Several sections get the chance to play soli including flutes, clarinets, trumpets, and trombones. The work is in ABA form, with contrast in styles between marcato and legato making this piece interesting.
Two versions of the piece will be created.There will be two versions of this piece. The first will be the composer’s original manuscript, the control. The other version will be same piece but will be void of a title, tempo markings, articulations, or any other indicator of the composer’s intent. The object of this process is to rid conductors of any preconceived notions he or she may have based on the markings on the score. The score will be sent to ten conductors of varying school/performer ability levels: two middle school directors, three high school directors, four collegiate/professional
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 Renaissance and Baroque era entailed very different characteristics, due to the Renaissance composers writing more freely and being more individual then those of the Baroque era where they followed more ‘rules’ and experimented less. This essay will show the difference in two pieces by different composers, even though they were written less than a century apart.
Orchestrally, it is scored for strings, timpani, bass drum, cymbals, two flutes, one piccolo, two oboes, one English horn, two clarinets, two bassoons, four French horns, two trumpets, three trombones, two harps, and one cimbasso. Musically, this opera is very directly vigorous. It sticks to the widely used concepts of arias, duets, finales, and choruses. His fine music often excused the glaring faults in character and plot lines.
In this essay we will analyze two modern musical pieces. These pieces are namely Sonata V from John Cage’s Sonatas and Interludes, and Caballito Negro by George Crumb. Composed in mid twentieth century, both pieces made a great success and they are worth examining in terms of the historical and subjective values affecting their achievements.
Throughout the piece, the brass plays the theme in alteration with the timpani and tam-tam. Although the theme is simple, together they create a long musical idea. The overall dynamic of the brass grows throughout creating a sense of power especially when
The Baroque musical period occurred throughout Europe from 1600 to 1750. The compositions during this period had certain characteristics. Some of these characteristics included unity of mood, continuity of rhythm and melody, and most compositions, in the middle to late Baroque period, included polyphonic textures (Kamien, 2011). Many musicians, such as Johann Sebastian Bach and Arcangelo Corelli, thrived during this period. They composed hundreds to thousands of compositions in various different musical forms and each piece holds the characteristics of the Baroque period uniquely. This paper will review the
Giovanni Gabrieli was a legendary composer of the 16th century. As the fundamental structure and ideas of the Catholic Church were being challenged by the Protestant Reformation and the Counter-Reformation, Gabrieli’s compositions were given the opportunity to be successful and influential to music in the coming centuries. His works helped to transform not only church music of the Catholic Church, but also secular music as well. Giovanni Gabrieli wrote significant works that ultimately shaped the rise of the symphony, including the development of purely instrumental works, the art of orchestration, and the concerto style. Without his innovations in composition, it is arguable that instrumental music would not have developed as quickly, or developed
A great interest in hearing only instrumental music tell the story without text arise. The development of the concerto grosso which is a small unit of soloists against a full orchestra (Wright, 7-4) brought about one of the most popular and recognized concerto pieces, Vivaldi’s Violin Concerto in E Major (the “Spring). As one of
The analysis of the aria “Lascia ch'io pianga” by Haendel according to the thorough bass method, shows us how the composer refer in this piece to the typical compositional procedures of baroque music.
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.
The oratorio and cantata of the eighteenth century were both linked, unlike opera, to religious themes. Although intended for very different uses and circumstances of performance, all three genres contained musical commalities. Not surprisingly, the three genres would
Baroque music is characterized through contrasts as dramatic elements, monody and the advent of the basso continuo, and different instrumental sounds. Contrast is an essential feature in the production of baroque arrangements. The alternations between bold and flamboyant and soft, solo and ensemble, different instruments and timbres all constitute a key portion in various baroque compositions. Composers similarly created more precise instrumental arrangements regularly stipulating the instruments on a musical piece that ought to be executed instead of allowing the performing musician to select.
Another method that was used in enriching a melody was by doubling it through the use of parallel consonant intervals. This practice was already employed in the ninth century treatises ‘Musica enchiriadis’ and ‘Scolica enchiriadis’, and the term organum was adopted for several styles of polyphony illustrating two or more voices singing different notes in pleasing combinations according to the set system. The various styles of organum – such as parallel organum, mixed parallel and oblique organum, and free organum – illustrated in ‘Musica enchiriadis’ were ways for singers to embellish chant in performance based on given rules for developing added voices from the chant. Guido of Arezzo described organum in his ‘Micrologus’, allowing a range of choices that could result in a variety of organal voices merging oblique and parallel motion. In most cases, these organal voices were composed orally, either improvised by a soloist or rehearsed beforehand.