The main purpose of the topic is to enlighten Antoine Reicha 's principles of melodic “phraseology” regarding his theoretical work, the Traité de Melodié, and to offer a structural, stylistic and interpretive analysis of L 'art de Varier, Op. 57 and Variations on a theme by Gluck, Op. 87. By addressing the Reicha 's conception of how musical phrases represent “the building blocks” of the entire composition, these set of variations for piano provide an opportunity to gain insights about his systematic theory on melody, harmony and formal structure. Born in Prague, Antoine (Antonín) Reicha (Rejcha) (1770-1836), an influential composer, theorist, and teacher, plays a major role in the scope of the music theory in Western music in the early nineteenth century.
Socrates uses the topic of mathematics to enter his final discussion, dialectics. Initially, I was wondering what dialectics had to do with music, gymnastics and mathematics, but as I continued reading the book, I quickly realized the three had a correlation. Dialectics, as I mentioned earlier in the paper, is much like that of a debate. It is in place to ensure one can ask and answer questions with quality. Socrates made a point that if the students were taught well, their philosophical insights would reflect that and if not, their insights would reflect that as well.
This sentimentalism is seen in “Piano”, written by D.H. Lawrence, where a man remembers his childhood as he listens to a woman sing while playing the piano. In this poem, a mixture of tonality, language, structure and literary devices helps to intensify the theme of nostalgia. A soft, yet dynamic tone is used. This sets the mood for nostalgia. Immediately into the poem, readers are presented with the Lawrence’s memories, as seen in the phrase “Taking me back down the vista of years”.
Introduction The concept of recording has changed drastically, evolving and developing throughout the years. This allows musicians to record any amount of music they wish. Albin Zak chose to discuss this subject in his article "Sound as Form" and dissects the concept of music recordings and what they are comprised of. Zak is of the opinion that musical recordings begin as "isolated elements" which combine together to become "the piece as a whole". Zak identifies Musical Performance, Timbre, Echo, Ambience and Texture as the five components that are present in a music recording.
INTRODUCTION Debussy and his love for the mysterious realm of the antique are epitomized in his piano duets Six Épigraphes Antiques. The work evolved over an extended period to become a prime example of his style of composition. The poems Chansons de Bilitis written by his close friend Pierre Louÿs (1894) inspired Debussy to compose firstly Trois Chansons de Bilitis (1898) three songs for soprano and piano, then Chansons de Bilitis (1901) instrumental music to accompany the reading of a selection of Pierre Louÿs poems, and finally Six Épigraphes Antiques (1914) for piano four hands and eventually reduction for solo piano. These works contribute to a musical language that continues to influence and shape music today. Debussy was originally
Shortly after George Gershwin’s premier of his iconic Rhapsody in Blue in 1924, a conductor named Walter Damrosch commissioned Gershwin to write a piano concerto that was based on a Classical concerto with orchestration. Like it’s rhapsodic cousin, this piece is a unique fusion of Classical and Jazz styles and is great fun to both play and listen to. Like the traditional concerto model from the 18th Century, this concerto was written in three movements in this order: fast, slow, fast. Another flashback to the past that is unconventionally evident in this concerto is “organicism,” which in music, means that all of the movements of a piece are thematically related. Typically, in the Classical tradition, those recurring motifs were traditionally based on the work’s opening measures, but instead, we get returning themes that are not from the beginning.
Couperin’s Forlane is a rondo; the first four measure phrase is repeated twice, creating the eight bar thematic material which returns intermittently in its original form throughout the work. Likewise, Ravel borrows this structure from Couperin. Within the first eight measures of Ravel’s Forlane, which can be split into two phrases of four, is the returning thematic material of his rondo. As such, to directly integrate Couperin’s original rhythm in a new composition, that which functionally was and continues to be a part of the main thematic area, Ravel establishes a deep-rooted connection between the two
He knew which musical instrument and sounds that he wanted to accompany his opera Orfeo (1607),which he points out in his score. Monteverdi's "Renaissance Orchestra" was beginning to look like what we thought was a modern orchestra such as musical instrument organized section ,many variety and many bowstrings. With the passage of time, the violin family (violin, viola, cello and bass) was replaced by the violin family (early stringed instrument series) as the social practice changed. In nineteenth century ,string become more major than ever before. There some of the families instrument such as brass, woodwind and percussion instruments became more advanced, make composer to write more difficult section, and keyboard instruments placed in the back seat.
Here we will focus on how the methodological approaches of Kodaly, Dalcroze and Orff have defined how music pedagogy is taught in schools. The Kodaly method was developed by Zoltán Kodály, a Hungarian compeoser, ethnomusicologist, linguist and philosopher. Kodaly developed this methodology out of his own ideology of how music should be taught and learned. The Kodaly method places emphasis on singing, solfa, reading and incorporating national music into the education system. Kodaly believed that the development of inner hearing was of the upmost importance.
In order to apply the observations taken from the literature review, discourse analysis, quantitative research analysis, and two case studies will provide practical examination in the contemporary cultural sector. The multidisciplinary perspectives will guide the thesis towards how cultural organizations can, and are dealing with the notion of “old fashioned” music and classical music's irrelevance for being termed as such in contemporary society. This thesis consists of four chapters, the first of which will investigate the ideology and situation of classical music in contemporary society, and discuss the so-called “death of classical music”, that prevails among some critics, especially in musicologist Julian Johnson's Who Needs Classical Music? : Cultural Choice and Musical Values. It will also summarize literature by Bonita M. Kolb, a scholar of business and cultural marketing, as well as other