Music Comparison
The Mozart’s opera aria, “Dove sono i bei momenti”, and Hanatarash’ “Live 1988” are two music works that combine different visual and sound aspects in a curious way. Mozart’s opera aria “Dove sono i bei momenti” is a pitch-music performed by American soprano singer Jessye Norman. “Live 1988” is a noise-music performance performed by a Japanese noise band, Hanatarash. In aesthetic terms, “Dove sono I bei momenti” visual and sound aspects are intriguing in their resonance, harmony and relaxing nature which contrasts the chaotic, discordant and offensive nature of “Live 1988”.
The two performances significantly differ in the expression and pitch. “Dove sono i bei momenti” is a pitch-music that incorporates tonal variation. The
…show more content…
The performance of “Dove sono i bei momenti” with and without video differs slightly. Both the music and video performances use sounds and visual aspects that are soothing and peaceful. For instance, the tone and tempos vary melodiously to create a soothing music. However, the artist’s movement on stage and the pictures on the background add more mental clarity to the video. The visual aspects of “Live 1988” video performance add more violence and hostility compared to the music without the performance. For instance, the artists violently toss and clatter pieces of metal and glass on stage. At the beginning of the video, one of the artists violently wrestles in a metal cage.
The tuning of the musical instruments used in the two musical performances varies. The tune in the “Dove sono i bei momenti” is tonal and the piano is in tune with the singer’s voice. Moreover, the piano is tuned to a chromatic scale and different keys are employed to make up tonal variation. The tuning of “Live 1988” is atonal and uses a pentatonic musical scale. Besides, the sounds in the Hanatarash performance are out of tune with each other creating
…show more content…
None of the works uses a pure tone as they both blend fundamental tone with overtones to make a particular sound. “Dove sono i bei momenti” combines fundamental tone and overtones resulting in a clear pitch and pleasing timbre. Conversely, “Live 1988” uses electronic altering of tones using sound effects like machines sounds and crashing glass. The tone combination in “Live 1988” results in a sound with displeasing and indistinct pitches. This makes “Dove sono i bei momenti” sound mellow and “Live 1988” sound harsh.
My first reaction to “Dove sono i bei momenti” was a sad and depressing feeling. However, the visual and sound aspects later in the performance were calming and entertaining. The artist appeared calm and her stage movements were in rhythm with the music. “Live 1988” was the most intriguing noise-music performance that I have ever watched. Initially, I thought that performance was a clip from a violent movie scene, but the consistency of the performance made me realize that it was actually a performance to illustrate exactly this music
1. Wide-ranging, dynamically expressive tonal melodies are played in equal temperament and generated from logical tonal harmonic progressions. 2. A simple, isometric, and restricted rhythmic range is used. 3. The texture is homophonic, that is, a principal melody line with accompaniment. 4. Clear periodic formal structure is favored. 5. The instrumentarium is restricted and standardized.
It is true that the essence of any story is emphasised through distinctively visual images created for the audience. The ability of any composer- an artist with paint brushes, a musician with chords or the writer with words- to entice and evoke is at the centre of a narrative. Both Peter Goldsworthy’s novel Maestro and Beneath Clouds by Iven Sen evoke emotions in the responder through distinctively visual elements and exploration of the concepts appearance versus reality and influence of environment.
These techniques are significant as it leads the viewers into contemplating about their own High Schools, creating emotional introspection. As a younger viewer it also enables me to empathise with the students being a similar age to the victims of the massacre. The severity of the situation is also felt through the use of sound as the audience can hear the trembling and distraught tones from the emergency calls. Archival sound footage further strengthens the authenticity of the crisis. As the distressed voices are heard as a voice-over, paired with the solemn sound of the acoustic guitar, the camera techniques further complements the disaster.
Intro: In Steven Connor’s ‘Ears Have Walls: On Hearing Art’ (2005), Connor presents us with the idea that sound art has either gone outside or has the capacity to bring the outside inside. Sound work makes us aware of the continuing emphasis upon division and partition that continues to exist even in the most radically revisable or polymorphous gallery space, because sound spreads and leaks, like odour. Unlike music, Sound Art usually does not require silence for its proper presentation.
