Analysis Of Franz Shubert 's ' The Erlking '

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.

The abundance of harmonies never loses the thread to his audience. Furthermore, the opening of the slow movement inspires the imagination and attention of its listeners. All these elements make this piece one of the most successful concertos in the musical history.

Through the use of punctuation (or lack thereof), repetition, and rhyme scheme, John Clare 's first stanza of “I Am” expresses the speaker 's distorted sense of self and vast understanding of his morose existence. The following stanza has been chosen as the analysis point for this paper:

The short story, The Sound Of The Singing, deals with conflicts and how they effect the people in them and around them. Vanessa McLeod is a dynamic character who changes her perception of herself in the course of the story. Through her changed perception, Margaret Laurence is suggesting that a person’s identity is change by their surroundings and the conflicts they fight through in there lives.

Franz Schubert composed the German Lieder, Gretchen Am Spinnrade, in 1814. This composition is one of Schubert’s pinnacle compositions, which introduced the world to the idea of the Romantic Lied, veering away from the already existing Classical Lied. Observing the form, rhythmic structure, key modulations and dynamics with relation to the text, Schubert paints a beautiful emotional drama for the listener allowing them to dive into the thoughts and emotions the woman, Gretchen, is experiencing while longing for her lover, Faust.

Before translations and devices, readers should first acknowledge the structure of the poem. In structure there are 8 different topics: speaker, setting, occasion, tone, rhyme, meter, number of lines and stanzas, and language of the poem. In the “Ballad of

The author tries to convey this message mainly through writing this piece in first person while using the literary style of stream of consciousness. Periodically throughout the piece, the author shows his

Although I enjoyed both pieces of music I really enjoyed the works of Gustav Mahler and his piece Lied von der Erde. This piece is rich in drama. I feel that the texture used is this song is imitative polyphony. I feel that there are various parts in this song that use the similar melodies. I feel that the harmony between the two vocalists were right on with each other and the orchestra. You can hear the brass instruments in the very beginning of the songs then the strings, wind instruments along with the piano and keyboards begin to make their entrance. They come together very strong but in a peaceful way at first. Towards the middle of the song the tempo and rhythm really picks up (it seems as if all of their emotions are bursting out) then it slowly begins to drop back to slower movements. You can really hear the strings during this time. But surprisingly enough just when you think the song is going to end boom your hit again. This song keeps you on the edge of your

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.

A great contrast was found in the second movement, a hymn-like happy mediation of andante. Three phrases of the tune which was given to clarinets and bassoons, has its cadence echoed by low strings. Passages developed from the first theme then led gradually to its return in its original calm mood after a brief climax. A brief coda was made by a new and happy melody referring to the main theme.

The mastery of the author emerges from the opening terzain, which contains the two refrains alternately repeated throughout the poem setting its foundations,

The next movement discussed stands out as being one of the longest works of the cantata. “In taberna quando sumus” opens with stringed instruments followed by percussion, and then a variety of other instruments join with the chorus. “When we are in the tavern”, the title sets this piece up for what I think would have a been a popular movement when it originated. Orff tells of drinking and gambling at the tavern, then goes on to list thirty names such as “the rich man” and “the poor man” that all drink. This stood out to me because I didn’t see this coming at all! It is also my least my favorite piece of the work. With the setting what it is, I didn’t particularly like the minor tone heard on and off in this

The poem begins with two lines which are repeated throughout the poem which convey what the narrator is thinking, they represent the voice in

In this literary analysis it is essential to compare and contrast Cathy Song’s poem “Heaven” and Bryan Thao Worra’s poem “Pen/Sword” to give the reader a better understanding of what the authors’ are conveying to their readers. The similarities in the style, word choice, and theme will be compared, along with the differences of style, word choice, and theme reflected throughout each poem. Furthermore, I will determine the meaning behind the broken up and/or the way the lines of each poem while describing why the lines are strategically placed throughout the pieces. This will allow me to identify the meaning that the authors’ are explaining to the reader. Each poet specifically writes to give the reader(s) a picture of what they are feeling and defining their emotion through their writing.

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