Music(MUS101)
1. How did composers vary the standard structure of the symphony?
2. How is the virtuostic ability of the performer displayed in the Classical concerto?
3. What is unusual about the form of Beethoven\'s \"Moonlight\" Sonata?
(Need Cited and Reference; No PLAGIARISM)
Solution
1. How did composers vary the standard structure of the symphony?
ans)
The Classical masters established the orchestra as we know it today: as an ensemble of the four instrumental families.
The heart of the orchestra was the string family.
Woodwinds provided varying colors and assisted the strings, often doubling them.
The brass sustained the harmonies and contributed body to the sound mass, while the timpani supplied rhythmic life and vitality.
2. How is the virtuostic ability of the performer displayed in the Classical concerto?
ans)
The Classical concerto form has three movements, alternating fast-slow-fast.
The first movement is the longest and most complex, combining elements of Baroque ritornello procedure and sonata-allegro form , resulting in first-movement concerto form .
3. What is unusual about the form of Beethoven\'s \"Moonlight\" Sonata?
ans)
When Beethoven composed the sonata in 1801 (at the end of his first style period), he was already enamored of his young pupil, Countess Giuletta Guicciardi.
The sonata is dedicated to her, but since this dedication seems to have been a last-minute decision, the work is probably not a programmatic statement of his love.
This sonata, one of a set from Op. 27, breaks the formal molds
.
ASSIGNMENT The meaning of the term concerto has changed at le.docxElbaStoddard58
ASSIGNMENT:
The meaning of the term
concerto
has changed at least three times in the history of music. What are the major elements of the concerto? Is there always a soloist? Is there a traditional musical form? Refer to the listening examples in the Special Focus (Concertos) to support your conclusions. This assignment requires a full page (400 to 500 words) submission.
PLEASE DO THE ASSIGNMENT BASED ON THE LESSON BELOW and a few research.... just follow the direction here.
Lesson:
Special Focus: The Concerto
This Special Focus explores the concerto and the relationship between the soloist and the orchestra.
Search the Internet or the library for the term concerto. To narrow your search, you could type the words concerto and history (only sites with these terms are returned). Or look up appropriate phrases. Putting the words between quotation marks gives you information on the whole phrase (try pairing concerto with different words or phrase combinations, depending on your area of interest, e.g., Bach, "20th Century,” composing, Paganini, 1800s, soloist, exposition, symphony, history, etc.)
Listen to the following selections (you will refer to these in your writing assignment):
The Four Seasons (Spring), by Antonio Vivaldi
Trumpet Concerto in E-Flat Major, by Joseph Haydn
Piano Concerto No. 23 in A Major, by Wolfgang Amadeus Mozart
Concerto for Orchestra, by Béla Bartók
Concerto Grosso 1985, by Ellen Taaffe Zwilich
Orchestral Concerto
The concerto grosso of the Baroque Period developed into the solo concerto of the Classical Period, and finally into the orchestral concerto as in Bartok’s Concerto for Orchestra (studied in Lesson 10). This work is called a concerto because of the soloistic nature of the instruments within the orchestra; it is in essence a return to the orchestral concertos of the Baroque Era. Modern concertos continued to experiment with different combinations of soloists and orchestra. The orchestra itself was also changing. For example, Arthur Bliss wrote a concerto for an interesting combination of piano, tenor voice, xylophone, and strings in 1933. Ellen Zwilich’s Concerto Grosso 1985 is another intriguing work written in the spirit of an orchestral concerto. There is no specific soloist; there are five movements, and the theme is based on a theme from Handel’s Sonata in D for violin. With this work, the term “concerto” seems to have come full circle from the Baroque Era.
Finally, the 1965 composition Piano Concerto, by Elliott Carter, integrates three contrasting elements. In this two-movement work, the orchestra and piano soloist are musically immiscible; there is, however, a concertino group of seven instrumentalists that acts as an intermediary between the musical ideas presented in the orchestra and the conflicting ideas of the pianist. Carter raised contrast to yet another level of complexity and intellectualism. The term “concerto” has remained fluid for centuries and continues to reappear as new forms in whi.
