The piano plays quick octaves and the urgent bass motive portrays an intense wild ride. This strong galloping is also being formulated by the piano's triplet rhythm which allows for the development of the dramatic storyline's urgency. ) the work was composed between the years 1943 and 1944. This work was originally intended as a ballet score for Martha Graham who was viewed as a magnificent choreographer and modern dancer.
5. ) There are four different characters in this piece: the Narrator, the father, the son, and the Erlkonig. Although Schubert uses one singer to portray and sing all of the four parts of the characters, the listener is able to quite clearly differentiate them from one another. The son is sung in the high register in a minor key with dissonant harmonies. On the other hand, the father is sung in low register while the Erlkonig is sung in a coy with pleasant and soft melodies in the major key.
6. ) There are two ways that Schubert builds momentum in his piece. The first way is by using the bass as a method of demonstrating the galloping horse. Every now and then the tones range from low to high and back to low again, insinuating the nervousness felt by the father and the son as they are running away from the Erlkonig. The second way that momentum is built is by the extra tension portrayed through the bass right before the son dies. The excitement of the music just goes silent as listeners get prepared to mourn the death of the son.
7. ) as the Narrator describes the final race to the home, the father holds his son tightly, the tempo begins slowing down as they reach the courtyard until it just suddenly stops. The piano plays a quiet, almost silent chord as the narrator, in a recitative a major, depicts the vivid description of the son in the arms of his father. This touching moment is then interrupted after another chord follows the short pause with the last words being: "was dead!" This loud and intentional voice in an Andante perfect cadence in G minor emphasizes the severity of the situation. They belong together because the ...
2. ) the melody of Copland's work comes from a Shaker melody called "Simple Gifts. " the classical form used by Copland to develop this piece was that of ballet music.
3. ) the instrument that plays the theme is a solo clarinet.
4. ) Although the melodies of this song are all the same, the distinct variations are quite obvious. The theme as previously stated is a part of the variations, being played by a clarinet. The first variation is played by the oboe and bassoon. It is also played by the string instruments. Variation two is performed in a low register and is deep in sound. The third variation is played by the trumpets and the trombones and creates a contrast to the second variation by being portrayed in a fast staccato. The fourth variation is played by woodwinds and is a continuation of the second part of the theme. The fifth and last variation is played by the full orchestra, and is the first part of the theme which creates a majestic ending.
5. ) the texture used in the second variation is polyphonic. It plays as a thoughtful, slower, and lower register.
6. ) Copland was considered the "Dean of American Music." He earned his title for his patriotic portrayal of classical music. Being born in Brooklyn, New York, he obtained his first inspiration from his surroundings and became a great composer of American folk music. He wrote musical compositions for numerous television shows, movies, and radio. He was able to incorporate a variety of American musical themes into his music, such as jazz, cowboy ballads, and folk songs -- all of which become widely popular among patriotic Americans. The song Appalachian Spring corroborated the title he earned because he vividly described a…
) the work was composed between the years 1943 and 1944. This work was originally intended as a ballet score for Martha Graham who was viewed as a magnificent choreographer and modern dancer.
Music A pioneer of electronic music and the godfather of ambient, Brian Eno has always recognized the importance of the studio as a compositional tool. In 1979, Eno delivered a lecture entitled, "The Studio as Compositional Tool" at the New Music America Festival in New York City. Since then, Eno has written about the subject of the role of the studio in musical composition as well as recording. For Eno, the
EDSE 600: History and Philosophy of Education / / 3.0 credits The class entitled, History and Philosophy of Education, focused on the origin of education and the "philosophical influences of modern educational theory and practice. Study of: philosophical developments in the Renaissance, Reformation, and revolutionary periods; social, cultural and ideological forces which have shaped educational policies in the United States; current debates on meeting the wide range of educational and social-emotional
Beethoven uses choral voices in his 9th Symphony to produce a sound that no man-made instrument could produce. Beethoven is attempting to achieve the highest and most joyful sound in the final movement of the symphony and so therefore uses human voices to compel the listener to the rapturous heights that he wants them to witness. or what might look at the importance of tone and key. In the 20th