Claude Debussy Analysis

This piece utilizes a lot of repetition, as the main melody line is bounced around different parts. It also has a lot of small musical motifs, which allow the composes to introduce

“La Mer” is a classical French piece of music that was written by Debussy in the twentieth century. The song begins with a disjunct sound caused by the different melodies and harmonies being played by different sections of the orchestra. Slowly out of the chaos brings a light, airy feeling that was accomplished by the help of a flute and violin solo. The excitement again grows causing a repetitive feel, but this time it is cultivated by the brass and the percussion sections that cause a tremendous increase in the volume of the piece. The song is halted, and proceeds as the cellos crescendo which seems to have a direct correlation to an increase in tempo.

Debussy broke the mold so to speak in the 20th century of music by breaking away from the typical German style laid out by composers such as Beethoven as he often explored dreamy and distant sound worlds in an effort to stand out amongst his earlier peers of the classical period. He began to be drawn to the sounds of the pentatonic scales, whole tone scale, and sounds otherwise known in Asia as his music in comparison often contained a rather circular motion which broke away from the formers heroic cadential style of resolution. This breaks his music away as his was more of an ambient and distant much like the impressionist art movement happening at the same time being led by the likes of Monet and Van Gough. The Sunken Cathedral by Debussy exhibits many traits of the new impressionistic forum of 20th century composers as he exhibits many methods to place the listener into a dream-like state using melodic variation and connectivity amongst voice leading in order to achieve a watery type effect. This effect makes the listener feel as if they are floating along with the piece itself as he adds complexities to the music with the slow harmonic variation throughout the piece.

The short story is about Honore, the farmer, who is forced by the doctor to hire a washerwoman, La Rapet, to look after his ninety- two years old dying mother, Bontemps, while he reaps his corn. After the washerwoman examines the old lady, she predicts to stay with her for 2-3 days till she utters her last breath. She stipulates to get six francs from the farmer for her services and after moments of hesitation and arguing about the price, he grudgingly acquiesces. La Rapet gets the priest to help mother Bontemps confesses and then stays by the side of the grey-haired woman sewing and waiting for her passing to declare her death and gets paid. Next day, La Rapet comes and finds no difference in the mother’s health condition. The impatient woman gets mad as the old woman still gazes with no sign for her nearly leaving so she terrifies the poor lady and tells her about the devil’s appearance by the time anyone dies and scares her by doing some moves incarnating the devil

It is a small painting with sizes 55.3 x 46 cm, but it contains explosive and bright colors. Matisse has portrayed the scene in an inviting and light-filled way and with a large variety of tones and colors used to paint the boats floating on the calm sea and the sky during the sunset. The use of such unnatural colors and the presence of revolutionary minimalist strokes represent the key features of the “art of the beasts” and provoked agitation within the critics.

In Edvard Grieg’s “Morning Mood”, a well-recognized piece of classical music, a flute is the first instrument one hears. The beautiful whistle of the flute’s first note strikes a high A, played softly, and the softness continues as the flute travels down the scale, only to play a C and make its way, legato, back up to an A (Morning Mood: Peer Gynt No.1). As the piece continues, violins, cellos, oboes, and many other instruments are softly introduced to complement the flute’s high and quiet notes. It is only when the flute crescendos in the middle of the piece that the other instruments follow along. This continues Grieg’s trend, on this track, of forming the other instrument’s parts around the flute. Occasionally, the flute will soften and be replaced by another wind or string, but the trend of surrounding the main instrument with other pieces still continues. This soothing blend of the instruments is what causes the mind to remove stress when listening. I believe that music

On November 15, 205 at 2pm I was able to see the Rutgers Percussion Ensemble. I was very interested in this show, because I have never been able to see a group of only percussionists perform in the same space. The first piece they did was called Ionisation, which was written in 1929. There were thirteen musicians on stage playing various instruments. This song began with a rolling unpitched sound coming from four snare drums with the claves. This idea was an interesting start, because it caught the audience’s attention to really listen to what was going to happen next. Then the song, went into a lighter more atmospheric section, where there were many crescendos and decrescendos. The instruments in the piece included the chimes, maracas, timpani,

