The Unanswered Question

Furthermore, specifically around 1:28; a new musical idea begins. There is an abrupt change in dynamics and key for both pianist

Sometimes, these two voices will overlap, creating a sense of a fugue, where two melodic lines flow at different times along the same stream. Although he breaks up the soft legato sequences with loud, harsh staccato chords for contrast, Beethoven generally preserves a milddynamic in part B which also helps obscure the switch from the transition to part B. Infact, a loud dynamic actually seems to signal a transition out of part B; in B_2’, the B_2 theme is repeated in sequence, getting louder, faster, and higher pitched until it climaxes.We expect this to become the cadence that will resolve the exposition and allow us tomove on to the development. However, it is a false ending; B_5 again resumes a moderate tempo and is played primarily by the woodwinds; the strings enter in littlespurts with loud, crisp notes until they join the woodwinds and the entire orchestra plays together to conclude the exposition.

The interesting fact about this composition is that the tempo is expressive of “religious solemnity” (Pilich). Obviously one can comprehend the fact that music contains not only mere words but can foster certain emotions that are associated with a particular piece of music.

The symphony is in four very powerful and entertaining movements. The first movement begins in the pianissimo tone with the strings section, but quickly enters the fortissimo tone with the introduction of the woodwind, brass and percussion sections. The dynamics of the musical melody varies throughout the movement moving from crescendo to decrescendo modes. The first movement reminds you of a raging storm from soft blowing winds to thunder and lighting. The audience is mesmerized by this first movement of the sonata.

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 sonata begins softly but with unmistakable energy. The trill like sixteenth notes on the third beat of this motif surge the piece forward into the next bar. The two bar motif appears again, and is then varied and

The first is evident in m. 3, when the bass, tenor, and alto sing “Care”, and a c seventh diminished chord is sung. It then breaks off, and is resolved into a B major chord. Nevertheless, dissonance is portrayed in this word again when the soprano joins in at m. 7 and an augmented c triad is sung. This is significant in delineating the sadness of the piece. This first section continues with this technique, oscillating between dissonance and consonance. A highly consonant area is in the following section starting at m. 15, rightfully expressing the joy that music can bring. In m. 23, there is a dissonance for a one beat duration before the piece returns to the melancholic text. A dissonance is heard again in a c diminished chord between the top three parts in m. 26 in the word “deadly”, bringing back the text’s tension. The dissonances become less prevalent as the piece moves into the next section discussing happiness. Properly, the first part ends on a major chord, providing an uplifting end and supporting the triumphant mood the text brings.

A few seconds into the piece, Beethoven makes a move through D-natural coming to a rest on C#, which is far away from the tonic, Eb. After the music is found in C#, Beethoven continues to draw out uncertainty as the harmony begins to wander (Beethoven). The cellos then move to D-natural as the rest of the orchestra is still searching for tonic. The woodwinds and the strings resolve this tension as a gentle crescendo pushes the pieces back to Eb. This is a key feature of Eroica (Suchet).

Then follows a scherzo with trio - Molto vivace - also in D minor. The scherzo itself is in sonata form with all parts repeated. The octave tuned drums immediately announcing the important role they play in the tonality of the movement as a whole. Then follows a hushed fugato, which serves an introductory purpose as the full force of the orchestra. Then follows a more harmonic path with the utmost vigor. The second subject in C major adds an unusual harmonic flavor. The trio has a quasi-pastoral flavor, The trio is played only once, although Beethoven fools us into believing we will here it once more at the end, like in the first movement but it abruptly ends.

In the never-ending search for an answer to the question of “why,” it is important to understand that there is never one sole catalyst to events, behaviors or actions. Analyzing the murder cases of Aileen Wuornos, it is important to understand her psychological and biological predispositions that may have made her more susceptible to provocation. These aspects can be further scrutinized by focusing on the trait theory of criminology.

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

While the song continued to play I could also hear flutes, doubling piccolo, oboes, English horn,clarinets,horns,trumpets,cornets,trombones,tuba,timpani,percussion,harps, harmonium, and strings. The song had a fragile fleeting sound which becomes more impassioned, yet dramatic stroke that quietly fades. Tchaikovsky music has a conventional sonata structure and plunges into a truncated recapitulation following the enormous exposition. His music rises to a frightening climax and then fragments into the movements to a shattering sound. The ending started to fade away in a B minor, it was a gentle peaceful

The 1st movement is in sonata form. The slow introduction to this symphony is unusual in that it begins in the subdominant key - E minor, solemnly introduced by the bassoons. It modulates into B minor and the tempo increases for the principal subject. This theme is elaborated and developed, and a march-like motif forms a bridge passage leading to a climax. The strings then introduce an amorous, song-like second subject in D major. The development section enters with a bang. This section brings no startling thematic growth or transformation, but is

A Look into Different Interpretations of the First Movement of Moonlight Sonata: The Piece that Portrays an Assortment of Emotions

“The Unanswered Question” by Charles Ives is a six-minute piece of program music that seeks to describe the interaction of a human attempting to ask the universe the crucial question of perennial existence. It is a carefully crafted piece that when played correctly according to Ives directions, beautifully encapsulates the human struggle of understanding existence.