Music as we know it today has been influenced by many different types of musical genres and as different types of music develop over time, at least some remanence of the past stays present in the music. What is usually forgotten in this process is who helped influence the development of that music along the way. The following will discuss one of those musical influences by discussing who exactly was Hildegard of Bingen, what impact did she have on music, and analyzing one of her compositions called O vos angeli.
The Baroque period was identified as the “Age of Absolutism” because it was a period where rulers practiced their full power to control subjects. Also during the Baroque time frame music became more leant about where it was played. Instead it only being played at churches and occasionally in some courts, it was being played at specific functions and operas. It was at this time that operas were established for the first time in history. Musicians at this time were employed for aristocrat’s courts, churches and operas although they were considered high positions yet still viewed as servants. Some characteristics of Baroque music focused on the unity of mood, rhythm, dynamics and melodies. As for texture it consisted of being polyphonic with an emphasis on the highest and lowest melodies. Also the importance of bass and soprano and imitation were present. Word painting and symbolism kept making an appearance too. Chords and basso continuo were key elements to this period. A basso continuo is an accompaniment made up of bass parts usually played by two instruments. It was here that baroque orchestras started to gather which contained about ten to forty musicians. Through
Become Ocean was performed by the South Dakota Symphony Orchestra under the direction of Delta David Gier. This evening was dedicated to being the 95th anniversary of the South Dakota Symphony. The theme for the evening related to water, whether that be the rolling tides of the waves, a bird swooping down to catch something, or a personal reflection that people made through associative listening. The music played had a serene and airy feeling that helped enhance the depiction of becoming one with the ocean.
Throughout his play Cyrano de Bergerac, Edmond Rostand builds and interweaves his theme of appearance versus reality. By having a positive moral tone towards this theme, Rostand shows that he supports this theme as a quality that his readers should consider in their own lives. For this reason, this theme should be traced throughout the entire the play and expounded upon as much as possible.
The second part of “The Young Girl Juliet” began with the skittering play of flutes and cheerful sound of light percussion that portrayed Juliet as a young teenager, with a gentle clarinet sound perfectly represented the innocence of Juliet. Again, the sudden mood contrast in the characteristic of romantic music was reflected in a sudden slow and tender coda that perhaps denoted her immediate future
the essay will also analyse how the opera as an entirety critiques the social order of
Have you ever orchestrated a lucrative fundraiser designed to eradicate famine in a desolate region, liberated a stray kitten from a lifetime of forlorn wandering, or bestowed clothing to the indigent and destitute: actions that you take much pride in? Pride and honor is an integral constituent of the 19th-century tragic play, Cyrano de Bergerac by Edmond Rostand, and it inherently fashions the events, actions, and characters embedded in the play. In the play, Rostand reveals the patent rampancy of the concepts of pride and honor in 17th century France, through the titular character: Cyrano de Bergerac’s
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.
Although the stage and costumes are seemingly more saturated with decorative props than the stark, almost empty surroundings of the Beijing Opera, there is a subdued dimness that allows the audience to put full attention to the male vocalist and his muse. The singing lines in the Beijing Opera were performed within a limited range, at a very high octave with a limited range. Similar to screeching, the notes were carried high in her throat, and produced with a certain harshness. On the contrary, the big, powerful “bel canto” operatic voice of the male singer in the Italian Opera, resonates with rich, full sounds throughout his voice range. The male performer’s voice and the message of love to the woman present with him, is obviously the main focal point of the piece. The orchestra maintained the musical score and provided ornamentation and emphasized the melodic contour of the singer’s vocal line. Without reading the subtitles, there is such emotion and energy in the male singer’s performance that it is easy to see, along with the physical positioning and facial expressions of the female performer, that there is an impassioned dialogue being given from him to
Following Charles II’s coronation, there was an artistic renaissance in England with a preference for “scenery to poetic illusion, heroic couplets to blank verse… They demanded music, dancing and masques in the latest French styles.” To this end, The Fairy Queen was created, a semi-opera with “singing, dancing and machines interwoven, after the manner of an opera.” To clarify, a ‘semi-opera’ is a term which was used to apply to Restoration pieces which combined spoken plays with masque-esque episodes which employed the use of singing and dancing characters. When music occured in these masques, it was typically following either a love scene or that of the supernatural. The first examples were the Shakespeare adaptations which were produced by Thomas Betterman with music written by Matthew Locke. Following Matthew Locke’s death a second flowering produced the semi-operas of Henry Purcell, notably King Arthur and The Fairy
In Moliere’s Tartuffe, Orgon is the patriarch head of household who is blinded by the hypocrite Tartuffe. Through out the play, Orgon rejects reason and is not able to see through Tartuffe’s evil plans against him. Orgon’s entire family tries to warn him about the fraud Tartuffe is but he does not listen. There is one point in the play where Orgon finally comes to his senses. This is a scene that I enjoyed reading, as it is humorous and full of mockery. Orgon comes to his senses in the scene where his wife Elmire tries to seduce Tartuffe while he is hiding under the table. After this scene, the entire direction of the play changed direction.
In the first video the composer Hector Berlioz is mentioned as well as his Symphony Fantastique. The symphony was inspired on the legend of Faust; it tells the story of a man that sold his soul to the devil in return for both knowledge and earthly pleasure. At the 7:00 mark “La traviata” is mentioned, which was an opera that talked about a love affair climaxing in a tragic death. The composer of this piece was Giuseppe Verdi, but it was not the only opera he composed, in fact they were 28 operas starting with Nabucco (1842) and ending up with Falstaff (1893) a half a century later. Franz Liszt is a composer and piano master discussed at 12:15. There are 6 innovations
Music exists in every known cultural group of the world and it is likely to have existed among the ancient ancestral communities. Music may have started in Africa, having existed for at least 55,000 years before evolving into an essential constituent of human life. Different people have different perspectives towards music. For instance, some may take music as jazz set, an orchestral symphony, an electronic beat or even a simple thing as the chirping of birds. Music has both positive and negative effect on humans and it depends on how it is applied. There are several theories that regard where and when the music originated. The historiographers pointed out that there are different periods of music with each period having its own characteristics, its composers, its instruments, its rhythm and significance to the existing music today. The first three periods; Medieval, Renaissance and Baroque are expounded in this essay. The periods span through different times albeit some overlapped one another. The essay also focuses on the common factor that triggered the existence of the music periods and its impacts on each period.
“The Rite of Spring” was certainly the most controversial piece of orchestral music of its time. The piece, composed by the Russian Composer Igor Stravinsky, included a great deal of uncommon musical elements. But was it really that uncommon? The world-changing ballet, “The Rite of Spring” was so controversial when it debuted in 1913, because it completely contradicted the common rhythmic and harmonic languages of the music at the time. The choreography and costumes were a main part of the reason why the audience reacted with negativity and riots. But the fact that Stravinsky’s music used similar melodic, orchestrational, and harmonic techniques of pieces written before, brings up the question: Why did the audience react the way that they did? Stravinsky’s music reflected his early life experiences. Consequently, Stravinsky was not, in fact, the first composer who was “committed” with composing such controversy, so again: were riots necessary? The result of the audience’s reaction caused by the ballet has not happened before.