Gretchen Am Spinnrade

Beginning the poem with the explanation of how one feels when they first experience someone’s deception, Weslowski chooses words like “mummified” (6) and “morgue” (4) to paint the image of grief and the loss of self-expression through words. Using the term morgue makes the reader

The evolution of the Sonata form in the Classical period and the Romantic era gave composers a platform to encourage and indulge their curiosity. Theses composers took a form an exploited it as limitless. They introduced new elements that combined the classical and romantic era bridging them like star crossed lover’s. In this essay, my aim with this paper is to present how one of the greatest forms in music inspired genius throughout the classical era and beyond.

Music in the nineteenth century saw the creation and evolution of new music genres such as the piano miniature, short expressive piano pieces. During this time raw emotion and expressionism prevailed as the focus of music during this described “Romantic” movement. Robert Schumann’s “Grillen”, from Fantasiestucke, Opus 12 was written in July 1837 contains several virtues of music during his time period. Schumann’s uses various qualities in his music such as form, pitch, rhythm and meter, and texture so express different attitudes within his music. These qualities convey music that characterizes romanticism as very emotional, expressional, and dramatic. Schumann’s piano miniature remains a supreme example of the Romantic style in its uses

Section A’’ (mm. 51-65) repeats the MT with variation mostly in rhythmic changes leading up to the PAC in A♭ major at m. 66 where the coda (m. 66-73) begins. The coda essentially acts as a tonic expansion with some added 9ths to the dominant as seen in m. 67 and m.69. The piece works the V-I in a decrescendo to the final PAC in A♭ major in m. 73.

Of the many great composers during this era, Wagner stood out to me because of the intensity of his composition from 1851 in “The Ride.” The song pulls at my emotions in a theatrical telling of a battle scene from which warrior maidens emerge. These women are attendants to Odin, who sought out the souls of those heroes lost in battle. The Norse myths story is told through the feelings I experience when I hear this composition. The tempo is fast and amped. It pulls me into the sounds and I want to hear what happens next. I feel the announcement of these heroic soldiers and the challenges they fought through. It starts fast, lightens up, and then comes back with stronger build up. I feel the drama in the battle as if it’s happening in front of me. There are moments while listening where I caught myself holding my breath. This draws out feelings of enthusiastic anticipation which reminds me of the music written for a screenplay. The song finishes with a final, proud, horn blast and then leave me with some tension in the fast-paced ending of thrills. I’m drawn in and

Through adding trumpets, bars 1-3 and bars 5-7 are the densest of Section A. This highlights the main repeated motif. Bars 3-5 and 7-11 are softer as these are the less important phrases of the section.

I also enjoyed listening to this piece Fantasiestucke, Opus 88. This piece was played in Romanze and duet, and was performed by the pianist Luiza Borac, violinist Vladimir Dyo, and cellist Yves Dharamraj. After a deep sesearch about this piece I find out that the work was came at a happy time in the composer's life: Schumann had married his beloved Clara Wieck in 1840 after her father had made many attempts to thwart their matrimonial plans. The four pieces, or movements, comprising the trio are "Romanze," "Humoreske," "Duett," and Finale. During this program I feel that the "Romanze" opens in a tentative, mysterious mood, but then turns warmly Romantic, the piano dominating throughout. The "Duett" that follows, marked Slowly and with feeling, is for cello and violin, the piano providing a soft, running accompaniment to their passionate singing. The Finale, designated in March tempo, exhibits a heroic character at the outset, but turns lighter and more playful in succeeding variations. The main theme returns and the subdued, lively ending are sheer magic in its feathery nonchalance, its graceful instrumental exchanges,

What are White Lies? When reading “White Lies” by Natasha Trethewey, some may believe that she is simply referring to lies that are made to others in order to make one seem better. However, it is not the case, once one learns about Trethewey’s upbringings. Trethewey was born into an interracial family in the 1960’s, which at the time was illegal.

Liebe” and compare it to Grieg’s romantic composition titled “Ich Liebe Dich”. Let’s begin in 1730 in the birth year of the Classical Period.