ASSIGNMENT The meaning of the term concerto has changed at le.docxElbaStoddard58
ASSIGNMENT:
The meaning of the term
concerto
has changed at least three times in the history of music. What are the major elements of the concerto? Is there always a soloist? Is there a traditional musical form? Refer to the listening examples in the Special Focus (Concertos) to support your conclusions. This assignment requires a full page (400 to 500 words) submission.
PLEASE DO THE ASSIGNMENT BASED ON THE LESSON BELOW and a few research.... just follow the direction here.
Lesson:
Special Focus: The Concerto
This Special Focus explores the concerto and the relationship between the soloist and the orchestra.
Search the Internet or the library for the term concerto. To narrow your search, you could type the words concerto and history (only sites with these terms are returned). Or look up appropriate phrases. Putting the words between quotation marks gives you information on the whole phrase (try pairing concerto with different words or phrase combinations, depending on your area of interest, e.g., Bach, "20th Century,” composing, Paganini, 1800s, soloist, exposition, symphony, history, etc.)
Listen to the following selections (you will refer to these in your writing assignment):
The Four Seasons (Spring), by Antonio Vivaldi
Trumpet Concerto in E-Flat Major, by Joseph Haydn
Piano Concerto No. 23 in A Major, by Wolfgang Amadeus Mozart
Concerto for Orchestra, by Béla Bartók
Concerto Grosso 1985, by Ellen Taaffe Zwilich
Orchestral Concerto
The concerto grosso of the Baroque Period developed into the solo concerto of the Classical Period, and finally into the orchestral concerto as in Bartok’s Concerto for Orchestra (studied in Lesson 10). This work is called a concerto because of the soloistic nature of the instruments within the orchestra; it is in essence a return to the orchestral concertos of the Baroque Era. Modern concertos continued to experiment with different combinations of soloists and orchestra. The orchestra itself was also changing. For example, Arthur Bliss wrote a concerto for an interesting combination of piano, tenor voice, xylophone, and strings in 1933. Ellen Zwilich’s Concerto Grosso 1985 is another intriguing work written in the spirit of an orchestral concerto. There is no specific soloist; there are five movements, and the theme is based on a theme from Handel’s Sonata in D for violin. With this work, the term “concerto” seems to have come full circle from the Baroque Era.
Finally, the 1965 composition Piano Concerto, by Elliott Carter, integrates three contrasting elements. In this two-movement work, the orchestra and piano soloist are musically immiscible; there is, however, a concertino group of seven instrumentalists that acts as an intermediary between the musical ideas presented in the orchestra and the conflicting ideas of the pianist. Carter raised contrast to yet another level of complexity and intellectualism. The term “concerto” has remained fluid for centuries and continues to reappear as new forms in whi.
120 CHAPTER FOUR .. MUSIC AND OPERA FORMAL AND TECHNICAL.docxmoggdede
120 CHAPTER FOUR .. MUSIC AND OPERA
FORMAL AND
TECHNICAL QUALITIES
We all have favorite forms of music: tejano, reggae, rock,
rhythm and blues, rap, gospel, or Classical. Occasionally
we are surprised to find that our favorite tune or musical
form was once something else: a rock tune that first was
an operatic aria, or an ethnic style that combines styles
from other ethnic traditions. W hatever the case, all music
comprises rhythms and melodies-they differ only in the
ways they are put together. In this chapter we shall con
centrate first on some traditional forms, but after that we
discuss qualities that apply to all music.
Music has often been described as the purest of the art
forms because it is free from the physical restrictions of
space that apply to the other arts. However, the freedom
enjoyed by the composer becomes a constraint for us lis
teners because music places significant responsibility on
us. That responsibility is especially critical when we try to
learn and apply musical terminology, because we have
only a fleeting moment to capture many of the character
istics of music. A painting or a sculpture stands still for
us; it does not change or disappear, despite the length of
time it takes us to examine and appreciate. Our attempt to
grasp musical terminology appears more challenging
because many of the concepts seem technical and most of
the terminology foreign: specifically Italian. Nonetheless,
music plays such a natural and ever-present role in our
lives that we undoubtedly know and can perceive more
than we suspect at both a formal and a technical level.
