Cruda Amarilli Essay

The tone of the poem changes as the poem progresses. The poem begins with energetic language like “full of heroic tales” and “by a mere swing to his shoulder”. The composer also uses hyperboles like “My father began as a god” and “lifted me to heaven”. The use of this positive language indicates to the responder that the composer is longing for those days – he is nostalgic. It also highlights the perspective of a typical child. The language used in the middle of the poem is highly critical of his father: “A foolish small old man”. This highlights the perspective of a typical teenager and signifies that they have generally conflicting views. The language used in the last section of the poem is more loving and emotional than the rest: “...revealing virtues such as honesty, generosity, integrity”. This draws attention to a mature adult’s perspective.

Reality comes from creating an imagined thought - whether that thought stemmed from something that someone has seen to what someone has heard, or even felt. The composer that will be discussed throughout this essay composed Morir non può il mio cuore in 1566, this composer is none other but Maddalena Casulana. During the years in which Casulana composed music, she was always looking to present her dedications of her madrigal volumes in a way to provide a little more biographical information than most would at the time. Throughout 1560-1569, she began to publish what would ultimately become her three-volume collection of madrigals (1568; 1570; 1583) that were published the year of her death and which were the first three books of madrigals by a women composer to ever be printed (Franck, Brownstone, 1995. Page 46, 48). Casulana presented her music in a very dramatic way, she was different and unique, focusing and attracted to the topics of ones passing and perpetual dying (Sadie, 1980. Page 2). She was an Italian composer and singer who told a story through the pieces she had composed; expressing each piece in a distinct and narrative way. Maddalena Casulana contributed a great deal of music that till this day will be remembered and cherished.

In any musical drama, be it opera, oratorio, or even musical theatre, it is possible for a composer to convey the personality of their characters through compositional and musical techniques. Doing so heightens the audience’s understanding of the characters, their motivations, and the relationships between them. Monteverdi, as a pioneer of opera, was one of the first to capitalize on this opportunity to heighten the audience’s understanding of the characters. This is highly apparent in his last opera, L’Incoronazione di Poppea. The music for two of the characters, Poppea and Nerone, is especially well composed to demonstrate personality, and this is no more apparent than in the dialogue which introduces the audience to them, Signor, deh

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

It has been rumored that are extraordinary beings on another familiar planet close by our home of Nacirema, and it is our goal as the Interplanetary Nacirema Research Center team to investigate the situation. We plan to focus our trip on the specific coordinates that the University of Connecticut campus lies on, and being the curious creatures we are, we plan to delve into specific areas within this concentrated area. We will be studying the way both males and females conduct their everyday lives in terms of living, learning and communicating. Through our research, we plan to lighten up the mysteries about this foreign species and enable ourselves to communicate

Dynamics play a critical role in this lied to help bring across even more meaning within the lyrics. Looking at the beginning A section, it utilizes a crescendo from the beginning pianissimo in m 6, which then decrescendos with each word repeat “I’ll find it, never more’ and completely decrescendos by m 11. The B section, which starts at m 13, raises the volume to mezzo forte by m18 even though the wording describes a ‘silent grave’, as if she’s begging to break free of this silent grave that she claims to be trapped in. Then, in m22 there is a crescendo with ‘and my poor head’ and in m27 ‘by thoughts of him’. This leads into a decrescendo in m 28 when describing ‘who has my heart’. The return of the A section in m 31 uses a bit different dynamics. This time, rather than having a decrescendo in “I’ll find it, I’ll find it never, never more” a crescendo is utilized on both ‘I’ll find it’ expressions. Forte is then

For nearly 138 years, Brenau University has continued to uphold its slogan Extraordinary Lives. When I first stepped foot on Brenau’s campus in 2012, I wouldn’t have fathomed that four years later, this institution would shape me into the successful woman I am today. Prior to attending Brenau, I had always struggled with understanding who I was and where I belonged. Once I became a student at Brenau, I began to join organizations such as Student Activities Board and Student Government Association, and consequently, I have reached a social and academic success peak I never believed I would be able to achieve. If you are a first year college student or are transferring to a different institution, I advise you to take Brenau University into consideration.

