Repetitious Vs Ostinato

There was a return to a monophonic texture for the cello and the dynamics became pianissimo. Since this movement’s form was ostinato, I heard short melodic, rhythmic, and harmonic patterns repeated. This piece was long, at twelve minutes, and at one point I stopped taking notes, in awe of what I was hearing. The entire piece felt symmetrical to me and was sing able throughout. Beethoven’s Sonata 3, Opus 69 nears a close with a texture that was heterophonic, dynamics that go from forte to piano and a bright tone color for cello and piano. The melody remained conjunct with a contour that was wavelike, by ascending and descending, especially for the piano. The tempo returned to allegro throughout this piece and ended with the dynamics returning to forte and the final cadence as the harmony resolved in consonance.

The title of the first song is “Roman Carnival Overture, Op. 9” , preformed by the Youtube Symphony Orchestra and written by Hector Berlioz. It is a classical piece composed by Michael Tilson Thomas. The tempo for this song was all over the place. It starts off as a crescendo, then towards the end of the crescendo it becomes a mezzo-forte allegro. Suddenly it drops down to a pianissimo largo. It goes on like that for a few more steady beats then turns into a piano. As more instruments join in, it becomes a mezzo-piano adagio. When the chorus comes on it turns into an allegro. Throughout most of it, it is legato. There were many times in the beginning and end that it was an accelerando, but through most of the middle it is a ritardando. I could not tell what the meter was for this song because it seemed like it was all over the place. For rhythm, I noticed that there were a few parts that were repeated, but there was not any syncopation. The melody was predominantly conjunct and it seemed to be very tuneful. The harmony became a little dissonant in the beginning, but during most of it, it was consonant. The texture was homophonic because there were many instruments playing for most of it. The only time it was monophonic was at the start when there was a solo. The concert section that was an allegro, put me in thrilled mood. The decrescendo largo part was so moving that it made me want to cry. Overall, I liked it, it was very consonant, which made it pleasing to listen to. It was very good because the temp was vivace for a good amount of the song. This music made me picture a relationship between a man and a woman. Throughout parts they fight and during other parts they don’t, but no matter what they do, they are very passionate throughout it all.

This was a fairly simple and straightforward piece. It started out slow with small building crescendos, which became more and more powerful. It had a dark, moody sound and I think that I was played in a minor key. There were many reverberating note to convey this eerie and sad tone. It became progressively more dramatic and intense, constantly repeated with stronger tone color.

     Monteverdi combines styles and forms of music here to create a true masterpiece. Even though I have not studied composers very much you can get a feeling of true accomplishment by listening to this piece. AS a whole piece it flows well. The instruments accompany the voices well and the piece is fun tp listen to.

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

This journal is about the musical piece composed by a man named Benjamin Britten titled The Young Person’s Guide to the Orchestra. This piece was surprisingly interesting to me as it created different feelings of emotions through the instruments volume, sync, and rhythm. I do like various instrumental styles of music, however, I was hesitant about listening to a classical style orchestra. Throughout the piece it seemed the sounds would constantly change, which reminded me of the early black and white cartoons that relied on classical style music to show the emotions they were trying to make the audience feel. For example, I remember a scene from an episode of the old cartoon Popeye, when there was fast paced instrumental music in the background while Popeye was saving Olive Oyl from a dangerous situation and they both were running to get to safety. The xylophone from Bitten’s composition is what made me think of that exact episode of Popeye and Olive Oly running to get to safety.

This piece has quite a few elements like the use of musical ideas. There are both A and B ideas expressed through the music lasting no longer than six seconds. This of course is different pertaining to solos due to the fact

In “Recitatif” by Toni Morrison, two young girls Roberta and Twyla meet one another at a state home for orphan and foster children. It is apparent from the start that either of the girls is white or black. Even at their young age, they both have preconceived expectations of the other because of their difference in race. However, as each character ages and is developed further, many of their traits could be that of someone white or black, albeit they contrast in personality. As a result of these traits, readers will likely unconsciously try to racially classify Roberta and Twyla only to change their mind a minute later. “Recitatif” forces readers to abandon the preconceived stereotypes and realize that they are constantly

The Non-diegetic music of accordions soft lullaby adds a sense of romanticized European / Italian historical ambiance to the

Although I enjoyed both pieces of music I really enjoyed the works of Gustav Mahler and his piece Lied von der Erde. This piece is rich in drama. I feel that the texture used is this song is imitative polyphony. I feel that there are various parts in this song that use the similar melodies. I feel that the harmony between the two vocalists were right on with each other and the orchestra. You can hear the brass instruments in the very beginning of the songs then the strings, wind instruments along with the piano and keyboards begin to make their entrance. They come together very strong but in a peaceful way at first. Towards the middle of the song the tempo and rhythm really picks up (it seems as if all of their emotions are bursting out) then it slowly begins to drop back to slower movements. You can really hear the strings during this time. But surprisingly enough just when you think the song is going to end boom your hit again. This song keeps you on the edge of your

beginning of the piece almost sounded like music that would be played in a classic horror/haunted house movie - the part where the piano plays itself! My emotions were mixed up throughout the entire piece and I tried very hard to paint a picture in my mind to what the composer was actually expressing and what kind of story was he trying to tell. “Could it be a tragic love story?”, “Could it be a story about a miserable life, a horrible death and/or the transfiguration to the afterlife?”. These were the questions I was asking myself when I listened to this classical piece. Although I could not understand the complexity of it, I still enjoyed listening to it very much. The only thing I knew was that the nickname of this classical piece was called “The Moonlight Sonata” and that the piece written by the great Ludwig van

First of all, this must be the weirdest and funniest song title I ever read in a long time, but the title of the song must mean something to the artiest. The song “Goodbye Pork-Pie Hat” makes feel kind of sad because the saxophone sounds so depressing to me, and when I listen to this song. I think about people smoking a cigarette at bar during the night time. The song remained of my dad because he love listening to the blues and jazz genre. The melody of the song’s really slow. The range of the song’s medium, and the movement of the song’s conjunct. I can hear two types of texture. The texture of the song starts with monophonic then change to polyphonic. I can heard it change mostly at 5:25. Honestly, I didn’t enjoy this song that much because

As described, the different textures used in this piece are homophonic and monophonic texture. Generally, the gamelan melody is played in homophonic texture, and the trompong solo is in monophonic texture to attract full attention to the melody line.

This was the fist time the ensemble preformed this in front of an audience. Falzone informed us that this piece was very hard to play. In this song the lute, accordion, clarinet and percussion are played. This song has a lot of high and low pitches. The music starts off with piano dynamic than increases to forte dynamic. I assume that the high and low pitch symbolize the sleepless night. To me the high note symbolizes the moment when I am asleep. On the other hand the low notes are when I have to wake up due to something sudden.

Beethoven's fifth symphony in c major ,I chose this song for the scenes when Johnny and Ponyboy were in the church. I chose this song because it’s slow and fast at the same time. I picked this song because it fit the mood in the scenes because it matched the mood. I thought this song would be good because it’s calm and frantic at the same time, I also thought it would match Ponyboy’s thoughts during that time.