The first strong impressive horn sound is a stressed syllable before the image of the necklace. The melody is rather monotonous with several simple notes but is deep and low with strong power. The rhythm is very infectious, making audience think about the suspense and feel the tension. However for the romantic part when Judy finishes her dressing coming to muss and kiss with Ferguson, the music turns mainly to romance theme with violin. Horn theme also interweaves together in it in very low sound. The romantic music with violin is soft melody with coherent notes, to express the love and relief
40 is an effective composition that allows one’s mind to imagine vivid pictures. While listening to the piece by Mozart, I felt a sense of urgency throughout the piece while eliciting strong emotions of passion and grief. Composers like Richard Wagner and Peter Tchaikovsky were greatly influenced by Mozart’s musical capabilities of conveying intense feelings. The listener is affected by the different measures of commonalties between the musical periods, the composers of those periods and the pieces they compose. Mozart’s music pulled away from the norms and constraints of period style music. This composition enhances my knowledge because he has created compositions that employ the sonata, rondo, aria as well as other forms to exude strength, beauty, and grace with every
At the age of the Enlightenment, Antonio Salieri becomes the most triumphant musician in the city of Vienna, however, without any warning his harmonious universe comes to an utter halt. Salieri’s absolute faith in the world, in himself, and in God is all at once diminished by this spontaneous child composer. When the two opposite ends meet, there emerges a fury, a rage, and a passion in Salieri to sabotage the boy that has secured Salieri’s deserved God given talent; to destroy the one pubescent child that has made him so mute and naked now in a world of discordance. Salieri’s entire reputation and boyhood prayer to attain fame thus rests on his ability to annihilate that child prodigy, Wolfgang Amadeus Mozart.In analyzing the two composers, Salieri and Mozart, there is a distinct line that clearly divides them. Salieri’s operas receive astounding receptions, making them the “talk of the city,'; shaking the roofs, buzzing the cafes, and even the name Salieri “sounds throughout all of Europe'; (2,3). The reason for Salieri’s success, as well as many musicians of the eighteenth century, is because they have become enslaved by the well-to-do and hence are “no better than servants'; (1,3). This applies especially to the king. For example, in Amadeus, His Majesty forbid any ballet in his operas. Imperial commands such as this are not to be interpreted in any way, in other words, they are to be merely obeyed without any dispute. Since operas tend to the needs of the high society in order to obtain recognition, the operas must communicate through the language of the nobility, that is, Italian. In addition, since the majority of the audience is made up of the upper class, the subject matter of the operas must consist of elevated themes. Such as, mythological heroes, kings, and queens, and so forth. According to the eighteenth century view, operas are supposed to be a sublime and an aggrandizing art. The elevated subject matter is then chosen in order to venerate and honor the nobility. It’s purpose is to “celebrate the eternal in man'; says Van Swieten (2,4). Meaning that there is an element in a noble person that lasts without any end, like God who is immortal. God represents the everlasting and the eternality of existence, thus God gives inspiration to operas that...
The melody is consistent with the song. The string instruments are prominent whereas the timpani and oboe just go along with the melody. Esta es una pieza sencilla binaria; claramente no hay devolución del material melódico apertura en la segunda parte del movimiento.
Sadie, Stanley. Wolfgang Amadeus Mozart: Essays on his Life and his Music. United States: Oxford University Press. 1996, Print.
Music in film is normally either used to color the emotion of a scene and fitting the setting (Dyer 250), or to inform the audience about a character. In La Strada Fellini and Rota use the different musical themes to tell the audience about the characters, and their development (Van Order 53). Through the diegetic and nondiegetic playing Il Matto, they show characters transition from ignorance about their self importance, to a state of cognizance, and then to their eventually understanding their levels of importance in the world.
Opera is a unique genre of spoken word and song accompanied by music. The music takes one through ascending and descending ranges of emotions. Mozart's Don Giovanni is a perfect example of how this genre emits a wide variety of feelings and attitudes. This "dark comedy seems to convey Mozart's feeling that events have both comical and serious dimensions…" (Kerman, 205). The opera, as a whole, is neither exclusively comedic nor entirely tragic.
The Classical Period brought forward new musical innovation. The sudden change in emotion and contrast in the music from the classical era is one of the many fascinating topics. However, the topic most talked about to this very day is Mozart’s Requiem. The mystery of which parts were composed by Mozart puzzles many. Even the rumor that surrounds Mozart’s cause of death is fascinating. Peter Shaffer’s play Amadeus, added more controversy to this intriguing mystery.
Live and recorded music have many differences that make each unique and enjoyable. Live music may be more costly and time consuming, but it is more energetic and interesting than recorded music. Live music can be dangerous and cause hearing problems, yet concerts are still selling out. Recorded music is cheaper and can be accessed almost anywhere, but it is not as exciting. Even through these differences, both types of music have the same basic structure, and is served as entertainment purposes that many individuals
Music is can be a very complicated and delightful at the same time. Music affects our bodies in several ways when engaging with it. The complicated and delightful apparatus we call music affect people physically, psychologically, and is great with healing emotional affliction, strengthens emotions, and is known to cure illness. Music also plays an influential role in the socialization of teenagers. Mainstream music is available practically everywhere. It is conveniently accessible over the internet, radio, individual recordings and other forms of technology
All of these quiet and soothing instruments produce a very calm mood. I personally listen to this song on days when I need to calm myself down, and just lure myself to sleep. Hope. Generally speaking, hope is another one of the most prominent moods portrayed by the song “A Thousand Years”. Throughout the entire video candles can be seen in massive amounts. As a matter of fact, there are a few points in the video where the entire background is full of a million candles glowing amidst the moonlight. Another representation of hope can be observed in the 0:06 where the singer is holding a candle in her hands which are bound by handcuffs. This small image represents hope. The singer may be bound by some restriction, yet she holds a candle of hope against the dark sky. Then at 0:18 the Christina Perri who is the singer of the song is standing near the window staring outside at the calming blue sky and river. Personally I always connect nature to peacefulness and hope, so this image portrays hope in my eyes. In a fraction of a second, at 0:43 ,the eyes of the singer reflect deep pools of hope in them, due to light from the candle in her