An Analysis Of Maurice Ravel 's Le Tombeau De Couperin

Right now I want to introduce this work with more detail information. This band work of Scenes from the Louvre created for the original film score for the 1964 documentary. Scenes from The Louvre was premiered March 13, 1966, conducted by the composer. So there are five movements in this works. The first one is an introduction focus on the film score. Another three movements are based on the Renaissance tunes. The movement 2 called Children’s Gallery is a theme based on Tielman Susato’s “Ronde and Saltarello.” Themes by court composers Jean Baptiste Lully and Pietro Antonio Cesti serve as a base for movement 3, “The King of France,” a chorale and development. Movement 4, “The Nativity Paintings,” is based on “In delci jubilo;” the same theme used by Dello Joio in “Variants on a Medieval Tune” and for all thirteen movements of “Colonial Variants.” The final movement, “Finale,” is based on Albrici’s “Cestiliche Sonate.” Primarily written around the keys of C, G and F

When King Louis XIV was in need of some critically acclaimed harpsichord music, he would look no further than Elisabeth-Claude Jacquet de la Guerre, nominally his favorite. Jacquet de la Guerre dedicated almost all of her pieces to the King. At the age of twenty-two, this child prodigy issued her first publication entitled Pieces de clavecin, a collection that included four pieces exclusively for harpsichord. At the time, these suites were designed for amateurs to have fun with, playing with friends and family. Dances with specific styles were mostly what it consisted of. These were written in binary form, with two sections, each repeated, the first moving from the tonic to a cadence on the dominant, and the second returning to close on the tonic. Jacquet de la Guerre’s Suite No. 3 in A Minor is a perfect example of this genre and has all the features of a dance in this type.

One of the greatest composers of music, even though it was only slightly notated at the time, was Guillaume de Machaut (d. 1377), “one of the undisputed pinnacle geniuses of Western music…” His most famous piece was the four-voice Mass of Notre Dame, which maintained his reputation through the changes in fashion (Roberge). After almost a millennium’s worth of music was composed and contributed, the style of music began to change with the next era.

Music is constantly changing. The Baroque period (1600-1750) and the Classical period (1750-1820) have both differences and similarities in elements such as form, texture, and dynamics. I will be comparing the first movement of Spring from the Four Seasons composed by Antonio Vivaldi and the first movement of Symphony No. 5 in C minor by Ludwig van Beethoven. I will construct a stylistic comparison of the two compositions and their musical stylings with regard to the periods of music of which they belong.

The development of the suite in French keyboard and lute music during the 17th century

During the later years of his life Bach gradually withdrew inwards, producing some of the most profound statements of the baroque musical form. Bach’s creative energy was conserved for the highest flights of musical expression: the Mass in b

Ludwig Van Beethoven was one of the most influential composers of his time. The decades around the 1800’s were years of many changes and Beethoven’s new approach to music was something that reflected that. “His symphonies, concertos, string quartets and piano sonatas are central to the repertory of classical music.” This essay will focus on the historical and theoretical aspects of the third movement of Sonata Op. 28 No. 15.

Like the previous eras, Opera continued to be one of the most important music genre is the 19th century, especially in Italy, German and France. Opera served as a form of entertainment for the people of higher social class. Opera music was also popular among the people of other social classes due to the availability of transcribed opera music for them to enjoy in salons or homes of the middle class. This genre was extensively explored and developed by the Italians and Germans. This paper will discuss how Italian and German opera were developed by comparing each composer’s distinctive compositional traits.