Furthermore, allusions of the man's excruciating love and commiseration are dotted throughout the song, the puerile gentleman declaring "Oh, oh, keep you like an oath/May nothing but death do us apart."

This would be inappropriate as the Three Secretaries await the return of their captor. Instead, Adams (an avid student of Schubert’s work) uses word setting to grasp the audience’s attention. The final three stanzas are a repetition of the same four lines as the sixth. The mezzo soprano’s comfortably deliver perfect timbre and texture, during a heightened register expanding their tessitura. Repetition of the recitative emphasises the message of ‘Young as We Are’ which ends with an abrupt double entendre suggesting either a return of their captor or the death of an injured

Next, "I Felt a Funeral in My Brain" creates an illusion of a mind becoming unstable by describing the speaker's irrationality. The speaker's irrationality is represented in the third stanza and fourth stanza. It is evident that the speaker is beginning to hear voices, which is why she states "And then I heard them lift a Box" (line 9). The voices that the speaker is hearing are beginning to take over her mind as she expresses "And creak across my Soul," which gives the reader's the illusion of the speaker losing all control. All the problems that the speaker is experiencing as a result of her mental stability are beginning to take their toll, which is evident through the statement "Boots of Lead, again, Then Space - began to toll" (line 11-12). The speaker has now fallen into a state of irrationality, and her mind has suffered enough, and consequently thoughts of suicide plague the speaker. The statement "As all the Heavens were a Bell" represents the speaker's feelings that her mind has a chance of being at peace again if she ends her existing insanity, and she must therefore act upon her suicide thoughts (line 13). The speaker is trying to convince herself to follow through with her thoughts of suicide, as clearly indicated in her statement "Wrecked, solitary, here-." The speaker

In this society women's roles are secondary to men women are there to raise the kids, protect them and take care of the house. While talking to Holmes Watson states that “the man who first finds himself master of his own establishment” (219). Watson considers himself as a master of his establishment, by stating that he hints that his family is under him, not equals, and must obey his command. In another instance Holmes explains to Watson what woman's instinct in an emergency is by saying, "A married woman grabs at her baby, an unmarried one reaches for her jewelry box"(233). The married woman reaches for a baby and not a jewelry box. He did not say an unmarried woman reaches for her baby but she would reach for a jewelry box. Therefore, showing how generalized women’s roles are in this society.

Franz Joseph Haydn was a “kind, simple man whose ‘eyes beamed with benevolence’ (Dies), and he never forgot his humble origin.” His string quartet known as “The Lark” embodies the Romantic and Neoclassical styles of its time and is a well-represented example of the Apollonian Order aesthetic. He was an important aspect in the transition between the Classical and Romantic styles as well as an excellent model for the music of his time.

The first phrase is use the material from the main phrase in Primary theme zone, but it’s in the F major. However, from bar 92, it modulates to I6 in C major, and at bar 93, it suddenly modulates to i6 in c minor. This chord can also be the pivot chord for the iv6 in the key of g minor. From bar 94 to 110, it all uses the motive 2 and 3 as a basic material to do the development. Measure 94 to 95 is the sequence of motive 2 and 3, but in bar 96, it makes motive 2 and 3 into only one bars, and doing the sequence for 2 more measures and in bar 99, it only use short motive 3 doing a repeat. When it repeat, it modulates to C minor at V9 in first inversion (ex.2). These four bars count as one phrase. Measure 100 to 103 is a sequence of the phrase from bar 96 to 99. It’s starts in the key of c minor, but as the phrase before, it modulates at the last measure to the V9 in first inversion in f minor. Measure 104 to 105 is a new phrase that uses the motive 2 as a material to develop. It starts in f minor but the second measure modulates to Bb minor. Measure 106 to 107, 108 to 109, both are the sequence of the phrase 104 to 105, but the chord is slightly different. The chord progression from measure 104 to 105 is: i-iv64 | (Bbm) VI42- N6 |. The phrase from bar 106 to107 is start from the key of Bb minor, but the second chord in 106, it goes to the key of Ab major. The chord progression for this two bars is: V42- (Ab) ii6 | V42 – I6 |. The phrase from bar 108 to109 is start from a pivot