance and "had outlived its
usefulness" as atonality; which is "a system without key" that is "deliberately avoided" gained
popularity. This music utilizes several chromatic notes with the intention of hearing no tonal centers.
Later commentators spoke similarly of music being emancipated

Anti-Rationalism : John Cage's Anti-Rationalism
Anti–rationalism was around one person called John Cage who was the founder of this movement.
John Cage was an influential music thinker in the 20th century; he thought that his purpose is to
"eliminate purpose", in which sounds could "just be". In 1938, he interested in exploring music upon
the absolute time rather than musical time. It is really hard to define Cage's aesthetic style, but it was
a new direction of modernism.
E.g. 4'33'' (both in music and installation) Rather than a musical composition or visual installation,
the work 4'33'' is a concept in art history. Therefore, I think there is no need to separate music and
visual art. To be honest, 4'33'' is the silence within 4'33'' that presents ideas to the audience. Cage ...
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E.g. Philip Glass Philip Glass's music has wild rage from opera to film; scores to symphonic etc.
During his minimal period, he was likely to use cyclic structure and simultaneous repetition.
However, in around 1980s, Glass gradually departed from minimal music and created clearly neo–
tonal compositions. "Einstein on the Beach" was one of his minimal compositions. The most
interesting part is the solo violinist dressed as Einstein that functions both as musician and theater
character.
Visual:
Minimalism in visual art emerged in the 1960s, New York. This art movement was influenced by
Greenburg's doctrine that the progressive evolution toward flatness while artists started making an
extreme visual reduction. Minimalism was a reaction to abstract expressionism, which created to
against excessive gestural painting like Jackson Pollock. They were also like to use industrial
materials in order to move the visual projects towards sculpture and against "formalism"(Arnason,
2013, p.510). Artists considered the importance of working environment due to they want audiences
to experience the art through the body rather than eyes.
E.g. Tony Smith Because the importance of environment, some of the minimalist works were in
large sizes, such as Tony Smith's Die. Smith believes that one had to experience art not merely
imbibe

Audacious Euphony Reflection
The first time I learned about the ideas similar to sum class was when I read Richard Cohn's
Audacious Euphony, and I was fascinated by how much information about voice leading can be
facilitated by just summing up the pitch class collection. I am excited to read this paper, which
extends the discussion from diatonic triads and tetrachords to more set classes, and how much of the
similar voice–leading properties are retained. There are, however, multiple questions that I am not
sure about the spaces created in the paper, as well as those by Tymoczko and many others, in terms
of its musical value. I am also not sure about the use of the pitch–class clockfaces and the current
representation of pitch center of balance, and I wonder if there is ... Show more content on
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I found the idea of relating the set classes of the same sum through pure contrary voice leading very
useful and neat. The tetrahedron shown on p. 36 is very interesting in terms of geometrical
properties. However, the "tetrachords with doubling" tetrahedron is somewhat artificial to me. The
geometrical neatness is facilitated by the multiset "(0112)," but outside the vertices, each tetrachord
can only link to one/two tetrachords of the same nature through the same motion. Similarly in the
tetrahedron B, the tetrachord that enables the geometry to happen is (0134). I wonder how we can
find out such "pivotal" set classes when we construct such spaces. In the case of the space in
trichords, I really curious about the cases when we are dealing with odd sum classes. I am fascinated
by the fact that the axis of symmetry is between two rows of 6 trichords (like p. 21) while that of an
even sum–class only contains one row of 6 trichords that is the also axis of symmetry. Other than
figuring out the pitch center of balance through the clockface or arithmetical means, would there be
some kind of geometrical significance? There are a lot of interesting geometrical features in the
examples and I really want to see more in–depth relationship between the pitches and the patterns I
am looking

Baroque Tonality
Harmony, Tonality and Timbre before the Romantic Period (Classical Era)
Musical style, harmony and melody grew more and more complex during the Baroque period. As
such, during the classical era there was an emergence of a new style of music, the Classical style
(Mostlywind.co.uk, 2015). The Classical musical style was characaterised by a simple, delicate
expression of music that was meant to please its listeners with a refined sound, as such, there was
very little to no dissonance used in all pieces. The melody during this time period was short and very
defined, with only a few themes introduced per each piece. Rhythm was regular and due to the
complexity of the texture of music during the Baroque period, the texture of music was simple and

Understanding How Wagner Fits Into Our History Of Western...
Organising a concrete form for a style such as Wagner's is difficult given that the music lies on the
edge of what was common practice in the 19th century. The music does not easily organise itself
into the neat forms that we recognise from the classical and baroque time periods, but instead goes
beyond the confines of form and tonality that today's listeners are not familiar with. This gives the
music some unique qualities such as being unpredictable, unending, and for some, brings less
attention to the music and more attention to the drama that is being presented. Given this ambiguity,
there will certainly be different analyses and interpretations that will result in different organisations
and conclusions. Despite this however, I will attempt make a few overarching statements about the
excerpt's form, tonal organization, sequential processes, motivic use, and drama as a whole on this
multifaceted analysis of this excerpt in the hope to better understand how Wagner fits into our
history of western classical music. The excerpt may be best understood in two sections, however I
would like to present the music as instead having three sections. I have this labeled on my form
chart as sections A B and C. The organization we discussed in class presented the music as having a
binary form with the important section divider happening in 187/1/5 on the half cadence, and new
music continueing on the the next measure (187/2/1). This beginning area leading to the first defined
dominant

