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Analysis of a musical piece
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Recommended: Analysis of a musical piece
After carefully listening to audio, one can clearly state that there are two musical ideas A and B. The piece of music has three parts, pattern of idea A,B,A. Idea A begins from 0:00 to 2:18. Idea B begins from 2:18 to 3:18. Then, after 3:18 to 4:52 the piece returns back to the first musical idea A. Idea B marks the introduction of the piano solo, a different instrument that comes in. At the end of idea B, the piano solo stops and reintroduces the instruments of idea A. The composer uses dynamics and timbre to achieve variety. Dynamics are achieved by different levels of volume the listener hears from the instruments. Furthermore, timbre is achieved by the use of a variety of instruments in the piece. The listener can distinctly hear drums, trumpets, saxophones, and bass in musical idea A and in idea b introduces a piano solo. A variety of pitch can be heard from 1:20 to 2:18, which is an improvisation, because the instrument has nots that are high and notes that are low. …show more content…
Additionally, this piece uses a combination of ensemble and solo performer.
Idea A I think is performed by an ensemble, due to the variety of instruments that are used. The improvisation piece and idea B I believe is done by a solo performer. The closest musical style this piece exemplifies is Jazz, because this piece uses improvisation, piece, it incorporates elements of folk music, it uses traditional instruments in unusual ways, and there is a sense of creative freedom in this piece. I think this piece serves a purpose in entertainment. I feel this piece would be played to get people up and dance. I think this piece can also serve as an anthem for a party or celebration. Lastly, personally this piece does not have any special connotation for
me.
The next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different
“You gotta play this piece like an English military band would,” said Jules during band one day while rehearsing the first movement of Gustav Holst’s Second Suite in F. “1. March” begins with four notes played by the low brass which is then echoed by the upper woodwinds. The trumpets have a noble melody which broadens when the entire ensemble joins in. Next, the piece lightens up with an upper woodwind melody. Later on there is a euphonium solo, and following that is a grand theme with an extremely distinguished style. After, there is a change in style and time signature. One simple theme repeats with different dynamics and instrumentations every repetition. The Wind Ensemble played this piece at the Winter Band Concert on December 11, 2013. This work, though easy looking at first glance, was genuinely difficult to put together. It had few layers, so mistakes or intonation problems were extremely noticeable. Furthermore, the style of the piece was extremely intricate and hard to master. Therefore, “1. March” had positives and negatives regarding intonation, balance and blend, articulation, style, and dynamics throughout the entire ensemble and the low instrument section.
The live theatrical production I chose to see was 9 to 5 The Musical. The production was performed by Fayetteville Technical Community College’s very own Fine Arts Department. The musical is based on the film released by Fox in 1980. Collin Higgins adapted the film from the book 9 to 5 written by Patricia Resnick. It wasn’t until 2008 that the film was adapted to a theatrical production. The production was originally brought to broadway by Robert Greenbait and Dolly Parton wrote the lyrics and the music for the Musical. The run on broadway was very short but the production later toured in other countries around the around the world.
As you can see in the Killers’ version it has straight for music structure from the table above. If we compare this with Paul Anka’s rendition of Mr. Brightside, he does sing all the verses in the same order, and leaves out some words, but on the second time he only sings the second verse. So already, it is clear that Anka is making this his own song. To get a better understanding about where these changes occur, see the list order below:
Into the Woods is a musical based off of classic Grimms Brothers’ characters and their fairytales. The production explores the consequences of their wishes and the quests that they fulfill and take on. In writing this play, it seems as though Sondheim and Lapine were attempting to bring to life the classic fairytales of their youth with a twist of reality. Through this portrayal of classic tales, the audience is also taken back into their childhood for the entire two hours and forty-five minutes.
The dynamic levels at the beginning were in piano, but it did not stay that way, there were changes in the sound there were crescendos and decrescendos but mostly toward the end. The harmony was very polyphonic it had many sounds play at one and the texture was also thick it had many layers of sounds because of the number of instruments and the variety of instruments playing simultaneously. The instruments played in this composition were strings, woodwind, brass, and percussion like, cello, flute, French horn, and timpani and they for the tone color the instruments did have a high pitch range. The form for this was theme and variation because he had a theme and variation he took the melody and used it over and over and over again by changing different elements. Prokofiev’s Piano Concerto No. 2 in G Minor, Op. 16 rhythm was a medium walking pace and the steady beat was recognizable. For dynamics, the composition started off mezzo and had changed where it was forte and had crescendos. The melody seemed to be in minor scale
The first song played was from a genre that I had previously taken a test on, Sonata. The musicians played the song by the book. There were three movements and polyphonic texture. It was even fast and jerky. Nonetheless, this is the part where my rollercoaster was going down. In my opinion it was boring. Although very well played, the song itself did not interest me. I did not like the roadrunner, coyote essence of the song. The piano accompaniment would sometimes play the melody and let the clarinet follow and then they would switch. This to me seemed force instead of like the Sonatas that I listened to in class. However, apart from the musical aspect of the first piece there was a certain intensity expressed by the performers. I had never seen a
A typical corrido is defined as a lyrical narrative that consists of eight quatrains with four to six lines. However, the significance does not lie within its musical structure; rather it is shown through its lyrics. The corrido depicts historical events; not through informing its listeners, but strives to use interpretation as a bridge of communication. The lyrics express topics from love and immigration to drug trafficking and malicious events. The Mexican community is able to emotionally connect with the lyrics materializing a sense of identity and pride - preserving historical and malicious events and cultures that have sentiment value.
The first is how the tempo and tone change throughout the song. It has a slow, melancholy start until the third section, where the murderer is being judged and it abruptly changes to a fast pace with upbeat opera/hard rock. Then it suddenly transitions back to a melancholy tone that matches the introduction, coming
There are two main rhythmic ideas that are present in this piece. The first is the regular rhythmic pulse in the pianos and mallet instruments
Pop. Traditional. Classical. These are all genres of music. These all serve a purpose. These are all important. Pop music has been used to help inform and motivate the general public during movements like environmental protection and gay rights. Traditional music has helped to guide us by telling us stories of the past from the church to the fields. Classical music has been played for royalty and help dancers spin a story. Some can be considered art while others can’t, but it often differs because the definition of art is in constant motion. The definition of art is a subject philosopher’s debate because it can be defined strictly or loosely. For the purpose of this essay, let art be defined as anything that can be touched or heard, and it causes a mental and physical reaction. Classical music is truly an art form because it invokes a mental and physical reaction from both the audience and the performers, and it has contrast to make it more dynamic.
There is a growing body of work in the philosophy of music and musical aesthetics that has considered the various ways that music can be meaningful: music as representational (that is, musical depictions of persons, places, processes, or events); musical as quasi-linguistic reference (as when a musical figure underscores the presence of a character in a film or opera), and most especially, music as emotionally expressive. Here I will focus on the last topic, for I believe it will be useful for researchers in music perception and cognition to avail themselves of the distinctions that aestheticians have worked out regarding the musical expression of emotion.
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
For me personally, music appreciation is defined as looking at different pieces of music and musical forms, and learning to find appreciation for them. This appreciation is formed not only by listening to several pieces of music, but by learning to understand what you may be listening too. This involves introducing yourself to many pieces of music and learning to interpret, what makes each piece different and unique. Understanding the historical background and societal changes that have taken place during the creation of the musical piece, is also an important factor to consider. Music is not only creative, but it also makes up part of a societies history. Music is an art form that connects different societies and cultures together, it possess the amazing ability to make us into one.