FORMS
At a formal level, our experience of a musical work begins
with its type, or form. The term fonn is a very broad one.
In addition to the forms we identify momentarily, all of
which are associated with what we call "classical" (seri
ous, or "high" art) music, we can also identify broader
"forms" of music of which "classical" is only one-for
example, the musical forms of jazz, pop/rock, and so on
(see the Companion Website: Music, Musical Forms). As
we will see in Chapter 11, the term Classical also refers to
a specific style of music within this broad "classical" form.
The basic form of a music composition shapes our ini
tial encounter by providing us with some specific
parameters for understanding. Unlike our experience in
the theatre, we usually find an identification of the musi
cal composition, by type, in the concert program. Here are
a few of the more common forms: three vocal forms and
three instrumental forms. We will encounter a few more
in Part II of the text, and will define them within their
historical contexts.
Mass
The mass is a sacred choral composition consisting of five
'sections: Kyrie, Gloria, Credo, Sanctus; �Ad Ag;UJi Dei.
tKEE-ree-ay; KRAY-doh; SAHNK-toos; AHN-yoos-day
ee). These also form the parts of the mass ordinary-the
Roman Catholic church texts that remain the same from
day to ...
The Baroque Period of Western Music History circa 1600 to 1750 AD. It may derive from the word barroco in Portuguese meaning “irregular shape.” Originally used in a derogatory fashion to describe artistic trends of this time period, baroque has come to broadly refer to the century and a half beginning in 1600.
▶️ YouTube: https://www.youtube.com/c/JoynulAbadinRasel
☕ Buy me a Coffee: https://www.buymeacoffee.com/JoynulAbadinR
1
String Quintet in C major
Name:
Professor:
May 1, 2019
Franz Schubert (1797-1828) born in Vienna is an outstanding representative of the early Romantic music of the West. His work reflects the connection between the classical music tradition of Vienna and the new romanticism of the 19th century. Schubert received a good artistic influence from an early age. When he was 5 years old, he began to learn music with his father. When she was a child, Schubert had an amazing voice and an admirable tone. In 1808 he was admitted to the boarding school of the church and became a small singer in the Children's Choir of the Palace Theatre. In the boarding school, Schubert studied many professional courses, went to the theater to listen to opera, and contacted many works by Mozart, Haydn, and many other composers. In his short life, he has produced more than 600 artistic songs, making a big contribution to the development of art songs. I will analyze String Quintet in Cmajor.
String Quintet in C major is one of his chamber music work, created in the last year of his life -1828. This quintet uses two violins, one viola, and two cellos. This arrangement makes the bass of the music enhanced. The two cells are also Dialogues can be made, and the interlacing of sounds between different instruments becomes complicated. It is the treasure in chamber music, both in terms of writing skills and spiritual. It is often commented on Schubert's greatest chamber music in his later years.
The D.956[footnoteRef:2] is compiled with a cello in addition to the string quartet. This arrangement makes the bass of the music enhanced, and there can be a dialogue between the two cellos, so the melody of the symphony in D.956The proportion has increased significantly, and the vernacular says that the sound interlacing of different instruments becomes more complicated. [2: Rick Anderson. Reviewed Work: String Quintet, D956. 2005]
The string quintet consists[footnoteRef:3]offourmovements in the usualquick-slow-scherzo-quick pattern: [3: William, Brown. Menahem Pressler: Artistry in Piano Teaching. Indiana University Press, 2009.]