Mozart Sonata K. 281 Analysis Essay
Sonata form is the musical form is the form that has been most widely used then any other form. It
really toke shape as a main form during the Classical period. It is usually used a first movement in a
multi–movement piece and is commonly referred as Sonata–Allegro form. The concept behind it
was to try and find a way to organize or categorize musical ideas into a movement based on a
particular "key." While this form has a formula or approach to it. It is rather rigid and leaves itself to
be very open. It uses a 3 part binary form that has an Exposition, Development and Recapitulation.
Many composers have developed and expanded this style of music composition. Mozart being the
subject of this paper is also one of the composer known for ... Show more content on
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The last measures of the exposition are slightly different to help point back to the tonic and also sets
up prepare the developmental section to come. The Development of the Mozart is an open free–form
section that bases its ideas on thematic materials from the Exposition. It is very modulatory and
derivative. Mozart pays special attention to shaping factors in the pace, texture, plan of key
relationships and order of all the melodic material. He emphasizes the sub dominant throughout the
entire development. It creates a sort of fantasy of the earlier material. The Alberti bass is very
prominent through out the entire section. It acts as a strong accompaniment to the new themes that
are introduced. The development varies in length from the exposition and in other cases is quite long
and detailed. However, it shows a greater degree of tonal, harmonic and rhythmic instability than the
other sections. The last part of the developmental section is the re–transition or bridge. It helps
prepares the return of the first subject in the tonic. It stresses and prolongs the dominant seventh of
the tonic. At the height of the musical tension the tonic triumphs and it enters into the recapitulation.
The recapitulation is an altered repeat of the exposition. It also consists of a first subject, a
transition, and second subject and a codetta. There is no coda in this piece of music. The
recapitulation returns most of the material from the Exposition. However, the

Music Analysis : The Feather Theme
Music Analysis
Term 3
Natasha Phipps
Final
Music can be extraordinarily influential in films, as it has the ability to evoke emotion not displayed
by on–screen action. Music used in films can play many roles; it can depict time and place, mood,
atmosphere, character, and can be used to underscore the onscreen drama and titles. Alan Silvestri
and John Williams successfully manipulate the use of music in film to establish characters (along
with their personality, actions and changing emotions), as well as underscore the mood for the
entirety of their given films. The contrasts of Silvestri's "The Feather Theme" with Williams'
"Batman Theme" exemplify the power of music in film.
"The Feather Theme" develops the main character in the film Forest Gump, as well as establishes
the overall mood and atmosphere that the film portrays. The instrumentation used throughout the
piece is highly symbolic and assists to underscore the mood for the film and depict minor character
traits. The extensive use of the piano and strings work to establish a variety of moods, differing in
each theme. For example, the piece opens with a simple, thin textured piano melody accompanied
by strings (all playing in their upper registers). This choice of instrumentation creates a feeling of
happiness and contentment as the jubilant timbre of the strings and the pure tone quality of the upper
tessitura piano combine. Instruments continue to be used symbolically throughout this piece, as the
harp is used

Concerto Grosso Music
Baroque Concerto Grosso
A Concerto Grosso is a genre of music where the musical material is passed between a small group
of soloists (the concertino) and a full orchestra (the ripieno). The concertino generally has more
virtuosic music than the ripieno, and they do not often share thematic material. It was developed in
the late 17th Century, although the term 'Concerto Grosso' would not be used until 1698 when
Gregori published a set of 10 compositions.
There are 2 forms of the Concerto Grosso – the concerto da chíesa (a church concert) and the
concerto da camera (a chamber concert). The concerto da chíesa alternated between fast and slow
movements, and the concerto da camera was similar to a suite, in that it was introduced by a
prelude, and incorporated popular dance ideas of the time.
Concerto Grosso in D minor Concerto Grosso in D minor was composed by Antonio Vivaldi and
was published in 1711. The concertino is made up of two violins and a cello, and the ripieno is made
up of strings and a continuo. For the first 20 bars of the piece, the two solo violins play
unaccompanied. The second movement (the Adagio e spiccato) is extremely short (only three bars
long), and the instrumentation is tutti, as everyone is playing. In the third movement the solo cello
does not play as the solo violins converse with each other. The Concerto is in D minor, and rarely
changes key, however it does modulate briefly to the subdominant and the dominant keys (G minor
and A minor).

