During the Romantic Era, music was not detached from the emotions of a composer as it was in the Classical Era. A distinctive trait of subjective Romantic music was the use of musical instruments to simulate sounds from the environment (Kauble n.p.). Subjectivity provided listeners with tangible images of the intangible subjects that music touched, such as emotions. Even though emotions were a key factor to music since the beginning of the said art, it was only in the Romantic period that emotions were vividly and explicitly highlighted in pieces. This expression of emotions was possible through different techniques such as chromaticism and modulation (change of key) (Kauble n.p.).
The shift from the Classical to the Romantic era signified a new importance on relations within the octave other than the tonic-dominant relation. Often, Romantic composers, in this case, Frederic Chopin and Felix Mendelssohn, use symmetrical divisions of the octave as a platform from which they can launch wandering or very pointed progressions, depending on the direction and magnitude of the potential harmonic energy. Whether it is a continuous circle of minor thirds or a form of axial melody that teeters much like a seesaw, these balanced relationships of pitches have a destabilizing effect on the tonic as it places a more equal weight on other intervals in the key. Not only can symmetry be found on the local levels of melody and harmonic
Grand Duo Concertante for Clarinet and Piano op. 48 J204 1st Movement in Allegro con fuoco German composer Carl Maria von Weber (1786-1826) was an influential icon in the Romantic Era, a period between the 18th and 19th century in which personal expression, literary ideas and emotions reached its apogee. Weber was a composer, conductor and an expert pianist and was renowned for his works in opera, compositions for piano and compositions for woodwind instruments. His clarinet compositions which include two concertos, a concertino, a quintet, variations on a theme and a duo concertante, are performed even today. The clarinet developed in Weber’s time to play more notes and to play scale passages more smoothly, and also developed from a band instrument
Opera is not verbally translatable, so, the interpretation process of the audience are influenced by revisions of a work. Music and libretto dictate the narrative and the action. Through this, they advance the action in in the limited period of time that they have; integrating the complex actions between real and dramatic time to deepen the narrative microcosm that is presented to us. The audience will identify with characters emotions and moods through an absurd medium but with such a rich empathy that it reaches us in a unique manner. Thus, there is a creation of this elite musical culture engrained into society and their values.
Ellington managed to develop unique harmony with unusual chord progressions. For example, using his unique harmony, Ellington was able to present pieces that had ambiguous introductions and interludes that connected the central themes. • Some of the pieces were amazingly influenced by his everyday blues. For example, his travel would surprisingly appear in his piece serving as a primary inspiration. Notably sound of the train and its rhythms were used in his pieces; he usually used the train for travel with his band.
I. Introduction How do Bizet and Tchaikovsky adhere to the traditional elements of folksong in their nationalistic music for orchestra? During the 19th century, music had changed in style, that they broke the form and freely composed the music that we call it romantic era. The music in Romantic era has large difference from the strict classical era, it became more expressive and use wide range of emotions. It expanded the orchestra, providing the depth on timbre.
Both instruments had a mini solo at the beginning to capture the audience and then they were accompanied by the oboe and clarinet. I might be wrong but, the first movement of this piece seems to be in a heterophonic texture. The variation of sounds among the instruments and the unsteady depiction of a meter seemed odd to my ear but, yet I wanted to keep listening. The piece had a call and response feel to it until the piece transitioned into the second movement. The Allegro molto tone part of this piece was by far the catchy part of the piece because, it started in a swift, quick, and lively tempo which gave it a "peppy" feel.
One such Broadway pioneer, Stephen Sondheim, develops a style that relies on wit and shock factor to make statements about American society. Unlike the musical comedies that initially set a precedent for their gaudy numbers that highlight the performers, Sondheim’s musicals contain strong plots and characters that highlight the plot. The songs contribute to the setting and situation of the musical instead of distracting from the story. Audiences initially meet his musicals with mixed opinions: some love them for their intellectuality, but the musicals shock others with their bold themes. Presently, audiences increasingly respect Sondheim’s musicals for their innovative themes and formats.
Many of the sonatas are also believed to have been envisioned in ‘pairs’ that are suitable to be performed together due to the fact that they contrast and complement each other with regard to tonality, tempo, dynamics and complexity. Sonatas K. 426 and K. 427 are good examples of this: The contrast between a relatively slow-paced and lyrical sonata in G Minor and a presto, technically demanding G Major sonata is most effective.
Bach 's Brandenburg Concerto also uses the the Concerto Grosso format where there is a contrast between the ripieno full orchestra parts, and the concertino soloist parts. In the concertino parts of Bach’s piece, it is marked obligato which means that the piece must be played exactly as written, which contrasts with the ideas of jazz music. During the ripieno parts however, the figured bass is provided in the continuo which allows for improvisation. One last secondary link that I have found is that is a vital part of the form and and aids the style of each culture as well. In Baroque music, figured bass symbols provide direction for which chords should be played, while jazz music provides chord symbols in the rhythm section.