Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Renaissance characteristics of music
Mozart's music impacts
Mozart's music impacts
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Renaissance characteristics of music
Mozart’s Don Giovanni is an opera, written during the classical period. During the classical period the compositions are not centered on aristocrats or the church as they were in the baroque period but rather the middle class. The opera Don Giovanni is the story of the Spanish Don Juan in which an aristocrat believes he is able to have whomever or whatever he desires without consequence. The music portrays the emotions of Leporello with Act 1 beginning mezzo piano and allegro. The music alternates between wood winds and strings to full orchestra. When Donna Anna and Don Giovanni enter you have a polyphonic sound with Donna Anna singing soprano and Don Giovanni singing tenor, the music becomes fortissimo until Don Giovanni has fatally wounded the Commandant. Once the Commandant is mortally wounded the dynamic changes there is a sudden stop in the music, then a change to …show more content…
In contrast to the classical period the romantic period focused on real life stories and the music was even more reflective of emotions then in the classical period. The addition of a larger brass section, more woodwinds with increased reliability of sound and the addition of cymbals, the triangle and harp lead to a wider range of emotions. The melody of La Bohème flows seamlessly. The scene begins with a flute melody, followed by the orchestra in in pianissimo, indicating Mimi’s fragility, the music decrescendos to Mimi’s fainting, leading to a single oboe of concern. There is break in the orchestra with only vocal, then some gentle strings begin again as Mimi awakens. The tempo shifts frequently throughout the scene. Like the tempo, the dynamic range shifts frequently, changing from largo to presto and back again throughout the scene. The composition is much brighter then Mozart’s Don Giovanni with a large scale and a harp solo, something Mozart’s Don Giovanni does not
One of the most interesting challenges in operatic composition , is composing for all the specific characters. A composer has to distinguish between characters through his music. Jan can’t sound like Fran , and Dan can’t sound like Stan. Each character must have his or her own traits. Mozart’s opera , Don Giovanni , provides us with many different characters to compare and contrast. One scene in particular lends itself to the comparison of Don Giovanni , Leporello , and The Commendator. Scene fifteen of Act two, places all three characters in close interaction with each other , making it easy to compare and find out how Mozart and his Librettist Lorenzo da Ponte brought them all to life.
Don John plays an essential role for nearly all of the trickery and deception in this play. He acts like a catalyst and an instigator for trouble, whose sole aim is to marmalize the love and happiness between Claudio and Hero. Shakespeare uses foreshadowing of Don John’s villainy to display the trickery and deception: ’It better fits my blood to be distained of all than to fashion a carriage to rob love from any, in this, though I cannot be said to be a flattering honest man, it must not be denied but I am a plain-dealing villain. I am trusted with a muzzle and enfranchized with a clog: therefore I have decreed not to sing in my cage. If I had my mouth, I would bite, if I had my liberty, I would do my liking.
Puccini spent more time producing the music for Tosca than he did the music for La bohème (1895) and the result was greater success. The harmony range is richer than La bohème. In Tosca there are three main characters; Floria Tosca, Mario Cavaradossi, Baron Scarplia. According to Budden, Tosca is most Wagnerian in style of his operas. In Tosca Puccini, like Wagner uses motifs. However, unlike Wagner, he does not develop these in the same way. Nevertheless, Tosca’s personality and Tosca’s feelings towards Cavaradossi are also significantly shown by motifs.
Jahn, Otto. (translation by Pauline Townsend) Life of Mozart. New York: Cooper Square Publishers, Inc. 1970. pp. 264-352.
Emotions have some control over our actions. However, there are other factors that influence what we do. In the play Othello though, emotions have way more power over the characters' actions. For example, the actions committed by characters consumed by love are greatly amplified. Another example of this is that the characters in the play that are consumed by jealousy go to far greater lengths than one normally would to quench their thirst for vengeance. The last instance that proves this is that the actions of characters overcome by despair are based solely on their hopelessness. These three points all help to show that in the play Othello, Shakespeare exaggerates how much our actions are affected by the major emotions of love, jealousy, and despair.
Countless dozens of Ph.D. theses must be written about Mozart's The Magic Flute, and yet it is so lively with elements of fantasy and free-flying imagination that it is often the first opera to which children are taken. It has a plot of such complexity that it takes several viewings for all but the most studious opera buffs to sort out the characters and follow the ins and outs of the multilevel story. At the same time, it has so much easily accessible charm and so many glorious Mozart tunes that even the novice will be captivated. There is a large cast of characters including the priest Sarastro (a very serious, proselytizing basso), the Queen of the Night (a mean, angry, scheming coloratura), and her daughter, the beautiful and courageous Pamina. There is the handsome hero, Tamino, on the quintessential road trip, and his cohort in misadventure, the bird seller, Papageno.