Flinder expected the merger to generate significant cost gains. RSE’s greater purchasing power would lower the cost of materials and components for FVC. RSE’s new resource-management system could be expected to reduce FVC’s in-process costs. Estimates from FVC’s accounting group had identified pretax constant-dollar cost savings of $2 million in the first year of operation and $4 million thereafter. He also recognized other synergy gains that arose from RSE’s stronger marketing clout, cross-selling with other RSE products, and its deep financial pockets. He believed that the widening-gyre project could have a broad application in nautical, aerospace, and automotive products. Based on the investment required to bring such technology to market, he estimated the economic

The fundamental-bass analysis bring into play notes that are supposed, that are not in the score but affect the music as the roots of a tree feed the last leaf on the highest branch. In this case, we can see how the sense of motion that we perceive listening to this aria is perfectly explained and justified by the succession of seventh chord and fifth chord, as the epitome of the arsi-tesi feeling in music.

While a through-composed setting will serve to move the plot along, there are elements of repetition in the poem such as the phrase “Vieni á volare” that would be represented musically by a lone viola playing a Berliozian idée fixe. The idée fixe of the viola would triumph over the rest of the orchestra, eking out a longing tune that represents Leonardo’s dream of flight. This poem also lends itself quite nicely to dramatic word painting in many places. For example, in the second line of the poem, “Tormented by visions of flight and falling” the orchestra would crescendo to a high-pitched squeal on the word “flight” and decrescendo to a low drone on the word “falling”, effectively exaggerating the words through the music. Another opportunity for word painting also comes in the first stanza of the text when “master Leonardo imagines an engine to carry man up to the sun…” on the word “engine” the drums of the orchestra would triumph over the rest of the instruments giving the impression of a jet engine firing up for takeoff. Finally in the last stanza, on the word “ascending” the orchestra would crescendo to a high note and hang there for just a moment before retuning to their basal level. The idée fixe combined with the word painting serve to draw the audience into the poem and create a vivid emotional reaction.

Monteverdi, like other Baroque composers, frequently used word painting. The opening words, "You are dead," repeated and culminating in "You have left me forevermore, never to return, and I remain," are song in a "stretched out," "long and slow" fashion, but as the verse continues, intensity and volume is increased to result in basically an outburst by the words, "ed io rimango," or "and I remain." The free beat and meter of the vocals allows for the singer to illustrate the emotion of the text through the speed in which the words are sung and the intensity of each word. More "traditional" word painting is used in the sense that there is a low tone on "abissi" or "abysses" in order to depict the deepness and descending nature of the underworld. Another strategic low note is placed on "morte" to symbolize death and depression. Very high tones are used on the words "stelle" and "sole"

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.

In the beginning of the concert, they begin to sing La Guerre, which describe the battle of Marignan coming from a conflict between the French and Swiss. This piece is written by Janequin who express his pleasant and celebrate the victory of France in 1515. Janequin uses programmatic chansons and onomatopoetic effect in this music. It is an extraordinary and wonderful piece without using accompaniment only men and women’s vocal voice. The conservatory singers sing this part in an abridged version by standing the shape of soldiers. They imitate cries of the wounded to express the battle. In addition, the repetition and imitation, echoes and other musical device help audience easily understand the situation

Just so you know before hand, the lyrics to the music came from the CD with trademark of Delta Music Inc. The movement opens agitatedly as the orchestra picks up fragments of one theme after another from the previous three movements, as if seeking a satisfactory vehicle for its expression; but each is discarded in turn. The first seven notes of the main theme to come are tentatively uttered, but it too is abandoned as the search continues. Once again the theme begins, this time in the woodwinds, but it soon breaks off. Finally, the theme emerges decisively in the basses for a subdued first statement. The second statement is calm, tranquil, confident, and the theme continues onward in the various voices of the orchestra, broad and flowing. The winds make a strong statement of the theme. The flow of the music abruptly halts--there are rapid shifts--great agitation, until the orchestra introduces the baritone singing the first three lines of the poem, rejecting the feverish discords of the previous passage, calling for a different music, whose nature is suggested by the strings beneath his voice:

Katherine Bergeron’s book, Voice Lessons: French Mélodie in the Belle Epoque, approaches French art song in a new and unique way, making it an invaluable resource for art song scholars and performers alike. Bergeron’s goals for this book are primarily abstract in nature; she aims to tell a story “about that French sound, both what it was and how it got that way” (viii). To achieve her vision, Bergeron examines the mélodie through a variety of different lenses, including musical, vocal, aural, linguistic, literary, scientific, philosophical, and cultural angles.