Bergeron, paradoxically yet successfully, chooses to get to the core of the French mélodie by looking at it from a distance. Her focuses on the mélodie’s complex relationship with the German Lied, the pedagogical movements of the French language in the late-nineteenth century, and Claude Debussy’s opera Pelléas et Melisande in order to “examine the range of French expression [Debussy] puts on stage and how he represents that range in music” are all indirect yet inventive ways in which Bergeron embraces the challenges of defining this elusive vocal genre (xiii). Perhaps Bergeron sets out to define the French mélodie through indirect methods for exactly that reason; a genre as complex as the mélodie could not be fully understood if one attempted to get to its center through traditional means. Stating that French art song is “a musical repertory based on […] delicacy and restraint […]”, Bergeron clearly has a grasp on

This work was composed during the Classical period, 1750- 1820. One aspect of the classical music style beign applied to this work includes the reoccurance of two or more contrasting themes. Another is the use of short and clearly defined musical phrases. Lastly, this piece, on a purely musical level, was simply more to hum along to. This type of melody took over the complex polyphony of the Baroque period.

In the book “Johann Sebastian Bach” written by Karl and Irene Geiringer, Karl depicts, “Of equal beauty…The Double Concert, one of the most intimate and heart-stirring cantilenas Bach ever wrote” emphasizing the different points of the listener and realizing the joy of creating wonderful works like this (pg. 318). Once more, this piece is extremely repetitive, as seen in the analysis segment, but Bach clearly meant for this technique to happen. Nevertheless, Bach still managed to create a mark in Baroque history, this piece was on the verge of the ending Baroque era and it could be sensed within the piece; just by simply analyzing the work, we captured a small glimpse of Bach’s

The 19th Century saw many composers come to light as they made a mark on the art music world. Unknown at the time, they would soon be remembered for their work in decades to come. As music developed so did the various ways to portray the piece that was being played. One type of art music that emerged at the time was ‘programme music’. This was defined as where the “composer intends to guard the listener against a wrong poetical interpretation” . In other words it was a way to correctly convince an audience of the story with a number of movements. Composer Camille Saint – Saens was one of the many who did this exceptionally well. Throughout his lifetime, 1835 – 1921, he was known to be one of “France’s most gifted musicians” . Many of his works are still used today and have helped inspire many in not only the musical world, but outside of it as well.

In regards to the decoration of Baroque music, amateurs often think that Baroque music is extremely ornamented. This practice is a more recently acceptable practice: scholar Ronald

Baroque music tends to be complex, but with a very organized system of forms and harmonies that is the basis for almost all music from what is called the “Common Era,” the period between 1700-1900. The Common Era developed throughout the nineteenth century, but after 1900 music entered an age of experimentation; music perhaps became a postmodern art genre very early on. Baroque music all sounds similar, although the educated listener can tell Bach from Handel without difficulty. In the realm of contemporary music, however, entirely atonal music from Schoenberg and Webern can easily exist alongside French Impressionism and Copland’s American neo-Romanticism. Today’s composers are similar only in that their styles, and entire musical languages, are radically different.

In the late nineteenth century, France forged a new path in music and ushered in the practice of musical exoticism. Pieces, such as operas, began to be characterized by their use of exotic elements including: music, makeup, clothing and props. Ralph P. Locke in, Musical Exoticism: Images and Reflections, expanded upon this notion stating that the purpose of musical exoticism was to evoke a place that is perceived as different from one’s home (Locke, p.47). Elaborating from this definition a spectrum of musical exoticism was contrived; with “pure” exoticism, intended to “other” the exotic elements, and transcultural composing, intended to provide a hybrid of musical styles, representing the two extremes on opposing ends (Locke, p.44, 228) . Benjamin Britten in his opera, Death in Venice, uses exotic elements —Gamelan music—in a nontraditional sense that does not adhere stringently to the conditions of “pure” exoticism or transcultural composing. Some pieces, such as Britten’s Death in Venice, blur the lines of distinction between each end of the musical exoticism spectrum and are open to subjective interpretation by the listener. Thus, through analyzing the use of exotic elements and their intended purpose in Britten’s Death in Venice, it is my opinion that the piece falls more in accordance with “pure” exoticism rather than transcultural composing, due to Britten’s use of the exotic elements to effectively “other” the homosexual attraction of opera’s main character.