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Analysis Of Antonin Dvo?�k's Symphony Part 9

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In his symphony No. 9, Antonin Dvořák incorporates Slavic and African American themes, as well as his depiction of Native American culture to exemplify his nationalism as well as his comprehension of “true American culture,” thus pushing listeners, both during his time and today, to question the image of America as we see it.
Although less prominent, Dvořák’s native folk style appears throughout his piece, often incorporated through rhythm and traditional dance styles from Bohemia. Rhythmically, the Slavic style is best described, rather ironically, as a “Scottish snap.” Although this style of stressed and unstressed beats are most commonly attributed to the Scots, it can be easily recognized that “the merest glance at Czech folk music reveals that an identical rhythm pattern can be found in abundance” (Beckerman, Henry Krehbiel). This rhythmic accenting can be found in several points throughout the piece.
When examining the piece in search of folk dances, several can be found in the forms of a polka (Antonin Dvořák [2]), seen in figures 2a-c, and in the “dumka,” which is exemplified best in the progression of the first movement. The polkas are found in movements one and three. The first is a transformation of a main theme from movement one (Antonin Dvořák [2]), originally characterized by the minor key, narrow melodic range, and monotone accompaniment (2a). It then however shifts to a subsequent major key with broader melodic range, and use of parallel thirds to brighten
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