moaning in front of whispers. This piece followed the ABA format, A being the whispers and soloist moaning, and B being the polyphonic middle section.
Subjective Reaction:
This piece was interesting; it had many parts being sung simultaneously and was chaotic at times. I felt as if I was not getting all of the experience because I could not understand the lyrics and had to rely on other factors such as dynamics to determine what was going on. I feel that if I had been able to hear this piece again in English I would have enjoyed it more.
René Clausen: Set Me as a Seal
Objective Description:
The texture of this piece is monophonic, with the entire choir singing, at an adagio tempo and a mezzo-forte dynamic level. A woman then breaks off and sings out of sync for a short period. During this period the range gets wider, when the entire choir is singing the
…show more content…
It lacked the sense of power and smoothness of the previous Gregorian chant like pieces. Its simple lyrics and narrow range caused for a lack in excitement.
Henry Mollicone: National Weather Forecast
Objective description:
This piece opened suddenly at a forte level, and monophonic texture. The tempo begins at moderato then rises to allegro shortly into the piece. Soon after the change in tempo the choir begins dancing and acting out the lyrics, depicting a weather forecast. Next, the lights come on and choir members have on sunglasses, and are moving a giant sun around the stage. The tempo then slows to an adagio level, as the choir sings the last lines in a strung out fashion.
Subjective Reaction:
This piece was unique from the others in that it was comical and playful. It was refreshing break from the slow Gregorian chants and darker themed music. In fact, it had much of the audience laughing. This piece got its liveliness and personality from the choirs dancing and use of props.
Moses Hogan: Down by the
It is from an opera, and it goes from highs to lows, dragging on the suspenseful
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
Although this is somewhat long duration compared to other music that listened before, the segment of the piece is played repeatedly so that I used to observe this music. The pinches in this work are unfamiliar to the audiences because they are not standard chromatic scale, which is equal temperament. The unique tuning system and the performance style increase the tension of the
One of the many good examples of this is in chapter 3, when Kingshaw attempts to find peace but instead finds danger and pain in the form of a crow attack. Hill uses sound imagery widely in this extract to help create a sense of fear and tension. From the crow 's wings "making a sound like flat leather pieces being slapped together" to "the silky sound of corn brushing against him", these descriptions make the piece more realistic and enable the reader to put themselves into Kingshaw 's shoes. Adding to the sense of panic, Kingshaw is repeatedly said to be "sobbing and panting" and "taking in deep, desperate breaths of air", which in a literal sense shows that he is afraid. Alliteration is also used with 'deep, desperate ' which in a way creates a heaving sound when read, tying into the idea of 'desperate '.
This piece consisted of two different movements. The second part of it was a lot more allegro, upbeat, and energized. It symbolized the eternal love that no one, not even a powerful king, could take away. The whole orchestra had more active roles and a polyphonic texture. Together they made a beautiful
The introduction of the piece is the same as that of “The Raiders March”, but with strings playing in the background. The A melody begins with the trumpet as the strings fade out (0:07). The first minute and a half of the song is played the same as that of “The Raiders March”, though due to differing sound equalization, some parts stick out more or less than they do in the original. For example, in the third repetition of the A melody, one can more clearly hear the xylophone accompanying the melody here than in “The Raiders March”. The piece begins to differ more significantly after the break following the third repetition of the A melody when the piece modulates down a half step instead of up like in the original (1:37).
This is then followed by a sing-song like eight-note figure that features a pointed forward momentum. The rhythmic building blocks of the theme is constructed in two bar phrases which then sequences upward by step (Example 1). The accompaniment to the theme is sustained half notes played by the second violins, Violas, and Cellos The home key and the harmonic content of the exposition is also very clear in its presentation. The opening of the movement is in A major and remains primarily diatonic in its harmonic content, with only the occasional passing tone. The primary theme is played twice having a four-bar transition in between each quotation (Example 2).
Instruments are introduced at the beginning of new sections, such as the pre-chorus and chorus. Dynamics each verse begins in mp and increases dynamically to mf at the pre-chorus; there is a slow crescendo to f during the transition from pre-chorus to chorus. Tempo the tempo of this song is moderato at approximately 116 bpm, however it feels much slower due to the emphasis being on the 2nd and 4th beats rather than on the 1st and 3rd.
I have chosen “ Uptown Funk” by Bruno Mars and “ Rock Around The Clock” by Bill Haley as this assessment ‘s topic. Basic information of two songs will be mentioned first, then similarities, differences and connections will be discussed afterwards. First of all, Bruno Mars is a songwriter and popular singer who came from Hawaii, and he released “Uptown Funk” on 2014 , it won the Grammy award for Record of the Year. It is a pop, funk boogie with Minneapolis song. “ Uptown Funk” is talking about how a guy looking good , wearing jewelry and branded shoes , talking about how hot the singer is and how rich he is also it shows the exciting social life of the singer.
It brought a sense of suspense, with the opening bass drum so loud and firm, the audience jumped a little in their seats. You could envision war while listening to this piece, the stage was the battle field, the left side of the orchestra was the Axis Power, the right side was the Allies and the bass drum were the drummer boy. Fanfare for the Common Man was well put together, the orchestra sounded good even
“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.
Schumann Three Romances, Op. 94 Schumann’s Op. 94 Romances were composed in 1849, during a time when his mental health was deteriorating rapidly. Originally written for the oboe, the first performance featuring the violin and piano was given by Clara Schumann and François Schubert in a private concert. The three pieces are all written in ABA form, the typical form for songs, and feature lyrical, heartfelt melodies that evoke storytelling and vivid imagery.
There were many musical elements heard throughout these pieces and it was interesting to hear how they varied in each song and suite. In Intermezzo, it began with a quieter violin solo melody creating a monophonic texture. Soon after, it became accompanied by the other violins and cellos, then the full ensemble came in creating a moderate, flowing melody at about mezzo forte and switching to a polyphonic texture. Next, there was a harp solo at forte with many crescendos and decrescendos. The full ensemble enters again raising the dynamics to forte before decrescendoing and slowing down to end with a held note and final tone.
It is as if one voice is staying motionless, watching the other voice depart, before leaving in the opposite direction while looking back frequently at the other longingly . The alto then joins the quinto and canto at measure seven, and rapidly mimics the descending stepwise line of the canto at the lyrics “ah, end of my life.” This is an essential text painting as a descending line is suggestive of a lament, and the lyrics in this fragment, full of despair and grief, are somewhat clearly lamentable. The two voices, quinto and canto repeat the descending line together in
This movement begins with a beautiful love song until a turbulent middle sections rudely interrupts its dream-like reverie. The finale, Andante-Allegro, begins with a quiet, introspective introduction in the piano alone which then leads into an exuberant Allegro. At the Allegro, the violin breaks forth with ascending, slashing passages from its lowest to its highest register, creating a sense of drama and importance. However, then comes a playfulness that sneaks into the music almost without notice. And then after a rush of virtuosic passages from both violin and piano, the sonata comes to an explosive end.