The Expansive First Movement From Schubert 's Rosamunde

The vanishing point of this piece is not arbitrary and it becomes evident that Masaccio’s placement of the vanishing point suggests his intention for the viewer to see the greatness of the divine in comparison to the tiny specs of man’s existence. Because the vanishing point is placed beneath the cross, the spectator’s vision is directed toward the center of the masonry altar, which indicates that man must raise his head in order to pay respect to God, further signifying Gods importance in comparison to man. The Trinity appears very out of reach from the perspectives viewpoint. Masaccio’s manipulation of perspective places the viewer furthest from the divine Trinity and closest to the skeleton, which suggests that man’s mortality is not to be seen as equal to God’s divinity. This demonstrates the hierarchical relationship in which man is constantly looks up to Christ for salvation and piety in order to somehow overcome death and fear of it.

Franz Schubert’s An den Mond no. 176 starts with flowing chords in the piano, a five-measure piano introduction and then a soft entry of the vocal line. An den Mond no. 116 starts with no piano introduction, rather the vocalist has the downbeat with the pianists left hand and the piece has started. The two renditions of the An den Mond each hold very individual techniques for conveying the lieder as well as the notes at the same time with an equally relatable tone.

The Form and Tonal Structure of Beethoven’s Piano Sonata No. 8 in C minor, Op. 13, II. “Adagio cantabile”

The choreographic intention of “Emergence” was the exploration of merging diverse elements together to see what comes from it, like the emergence in relation to arrangements and structures made in nature. The choreographic intention expanded from the idea of concealment. This was clearly identified in the beginning trio where the female dancer is shown trying to escape from her hiding place. In appraisal, the choreographic intention of “Image” was a more simplistic interpretation, one that explored identity and how it is made up of personal experiences we endure and that along the way we are influenced and sometimes inveigled, which can make revealing who we really are at the core oppressive. In comparison to “Emergence”, the movement in “Image” was more vague and indefinite in relation to linking movement to the choreographic intention. Through manipulation of structural devices such as groupings, stillness, tempo and dynamics, the

The third piece, “Danza del trigo” and “Danza final” from the ballet Estancia, by Alberto Ginastera created quite a few pictures in imagination. What started as a soft and

Aside from linear perspective, Calabrese incorporates other geometrical forms throughout the composition. One is the circle at the foreground of the painting, which Calabrese offers the audience to complete. More outstanding is the triangle that occupies the majority of the space. John’s body, parallel to his staff, begs the viewer to trace the triangle from his eyes, across the woman and the lamb in the foreground, up the staff, and through to his hand. This triangle is significant in its symbolism of the Holy Trinity: God the Father, God the Holy Spirit, and God the Son. The message here is clear; through Jesus, the lamb, one will be saved. It is also interesting that Calabrese places John between the lamb and his hand. It coincides with the paintings’ function as an altar piece in that John serves as an intercessor to the Divine. Through him, one has access to Jesus, and therefore God. The geometrical lines and shapes add to the painting’s dynamism and contribute to the optimistic promise the painting conveys.

The third movement - Adagio molto e cantabile - is quasi-variational similar and involves two themes: Adagio molto and Andante moderato. Both themes are of unsurpassed beauty. There is no link musically between the themes. Indeed it seems that contrast serves an important function in the movement as also seen in the two dramatic fanfares hear towards the end.

The image proposed by the decadents is a violent one, an image that shocks by having a fascinating and terrifying power. It is a image that stimulates and also stimulates.

Cimabue’s piece shows a linear formation of the surrounding figures, with both the angels and prophets placed in straight lines. This opposes the realistically situated figures in Giotto’s. Though Cimabue’s formation is linear, the postures and gestures of the figures in his piece are much more fluid and graceful then those in Giotto’s who are much more vertical. This absence of verticality in figures shows the influence Gothic sculpture had on Cimabue’s work. The figures in both show isometric perspective, staying the same size regardless of depth into the imagery. The figures in Giotto’s also seem more grounded and have none of the floating qualities Cimabue’s embodies in his angels. This differentiates the stylistic and realistic natures of the pieces.

“How musical elements make these pieces similar” The Der Mondfleck from Pierrot Lunaire and the Erlking by Franz Schubert are two completely different pieces, but they use very unique artistic things that make them similar. Characterization, harmonization and accompaniment are some of the major key aspects that bring these two pieces together and make them interesting to listen to. These two piece have very different meanings but use a similar way to get their points across. Erlkonig by schubert is a story of a little boy and his father basically running from death.

Johannes Brahms’ (1833-1897) Symphony No. 3, Op. 90 in F major is perhaps one of Brahms’ most bittersweet and poetic works. Written in 1884, this piece is largely centered around a motto—a theme borrowed from Robert Schumann’s third symphony, the Rhenish. As Schumann’s protégé, this allusion is said to have been a nod at Schumann’s tragic suicide attempt in the Rhine river—the Rhenish’s namesake.

The principle theme consists of a polyrhythm with couplets versus triplets, giving an uneven feel to the flow of the piece. This could express the irregularity of his dying daughter’s heart beats. This part of the piece is played presto and the melody switches off between the piano and the strings. When the strings take over the melody, the dynamics crescendo, giving a more impassioned feel. This empowered section depicts the anger Smetana felt at the loss of his daughter. Smetana ends this portion of fury suddenly and decides to enter into a new slower and softer tempo (this is a standard characteristic throughout the

Franz Peter Schubert, born January 31, 1797, is accredited as one of the most gifted musicians of the 19th century (“SCHUBERT”), and is considered to be the last composer of the classical era and one of the first romantic composers (The Biography). His relentlessly impoverished life was short in comparison to many people of the era – his death was on November 19, 1828 (two months shy of his 32nd birthday) – and his music was generally unrecognized and unappreciated during his time, but his exemplification of romantic lyricism and immense amount of composing, which encompasses approximately 600 liturgical music scores and lieder (lyric songs); nine symphonies that truly represent the era of classicism; several pieces for the stage; choral

In analyzing the form of this movement, one can see three distinct themes in the opening ritornello, which are then brought back in various episodes of solo material, in abbreviated versions of the ritornello. These three themes all return in the final ritornello to help create a sense of closure to the piece. In the opening ritornello, we see an example of vodersatz, where the opening theme, theme A, is stated for the first time.

In analyzing the form of this movement, one can see three distinct themes in the opening ritornello, which are then brought back in various episodes of