1. Allegro ma non troppo
2. Adagio
3. Scherzo. Presto – Trio. Andante sostenuto
4. Allegretto
The first movement of the "C major string quintet" is composed of a sonata style. The quintet opens with an extremely expansive movement compare with other late Schubert works. The length of Allegro is over one-third of the total length of the piece around 50 minutes. The exposition lasted 154 measures and began with a wide range of C major chords. Schubert presents his unforgettable harmony, well-contoured melody and without regular rhythm pulses. This is followed by music leading to a second contrasting theme with gradually increasing motion and tension. In the E-flat accidental key, it is introduced into the duo between the two units. This part ends with a dominant (G major) chord that naturally returns to the open pitch ch.
Wings of birds and wings of insects are---It is a 12 letter word in a.docxmaximapikvu8
Wings of birds and wings of insects are...
It is a 12 letter word in a crossword puzzle. the second letter is o.
It is a 12 letter word in a crossword puzzle. the second letter is o.
.
Windows provides a very simple mechanism for sharing files among users.docxmaximapikvu8
Windows provides a very simple mechanism for sharing files among users on a personal computer. Many people routinely log into their personal computers with full local administrative rights. Some see it as their right and privilege because they own the computer. For the Discussion this week, discuss the risk involved in assigning yourself full administrative rights? What are other identities, that can be assigned?
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120 CHAPTER FOUR .. MUSIC AND OPERA FORMAL AND TECHNICAL.docxmoggdede
120 CHAPTER FOUR .. MUSIC AND OPERA
FORMAL AND
TECHNICAL QUALITIES
We all have favorite forms of music: tejano, reggae, rock,
rhythm and blues, rap, gospel, or Classical. Occasionally
we are surprised to find that our favorite tune or musical
form was once something else: a rock tune that first was
an operatic aria, or an ethnic style that combines styles
from other ethnic traditions. W hatever the case, all music
comprises rhythms and melodies-they differ only in the
ways they are put together. In this chapter we shall con
centrate first on some traditional forms, but after that we
discuss qualities that apply to all music.
Music has often been described as the purest of the art
forms because it is free from the physical restrictions of
space that apply to the other arts. However, the freedom
enjoyed by the composer becomes a constraint for us lis
teners because music places significant responsibility on
us. That responsibility is especially critical when we try to
learn and apply musical terminology, because we have
only a fleeting moment to capture many of the character
istics of music. A painting or a sculpture stands still for
us; it does not change or disappear, despite the length of
time it takes us to examine and appreciate. Our attempt to
grasp musical terminology appears more challenging
because many of the concepts seem technical and most of
the terminology foreign: specifically Italian. Nonetheless,
music plays such a natural and ever-present role in our
lives that we undoubtedly know and can perceive more
than we suspect at both a formal and a technical level.
FORMS
At a formal level, our experience of a musical work begins
with its type, or form. The term fonn is a very broad one.
In addition to the forms we identify momentarily, all of
which are associated with what we call "classical" (seri
ous, or "high" art) music, we can also identify broader
"forms" of music of which "classical" is only one-for
example, the musical forms of jazz, pop/rock, and so on
(see the Companion Website: Music, Musical Forms). As
we will see in Chapter 11, the term Classical also refers to
a specific style of music within this broad "classical" form.
The basic form of a music composition shapes our ini
tial encounter by providing us with some specific
parameters for understanding. Unlike our experience in
the theatre, we usually find an identification of the musi
cal composition, by type, in the concert program. Here are
a few of the more common forms: three vocal forms and
three instrumental forms. We will encounter a few more
in Part II of the text, and will define them within their
historical contexts.
Mass
The mass is a sacred choral composition consisting of five
'sections: Kyrie, Gloria, Credo, Sanctus; �Ad Ag;UJi Dei.
tKEE-ree-ay; KRAY-doh; SAHNK-toos; AHN-yoos-day
ee). These also form the parts of the mass ordinary-the
Roman Catholic church texts that remain the same from
day to ...
The Baroque Period of Western Music History circa 1600 to 1750 AD. It may derive from the word barroco in Portuguese meaning “irregular shape.” Originally used in a derogatory fashion to describe artistic trends of this time period, baroque has come to broadly refer to the century and a half beginning in 1600.
