The Nationalistic Dlements in the Concerto for Orchestra
Bartók’s Concerto for Orchestra demonstrates many different cultural
and national musical ideas. The Concerto for Orchestra is basically
tonal with some dissonance.
Bar 39 of the Introduzione shows a verbunkos Hungarian melody in the
trumpets. This is an extended and over developed version of the flute
melody of bar 30. This melody is a synthetic Hungarian style,
incorporating all Hungarian music. The lower strings at this point
are playing consecutive fourths and seconds. This Hungarian style is
extended and developed further throughout the following section.
The melody at bar 76 is similar to that of a Serbo-Croat melody. The
germinal motive outline of this is an augmented fourth (tritone) and
is made up of alternating tones and semitones, like an octatonic
scale. The theme at this point is asymmetrical. It is built on three
bars, followed by three bars inversion. There is also a very frequent
change of time signature in this section.
Bar 155 sees the beginning of an Arab style melody in the oboe. This
theme has a very narrow range and is, at first, built on two notes a
semitone apart. This tune gradually expands and extends throughout
the orchestra, still with the narrow range. At 175 the clarinets have
this tune in octaves and at 192 the flutes and oboes have the tune
using the three notes of the triad, but unusually with the oboe higher
than the second flute.
In the Elegia, bar 10 shows a chromatic Arab influenced tune similar
to a chant. The accompaniment at this point consists of a decorated
arpeggios consisting of alternating minor thirds and minor seconds.
This is simply for orchestral colour, by the use of trills, tremolo,
glissandi and static harmony.
Bar 32 introduces the rhythm of a scotch snap in the horns. This idea
is extended through the trumpets in this section.
At bar 54 the theme in the oboe, clarinets and cellos is based on the
Throughout the life of an individual most people would agree that dealing with tough conflict is an important part in growing as a person. In “The Cellist of Sarajevo” all the characters experience a brutal war that makes each of them struggle albeit in different ways. Each of them have their own anxieties and rage that eventually makes them grow as characters at the end of the book. Steven Galloway’s novel “The Cellist of Sarajevo” exemplifies that when an individual goes through a difficult circumstance they will often struggle because of the anger and fear they have manifested over time. The conflict that the individual faces will force them to reinforce and strengthen their identity in order to survive.
The opening theme consists of a sinister sounding, descending organ phrase made from the notes A,
of this piece -- the clarity of the oboe, and the lovely tune of the
Music is virtually everywhere we go, no matter if it is background noise in a coffee shop or singing along while shopping for groceries, we can find music somewhere. The event I attended was the Flint Symphony Orchestra on October 8, 2016. I have never attended a symphony before so I was excited to go, especially since I had invited my friend to attend with me. For this event, I was already informed by my teacher that the symphony will be formal so we needed to look the part since others will be dressed fancy. This made me curious how this event will turn out. Walking past the ticket area and through the doors to the lobby made me feel instantly memorized at how grand it was on the inside. I went downstairs and there were a vast
The piano plays the main themes, and it was absent from playing before. The piano plays two octaves in the treble register. There is a viola in the background playing a counter melody, which slows towards
Music is loved by nearly everyone around the world; learning about composers and what they have been through can develop your understanding of music today. World War II certainly helped sculpt the face of music and of the composers of that time. The war affected German, American and French composers and musicians; causing them to write hateful music, or live with fear of writing any music at all.
Mozart’s Symphony No. 41 was his last and longest symphony he composed. While listening to this breathtaking piece of music, one specific aspect of this piece stood out to me; this being the instrumentation. In this symphony, many different instruments were used. While listening, I recognized many of them. A flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings make up this famous piece that is known world-wide by millions of people.
Antonio Vivaldi is a famous Italian baroque composer, known by most Suzuki violin students who study his concertos or by audiences everywhere who have heard and love his composition of the Four Seasons. Having grown up as students of the Suzuki Violin Method, we recognize this composer and have experience performing his pieces. In addition to his many concertos written for solo violin, Vivaldi composed many concertos intended to be performed by two solo violins, accompanied by a small orchestra. Because we are both violinists, we chose to analyze the second movement of Vivaldi’s Concerto for Two Violins in A minor, RV 522, included in his L’Estro Armonico works.
Giuseppe Torelli, baroque violinist and composer, is most known for his contributions to the development of the instrumental concerto. Torelli is also noted as being the most prolific composer of baroque trumpet repertoire, with Concerto for Trumpet in D Major being one of his most renowned works that is still widely performed to this day.
In the novel, The Cellist of Sarajevo, the author Steven Galloway explores the power of music and its ability to provide people with an escape from reality during the Siege of Sarajevo. A cellist plays Albinoni’s Adagio for twenty-two consecutive days to commemorate the deaths of twenty-two citizens who were killed by the mortar attacks on the Sarajevo Opera Hall while waiting to buy bread. Albinoni’s Adagio represents that something can be almost obliterated from existence, but be recreated into something beautiful, since it was recreated from four bars of a sonata’s bass line found in the rubble of the firebombed Dresden Music Library in Germany in 1945. The Sarajevans listening to the cellist are given respite from the brutal reality
Human life is a fragile thing. Many things can impact it’s emotional and mental well being, especially war. In the novel, The Cellist of Sarajevo, along with other texts and documentaries, we are able to see how war affects people in different ways.
The brass plays an ascending sequence, followed by pizzicato notes played by the strings, and an ascending and descending scale on the harp. Strings and oboe play the rhythmic melody, whilst the trumpet plays fanfares in syncopation. The oboe is then replaced by the flute. There is an ascending scale played by the strings, then the brass section repeats the string and oboe melody with cymbal crashes at cadence points. The orchestra then plays a loud melody with cymbal crashes and drum rolls. There is an interrupted cadence, followed by crescendo with cymbal crashes and a brass ostinato. The piece ends with a perfect cadence.
Musical concerts are undoubtedly an incredible opportunity to experience a great aesthetic pleasure by listening to the musicians perform in front of your eyes. The power of music can hardly be overestimated – it can transfer a number of messages, thoughts and feelings through the performed sounds. Therefore the one can comprehend the music in the best possible way only when it is heard live. Musical concerts are often revelatory and highly impressive experiences to me. This essay thereby aims to provide my reflections and impressions of the concert of Gregory Porter & the Metropole Orchestra which I had the opportunity to attend in Nashville, TN.
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.
Philippines is one of the most beautiful countries in South East Asia. It has a diverse culture and traditions influenced by the conquerors of the country. It is the country that is known for hospitality and generosity. According to Cayabyab’s 2008 Philippine Music, the diversity of ethnic musical traditions arises from several significant historical accidents. The Americans, Japanese, and Spanish are some of those who have a very great influence in the Philippine music. These conquerors have deeply transformed the Filipino’s ways of living. At the beginning, as it was written in the book entitled The Philippines 2006, the Western music is the first one to be introduced to the Filipinos by the Spanish friars. They have introduced different types of foods as well as different ways or techniques in music composition. In the book Philippine Music 2008, it was discussed that the Philippine music today consists of several streams: indigenous, Spanish-influenced, and the American-influenced. Indigenous songs are from the Islamic influenced that are