What Is Janequin's Unique Performance?

This activity challenged my critical listening skills and developed my ability to appraise music and use aesthetic sensitivity while concentrating on listening to identify the music elements. It was evident that the composer manipulates all the musical elements and qualities to accurately portray the narrative of the Moldau. Elements of music include duration, pitch, dynamic and expression, structure and style, timbre and texture (REF). For example, duration includes rhythm, beat, accent and tempo, that I was able to identify with the loud, triumphant calls of the hunter’s horn, the dominating French horns, and trumpets playing sharp, rhythmic notes. Also, pitch refers to the register of the note in a sound patter (REF). I was able to identify the cheerful mood of the melody that moves in an up and down pitch. Dynamics and expression are evident in the pattern of intensity and volume of the sound with loud trumpets as the river passes the rapids or the bassoon playing low and dark sounds that I thought contributes to dramatic

The final composition of Mozart, The Requiem mass in D Minor, containing “Dies Irae,” is known to be one of his most powerful and commended works. This piece was composed in 1791 while Mozart was, unfortunately, on his death bed. However, he was unable to complete it so it was then passed on to his assistant and later finished by this man. The choral work can be very dark, for it concerns the Day of Wrath, when God will return to this earth and pass judgment on all creatures that remain, either granting them salvation or perpetual damnation to hell. This theme alone provides one with fear, thus it can be assumed that even

The first song I will examine is the folk-rock hit, “The Universal Soldier.” Carrying a somber yet avant-garde timber carried by a charismatic rhythm, Buffy wrote this song with the intent of creating a dialogue surrounding the absurdity of war and to deepen the responsibility of conflicts which we too often hide from, “It’s about individual responsibility for war and how the old feudal thinking kills us all” - Buffy St Marie. During the 1960’s “Universal Soldier” became an anthem for the activist movement against the Vietnam war. As the title suggests, the song declines to commend a particular group. Rather, it applies to all the soldiers worldwide– to the universal soldier. Because, no matter the time or place he is the one who will risk his life and subject himself to the ubiquitous barbarism of war. The soldier can be of any religion, of

In the book “A Long Way Gone” music plays a role as a healer and a saviour.

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

The face of racism was a constant image for the African American soldiers. In “Tu Do Street,” the division of black and white soldiers in the social settings was evident. The poem begins with, “Music divides

I also enjoyed listening to this piece Fantasiestucke, Opus 88. This piece was played in Romanze and duet, and was performed by the pianist Luiza Borac, violinist Vladimir Dyo, and cellist Yves Dharamraj. After a deep sesearch about this piece I find out that the work was came at a happy time in the composer's life: Schumann had married his beloved Clara Wieck in 1840 after her father had made many attempts to thwart their matrimonial plans. The four pieces, or movements, comprising the trio are "Romanze," "Humoreske," "Duett," and Finale. During this program I feel that the "Romanze" opens in a tentative, mysterious mood, but then turns warmly Romantic, the piano dominating throughout. The "Duett" that follows, marked Slowly and with feeling, is for cello and violin, the piano providing a soft, running accompaniment to their passionate singing. The Finale, designated in March tempo, exhibits a heroic character at the outset, but turns lighter and more playful in succeeding variations. The main theme returns and the subdued, lively ending are sheer magic in its feathery nonchalance, its graceful instrumental exchanges,

The American Civil War was a bitter, grief-filled conflict with oddly musical overtones. A Southern soldier, Alexander Hunter, recalled that “There was music in plenty,” (Lawrence 169) just as Charles Frazier’s character Stobrod in Cold Mountain remarks that “there was so much music back then” (407). While both the Union and the Confederacy placed great import on music, Cold Mountain by Charles Frazier focuses primarily on the Southern perspective of the war, in all of its aspects. Spiritual music gave soldiers hope, gave them something cheerful to listen to after their days of slogging through the grime of human remains, as Inman discovers during his journey. Songs of homecoming and

By now Bach had high ideals for the church music of Germany. He began organizing the rather poor facilities of Muhlhausen; he started by making a large collection of the best German music available, including some of his own. The first result of these efforts was his cantata ‘Gott ist mein Konig’. This, incidentally, was the only one of Bach’s cantatas to be published during his lifetime. This success gave Bach the hope to put in a long and detailed report, proposing a complete renovation and improvement of the organ. The council agreed to carry the proposals out, and Bach was given the job as supervising the work, for not only now was he a brilliant player, but he became an expert on constructing organs.

The song consists of three different stages; before the war; during the war; the end of the war.

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

Thesis: Wolfgang Mozart’s Symphony No. 40 in G minor has been admired and analyzed numerous times. Although it has been criticized by many, I believe deeply interpreting this piece will aid in a better understanding of the music during the Classical

In 1853, a young composer, Johannes Brahms had a fateful meeting with Robert and Clara Schumann at Düsseldorf. After the first meeting with them, Brahms retained intimate relationship with their family. In the Schumann’s archive, Brahms examined the previous musical styles: Renaissance and Baroque style. In addition, Brahms’ sacred works clearly expose these manners, affected by J. S. Bach and Palestrina revivals. In this regard, his well-known choral work, Ein deutsches Requiem also comprises its influences of his early-music study. This short paper attempts to examine how Brahms adapted the early-music techniques to the Romantic style in his Ein deutsches Requiem.

I attended this piano trio concert with two beautiful young musicions. During I listening to the trio’s music, I thought about our human’s lives. All musics are showed us our life like childhood, teenagers, youngmen or women ages, middle of our life and fate, such as the elderly and the end of our lives. Sometimes,it is also sad and there are turbulent or passions in our lives. This trio’s ensemble mede me to think about my life from the musics.

They say what’s old is new again. There is nothing new under the sun. What goes around comes around. History repeats itself. These may be just a few banal sayings, but they might hold true for classical music as well. Maurice Ravel’s Le Tombeau de Couperin is one such example. Written during the neo-classical and neo-baroque movements of the early 1900s, this clever piece ties together French musical traditions, baroque styles, and World War I in just six short pieces. This essay will detail the origins of the suite form and the neo-classical neo-baroque movement, and compare Le Tombeau de Couperin with Bach’s French Suite no. 5 in G Major, BWV 816.