▶️ YouTube: https://www.youtube.com/c/JoynulAbadinRasel
☕ Buy me a Coffee: https://www.buymeacoffee.com/JoynulAbadinR
1
String Quintet in C major
Name:
Professor:
May 1, 2019
Franz Schubert (1797-1828) born in Vienna is an outstanding representative of the early Romantic music of the West. His work reflects the connection between the classical music tradition of Vienna and the new romanticism of the 19th century. Schubert received a good artistic influence from an early age. When he was 5 years old, he began to learn music with his father. When she was a child, Schubert had an amazing voice and an admirable tone. In 1808 he was admitted to the boarding school of the church and became a small singer in the Children's Choir of the Palace Theatre. In the boarding school, Schubert studied many professional courses, went to the theater to listen to opera, and contacted many works by Mozart, Haydn, and many other composers. In his short life, he has produced more than 600 artistic songs, making a big contribution to the development of art songs. I will analyze String Quintet in Cmajor.
String Quintet in C major is one of his chamber music work, created in the last year of his life -1828. This quintet uses two violins, one viola, and two cellos. This arrangement makes the bass of the music enhanced. The two cells are also Dialogues can be made, and the interlacing of sounds between different instruments becomes complicated. It is the treasure in chamber music, both in terms of writing skills and spiritual. It is often commented on Schubert's greatest chamber music in his later years.
The D.956[footnoteRef:2] is compiled with a cello in addition to the string quartet. This arrangement makes the bass of the music enhanced, and there can be a dialogue between the two cellos, so the melody of the symphony in D.956The proportion has increased significantly, and the vernacular says that the sound interlacing of different instruments becomes more complicated. [2: Rick Anderson. Reviewed Work: String Quintet, D956. 2005]
The string quintet consists[footnoteRef:3]offourmovements in the usualquick-slow-scherzo-quick pattern: [3: William, Brown. Menahem Pressler: Artistry in Piano Teaching. Indiana University Press, 2009.]
1. Allegro ma non troppo
2. Adagio
3. Scherzo. Presto – Trio. Andante sostenuto
4. Allegretto
The first movement of the "C major string quintet" is composed of a sonata style. The quintet opens with an extremely expansive movement compare with other late Schubert works. The length of Allegro is over one-third of the total length of the piece around 50 minutes. The exposition lasted 154 measures and began with a wide range of C major chords. Schubert presents his unforgettable harmony, well-contoured melody and without regular rhythm pulses. This is followed by music leading to a second contrasting theme with gradually increasing motion and tension. In the E-flat accidental key, it is introduced into the duo between the two units. This part ends with a dominant (G major) chord that naturally returns to the open pitch ch.
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Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
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Music(MUS101) 1- How did composers vary the standard structure of the.docx
1. Music(MUS101)
1. How did composers vary the standard structure of the symphony?
2. How is the virtuostic ability of the performer displayed in the Classical concerto?
3. What is unusual about the form of Beethoven's "Moonlight" Sonata?
(Need Cited and Reference; No PLAGIARISM)
Solution
1. How did composers vary the standard structure of the symphony?
ans)
The Classical masters established the orchestra as we know it today: as an ensemble of the four
instrumental families.
The heart of the orchestra was the string family.
Woodwinds provided varying colors and assisted the strings, often doubling them.
The brass sustained the harmonies and contributed body to the sound mass, while the timpani
supplied rhythmic life and vitality.
2. How is the virtuostic ability of the performer displayed in the Classical concerto?
ans)
The Classical concerto form has three movements, alternating fast-slow-fast.
The first movement is the longest and most complex, combining elements of Baroque ritornello
procedure and sonata-allegro form , resulting in first-movement concerto form .
3. What is unusual about the form of Beethoven's "Moonlight" Sonata?
2. ans)
When Beethoven composed the sonata in 1801 (at the end of his first style period), he was
already enamored of his young pupil, Countess Giuletta Guicciardi.
The sonata is dedicated to her, but since this dedication seems to have been a last-minute
decision, the work is probably not a programmatic statement of his love.
This sonata, one of a set from Op. 27, breaks the formal molds
