Analysis Of Claude Debussy 's ' Canope '

The piece has a time signature of 4/4 (C=common time) and is primarily in Db Major, modulating to C# Minor (the enharmonic equivalent). The accompaniment (left hand) through section A is based around the tonic and dominant chords- Dᵇ and Aᵇ- with the repeated quavers being Aᵇ - the dominant. In the B section, the repeated quavers played both as singular notes and octaves are on the dominant G#, which is the enharmonic equivalent to Aᵇ and therefore is the repeated quaver as in section A.

The interesting fact about this composition is that the tempo is expressive of “religious solemnity” (Pilich). Obviously one can comprehend the fact that music contains not only mere words but can foster certain emotions that are associated with a particular piece of music.

Throughout history, women have constantly been objectified and forced into submission by the male dominated society. Simone de Beauvoir’s philosophical work, The Second Sex, echoes the intense oppression of women and reflects the first wave feminist movement. Her existentialist decoding of genders resulted in the idea of the Other, which explores the phenomenon of women forced into the role of an object, while men are the subject. In the second chapter, “The Girl”, Beauvoir further studies the idea of this oppression during one’s transition from a girl into a woman. Beauvoir states that no matter how much freedom and sense of self a girl holds, she is always forced into the role of the Other in society. Beauvoir 's idea of the Other held

In the second movement, the percussion section is more noticeable, especially at the beginning. This movement is also in D minor. The range of the melodic tune is dramatic. At times, I recognized the downbeat in three measures (da da da). This

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.

One of the most influential painters of the twentieth century was Paul Cezanne. He was willing to break the traditionally accepted artistic practice in order to better portray his artistic creativity. Cezanne was became part of the movement that followed the Impressionists called the Post-Impressionism movement. The artists who were the driving forces behind this movement were Gauguin, Van Gogh, Seurat, and Cezanne. These artists were placed in this grouping because they were the avant-garde artists of the time period, who wanted to be able to express their emotions rather than simply representing what they saw. Cezanne’s Mont Sainte-Victoire seen from The Bibemus Quarry was painted in 1985. Mont Sainte-Victoire is a mountain that is in the South of France and overlooks the Aix-en-Provence, which happens to be the hometown of Paul Cezanne. This work exemplifies the Post-Impressionistic techniques because Cezanne utilized the avant-garde techniques, while at the same time demonstrating the relationship between the artist and the work.

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

Throughout the play Cyrano de Bergerac written by Edmond Rostand, the audience comes to hold dearly the heart of the protagonist, Cyrano a strong man with a rather gargantuan nose. It is through discussions and insults concerning his physical attributes that the audience discovers he is in fact in love with the woman he has held close to his heart for many friendly years, his cousin Roxane. Completely unbeknownst to Roxane, Cyrano’s love and admiration for her is not simply on a relative scale as she perceives it to be, but rather the much more drastic level of physical, emotional, and intellectual attraction. As the play is centered on the life of Cyrano, the audience comes to understand the sincerity of the love he feels and devotion he has for his relative and ultimately concludes that he is in fact worthy of the affection from the woman he truly adores. However, is Roxane truly worthy of such a man’s adulation, when in fact her unattainability ever steadily nibbles at Cyrano’s heart making him ultimately feel undeserving of her?

“Pagodes” makes use of just a few short melodic ideas. The piece is in a loose ternary form, however, the B section makes use of elements heard in the A section. The first idea (bars 3-4) is repeated verbatim three times after it is first heard. This becomes an ostinato as it is repeated in full and broken into parts throughout the piece. A two bar scalic countermelody is heard in the middle of the texture at bar 9. At bar 11 a new idea is introduced that uses all 5 notes of the pentatonic scale. At bar 15 the trill-like triplet idea is introduced. A whole-tone melody is introduced at bar 33, the beginning of the B section. These few motifs undergo little melodic variation occurs; Debussy layers these melodies and transposes them in different octaves to create a rich contrapuntal texture that is reminiscent of gamelan’s busy and dense multi-layered texture. Western musical tradition had placed emphasis on strict forms as a method of melodic development and contrast, such as the Classical sonata form. Debussy was keen to move away from these conventional ideas of melodic development, instead taking inspiration from the more free-form and layered approach to

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.

The 1st movement is in sonata form. The slow introduction to this symphony is unusual in that it begins in the subdominant key - E minor, solemnly introduced by the bassoons. It modulates into B minor and the tempo increases for the principal subject. This theme is elaborated and developed, and a march-like motif forms a bridge passage leading to a climax. The strings then introduce an amorous, song-like second subject in D major. The development section enters with a bang. This section brings no startling thematic growth or transformation, but is

A Look into Different Interpretations of the First Movement of Moonlight Sonata: The Piece that Portrays an Assortment of Emotions

Claude Debussy was born in France on August 22, 1862 during a decade in which Roger Nichols’s claims was one of “the low points of French musical life” (4). Debussy clashed with the musical norms of his time due to his fascination with writing music for how it sounds and feels. Lesure writes, “Ever since his years at the Conservatoire, Debussy had felt that he had more to learn from artists than from career-obsessed musicians” (5). Debussy composed from the ideas around him and this is heard in his composition of “Clair de lune”. Claude Debussy’s “Claire de lune” is one of his most beloved and known piano works. “Clair de lune” is the third movement of Debussy’s piano concerto, Suite Bergamasque, published in 1905 and offers a view into the complexity and originality of Claude Debussy. “Clair de lune” beautifully displays Debussy’s fascination with nature and symbolist poetry. Debussy uses form and atmospheric phrasing to depict the melancholic and subdued beauty of nature.

The first text we explore in this step is Bonaventure’s “On Seeing God in his Image”. Bonaventure shows us that through inward reflection we can see God. God can then lead us to God’s two most important laws, and the best ways for us to live in community with others; by loving God, and our neighbors.

The return to the home key can be seen as a relief from the “dissonance” produced by the passages of second themes in E major and b minor. Yet, the tonality on G major is not distinctive enough to induce a home-returning emotion in the listeners. Therefore, the composer restated the opening of the first theme in G major and continues with arpeggiando passages (Fig. H) (mm.288-295) establishing the dominant of the home key. The coda (mm.295-324) consists only