Canzona Septimi No. 2 Analysis

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 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

Mozart’s opera ‘The Abduction to the Seraglio’ also capture the Turkish flavours with extra percussion and evoking of military Janissary bands of Turkey. The Turkish traits can be found in both overture and choruses. The Choruses, Act 1 No. 5 is known as Choruses of Janissaries. I will describe the characteristics of the alla turca topos in this opera. The instrumentation shows a great influence of Janissary band, it is called Batterie torque – the use of percussion instruments such as bass drums, cymbals, timpani and piccolo9. The both Janissary choruses of the Abduction of the Seraglio have the same instrumentation. Right now I am going to look into these traits deeper. The timpani and tamburo grande are to create thumping effect while the Piccolo that written in high pitch is to imitate the sorna to produce shrilling sound. The purpose of it is to stimulate the soldiers

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 piece “Stakeout” by “The Tango Saloon” effectively uses instrumentation, harmony and rhythm to convey character in the song. The prominent use of organ in the piece contributes to the songs tense, foreboding character. The dissonance created by the organ and the use of a rotary speaker creates a thick, unnatural and disturbing timbre. The character of the song is also conveyed using auxiliary percussion. The ostinato arpeggio played on the xylophone in the chorus, along with the tubular bell strikes, shakers and heavy toms convey this character.

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.

In the beginning of chapter 12 Isabel begins to talk about the festival of the May. I think it is awful that Isabel desperately wants to be queen, but that she doesn’t have a fair chance just because she is not white, with blonde hair and blue eyes. I feel like this sort of thing always happens. I wish I could be in Hamilton but they are only taking “non-white” actors. Plus, there was a time that I wanted to have a part in a song, but I was not able to have it because I was white. So, even though it was clear that I would have been good for the part they gave it to someone else. I was devastated so I understand how disappointed she will feel. I think it is so unfair to judge people just based on their skin color or where their family

In Johannes Brahms’ first symphony, an angelic alliance of flutes hypnotizes the audience with delicate notes that form a scenic melody. In the distance, I am blowing until my face turns blue into a large goofy instrument that hardly anyone notices. When I picked up the tuba during my junior year of high school, I quickly became accustomed to less glamorous musical parts, long notes of loosely buzzing lips, and pages of paramount silence. Worst of all, playing the tuba never quite made me a “ladies’ man.” Yet my short-lived stint as a tubist sparked an appreciation in me for the humble instrument’s significance. Were it not for the deep rumbling of the tubas which mirror the melody step-for-step, coloring the piece to a new depth, Brahms’ rich masterpiece would undeservingly sound hollow.

This paper will discuss the works of Susan Botti, Jennifer Higdon and Cindy McTee, three women composers of the 21st Century, and how they influenced composition with their tonal structures, melodic inventions, unique compositional techniques, along with innovations in notation, and rhythmic intricacy. I will be analyzing Concerto for Orchestra by Higdon and Echo Tempo by Botti.

Liz has put the whole burden on one employee. There is no teamwork; what if that person gets lazy and comes up a lazy marketing plan. Then everyone would have to agree to it because no other member knows anything about marketing. Liz should have told her employees that everyone needs to come up with marketing plan and then in the next meeting they will choose the best

This thesis aims to explore the life of Johann Sebastien Bach (1685-1750), and his contribution to European classical music. Bach was a German composer and musician of the Baroque period. To this day, he is widely acknowledged as one of the greatest composers and musicians of all time. Bach is known for his talent in playing the organ, and the extreme complexity of his works using counterpoint, motifs and harmony. His catalogue boasts over a thousand pieces, from cantatas, motets, lute pieces, four part chorales, to chamber music, orchestral works and canons.

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.

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 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

important composers, such as Alberto Ginastera, Olivier Messiaen, Riccardo Malipiero, Luigi Dallapiccola, Bruno Maderna and Aaron Copland.”