The Creation Of The First Systems Of Notations

Alec Robertson, Dennis Stevens, ed., A History of Music Volume 2 (New York: Barnes and Noble, Inc., 1965), Pg. 85.

An application of Analysis of Beethoven’s ‘Pathetique’ piano sonata No. 8 inC minor, Op.13 with particular focus on musical features such as melody, thematic content, rhythm, form and structure, and harmony.

The fugue is often regarded as a genre defined by strict procedural guidelines. It is notable that three historically important composers, Johann Sebastian Bach (1685-1750), Georg Friedrich Handel (1685-1759), and Wolfgang Amadeus Mozart (1756-1791), all employed a closely related fugue subject in three different works. An analysis of each of these works individually, and a comparison of these works collectively reveal numerous latent and salient features, and a reflection of the composers’ style within these works. Analyses also provide an outlook into the fluidity in certain aspects and rigidity in others of the form itself, reflected historically. The three composers analyzed fall closely together in history. J.S. Bach and G.F. Handel were contemporaries, whereas Mozart was born six years after Bach’s death and three years before Handel’s death. Analytically, the angularity of these similar fugue subjects presupposes a treatment regardless of the composer. Because of the shared intervallic content among the subjects of these fugues, despite being written by several different composers, a surprising number of similarities arise. Therefore, it is reasonable to assert that compositional choices made in the construction of the fugue subjects limit the number of results possible.

Composers: Please include the following for each (I need to be able to tell that you read about them and did not just google them or use wikiepedia, etc. and copied and pasted-read your textbook please)

* Sources have direct link to style and designations of music Transmission of Music and Musical Knowledge

We know the pitches of Hildegard’s music, but not the rhythms. She is the first composer that we know full pitches and music for. One problem with Hildegard’s work is the sources; because there are so many, we do not know which ones are correct and which ones are incorrect. Another is the state of the materials, as some are lost.

The next plane deals with the manipulation of the notes and offers a more intellectual approach in enhancing musical appreciation. The actual structure of the music as such the length of the note, pitch, harmony, and tone color are emphasized in this section of the essay. This basic study of the structure is a must to form a firm foundation in the musical piece and to understand the diagnosis of it. This technical and more scientific plane is contradictory to the philosophical sensuous plane. Therefore, it is another good technique of Copland to write one right after the other to cover the whole listening process.

Beethoven contributed one of the most significant musical developments through his fifth and ninth symphonies. He used a musical motive as the basic of his entire piece. (Beethoven described the motive as “Fate knocks at the door”.) It was the first time in history that anyone had done such a thing for a multi-movement piece. Beethoven’s contribution has become a norm in the music world, even to this day.

Music is constantly changing. The Baroque period (1600-1750) and the Classical period (1750-1820) have both differences and similarities in elements such as form, texture, and dynamics. I will be comparing the first movement of Spring from the Four Seasons composed by Antonio Vivaldi and the first movement of Symphony No. 5 in C minor by Ludwig van Beethoven. I will construct a stylistic comparison of the two compositions and their musical stylings with regard to the periods of music of which they belong.

Music is enjoyed primarily through hearing. Considering this, it seems ironic and nearly impossible for an exceptionally successful musician to have been deaf during much of his lifetime. Yet the composer Ludwig van Beethoven faced just that. Beethoven’s life started out difficult. His father was an alcoholic and his mother died when he was in his teenage years.

On Monday afternoon, January 23rd, I tuned into NPR and classical radio for the 3-4 pm hour of classical music. The radio host was Gigi Yellen who was very knowledgeable about the pieces she had in the playlist for that afternoon. In between pieces she would usually make a comment or two about some extra-musical fact regarding the piece or composer. It was very interesting and I thoroughly enjoyed the hour of listening. There was not an expressed theme or organization to the playlist when I tuned in, so I had no preparation for the pieces that were to come. I actually enjoyed this position of surprise and anticipation because it left me with a completely open mind without

Ludwig Van Beethoven was one of the most influential composers of his time. The decades around the 1800’s were years of many changes and Beethoven’s new approach to music was something that reflected that. “His symphonies, concertos, string quartets and piano sonatas are central to the repertory of classical music.” This essay will focus on the historical and theoretical aspects of the third movement of Sonata Op. 28 No. 15.

When Beethoven made a debut as a composer, he was writing a work that was bright and vibrant faithful to the classical style, without being bothered by ear disorders. It is pointed out that this style is under the strong influence of Haydn and Mozart.

This treatise had a wide influence on composers for it clarity and logic, specifically in regards to note duration which is that a notes shape could indicate its length. Franco of Cologne introduced the longa, brevis, and the semibrevis, the semibreve becoming the modern whole note. With this composers could write music with rhythmic variety. Thus we are introduced to the foundation of mensural notation, that would become the modern bar notation. Although there are no known surviving pieces of music by Franco of Cologne, a form of motet was named after him, the Franconian Motet, an example of this is Amours mi font/

Traditional notation was developed over several centuries for use with music and instruments that were different from those of today. Around 1025 CE, Guido d’Arezzo introduced the staff-based system, but the five-line staff did not become standardized until the 1500s. This staff-based notation was a significant achievement that improved upon the notation systems that preceded it, notation has continued to evolve over time to address new notational needs as they arose. With the development of music notation, music was set free from the delicate bonds of oral and aural traditions (Stamp). A standardized, underlying structure meant that everything from Gregorian chant to “Johnny B Goode” could be preserved and proliferated with relative ease. However, beginning in the years after World War II, some more progressive musicians and composers began to think that the music staff might be more restricting than liberating and began to experiment with new, more expressive forms of graphic music notation (Stamp).