Krenek

Music should be understood, but not at the expense of the performer creating a “right result” and in turn taking away from the listeners enjoyment of the work being presented.

2. Ordo Virtutum has a modal formulaic structure that works by an alternating solo and choral response, which is considered to be distinct to Hildegard’s compositions.

When looking at music from the fourteenth century, it is vital to look deeply into the music of France. Many of the most important composers, genres, principles, etc. from this time are established, popularized and built upon. By the fourteenth century, Ars Nova is well established as a treatise and as a style of music, and many different genres of music are categorized as Ars Nova music. The motet is built upon even more, and secular polyphony is very popular. One of the most popular and frequently used types of secular polyphony was the formes fixes, French poetic forms translated into musical forms. There are three different types of formes fixes: the rondeau, the ballade, and the virelai, with each type being different to one another. Many composers of the fourteenth century used formes fixes, with Philippe de Vitry being the first to use them, and the most significant composer to use them was Guillaume de Machaut. I will be looking into what makes each type of formes fixes different from one another, as well as seeing how composers such as Machaut created them and used them in his repertory and how each type has evolved through the fourteenth and

“My composer is Guillaume De Machaut. People believe that he was born around the year 1300 but yet they don’t know what day he was born on. He died on April 13, 1377. He was both born and died in Reims, France. Very little is know for Guillaume but he was employed by John of Luxembourg, who was the king of Bohemia. He was named canon (a canon is someone that can play two or more instruments of something) of Verdun in 1330, Arras in 1332, and Reims in 1337. We don’t know too much about him because he was in the 1300’s where no one wrote any information about Guillaume De Machaut.

Bergeron, paradoxically yet successfully, chooses to get to the core of the French mélodie by looking at it from a distance. Her focuses on the mélodie’s complex relationship with the German Lied, the pedagogical movements of the French language in the late-nineteenth century, and Claude Debussy’s opera Pelléas et Melisande in order to “examine the range of French expression [Debussy] puts on stage and how he represents that range in music” are all indirect yet inventive ways in which Bergeron embraces the challenges of defining this elusive vocal genre (xiii). Perhaps Bergeron sets out to define the French mélodie through indirect methods for exactly that reason; a genre as complex as the mélodie could not be fully understood if one attempted to get to its center through traditional means. Stating that French art song is “a musical repertory based on […] delicacy and restraint […]”, Bergeron clearly has a grasp on

Coincidentally, while I was watching Dancing with the Stars last night, I was amazed to learn that Alek Skarlatos, of recent fame because he and two friends attacked the gunman on a Belgian train and helped to ward off what could easily have been a massacre of human life on board the train, was a student an Umpqua Community College in Roseburg, Oregon, where the shooting took place. When interviewed before his dance, Alek, obviously distraught, said he knew the families and was touched personally by the shooting at his college. He also said that his heart would not let him do anything but fly back to Roseburg and attend a vigil for those who had lost their lives, were injured, or who had witnessed the travesty. When Alek returned, still shaken,

He began to write preludes for organs but did not cover large- scale organization, when two melodies interact at the same time. A few years after playing for the church, Bach made a visit to Dieterich Buxtehude in Lubeck. This visit reinforced Bach’s style in music with the works he has made.

Arnold Schoenberg’s celebrated monodrama of 1912, Pierrot lunaire, op. 21, offers a compellingly personal perspective on Pierrot’s allegorical relationship to the artists of fin-di-siécle Europe. So too, in his fusion of music and poetry, does Schoenberg provide what may be the most powerfully illustrative example of the character Pierrot’s appeal to artists of the era.

The Romantic era was a very transformative time for music, and many great composers arose during this time. One such person is named Edvard Grieg. This Norwegian composer and pianist created marvelous music during his lifetime and in doing so he thrust Norway into the musical spotlight of the time. Even though his music contained a lot of nationalism he also liked to claim that his music represented European music as a whole. This paper will discuss his life, music, and his contributions to the world.

The analysis of the examples discussed above may leave ample room for further discussion due to the complex nature of the subject and the analytical methods applied. Nonetheless, when these analyses are combined and observed within the context of the cultural associations embedded in the structure of the piece, they contribute to shape an image in accordance to the composer’s own criticism. From this perspective, to classify the Sinfonia merely as a “musical collage” would ultimately deny its true identity: to establish a personal narrative about music history by the examination, commentary, and extension upon the scherzo of Gustav Mahler’s 2nd Symphony. Although the composer utilizes post-modern quotation techniques, the borrowed voices of

One of the greatest composers of music, even though it was only slightly notated at the time, was Guillaume de Machaut (d. 1377), “one of the undisputed pinnacle geniuses of Western music…” His most famous piece was the four-voice Mass of Notre Dame, which maintained his reputation through the changes in fashion (Roberge). After almost a millennium’s worth of music was composed and contributed, the style of music began to change with the next era.

Early eighteenth century marked the beginning of the middle period, which was said to be the most productive period out of his three compositional periods as some of his most magnificent works were produced during this time (Lockwood, 194). In this paper, I will examine the heroic style - why it came about, what are some characteristics of ‘heroic’ music and through the analysis of a ‘product of the times’ (Taruskin) , compare the differences between the music of the heroic style and that of before. The middle period is also known as the heroic period from 1803 – 1812 is after the Viennese period and before the Late

The 19th Century saw many composers come to light as they made a mark on the art music world. Unknown at the time, they would soon be remembered for their work in decades to come. As music developed so did the various ways to portray the piece that was being played. One type of art music that emerged at the time was ‘programme music’. This was defined as where the “composer intends to guard the listener against a wrong poetical interpretation” . In other words it was a way to correctly convince an audience of the story with a number of movements. Composer Camille Saint – Saens was one of the many who did this exceptionally well. Throughout his lifetime, 1835 – 1921, he was known to be one of “France’s most gifted musicians” . Many of his works are still used today and have helped inspire many in not only the musical world, but outside of it as well.

For this essay I will be unraveling two poems to find a deeper meaning from The Norton Anthology of World Literature, Volume B. The two poems are “A Lover’s Prize” by Beatrice of Dia and “The Wound of Love” written by Heinrich von Morungen. Heinrich and Beatrice are considered to be medieval lyric poets; however, Beatrice was a medieval lyric poet from France and they are known as troubadour. Beatrice just so happened to be apart of southern France’s trobairitz which was just a tribute to some of the best troubadour of their time. She was married to the Count of Viennois, Guilhem de Poitiers but she was having an affair with another troubadour who went by the name Raimbaut d’Orange and their poetic style was quite similar. However, when it comes to Heinrich von Morungen not much is known about him. From the little we know about Heinrich, we find that, his style of writing fit into the category of Minnesang which means “songs of love”. His lyrics (that have survived) are also some of the greatest in early German history. Nonetheless, these writers have both put forth some impressive work.

In the course of the development of music, many great composers have contributed their brilliance towards the revolution of music. To be a great composer does not necessarily mean that they have reached a vast amount of fame. However, it means that their compositions have ingenuity and value. The melodies they have cleverly created have reached a point of worthiness in the world of music. For it is the sweet harmonies a composer creates that defines who he is. One of these gifted composers was Frederic Chopin, born on February 22, 1810 in Zelazowa Wola, Poland. Young Chopin was already composing by the age of eight and as his musical career developed he became known as a master of piano composition. Although he was often misunderstood