The painting shows a human figure, screaming in despair. The man depicted in the sky. which is a blood-scarlet. Also generalized landscape background in present. Red, fiery hot sky covered with cold fjord, which in turn creates a fantastic shade, similar to a kind of sea monster. Voltage destroyed space, the line broke, the colours do not match, the prospect is destroyed. The unviability of the flat is only a bridge, which are characters of the film. He contrasted the chaos in which the world is immersed. Bridge- barrier separating man from nature. Protected civilization, people have forgotten how to feel, watch and hear. Two indifferent characters at the background, did not react to what is happening around, but underscore the tragedy of the story.

Capulet: He is the one who rules the Capulet Family in Verona and has a blood feud with the Family of Montagues.

The Mexican expressionist composer Silvestre Revueltas, now well known for his incessant rhythms, wanted to change the state of authentic, Mexican-based classical music, from nationalistic folk-based sounds, to his more urgent and dissonant style of expressionism.

Another example for this imaginative story telling is the fictitious conversation between the imposter Arnauds du Tilh and Martin Guerre. “As a thought-experiment, let us imagine what might have taken place if the heir from Artigat became friends with the golden-tongued peasant from Sajas. […] they exchange confidences. Martin expresses his ambivalence about his patrimony and his wife, perhaps seems to imply to his look-alike “take her.” And Pansette says to himself, “Why not?” In a way, these passages are reminiscent of classical dialogs, in which poets would use dialog as a narrative element to enrich their histories.

Upon investigation he found a little child sleeping in a hammock which was being gently swayed by the breeze. The sound made by the rusty hook appealed to him and he immediately jotted it down, and then and there composed the “Cradle Song.” It will be readily noticed by those who have again the pleasure of hearing the “Cradle Song” that the opening bars closely resemble the sound made by a rusty hook swinging in the ring. The other strain pervading the composition is one which the composer has always had in his

The concert that I attended was the UIC Wind Ensemble concert on October 17, 2015 at 7:30 pm, in the UIC Theater and was about an hour to two hours long. The fist performer I will introduce is Jose Oliver Riojas, which was also the conductor of the concert. Riojas is the assistant professor of music at the University of Illinois in Chicago and the conductor of the Wildacres Saxophone Ensemble. Some other performers was The New Century Saxophone Quartet, Chris Heming way (Member of the Stan Rubin Orchestra), and Ashlee Hardgrave (“Vocal Powerhouse” Soprano Soloist). This concert was played by UIC students. The Composer, which was a guest, of the concert was James Syler. Syler compositional interests were between orchestra, wind ensemble,

Dr. Sheri Neill introduces herself and explains that she has different degrees in music and education from Texas Tech University, Stephan F. Austin University, and University of Missouri. Then she introduces Cheryl Lemmons, which is the pianist that was sitting at the piano located right front of the stage. There was a choir that was located center stage with the conductor directly in front of them. The choir consist of only women, which seemed to be alto and soprano singers. They began with their first piece “Wir Eilen Mit Schwachen, Doch Emsigen Schritten” written by S.J Bach. The song starts with the piano playing a nice melody as an introduction, which has a steady beat as well as steady tempo. Then the sopranos began singing softly with the altos following behind imitating and singing the words with a lower pitch. The piece seemed mostly polyphonic, yet there are many times when it is homophonic and

Guy de Maupassant is considered one of the most major nineteenth-century French naturalist writers. Maupassant was a meticulous writer devoting much attention to the reality of everyday existence. His major stories are characterized by their focus on irony. Human beings are weak thus forces, which they cannot control, influence them. Usually, Maupassant characters exhibit or portray various degrees of weakness, such as hypocrisy, callousness or even cruelty. He also demonstrates through his characters a human touch. The characters that are victimized are viewed with understanding and sympathy.