Ficial Metro : Last Light Soundtrack
The official Metro: Last Light soundtrack was composed by Ukraine composer Alexey Omelchuk.
Omelchuk is famous for composing music for video games such as Alexander, Cossacks II:
Napoleonic Wars, Heroes of Annihilated Empires, S.T.A.L.K.E.R.: Clear Sky, S.T.A.L.K.E.R.: Call
of Pripyat, Metro 2033 and most recently Metro: Last Light. He was working with GSC Game
World, and after the company was dissolved in 2011, he went to worked one of its successor 4A
Games. The original soundtrack for Metro: Last Light with 64 tracks, more that 2 and a half hour of
music was released by 'Sumthing Else Music Works ' in 2013.
The majority of the music is orchestral–based with electronic elements, as well as dark ambient,
electro rock (These tracks ... Show more content on Helpwriting.net ...
So the music is trying to mimic this, with a lots of metaphor, and parallel ideas. For instance one of
the main instrument the composer uses the most, is the acoustic/electronic guitar (the main/solo
instrument of the main theme is the guitar as well), as the guitar is the most important thing of the
people in the Metro (we could see a lot of guitar in the Metro game 's spiritual successor the
S.T.A.L.K.E.R. series, the guitar soon became the symbol of hope, in both series.)
In term of melody, the whole soundtrack offers us, a big selection of different melodies, which are
heavily influenced by the main theme. We can put it that way, most of the track, are heavily
influenced by the main theme, making a huge 'idée fixe ' motif–chain. The 'idée fixe ', is a leitmotif
kind of thing, but also very different from it. The leitmotif was basically invented by Richard
Wagner (1813– 1883) during the composition of 'The Ring ' tetralogy, as he was using motifs for
every person, object, feeling creating a huge composition of melodies connected to each other, under
the concept of the 'Endless Melody ' (This concept was invented by Wagner during the composition
of 'Tannhäuser ', the basic idea was to create a new opera–standard, not using the aria–recitativo,
structure, instead there are no dividing line at each area,

Musical Modernism with Claude Debussy, Igor Stravinsky...
Musical modernism can be seen as the time where music emerges its liberty from Romantic era style
–that started in the late nineteen century to end of the Second World War– and gains new ideas and
freedom. With the political turmoil and chaos that took over the European countries, –that lured
countries into the First World War– composers and artists started to find, create more and new ways
to express themselves. They eagerly began to discover the art of Eastern countries with the hope of
finding new ways of expression. The changes in tonality, irregular rhythms, tone clusters, distressed
and antagonistic melodies, the expressionist, abstract, unusual ideas over powers the music, the
traditional structures recreated or composed with ... Show more content on Helpwriting.net ...
With his first piano lessons, his teachers discovered his unusual talent of 'playing out of the
boundaries.' After his dream, becoming a piano virtuoso sink, he leaned more on to his composing
skills.
At 1889, he attended the Paris International Exposition, where he discovered the wondrous colours
of Asian music that picked up his interest. He was also fascinated by the pieces composed by the
Russian composers Modest Petrovich Mussorgsky, Nikolai Rimsky–Korsakov and Alexander
Borodin, therefore he was lured in to the folk music of Russia soon after.
In later years following his graduation, after composing his 'Suite Bergamasque' for piano, he found
himself in the impressionist art movement with fellow composers –like Maurice Ravel– because of
the link French music had with the paintings of Claude Monet, Edgar Degas, Van Gogh and other
modern, like–minded artists, even though he stated that he never felt connected to the movement
with the words,
"I'm trying to write 'something else' – realities, in a manner of speaking – what imbeciles call
'impressionism', a term employed with the utmost accuracy, especially by art critics who use it as a
label to stick on Turner, the finest creator of mystery in the whole of art!" Claude Debussy
Against his wishes his compositions are often described as

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
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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

The Analysis of Mozart's "Dies Irae" Essay
Megan Stewart
Theory III: MUSI 2311
Dr. Brian Bondari
December 13, 2010
The Analysis of Mozart's "Dies Irae" The final composition of Mozart, The Requiem mass in D
Minor, containing "Dies Irae," is known to be one of his most powerful and commended works. This
piece was composed in 1791 while Mozart was, unfortunately, on his death bed. However, he was
unable to complete it so it was then passed on to his assistant and later finished by this man. The
choral work can be very dark, for it concerns the Day of Wrath, when God will return to this earth
and pass judgment on all creatures that remain, either granting them salvation or perpetual
damnation to hell. This theme alone provides one with fear, thus it can be assumed that even ...
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In two different cases, relatively close together in the music, he uses a secondary dominant to
embellish the regularity of the effect. However, in these two different cases, the chords shift slightly,
as shown in measures 52 and 55, pictured below. V/IV I V6/5/IV IV Despite the fact that the V/IV is
basically a I7 chord, theory students of modern teachings have been taught that the chord after the
slash mark of the secondary dominant is where the secondary dominant will lead to. So, creating a
simple I chord in the figure above might be seen as a little misleading. His is seen as more
traditional in the sense of good music theory practice, but regarding that it is Mozart's piece, it is
safe to say that both will work just fine. Mozart likes to add color to his compositions by also using
Neapolitan chords. He effectively uses them as both a passing function as well as a neighboring
function. In the example provided above, Mozart cleanly exercises the passing rule of the
Neapolitan 6th chord. Refer to Figure 2, measures 36 and 37: D Minor: V7 i i N6 ( in passing
function) ◦7 Mozart clearly integrates the Neapolitan chord correctly, in the practical theory sense,
and also very well in the application of the passing function. Although the

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