Opera in the Romantic Period was a time when opera changed drastically, especially in the country of Italy. The recognition of singers as being important, almost irreplaceable, in the art of “bel canto” opera changed the idea of a vocalist in opera forever. A singer’s voice was prized and Italian composers, like Rossini, Donizetti, and Bellini wrote operas and works to showcase the voice, it’s color, range and agility. These Italian composers were moving away from the normal style of composition of the time, and the composer Rossini, who set the stage for many other followers. Many of the operas written during this time are still performed today and are highly acclaimed. For the most part, before Italy became a main player, France and Germany were the main areas for music. These composer’s lives were extremely important in the development of the romantic period of opera and they really put Italy in the eye of the public for their amazing operas and musical styles.
And a musical genius Mozart was indeed! As I analyzed this piece, I was continually struck by his following of major voice leading and counterpoint rules. The times Mozart did break away from the standard were masterfully done, engaging to the ear, and he was always able to bring us back home. In this paper I will share with you what I learned about Mozart’s Requiem, Domine Jesu measures 1 through 43. I will start with the big picture and whittle it down to the minute details.
Johann Chrysostom Wolfgang Amadeus Mozart baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart born January 27, 1756, in Salzburg Austria. Mozart was an esteemed composer, widely recognized as one of the greatest composers in the history of Western music. Unlike other composers in musical history, he wrote in all the musical genres of his day and excelled in every one. His taste, his command of form, and his range of expression have made him seem the most universal of all composers; yet, it may also be said that his music was written to accommodate the specific tastes of particular audiences. His father, Leopold was the author of a famous violin-playing manual which was published in the year of Mozart’s birth. His mother, Anna Maria Pertly, was born of a middle-class family active in local administration; Mozart and his sister Maria Anna were the only two of their parents’ seven children to survive. Mozart was extremely talented at an early age his father considered him the miracle of Salzburg, his early life and two of his biggest masterpieces are the three topics that will be discussed in this paper.
In 1927, Edgar Istel wrote an article on Mozart 's opera The Magic Flute that stated "The Magic Flute represented his [Mozart 's] highest achievement in the realm of German opera." (Istel, 1927). This statement deemed The Magic Flute more powerful than his earlier works Don Giovanni, Cosi Fan Tutte, and Tito which were all set in an Italian opera style. Istel also states, "(…) he succeeded, in truly Shakespearian fashion, in combining into a complete picture of most unique sort the elements of comedy with those deeper emotions whose impress the chastening influence of time had left on his own nature" (Istel, 1927); subsequently, telling us that the Shakespearian influence seen in Mozart 's work was one that has gone appreciated for
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.
As I was growing up my family and I would usually go and see ballets and then as I grew older we stopped going. When you are in Elementary school you have music class and to make it fun your class usually had to put on a play/musical. When I was in 2nd grade maybe I remember I finally auditioned to be a reindeer in a Christmas musical that was taking place. I only got the role because the person who originally got it wasn’t sad enough and couldn’t sign because he was stage fright. I remember how fun it use to be but that feeling soon faded because of all the lines and things that went with it. Musicals all through school were always fun to hear about but I never really paid much attention because I found
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.
Music has been psychologically tested many times to determine whether or not it is a positive influence on memory. The Mozart effect has become a very popular theory, in which the belief that listening to Mozart’s classical music can improve one’s memory. This well known theory has become very influential, people are listening to Mozart while they study for tests and parents are even purchasing videos for their babies that supposedly use Mozart’s music to improve their child’s metal abilities at an early age. If calming Mozart symphonies can improve cognitive memory then does distracting more upbeat music harm the abilities of the brain to record information? Unpleasant music does effect the outcome of people’s scores on cognitive tasks, compared to people listening to pleasant music, like Mozart, who tend to do much better (Hallam, Price & Katsorou, 2002). The world’s fascination with Mozart and his music’s supposed ability to enrich people’s learning abilities is incredible, if it can ever truly be proven.
Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg, Germany. Born to Leopold Mozart, a violinist and a minor composer, learning music was a must for Amadeus. He was the youngest of seven children, even though most of his brothers and sisters died in early childhood. His eldest sister, Maria “Nannerl” Anna, began keyboard lessons at the age of seven with her father, while three-year-old Amadeus watched and listened. This acted as the first footstep for young Mozart’s long musical journey.